OCTOBER 2017

LUDOVIC MORLOT, MUSIC DIRECTOR

BEATRICE RANA PLAYS PROKOFIEV GIDON KREMER SCHUMANN VIOLIN CONCERTO

LOOKING AHEAD: MORLOT C O N D U C T S BERLIOZ CONTENTS

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EAP full-page template.indd 1 7/17/17 3:08 PM CONTENTS OCTOBER 2017

4 / CALENDAR

6 / THE SYMPHONY

10 / NEWS

FEATURES 12 / BERLIOZ’S BARGAIN

14 / MUSIC & IMAGINATION

CONCERTS 15 / October 5 & 7 ENIGMA VARIATIONS

19 / October 6 ELGAR UNTUXED

21 / October 12 & 14 GIDON KREMER SCHUMANN VIOLIN CONCERTO

24 / October 13 [UNTITLED] 1

26 / October 17 NOSFERATU: A SYMPHONY OF HORROR

27 / October 20, 21 & 27 VIVALDI FOUR SEASONS

30 / October 26 & 29 21 / GIDON KREMER SHOSTAKOVICH SYMPHONY NO. 10 Photo: Angie Kremer Photography Angie Kremer Photo: 42 / GUIDE TO THE SEATTLE SYMPHONY

43 / THE LIS(Z)T

15 / JEAN-EFFLAM BAVOUZET 27 / DMITRY SINKOVSKY Photo courtesyPhoto of the artist Photo: B Ealovega Photo:

ON THE COVER: Beatrice Rana (p. 30) by Marie Staggat COVER DESIGN: Helen Hodges EDITOR: Heidi Staub

© 2017 Seattle Symphony. All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change.

encoremediagroup.com/programs 3 ON THE DIAL: Tune in to October & Classical KING FM 98.1 every November Wednesday at 8pm for a Seattle Symphony spotlight and CALENDAR the first Friday of every month at 9pm for concert broadcasts.

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

■ OCTOBER 7:30pm 7:30pm 10:30am Tiny Tots: 9:30, 10:30 & 11:30am 1 & 8pm Seattle Arts & Enigma Variations Gallop & Go! Tiny Tots: Gallop & Go! Seattle International Lectures presents 7:30pm Seattle Piano Festival Janet Mock 7pm Elgar Untuxed Repertory Jazz 2pm Chris Botti 7:30pm Northwest Orchestra: Basie Bash with the Seattle Sinfonietta: Notions 8pm Enigma Symphony 1 2 3 4 5 of a Nation 6 Variations 7

7:30pm 10pm 2pm Live @ Benaroya [untitled] 1 Sammamish Hall: Sun Kil Moon Symphony Orchestra

7:30pm 8pm Gidon Kremer Gidon Kremer Schumann Violin Schumann Violin Concerto Concerto 8 9 10 NOSFERATU11 12 13 14

7pm 7:30pm 7:30pm 7:30pm 8pm 11am Byron Schenkman NWAA, KNKX Nosferatu: A Seattle Arts & Vivaldi Four Seasons & Friends: Bach 88.5 FM & The Symphony of Horror Lectures presents Double Harpsichord Stranger present Ron Chernow 8pm Concertos A Conversation with Vivaldi Four Seasons Armistead Maupin

15 16 17 18 19 20 21

2pm National 7:30pm 7:30pm 7:30pm 7:30pm 12 Noon 2pm Seattle Geographic Live — Into National Geographic National Geographic Earshot Jazz Shostakovich Vivaldi Four Seasons Philharmonic Orchestra: the Arctic Kingdom A Great Teacher is a Live — Into the Live — Into the presents Brad Symphony No. 10 7:30pm Seattle Arts & Great Artist Arctic Kingdom Arctic Kingdom Mehldau Lectures presents Nikki 7:30pm NWAA, KNKX Giovanni 88.5 FM & The Stranger 7pm Seattle Chinese present Humans of New 7:30pm Ensign Orchestra: At First York: Brandon Stanton Symphony & Chorus: Light 22 23 24 25 26 King of Kings 27 28

10am Metropolitan ■ NOVEMBER 7:30pm 2pm Finlandia Opera National Council: Live @ Benaroya Hall: Foundation: Finland 100 WA District Auditions 7:30pm Berlioz Symphonie Hauschka 7:30pm SRJO with 2pm Shostakovich fantastique Wycliffe Gordon: The Symphony No. 10 8pm Art of the Trombone Live @ Benaroya Hall: 7:30pm Live @ Benaroya 8pm Berlioz Symphonie Hall: Creating S-Town Yanni fantastique with Brian Reed 29 30 NATIONAL31 GEOGRAPHIC LIVE1 2 3 4

2pm Berlioz Symphonie 7:30pm 7:30pm 8pm 2pm Cascade Youth fantastique Live @ Benaroya Hall: Berlioz Requiem Ravel & Schubert Symphony Orchestra 7pm Music of The Jerry Douglas 7:30pm Remembrance: Band 7:30pm Northwest 8pm LUMA Guild: Seattle Baroque Snow Falls Sinfonietta: Tales of EPOCH Orchestra: Forces of 7:30pm Seattle Arts Hope & Heroism Nature & Lectures presents 8pm Ta-Nehisi Coates 5 6 7 8 9 10 Berlioz Requiem 11

7pm 7pm 7:30pm Harry Potter 8pm Harry Potter 2pm Seattle Youth Byron Schenkman & AIA Seattle: AIA and the Chamber of and the Chamber of Symphony Orchestra Friends — Schumann: Honor Awards Secrets™ in Concert with Secrets™ in Concert with 2pm Casa Patas : Binomio The Poet Speaks the Seattle Symphony the Seattle Symphony 7:30pm SCAS: Brasil 7:30pm Live @ Benaroya 7:30pm Live @ Benaroya Guitar Duo Hall — Casa Patas Hall — Casa Patas 8pm Harry Potter and the Flamenco: Binomio Flamenco: Binomio Chamber of Secrets™ in Concert with the Seattle 12 13 14 15 16 17 Symphony 18

3pm Seattle Youth 8pm 8pm Symphony Orchestra Live @ Benaroya Live @ Benaroya 5pm RCMFS: Hall — YIRUMA LIVE Hall: The Tenors Autumn Evenings in North America 2017 7:30pm NWAA, KNKX 88.5 & The Stranger present David Sedaris 19 20 21CASA PATAS FLAMENCO22 23 24 25

7pm 7:30pm 10am 7:30pm ■ DECEMBER 8pm SPU: Sacred Sounds Seattle Arts & Friends Open Rachmaninov Piano Rachmaninov Piano 12pm of Christmas Lectures presents Rehearsal* Concerto No. 3 Concerto No. 3 Isabel Allende Rachmaninov Piano 7:30pm Seattle Arts Concerto No. 3 & Lectures presents Kevin Young 26 27 28 29 30 1 2

LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information

Nosferatu: A Symphony of Horror (October 17); National Geographic Live — Into the Arctic Kingdom 4 SEATTLESYMPHONY.ORG (October 22–24) by Florian Schulz; Live @ Benaroya Hall — Casa Patas Flamenco: Binomio (November 16–18)

SSO027-Calendar.indd 1 9/27/17 9:44 AM ■ ON THE BEAT See Who’s Here PREMIER RETIREMENT LIVING to Hear

Enjoy a warm and vibrant lifestyle, an array of amenities, rich programming, and exceptional care.

Aljoya Mercer Island The Gardens at Town Square (206) 230-0150 Downtown Bellevue (425) 688-1900 Aljoya Thornton Place (206) 306-7920 The Lakeshore South Seattle (206) 772-1200 Ida Culver House Broadview (206) 361-1989 University House Issaquah (425) 557-4200 Ida Culver House Ravenna (206) 523-7315 University House Wallingford (206) 545-8400 Photo: James Holt James Photo:

My perfect night out would include Call for a personal visit, or a really excellent dinner followed learn more at eraliving.com by some form of live music or live entertainment, whether it is orchestral music or my favorite band. I also enjoy slam poetry, so I’m going to see Buddy Wakefield at the Fremont Abbey in a couple weeks.

– Alicia Our building is closed for construction, but our programs are more open than ever. Town Hall is Inside/Out in a neighborhood near you.

CONNECT WITH US: Share your photos using #ListenBoldly and follow @seattlesymphony on Facebook, Instagram, Twitter and Snapchat. Download the Listen Boldly app to easily purchase Joshua Roman, Town Music Artistic Director tickets, skip the Ticket Office lines and receive exclusive offers. December 4, 2017, 7:30pm A Cello Conspiracy featuring Joshua Roman Roman joins current Seattle Symphony stars on stage for a night celebrating the past and present of Seattle’s cellists. Fremont Abbey seattlesymphony.org TICKETS: 206.215.4747 Tickets: $20/$15 for members ~ www.townhallseattle.org GIVE: 206.215.4832

encoremediagroup.com/programs 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

French conductor Ludovic at the University of California, Berkeley. The orchestra has Morlot has been Music Director many successful recordings, available on their own label, of the Seattle Symphony Seattle Symphony Media. A box set of music by Dutilleux since 2011. Amongst the was recently released to mark the 100th anniversary of the many highlights of his tenure, composer’s birth. the orchestra has won three Grammy Awards and gave an Ludovic Morlot was Chief Conductor of La Monnaie for exhilarating performance at three years (2012–14). During this time he conducted several Carnegie Hall in 2014. new productions including La Clemenza di Tito, Jenu°fa and Pelléas et Mélisande. Concert performances, both During the 2017–2018 in Brussels and Aix-en-Provence, included repertoire by season Morlot and the Beethoven, Stravinsky, Britten, Webern and Bruneau. Seattle Symphony will continue on their incredible Trained as a violinist, Morlot studied conducting at the musical journey, focusing Royal Academy of Music in London and then at the Royal

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: particularly on the music College of Music as recipient of the Norman del Mar of Berlioz, Stravinsky and Conducting Fellowship. Morlot was elected a Fellow of Bernstein. In addition, they will be presenting some exciting new the Royal Academy of Music in 2014 in recognition of his works by John Luther Adams, David Lang and Andrew Norman and significant contribution to music. He is Chair of Orchestral welcoming Alexandra Gardner for a residency. The orchestra will also Conducting Studies at the University of Washington School be performing on tour in California, including a two-day residency of Music.

SEATTLE SYMPHONY ORCHESTRA ROSTER

LUDOVIC MORLOT Thomas Dausgaard, Principal Guest Conductor Pablo Rus Broseta, Douglas F. King Associate Conductor Harriet Overton Stimson Music Director Joseph Crnko, Associate Conductor for Choral Activities Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate

FIRST VIOLIN Mara Gearman PICCOLO HORN HARP Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Penelope Crane Robert & Clodagh Ash Piccolo Charles Simonyi Principal Horn Principal Open Position Wes Dyring Mark Robbins Clowes Family Associate Concertmaster Sayaka Kokubo OBOE Associate Principal KEYBOARD Cordula Merks Rachel Swerdlow Mary Lynch Jonathan Karschney Joseph Adam, organ + Assistant Concertmaster Julie Whitton Principal Assistant Principal Simon James Supported by anonymous donors Jenna Breen PERSONNEL MANAGER Second Assistant Concertmaster CELLO Ben Hausmann John Turman Scott Wilson Jennifer Bai Efe Baltacıgil Associate Principal Danielle Kuhlmann Mariel Bailey Marks Family Foundation Principal Cello Chengwen Winnie Lai ASSISTANT PERSONNEL Cecilia Poellein Buss Meeka Quan DiLorenzo Stefan Farkas TRUMPET MANAGER Ayako Gamo Assistant Principal David Gordon Keith Higgins Supported by their children in memory of Timothy Garland ENGLISH HORN The Boeing Company Principal Trumpet Helen and Max Gurvich Leonid Keylin Stefan Farkas Alexander White LIBRARY Nathan Chan Mae Lin Assistant Principal Patricia Takahashi-Blayney Eric Han Mikhail Shmidt CLARINET Christopher Stingle Principal Librarian Bruce Bailey Clark Story Benjamin Lulich Michael Myers Robert Olivia John Weller Roberta Hansen Downey Mr. & Mrs. Paul R. Smith Principal Associate Librarian Walter Gray Jeannie Wells Yablonsky Clarinet TROMBONE Jeanne Case Vivian Gu Emil Khudyev Arthur Zadinsky Ko-ichiro Yamamoto Librarian Joy Payton-Stevens Associate Principal Principal Rachel Swerdlow SECOND VIOLIN David Sabee Laura DeLuca David Lawrence Ritt Assistant Librarian Elisa Barston Dr. Robert Wallace Clarinet Stephen Fissel Principal BASS Eric Jacobs TECHNICAL DIRECTOR Michael Miropolsky Jordan Anderson Joseph E. Cook BASS TROMBONE John & Carmen Delo Mr. & Mrs. Harold H. Heath E-FLAT CLARINET Assistant Principal Second Violin Principal String Bass Stephen Fissel ARTIST IN ASSOCIATION Laura DeLuca Dale Chihuly Kathleen Boyer Joseph Kaufman Gennady Filimonov Assistant Principal TUBA BASS CLARINET 2017–2018 SEASON Evan Anderson Ted Botsford ** John DiCesare COMPOSER IN RESIDENCE Natasha Bazhanov Jonathan Burnstein Eric Jacobs Principal Alexandra Gardner Brittany Boulding Breeden Brendan Fitzgerald * HONORARY MEMBER Stephen Bryant Jennifer Godfrey BASSOON TIMPANI Cyril M. Harris † Linda Cole Travis Gore Seth Krimsky Open Position Xiao-po Fei Jonathan Green Principal Principal Artur Girsky Paul Rafanelli Matthew Decker + Resident Andy Liang FLUTE Mike Gamburg Assistant Principal † In Memoriam Andrew Yeung Demarre McGill ** On Leave Principal CONTRABASSOON PERCUSSION * Temporary Musician for 2017–2018 VIOLA Supported by David J. and Shelley Hovind Mike Gamburg Michael A. Werner season Susan Gulkis Assadi Jeffrey Barker Principal Associate Principal PONCHO Principal Viola Michael Clark Arie Schächter Judy Washburn Kriewall Matthew Decker Assistant Principal Zartouhi Dombourian-Eby

6 SEATTLESYMPHONY.ORG ■ ZARTOUHI DOMBOURIAN-EBY Flute & Robert & Clodagh Ash Piccolo

OCT Mezzo-Soprano 06 Nerys Jones

NOV 03 Photo: James Holt James Photo:

When Zart Dombourian-Eby started as an undergraduate in college, her plan was to become a professor. It wasn’t until she began lessons with her teacher in graduate Bassoonist school, Walfrid Kujala, that she began to imagine an orchestral career. “He still loved what Jovino Martin he did after all those years,” she says. “He was invigorated by playing and I caught the Santos Neto Kuuskmann fever from him.”

Now, after 35 years with the Seattle Symphony, she still enjoys being able to perform, www.resonance.events and to teach as well. “My private studio is kind of eclectic, with students of all ages,” says Dombourian-Eby. Among her students? Leslie Jackson Chihuly, Seattle Symphony Board Chair, pictured above.

“Leslie texted me one day with a picture of the readout on her radio listing a piece she wanted to learn,” recalls Dombourian-Eby. “We started lessons soon after, and now we’ve been working together for about a year and half.”

When she’s not onstage or teaching from her home, Dombourian-Eby takes an active role in supporting the institutions she loves: “I’m an organizer at heart and I like to be active and have a lot of things going on,” she says. Currently she chairs both the pension plan for the Seattle Symphony musicians and the endowment committee for the National Flute Association. (She was previously its president.)

“I feel fortunate to have a job that is fulfilling for me and is a lifelong pleasure,” she says. “We’re really lucky that we get to do something we love so much.”

For more on the Seattle Symphony, visit seattlesymphony.org/stories.

encoremediagroup.com/programs 7 ■ SIMPLE GIFTS Abused Deaf Women’s Advocacy Services

Abused Deaf Women’s Advocacy Services (ADWAS) empowers deaf and blind survivors of domestic violence, sexual assault and harassment to transform their lives, while striving to change the believes and behaviors that foster and perpetuate violence. ADWAS became a Community Connections partner in 2017 and receives complimentary tickets to select Seattle Symphony performances. ADWAS is also one of 18 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who previously or are currently experiencing homelessness. This month Seattle Symphony staff, board, musicians and volunteers will volunteer at an ADWAS family night as part of the Simple Gifts initiative.

“Both families that went absolutely loved it! One [mom] that went with her family signed [to me] that it gave her chills … it felt very special.” – Nancy at ADWAS Photo courtesy of Abused Deaf Women’s Advocacy Services Advocacy Women’s Deaf courtesyPhoto of Abused

■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.

SEATTLE SYMPHONY BOARD OF DIRECTORS

LESLIE JACKSON CHIHULY Chair* Jon Rosen Woody Hertzog Dick Paul Secretary* Vice Chair, Development* Vice Chair, Governance* RENÉ ANCINAS, Chair-Elect* Michael Slonski Kjristine Lund Stephen Whyte Treasurer* Vice Chair, Audiences & Communities* Vice Chair, Finance*

DIRECTORS Ronald Koo Simon Woods, President David Davis Marlys Palumbo Marco Abbruzzese Ryo Kubota & CEO Nancy Evans Sally Phinny Sherry Benaroya Stephen Kutz Zartouhi Dombourian-Eby, Dorothy Fluke James Raisbeck Musician Representative James Bianco Ned Laird* David Fulton Sue Raschella Jonathan Karschney, Paul Leach* Jean Gardner Bernice Rind Paula Boggs Musician Representative Rosanna Bowles Brian Marks Ruth Gerberding Jill Ruckelshaus Renée Brisbois Michael Mitrovich LIFETIME DIRECTORS James Gillick Jon Runstad Isiaah Crawford Hisayo Nakajima Llewelyn Pritchard Jerry Grinstein Martin Selig Susan Detweiler Cookie Neil Chair Patty Hall John F. Shaw Rebecca Ebsworth Nancy Neraas Richard Albrecht Cathi Hatch Linda Stevens Larry Estrada Laurel Nesholm* Susan Armstrong Steven Hill Patricia Tall-Takacs Jerry Farley Jay Picard Robert Ash Ken Hollingsworth Marcus Tsutakawa Molly Gabel Dana Reid* William Bain Patricia Holmes Cyrus Vance, Jr. Martin Greene Elisabeth Beers Sandler Bruce Baker David Hovind Karla Waterman Jeremy Griffin Jim Schwab Cynthia Bayley Henry James Ronald Woodard Terry Hecker Robert Wallace Alexandra Brookshire Hubert Locke Arlene Wright Jean-François Heitz* Phyllis Byrdwell J. Pierre Loebel DESIGNEES Joaquin Hernandez Phyllis Campbell Kenneth Martin Parul Houlahan* Sasha Philip, President, Seattle Mary Ann Champion Yoshi Minegishi * Executive Committee Member Douglas Jackson Symphony Chorale Robert Collett Marilyn Morgan Susan Johannsen Bonnie Peterson, President, Isa Nelson Viren Kamdar Seattle Symphony Volunteers

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright Vice President Brian Grant J. Pierre Loebel Rick White President Muriel Van Housen Secretary Leslie Jackson Chihuly David Tan Michael Slonski Treasurer

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD President Mark Reddington Vice President Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Fred Podesta Simon Woods, President & CEO Michael Slonski Treasurer Chris Martin Leo van Dorp Zartouhi Dombourian-Eby, Musician Representative

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Rebecca Aitken, Jessica Andrews- DEVELOPMENT Simon Woods Hall, Lena Console, Kaley Eaton, Shaina Shepherd Sonya Harris, Jessi Harvey, President & CEO Development Officer (Assistant to VP of Rafael Howell, Zachary Kambour, Leslie Jackson Chihuly Chair Development & Grants) Leslie McMichael, Dana Staikides Charlie Wade Teaching Artists Renee Duprel Senior Vice President of Marketing Associate Vice President of Development Lauren Eastman & Business Operations (Campaign) Discovery Coordinator Jennifer Adair Maria Kolby Wolfe Vice President & General Manager Major Gifts Officer (Campaign) COMMUNICATIONS Maureen Campbell Melville Betsy Groat Shiva Shafii Vice President & Chief Financial Officer Development Officer (Campaign) Public Relations Manager Rosalie Contreras Becky Kowals Heidi Staub Vice President of Communications Director of Major Gifts and Planned Giving Managing Editor Elena Dubinets Nicholas Walls, Marsha Wolf James Holt Vice President of Artistic Planning Major Gift Officers Digital Content Manager Jane Hargraft Amy Bokanev Andrew Stiefel Vice President of Development Gift Officer Social Media & Content Manager Kristen NyQuist Jessica Lee, Tess Benson Director of Board Relations MARKETING Development Coordinators (Major Gifts) & Strategic Initiatives Christy Wood Paul Gjording Laura Reynolds Director of Marketing Senior Major Gift Officer Vice President of Education & Community (Foundations & Government Relations) Rachel Spain Engagement Megan Hall Marketing Manager Director of Development Operations EXECUTIVE OFFICE Kyle Painter Alicia Archambault Marketing Operations Coordinator Margaret Holsinger Stewardship Manager Executive Assistant to the President & CEO/ Barry Lalonde Martin K. Johansson Office Manager Director of Digital Products Development Communications Manager Jason Huynh Jacob Roy ARTISTIC PLANNING Digital Marketing Manager Data Operations Manager Paige Gilbert Herb Burke Maery Simmons Assistant Artistic Administrator Tessitura Manager Data Entry Coordinator Rose Gear Gerry Kunkel Tami Horner Personal Assistant to the Music Director Corporate & Concierge Accounts Manager Senior Manager of Special Events Dmitriy Lipay Jessica Forsythe & Corporate Development Director of Audio & Recording Art Director Zoe Funai Blaine Inafuku Helen Hodges Special Events Manager Artist Services, Media & Chorale Manager Graphic Designer Ryan Hicks Forrest Schofield Corporate Development Manager ORCHESTRA & OPERATIONS Group Services Manager Kelly Woodhouse Boston Joe Brock FINANCE & FACILITIES Director of Operations Retail Manager David Nevens Ana Hinz Christina Hajdu Controller Production Manager Sales Associate Megan Spielbusch Scott Wilson Brent Olsen Accounting Manager Personnel Manager Ticket Sales Manager Jacqueline Moravec Keith Higgins Nina Cesaratto, Molly Gillette Payroll/AP Accountant Assistant Personnel Manager Ticket Office Coordinators Jordan Bromley Patricia Takahashi-Blayney Asma Ahmed, Mary Austin, Staff Accountant Principal Librarian James Bean, Melissa Bryant, Tristan Saario Robert Olivia Brian Goodwin, Mike Obermeyer, Staff Revenue Accountant Associate Librarian CaraBeth Wilson, Elizabeth Ylaya Ticket Services Associates Bernel Goldberg Jeanne Case General Counsel Librarian VENUE ADMINISTRATION David Ling Joseph E. Cook Matt Laughlin Facilities Director Technical Director Director of Facility Sales Kevin Baker Mark Anderson, Jeff Lincoln James Frounfelter, Adam Moomey Facilities Manager Assistant Technical Directors Event & Operations Managers Scott Lykes Chris Dinon, Chief Building Engineer Aaron Gorseth, Sophia El-Wakil John Roberson, Facilities Sales & Operations Coordinator Aaron Burns, Damien De Witte Michael Schienbein, Keith Godfrey Building Engineers Ira Seigel House Manager Rodney Kretzer Stage Technicians Tanya Wanchena Facilities & Security Coordinator Assistant House Manager & Usher Scheduler EDUCATION & HUMAN RESOURCES COMMUNITY ENGAGEMENT Milicent Savage, Patrick Weigel Kathryn Osburn Amy Heald Assistant House Managers Human Resources Generalist Collaborative Learning Manager Dawn Hathaway, Lynn Lambie, Mel Longley, Ryan Marsh, Markus Rook Karya Schanilec Jérémy Jolley Head Ushers Receptionist/Marketing Assistant Artistic Collaboration Manager Laura Banks, Everett Bowling, Katie Hovde Veronica Boyer, Evelyn Gershen Program Associate Assistant Head Ushers Ron Hyder Technical Coordinator

CONTACT US

TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]

encoremediagroup.com/programs 9

10 SEATTLESYMPHONY.ORG

Music Therapy Department. Therapy Music {

. . Asia Celebrate for commissioned , Lotus Flying The

UW Autism Center and Seattle Pacific University’s University’s Pacific Seattle and Center Autism UW

Symphony’s premiere of Grammy and Academy Award-winning composer A.R. Rahman’s Rahman’s A.R. composer Award-winning Academy and Grammy of premiere Symphony’s

This program is presented in partnership with with partnership in presented is program This

by French composer Olivier Messiaen. Coming soon is a live recording of the Seattle Seattle the of recording live a is soon Coming Messiaen. Olivier composer French by

tickets and to learn more. learn to and tickets

transcendent beauty with passionate performances of rarely recorded masterpieces masterpieces recorded rarely of performances passionate with beauty transcendent

Visit seattlesymphony.org/sensoryfriendly for for seattlesymphony.org/sensoryfriendly Visit

Seattle Symphony Media’s latest release is an album of sacred and and sacred of album an is release latest Media’s Symphony Seattle LISTEN NOW LISTEN chamber works and participatory group songs. group participatory and works chamber

{ { children’s story to life alongside other short short other alongside life to story children’s

and creative spirit across time and space. and time across spirit creative and

, bringing this familiar familiar this bringing , Bull the Ferdinand with

Septet in E-flat major, bringing together mysticism and symbolism, as well as playfulness playfulness as well as symbolism, and mysticism together bringing major, E-flat in Septet

The series begins November 11 and 12 12 and 11 November begins series The , paired with Beethoven’s celebrated celebrated Beethoven’s with paired , Turns Coyote Quartet, String Gardner’s Alexandra

featured chamber works. chamber featured Beach Park on Friday, October 13, at 7pm as they perform Composer in Residence Residence in Composer perform they as 7pm at 13, October Friday, on Park Beach

and the venue, and recordings of the the of recordings and venue, the and Join musicians from the Seattle Symphony at Des Moines Moines Des at Symphony Seattle the from musicians Join FREE COMMUNITY CONCERT COMMUNITY FREE

story, visual schedule, photos of performers performers of photos schedule, visual story,

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families before the event, including a social social a including event, the before families

experience; and resources provided to to provided resources and experience;

and guide them through the concert concert the through them guide and

concert buddies available to greet families families greet to available buddies concert

and auditory sensitivities; specially trained trained specially sensitivities; auditory and Simon Woods Simon

lower volumes to accommodate visual visual accommodate to volumes lower

promises to be! to promises

and dancing; comfortable lighting and and lighting comfortable dancing; and

Thank you for joining us today and enjoy the season ahead. What a season it it season a What ahead. season the enjoy and today us joining for you Thank

and zones designated for sitting, standing standing sitting, for designated zones and

Alexandra Gardner. Alexandra seating options, including sensory cushions cushions sensory including options, seating

play by Beethoven and our 2017–2018 Composer in Residence Residence in Composer 2017–2018 our and Beethoven by music chamber play Other concert features include flexible flexible include features concert Other

Des Moines Beach Park on October 13, at 7pm. Seattle Symphony musicians will will musicians Symphony Seattle 7pm. at 13, October on Park Beach Moines Des of the concert setting. setting. concert the of

I invite you to attend our first free Community Concert of the season at at season the of Concert Community free first our attend to you invite I

connect with one another within and outside outside and within another one with connect

skill and offers opportunities for families to to families for opportunities offers and skill

opportunity to enjoy music. Read more about this series at right. at series this about more Read music. enjoy to opportunity

Each concert highlights a different social social different a highlights concert Each

option for families is Sensory Friendly Concerts, which gives more children the the children more gives which Concerts, Friendly Sensory is families for option

hosted by a board-certified music therapist. therapist. music board-certified a by hosted

performances. Read about this month’s Family Concert on page 14. Another Another 14. page on Concert Family month’s this about Read performances.

musicians, and a 35-minute performance performance 35-minute a and musicians,

Concerts are a fun way to introduce children to high caliber live symphonic symphonic live caliber high to children introduce to way fun a are Concerts

show, a meet-and-greet with the featured featured the with meet-and-greet a show,

in young audiences and making symphony experiences available to all. Family Family all. to available experiences symphony making and audiences young in

instrument exploration before or after the the after or before exploration instrument

Here at the Symphony, we are passionate about igniting the spark of imagination imagination of spark the igniting about passionate are we Symphony, the at Here

musicians. The concert experience includes includes experience concert The musicians.

back for the concerts in November. in concerts the for back

group songs with Seattle Symphony Symphony Seattle with songs group

story on page 12 to discover what fueled Berlioz’s imagination before coming coming before imagination Berlioz’s fueled what discover to 12 page on story

small chamber works and participatory participatory and works chamber small

Hector Berlioz’s music, including his gargantuan and thrilling Requiem. Read the the Read Requiem. thrilling and gargantuan his including music, Berlioz’s Hector

sensory sensitivities, invites families to enjoy enjoy to families invites sensitivities, sensory

Morlot and the orchestra will present two weekends of the French composer composer French the of weekends two present will orchestra the and Morlot

with Autism Spectrum Disorder and other other and Disorder Spectrum Autism with

is literally unique in the musical world! Looking ahead to next month, Ludovic Ludovic month, next to ahead Looking world! musical the in unique literally is

designed specifically for children ages 5–8 5–8 ages children for specifically designed

Four Seasons Four . As conductor, violinist and countertenor, he he countertenor, and violinist conductor, As . Vivaldi’s with starting

Sensory Friendly Concerts, a program program a Concerts, Friendly Sensory

appears, so he is returning to lead our entire Baroque & Wine series this season, season, this series Wine & Baroque entire our lead to returning is he so appears,

Dmitry Sinkovsky makes a huge impression on our audiences each time he he time each audiences our on impression huge a makes Sinkovsky Dmitry Sensory Friendly Concert Attendee Concert Friendly Sensory – –

is a very rare treat.” rare very a is

something not to be missed. be to not something

together and feel that relaxed and at home home at and relaxed that feel and together

makes us literally hear in new ways. He rarely appears in this country, so this is is this so country, this in appears rarely He ways. new in hear literally us makes

family to attend something like this all all this like something attend to family

his deep and thoughtful musicianship and decades of championing new music, music, new championing of decades and musicianship thoughtful and deep his

“It was REALLY REALLY fabulous. For our our For fabulous. REALLY REALLY was “It

Seattle this month. He is truly one of the giants of music, someone who through through who someone music, of giants the of one truly is He month. this Seattle personally I find almost nothing more enticing than welcoming Gidon Kremer to to Kremer Gidon welcoming than enticing more nothing almost find I personally

Photo: CarlinMa Many things about the 2017–2018 season are exciting to look forward to, but but to, forward look to exciting are season 2017–2018 the about things Many

the human spirit through the power of music. of power the through spirit human the and mission of bringing people together and lifting lifting and together people bringing of mission and

Photo: Brandon Patoc $1.7 million in support of the Symphony’s music music Symphony’s the of support in million $1.7

resounding success, raising a record-breaking a raising success, resounding

sponsors who made this year’s event such a a such event year’s this made who sponsors

Gala. A huge thank you to all the attendees and and attendees the all to you thank huge A Gala.

with a spectacular Opening Night Concert & & Concert Night Opening spectacular a with

Last month we kicked off the 2017–2018 season season 2017–2018 the off kicked we month Last

Welcome to Benaroya Hall! Benaroya to Welcome

CONCERTS

SIMON WOODS, PRESIDENT & CEO & PRESIDENT WOODS, SIMON

FRIENDLY FRIENDLY

NEWS FROM: NEWS

SENSORY SENSORY ■ October 2017 Volume 31, No. 2

Paul Heppner Publisher

Susan Peterson Design & Production Director

Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design

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encoremediagroup.com/programs 11 BERLIOZ’S BARGAIN Berlioz was on his way to becoming a physician — until he heard the Opera and was consumed by his musical obsession.

BY ANDREW STIEFEL

The musical ideals of the Romantic era were first realized in the unlikely figure of Hector Berlioz — composer, critic and enfant terrible of 19th-century Paris. This November Music Director Ludovic Morlot leads an exploration of Berlioz’s groundbreaking music with two weekends of concerts, beginning with Berlioz’s first major success, Symphonie fantastique, and concluding with his Requiem.

“Berlioz was born not far from where I grew up, so I developed a special with his music when I was young,” says Morlot. “In his music I hear a completely unique and revolutionary voice.”

More than 150 years later, Berlioz’s Symphonie fantastique is as shocking today as it was in 1830. Throughout the piece, Berlioz develops what he calls the idée fixe, an almost incessant, maddening melody that haunts the music. From the dark longings in the first movement, the entire work descends into an inferno, ending with a savage witches’ after the protagonist of the symphony is executed for murdering his beloved.

Berlioz wrote his masterpiece over the course of six weeks in 1830. Program notes invariably refer to his infatuation with the Irish actress, Harriet Smithson, at the time, an episode Berlioz refers to in his Memoirs as “the supreme drama of my life.” According to Berlioz, he composed the work to profess his unrequited love for Smithson. (It seems to have worked, at least temporarily: they married, only to divorce a few years later.)

Yet the story has more to do with the legend of Faust than with Smithson. In his Memoirs, Berlioz recounts discovering Goethe’s telling of the legend of Faust. “I read it incessantly, at meals, at the theatre, in the street,” he recounts, “… under the influence of Goethe’s poem, I wrote my Fantastic Symphony: very slowly and laboriously in some parts, with extraordinary ease in others.”

In the original German legend, Faust is a scholar who is dissatisfied with his life. He makes a pact with the devil, exchanging his soul for knowledge and worldly pleasure and a chance to experience perfect happiness. Faust’s bargain does not begin as an affair of the heart. It begins as Photo of Hector Berlioz by Pierre Petit (1863) an affair of the mind, as a pursuit of forbidden knowledge. It makes sense that this story would resonate with Berlioz.

12 SEATTLESYMPHONY.ORG Faust’s bargain does not begin as an affair of the heart. It begins as an affair of the mind, as a pursuit of forbidden knowledge.

Unlike his contemporaries — Frédéric Chopin, Franz Liszt, Listening to Berlioz’s music today, it can be difficult to appreciate Niccolò Paganini and other musical prodigies — Berlioz did not how revolutionary it was for his time. His innovations like the come to music with an innate virtuosity. Instead, he approached idée fixe influenced composers like Franz Liszt and Richard his art with the feverish spirit of intellectual adventure. Growing Wagner, and his orchestral colors are still astonishingly original. up in La Côte Saint-André, a small village in the south of France, But above all else, Berlioz’s music is extraordinarily expressive. It Berlioz read about music in encyclopedias and imagined it stretches tension out across long, lyrical passages in a Faustian through vivid dreams. search for resolution.

He did not hear an orchestra until he moved to Paris, at age 18, to “Love or music — which power can uplift man to sublime heights,” study medicine at the insistence of his father, a respected provincial ponders Berlioz towards the end of his Memoirs. “Love cannot physician. Shortly after his arrival, Berlioz attended a performance at give an idea of music; music can give an idea of love. But why the Opera, an experience he writes that “excited and disturbed me separate them? They are the two wings of the soul.” to an extent which I will not attempt to describe.”

From his Memoirs, we know that Berlioz detested the study of medicine. After his experience at the Opera, he returned to his BERLIOZ PERFORMANCES anatomy studies, writing “I was on my way to becoming just another student, destined to add one more obscure name to the NOVEMBER 2, 4 & 5 lamentable catalogue of bad doctors.” But sometime during his BERLIOZ SYMPHONIE FANTASTIQUE days in the dissection room at the morgue, sawing skulls and singing Salieri, Berlioz struck his own Faustian bargain. He would forsake his medical studies to pursue his true passion: music. Ludovic Morlot, conductor Ian Bostridge, tenor Making his way as a composer was an upward struggle for Berlioz. Yet when reading his Memoirs, it becomes clear that BERLIOZ: Les nuits d’été he relished the challenge. He enjoyed stirring scandal and BERLIOZ: Symphonie fantastique provoking outrage. In his writing, he simultaneously rants about the lack of official recognition from his work while desperately NOVEMBER 9 & 11 craving the validation. BERLIOZ REQUIEM

“He was writing shortly after Beethoven and he had to completely find his own way,” says Morlot. “His parents were not musicians Ludovic Morlot, conductor and he defied the musical establishment of his time. His unique Kenneth Tarver, tenor background led him to write this beautiful and innovative music.” Seattle Symphony Chorale Seattle Pro Musica Finally, official validation came in 1837 when he received his first commission from the French government to write a Requiem BERLIOZ: Requiem commemorating the soldiers killed during the French Revolution of 1830. A massive undertaking for Berlioz, the work requires Berlioz Requiem is generously underwritten by Barney and four offstage bass ensembles in addition to a large orchestra and Rebecca Ebsworth, in memory of Muriel Mueller. choir. Written for more than 250 musicians, this is earth-shaking music of tremendous originality. Stop by the Ticket Concierge in the Grand Lobby (available for most performances) before your concert or during The work was an immediate success, and one of which Berlioz intermission to get tickets, or purchase on our Listen Boldly was rightfully most proud, writing in his Memoirs, “If I were app, online, in-person at the Ticket Office or by calling threatened with the destruction of the whole of my works save 206.215.4747. one, I should beg mercy for the [Requiem].”

encoremediagroup.com/programs 13 MUSIC & IMAGINATION Share the inspiration of symphonic music with your family this season. BY ANDREW STIEFEL

the end of the concert, our collective imagination will bring them to life as they swirl across the stage.

“Imagination is a precious gift that must be cherished. It is a musician’s most valued tool,” says Cox. “When we dare to dream together, to let the music inspire us, we take the first steps towards making the world a better place for everyone.”

Additional concerts this season include Raymond Brigg’s children’s book The Snowman on December 2 with the Seattle Symphony performing Howard Blake’s memorable soundtrack while the animated classic plays above the orchestra.

This spring features two more stories, beginning with The Story of Babar, the Little Elephant, on February 24. The program features Photo: CourtneyPhoto: Perry Roderick Cox the playfully orchestrated music by French composer Francis Poulenc paired with ’s Mother Goose Suite. The Imagination is one of our most powerful tools. It allows us to bring series concludes with the story of Shakespeare’s most famous stories to life, visit distant lands and come up with new ideas. star-crossed lovers in Sergey Prokofiev’s Romeo and Juliet on Imagination is the root of empathy, helping us understand each May 5, featuring ARC Dance Company. other and conceive new possibilities. Stop by the Ticket Concierge in the Grand Lobby (available for most This season share the joy of imagination with your family as the performances) before your concert or during intermission to get Seattle Symphony explores fairy-tale worlds and meets enchanting tickets, or purchase on our Listen Boldly app, online, in-person at the characters during the Classical KING FM Family Concerts. From Ticket Office or by calling 206.215.4747. timeless musical stories to holiday favorites, these concerts will delight and spark your imagination throughout the year!

The first concert of the season, October 21, features music from ’s , The Firebird, which tells the story of Prince Ivan and a beautiful, rare bird whose feathers flicker like fire. The program also includes two Halloween favorites: Mussorgsky’s A Night on Bald Mountain and Grieg’s In the Hall of the Mountain King from Peer Gynt.

Roderick Cox, Associate Conductor of the Minnesota Orchestra, will be our guide through these musical stories. “Music is my life’s journey. It found me where I was and brought me to where I am today,” says Cox. “But that journey started with a wild childhood imagination. Photo: Carlin Ma Photo: “Some of my first avenues for expression were putting on concerts in my room by lining up my action figures. They were my first Fall Festival orchestra, my first experience of conducting, and my first dream of the future.” Following The Firebird on October 21, join us for the annual Fall Festival featuring games, food and prizes! Activities will include The music will be accompanied by shadow puppet-like visuals, everything from an instrument petting zoo to harmonica making designed by Seattle Symphony Teaching Artist Becky Aitken. As the and an art station. Costumes are encouraged, so come dressed in concert progresses, the shadows will gradually take form and, by your Halloween costume prepared for an afternoon of fun!

14 SEATTLESYMPHONY.ORG OVERVIEW THURSDAY, OCTOBER 5, 2017, AT 7:30PM SATURDAY, OCTOBER 7, 2017, AT 8PM Musical Enigmas ENIGMA VARIATIONS For someone whose vocation is writing about music, it is humbling to realize how much we don’t know about certain masterpieces of the orchestral literature. Ludovic Morlot, conductor (This obscurity goes beyond the inherent Jean-Efflam Bavouzet, piano mystery of artistic creation, which attends any great composition.) Our concert Seattle Symphony features two examples. Edward Elgar’s “Enigma” Variations embodies two riddles, one a secret melody that we never hear, JOHANNES BRAHMS Tragic Overture, Op. 81 13’ the other a hidden meaning whose nature we can hardly guess. And Johannes BÉLA BARTÓK Piano Concerto No. 1 25’ Brahms’ Tragic Overture may or may not Allegro moderato—Allegro have been prompted by Goethe’s Faust, Andante— which fired the imaginations of many Allegro molto composers during the 19th century. JEAN-EFFLAM BAVOUZET, PIANO Happily, these works demonstrate that it INTERMISSION is not necessary to know fully the mind of the composer in order to appreciate a composition. Elgar’s twin enigmas remain EDWARD ELGAR Variations on an Original Theme, 29’ unsolved, but his Variations are no less Op. 36, “Enigma” beautiful for their enduring mysteries. Enigma— Much the same can be said of Brahms’ Variations: overture and its secret inspiration. “C.A.E.” “H.D.S-P.” “R.B.T.” “W.M.B.” I’m glad to welcome Jean-Efflam “R.P.A.”— Bavouzet to close our three years “Ysobel” of presenting piano concertos by Béla “Troyte” Bartók. Despite his French origin, Jean- “W.N.”— Efflam has spent a significant part of his “Nimrod” life around Hungarian music and culture, “Dorabella”: Intermezzo notably under the mentorship of the late “G.R.S.” Sir Georg Solti. His love for the music of “B.G.N.”— Bartók is infectious. I always look forward “***”: Romanza to welcoming back his tremendous energy “E.D.U.”: Finale on our stage. Pre-concert Talk one hour prior to performance. I like pairing the music of Brahms Speaker: Dr. Larry Starr, University of Washington Chair of American Music Studies and Waters Endowed Professor and Bartók, two composers that were fascinated by the idea of variations. Ask the Artist on Thursday, October 5, in the Samuel & Althea Stroum Grand Lobby Brahms’ Tragic Overture was one of following the concert. the first pieces that I had a chance to Guests: Ludovic Morlot and Jean-Efflam Bavouzet conduct as a student, so it’s wonderful Moderator: John Turman, Seattle Symphony Horn to revisit it in such a context. Brahms was the master of the variations form — Jean-Efflam Bavouzet’s performances are generously underwritten by James and Sherry perhaps this is what gave me the idea Raisbeck through the Seattle Symphony’s Guest Artists Circle. to present Elgar’s wonderful “Enigma” Variations in this program as well. Media Sponsor: Classical KING FM 98.1 – Ludovic Morlot

Please note that the timings provided for this concert are approximate. See Ludovic Morlot’s biography on page 6. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

encoremediagroup.com/programs 15 PROGRAM NOTES

JOHANNES BRAHMS BÉLA BARTÓK forged by combining the kind of new Tragic Overture, Op. 81 Piano Concerto No. 1 harmonies and rhythms that Stravinsky and other composers had developed during BORN: March 25, 1881, in Nagyszentmiklós, BORN: May 7, 1833, in Hamburg the preceding 15 years with elements of Hungary DIED: April 3, 1897, in Vienna Balkan, Hungarian and North African folk DIED: September 26, 1945, in New York WORK COMPOSED: 1880 music, which Bartók had been studying WORK COMPOSED: 1926 WORLD PREMIERE: December 26, 1880, in diligently for the past two decades. WORLD PREMIERE: July 1, 1927, in Frankfurt, Vienna. Hans Richter conducted the Vienna Germany. The composer played the solo part, This last point merits some attention. Philharmonic Orchestra. and Wilhelm Furtwängler conducted. Bartók was unstinting in his admiration of the folk music he knew and loved. “Its The Tragic Overture opens with a expressive power is amazing,” he would The first movement begins with pair of shattering chords. From this write of it, “and at the same time devoid timpani, solo piano and brass initial figure flows a broad theme of all sentimentality and superfluous instruments playing purely rhythmic rising in the strings. ornaments. It is simple, sometimes figures. Horns give out a brief idea whose primitive, but never silly. It is the ideal long–long–short–long rhythm will prove The initial subject expands powerfully starting point for a musical renaissance.” consequential as the movement unfolds. and leads to two others: a march- The First Piano Concerto manifests like figure which grows out of the Bartók’s concept of what that renaissance As the music accelerates into the main opening theme, and a tender melody might produce. Although the composer portion of the movement, Bartók continues whose inherent warmth transcends the uses no actual folk melodies in this work, to use the piano as an elaborate restraint with which Brahms treats it. a folkloric spirit subtly pervades the percussion instrument. The rhythm of work. It shapes most of the composition’s the horn phrase in the introduction melodic ideas; it helps determine the Brahms’ two concert overtures evoke recurs repeatedly in different contexts. Janus, the two-headed Roman god of orchestration, which subordinates the orchestral strings to the woodwind and, comedy and tragedy. The composer The second movement, even more than especially, the percussion sections; and wrote both works during the summer the first, starts with the piano participating it dictates the importance of rhythm in of 1880. The first, his Academic as part of a percussion ensemble. the music’s substance and texture. Festival Overture, is the one truly light- Later, wind instruments trade chant-like hearted piece in his output. As if to phrases over an unvarying rhythm. compensate for its uncharacteristic Bartók cast this work in the traditional concerto design of three movements levity, Brahms immediately set to work Strong rhythmic figures throughout the in a fast–slow–fast arrangement. This on a far more serious composition that orchestra and in the piano give the finale is practically the only thing traditional he titled simply Tragic Overture. an exotic and exhilarating energy. about the piece. The opening moments We don’t know whether Brahms let us know that the composition will composed this music with a specific Béla Bartók was one of the most important be built on a bedrock of rhythm. As the idea or dramatic scenario in mind. Max composers of the 20th century, the author first movement unfolds, we find Bartók Kalbeck, his first biographer, asserts of a vital, original and highly influential using the piano as much as a percussion that the composer expressed interest body of music. He also was a brilliant instrument as for its melodic qualities. in providing music for a theatrical pianist who performed throughout This is equally true in the central slow presentation of Goethe’s Faust in Vienna, Europe, as well as in the movement. The recurring main idea in though in the end the play proved too and the Soviet Union. In view of this, it is the finale seems the modern refraction of difficult to stage and the production was surprising that Bartók had reached age 46 some whirling North African . abandoned. But sketches discovered before he composed the first of his three Scored for solo piano; 2 flutes (the 2nd after Brahms’ death indicate that he concertos for piano and orchestra. This doubling piccolo); 2 oboes (the 2nd doubling conceived much of the music some 10 work dates from 1926. Not coincidentally, English horn); 2 clarinets (the 2nd doubling or 12 years before he composed the Bartók enjoyed his greatest period of success as a concert artist during the bass clarinet); 2 bassoons; 4 horns; 2 trumpets; overture, and that initially he may have 3 trombones; timpani and percussion; strings. intended its music for a symphony. In 1920s, and he played the solo part in view of this, it is more reasonable to hear many performances of the piece. the work as an expression of tragedy in general rather than as a response With more than a quarter-century of to any particular literary stimulus. experience as a composer behind him, and having created a very individual Scored for 2 flutes and piccolo; 2 oboes; 2 musical voice, Bartók was able to clarinets; 2 bassoons; 4 horns; 2 trumpets; produce an unusually accomplished Piano 3 trombones; tuba; timpani; strings. Concerto No. 1. Specifically, the piece partakes of a determined modernism

16 SEATTLESYMPHONY.ORG Photo: Patoc Brandon

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“He makes you listen to EDWARD ELGAR will not explain — its ‘dark saying’ must music as if you are be left unguessed ... ; further, through discovering it Eureka!- Variations on an Original Theme, and over the whole set another and style: yes, that’s what the Op. 36, “Enigma” larger theme ‘goes,’ but is not played. ... composer must have meant.” BORN: June 2, 1857, in Lower Broadheath, near So the principal Theme never appears, – Financial Times Worcester, England even as in some late dramas ... the

chief character is never on the stage.” B Ealovega Photo: DIED: February 23, 1934, in Worcester Award-winning pianist WORK COMPOSED: 1898–99 Thus Elgar posed not one but two riddles: Jean-Efflam Bavouzet enjoys a prolific WORLD PREMIERE: June 19, 1899, in London, the “dark saying” represented in the recording and international concert career conducted by Hans Richter single word “enigma,” and the identity of and regularly works with orchestras such the “larger theme” that “goes” through as The Cleveland Orchestra, San Francisco The “enigma” theme begins and the set. Elgar hinted that the latter was a Symphony, London Philharmonic, BBC ends with halting phrases built from well-known melody to which his original Symphony and NHK Symphony orchestras, brief fragments of melody in the key theme is a variant or counter-melody. His and collaborates with conductors including of G minor. Between them is a more lyrical friends tried to hit upon what this familiar Vladimir Ashkenazy, Vladimir Jurowski, and continuous section in G major. The tune might be, offering up “God Save Gianandrea Noseda, François-Xavier Roth, theme, then, reveals a clear A–B–A form, the King” and “Auld Lang Syne.” But the Charles Dutoit, Gábor Takács-Nagy and and this in turn shapes each of the variations. composer dismissed these and other Sir Andrew Davis, among others. Bavouzet guesses, and its identity remains a secret. records exclusively for Chandos and his The famous “Nimrod” variation begins disc featuring the complete Prokofiev as a quiet hymn played by the strings. It The message of this theme — its “dark Piano Concertos with BBC Philharmonic then swells through the addition of other saying,” as Elgar alluded to it — has and Gianandrea Noseda won the Concerto instruments, finally reaching a stirring climax proved equally puzzling. Did it represent category of the 2014 Gramophone Awards. before subsiding to a quiet conclusion. Elgar himself? This seems unlikely, for Bavouzet’s recordings have garnered he paints his own portrait in the final two other Gramophone Awards, two BBC Elgar recalls music from “Nimrod,” variation, “E.D.U.” (a paraphrase of “Edoo,” Music Magazine Awards, a Diapason and also from his wife’s variation, his wife’s nickname for him). More general d’Or and Choc de l’année. Ongoing in the final variation, his own. themes have been proposed, among recording projects include the Haydn them friendship, religious devotion (Elgar Piano Sonata cycles. was a practicing Catholic) and the trials “I have sketched a set of Variations and joys of musical creation. Elgar never (orkestra) on an original theme: the revealed the meaning of the “enigma,” Variations have amused me because and this, too, remains unknown. I’ve labelled ‘em with the nicknames of my particular friends — you are Nimrod. Fortunately, this in no way diminishes That is to say I’ve written the variations the attractiveness of the Variations as each one to represent the mood of the music. The mysterious “enigma” theme “party” ... [I]t’s a quaint idea & the result opens the set. Each of the ensuing is amusing to those behind the scenes & variations has its own character and its won’t affect the hearer who ‘nose nuffin’.” own special charm. Elgar gives pride of place to his wife, Caroline Alice Elgar, in So reads the first recorded reference the first variation. The crowning piece of to Edward Elgar’s “Enigma” Variations, the set is the ninth variation, “Nimrod,” contained in a letter of October 24, 1898, portraying August Jaeger. As editor at a written by the composer in humorous London music publishing house, Jaeger shorthand to his friend August Jaeger. encouraged Elgar and championed his No doubt Elgar thought the premise of works long before they were fashionable. this piece “quaint” and “amusing,” and The deep friendship that grew between probably innocent enough. But with this the two men finds reflection in the work the composer created one of the moving strains of this Adagio. most tantalizing mysteries in music. For although he freely identified the friends Scored for 2 flutes (the 2nd doubling pictured in each of the 14 variations, he piccolo); 2 oboes; 2 clarinets; 2 designated the original theme that sets the bassoons and contrabassoon; 4 horns; entire piece in motion as simply “Enigma.” 3 trumpets; 3 trombones; tuba; timpani and percussion; organ (ad lib); strings. Elgar’s comments, provided in a program note for the work’s first performance, only © 2017 Paul Schiavo deepened the mystery: “The enigma I

18 SEATTLESYMPHONY.ORG Bischofberger FRIDAY, OCTOBER 6, 2017, AT 7PM Violins est. 1955 ELGAR UNTUXED Professional Repairs UNTUXED SERIES Appraisals Ludovic Morlot, conductor & Sales Jonathan Green, host 1314 E. John St. Seattle Symphony Seattle, WA 206-324-3119 bviolinsltd.com JOHANNES BRAHMS Tragic Overture, Op. 81 13’ www.bviolins.com

EDWARD ELGAR Enigma Variations, Op. 36 29’ Enigma— BV 071811 repair 1_12.pdf Variations: “C.A.E.” “H.D.S-P.” “R.B.T.” “W.M.B.” “R.P.A.”— “Ysobel” “Troyte” MUSIC AT “W.N.”— “Nimrod” ST. JAMES “Dorabella”: Intermezzo “G.R.S.” CATHEDRAL “B.G.N.”— “***”: Romanza 2017-2018 “E.D.U.”: Finale

THURSDAY FRIDAY SUNDAY Program notes may be found on pages 16 and 18. 11.2.17 12.15.17 12.31.17 7:30pm 7:30pm 11:00pm Solemnity of A Service of The Americans All Souls Readings & in Paris: A Gala Requiem of Carols New Year’s Eve Maurice Duruflé. Cathedral Concert Cathedral Choir Choir, Women’s Cathedral Choir with organist Schola, Jubilate! & organ, works Joseph Adam; Young Women’s of Dupré, Dr. Paul Thornock Ensemble, Schola Widor, and conducts. Cantorum, Vierne. Cathedral Brass.

For more information, call 206-382-4874 or visit www.stjames-cathedral.org/music 804 9TH AVENUE • SEATTLE

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Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording Learn more at encoremediagroup.com. equipment, and any other use of such copying devices during a performance is prohibited.

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JOIN US TODAY! SEATTLESYMPHONY.ORG/GIVE | 206.215.4733 | [email protected] OVERVIEW THURSDAY, OCTOBER 12, 2017, AT 7:30PM SATURDAY, OCTOBER 14, 2017, AT 8PM Mendelssohn and GIDON KREMER Schumann Born a year apart, Felix Mendelssohn SCHUMANN VIOLIN and belonged to the generation of composers whose music CONCERTO represents the first crest in the tide of Romanticism that flooded the arts during the 19th century. In some respects, these two men were dissimilar. Mendelssohn was a child prodigy, Schumann a late bloomer. Mendelssohn was a superb Ludovic Morlot, conductor pianist who often performed in public, Gidon Kremer, violin and probably the finest conductor of Seattle Symphony his day. Schumann failed in his youthful ambition to become a concert pianist, and his conducting was erratic at FELIX MENDELSSOHN Sinfonia No. 10 in B minor 11’ best. During his lifetime, Mendelssohn Adagio— achieved a degree of fame and fortune Allegro that Schumann could only dream of. Yet despite these and other differences, ROBERT SCHUMANN Violin Concerto in D minor 30’ In kräftigem, nicht zu schnellem Tempo the two composers shared musical Langsam— principles and ambitions. Not least, Lebhaft, doch nicht schnell each sought to fill the classical forms of GIDON KREMER, VIOLIN symphony and concerto with expressive music that resonated the Romantic spirit of INTERMISSION their day. The compositions we hear this evening show how well they succeeded. FELIX MENDELSSOHN Symphony No. 4 in A major, Op. 90, “Italian”’ 28’

Allegro vivace Who has not dreamed of sharing Andante con moto the stage with the legendary Gidon Con moto moderato Kremer? I feel very thankful to have that Saltarello: Presto privilege this week, performing what has become a piece associated with him for many years: the Schumann Violin Concerto. Pre-concert Talk one hour prior to performance. Speaker: Dr. Geoffrey Block, University of Puget Sound Distinguished Professor of Like this concerto, Mendelssohn’s Music History innovative string symphonies suffer from being performed too rarely. Those are little jewels written by a very young Gidon Kremer’s performances are generously underwritten by Stephen Whyte through the Seattle Symphony’s Guest Artists Circle. Mendelssohn, between the age of 12 and 14. They remind us somewhat of the Media Sponsor: Classical KING FM 98.1 wonderful divertimenti by Mozart, but with even more harmonic invention.

The program closes with Mendelssohn’s much loved “Italian” Symphony which has its origins in his tour of Europe. Its inspiration is the color and atmosphere of , where Mendelssohn made sketches but left the work incomplete. I am particularly fond of how he incorporates forms from Italian in the last movement.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. – Ludovic Morlot Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited. See Ludovic Morlot’s biography on page 6.

encoremediagroup.com/programs 21 PROGRAM NOTES

FELIX MENDELSSOHN ROBERT SCHUMANN succinctly his large and varied output, it is fair to say that Romantic reverie, Sinfonia No. 10 in B minor Violin Concerto in D minor mercurial caprice, solemn grandeur and BORN: February 3, 1809, in Hamburg BORN: June 8, 1810, Zwickau, Saxony ecstatic effusion all have their place in it. DIED: November 4, 1847, in Leipzig DIED: June 29, 1856, Endenich, near Bonn WORK COMPOSED: 1823 WORK COMPOSED: 1853 When his inspiration was flowing, Schumann wrote at a remarkable pace. WORLD PREMIERE: Unknown, but possibly WORLD PREMIERE: November 26, 1937, in It was not unusual for him to produce at the Mendelssohn home shortly after its Berlin. Georg Kulenkampff was the soloist, several songs or other short pieces in completion, by a small ensemble drawn from and Georg Schünemann conducted the Berlin a day, or a major orchestral work in two friends and relatives of the composer and Philharmonic orchestra. or three weeks. The composer’s Violin his family. Concerto provides an example. Schumann Having established highly wrote this composition over the course The main portion of the composition contrasted modes of expression in of just two weeks, in the early autumn presents three themes: the first the orchestral paragraph that of 1853, intending it for Joseph Joachim, agitated, the second soothing, the opens the concerto, Schumann one of the great violinists of the 19th third buoyant. The latter provides material introduces the solo violin in a passage century. Joachim read through the piece for much of the central development featuring a series of short pleading but declined to perform it. Instead, he episode and for the accelerated coda at phrases. This idea and the two themes suppressed the work, which he considered the close. introduced by the orchestra play not up to Schumann’s usual high important roles as the first movement standards, though in a letter he allowed unfolds. that “some passages ... give evidence Felix Mendelssohn was, and of the profound spirit of its creator.” remains, the most remarkable child The concerto’s final movement adopts prodigy in the history of music. His not only the pace but also the rhythms of After Joachim’s death, in 1907, his son standing as such rests on a series of a polonaise, the proud Polish dance that gave the manuscript score of the Violin adolescent compositions that many Chopin used as the premise for some Concerto to the Prussian State Library. a mature musician might envy. Two of his most extroverted compositions. Having been hidden away for more than of Mendelssohn’s early works, the half a century, the music would have to Octet for Strings and the Overture to wait three more decades before finally Shakespeare’s A Midsummer Night’s I consider Schumann’s Violin being heard. Its recovery happened in a Dream, are well known. Others Concerto to be one of the great truly strange manner. In 1933 the Hungarian have received comparatively few concertos ever written for violin. It violinist Jelli d’Aranyi, for whom Bartók performances; but as they have come builds a bridge between Beethoven and Ravel both wrote important works, to be known, they have shown just how and Brahms in the Romantic repertoire. claimed to have contacted Schumann’s precocious Mendelssohn actually was. While being very demanding for any spirit through a psychic medium. The player, it “compensates” all investments composer allegedly told d’Aranyi of One of the chief products of of conquering the score by offering to the concerto’s existence and of the Mendelssohn’s apprenticeship was the audience and all musicians involved manuscript’s location in the Prussian State a group of 13 sinfonias for string a most powerful statement, while the Library. It must be noted, however, that orchestra. They date from the slow movement will remain in music d’Aranyi was the grand-niece of Joseph composer’s early adolescence, and history forever as the most intimate, Joachim, so it is entirely plausible that it seems unlikely that any musician, sincere and touching “confession” she had some prior knowledge of the even Mozart, ever produced such on love ever written for violin. I like concerto and its whereabouts. In any sophisticated work at so early an age. to surprise people with discoveries event, the music was soon published and and the Schumann score is just that. performed, and it is now in the repertory The tenth of these pieces unfolds as a Still not seen much in the mainstream of some of the world’s finest violinists. single movement with an introduction in repertoire, it offers me a wonderful Foremost among them is Gidon Kremer, slow tempo. That prelude moves from opportunity to open a less known the soloist in our performance, who for darkness to light: from the low register of beautiful “territory” to listeners. many years has been a devoted and the string choir in the opening moments eloquent advocate for this concerto. to its bright upper range near the close, – Gidon Kremer and from searching B minor harmonies Schumann begins the composition with a to the more serene major mode. The Unlike Mendelssohn, Robert Schumann dramatic orchestral statement, one very ensuing Allegro begins with a return to achieved nothing notable in music until much in the Romantic tempest-tossed the minor mode and a stormy initial theme, he was in his late 20s. But he quickly manner. Soon, however, the composer but two further ideas follow to expand made up for this late start, becoming softens the music’s stern countenance and deepen the music’s complexion. an intensely expressive and, at times, with a gentle second theme. The dissimilar extraordinarily productive composer. characters of these two ideas, which the Scored for strings alone. Although it is difficult to characterize solo instrument joins in elaborating, makes

22 SEATTLESYMPHONY.ORG GIDON KREMER Violin

Gidon Kremer was born for a movement whose richly varied And he found time to compose. In in Riga, Latvia, where he expression is entirely typical of Schumann. February 1831 Mendelssohn wrote to finished high school and his family from Naples that “[my] Italian music school. He started In contrast to this impassioned first Symphony is making rapid progress.” studying with David movement, the second is songlike He had begun sketching this work in Oistrakh at the Moscow and deeply intimate. As he did in his Rome the preceding autumn, and he Conservatory at the age of 18. Kremer went on to

Piano Concerto, Schumann connects worked at it over the next two years. An Photography Angie Kremer Photo: the slow movement to the finale with a initial version of the symphony reached win prestigious awards brief acceleration to a quicker tempo. completion in the spring of 1833, just including the 1967 Queen Elizabeth In the ensuing music, the violin prances in time to fulfill a commission from the Competition, the 1969 Montreal and leaps to a robust accompaniment, London Philharmonic Society. But the International Music Competition, and the with trills and other ornamental composer remained dissatisfied with first prize in both the Paganini and figuration heightening the already his work, withheld it from publication, Tchaikovsky International Competitions. His considerable athleticism of its part. revised it substantially in 1834, and long list of awards also includes the Ernst evidently planned to do so again von Siemens Musikpreis, the Scored for pairs of winds, horns during the years that followed. Bundesverdienstkreuz, Moscow’s Triumph and trumpets; timpani; strings. Prize, the Unesco Prize, the Una Vita Nella Mendelssohn’s doubts about the “Italian” Musica – Artur Rubinstein Prize and the Symphony seem ironic in light of its Praemium Imperiale prize. subsequent success. The genial character FELIX MENDELSSOHN and generous endowment of melody Kremer has recorded more than 120 that mark this composition have made albums. After Mozart (Nonesuch, 2001) Symphony No. 4 in A major, Op. 90, received an ECHO prize and a Grammy “Italian” it a favorite with audiences — not only among Mendelssohn’s works but within Award in 2002, and a recent release of WORK COMPOSED: 1830–33; revised 1834 the symphonic literature as a whole. And works by M. Weinberg (ECM, 2014) was nominated for a Grammy in 2015. WORLD PREMIERE: May 13, 1833, in London. although the composer does not resort The composer conducted the London to programmatic tone-painting in any Kremer’s repertoire is unusually extensive, Philharmonic Society orchestra. specific way, it is not difficult to hear in this piece a reflection of the sun-drenched encompassing classical and romantic works Italian landscape he found so pleasing. as well as modern masters and diverse Mendelssohn opens with a theme living composers. of exceptional verve given out The work’s four-movement format by the violins over a rapid and corresponds to that of the Classical-period rhythmically constant accompaniment in symphony established by Haydn, Mozart the woodwinds. Late in the first movement, and the young Beethoven, beginning Mendelssohn approaches the reprise of with an Allegro vivace of exceptional his opening paragraph by sounding part of verve. The hymn-like subject of the that initial theme in slow motion. ensuing Andante con moto has been compared by some commentators to an Near the symphony’s close, too, the ancient pilgrims’ song (as has a theme composer offers a brief reference to in Beethoven’s Seventh Symphony), the melody that opened the work, now though this seems to be due more to its heard in subdued and mournful tones. solemn character and steadily marching accompaniment than to a demonstrated In the spring of 1830, the year he resemblance to any known melody. turned 21, Felix Mendelssohn set out from his home in Berlin for Italy. He The third movement is a minuet in all but traveled the peninsula for the next name, its flowing principal idea framing a year and more. A man of broad culture central section featuring the horns, which and education, Mendelssohn took reappear briefly in the last measures. In an interest in everything Italy had to the finale, vigorous rhythms combined offer. He visited Roman monuments with minor-key harmonies suggest the and Renaissance churches, lingered saltarello, a Neapolitan folk-dance. before the canvases of Titian and other old masters, and observed with Scored for pairs of winds, horns fascination the street scenes in Venice, and trumpets; timpani; strings. Rome and Naples. He also drank in the Italian countryside, which, as he © 2017 Paul Schiavo reported in his letters, delighted him.

encoremediagroup.com/programs 23 PROGRAM NOTES SAMUEL & ALTHEA STROUM GRAND LOBBY FRIDAY, OCTOBER 13, 2017, AT 10PM John Adams (b. 1947) first made his mark writing in a minimalist vein indebted to Steve [UNTITLED] 1 Reich and Philip Glass, a sound he made his [UNTITLED] SERIES own in such massive works as Harmonielehre for orchestra and the headline-grabbing opera Nixon in . Chamber music, for the Maria Männistö, soprano time, remained a dormant aspect of Adams’ Eric Jacobs, bass clarinet craft. “My music of the ‘70s and ‘80s was Angelique Poteat, bass clarinet principally about massed sonorities and the physical and emotional potency of big walls Natasha Bazhanov, violin of triadic harmony,” he wrote. “These musical Artur Girsky, violin gestures were not really germane to chamber Mae Lin, violin music with its democratic parceling of roles, Sayaka Kokubo, viola its transparency and timbral delicacy.” Walter Gray, cello Travis Gore, double bass Adams unlocked new approaches to melody in his second opera, The Death of Jessica Choe, piano Klinghoffer, and in its wake he re-engaged with music for smaller ensembles, including JOHN ADAMS Road Movies 15’ the Chamber Symphony (1992), the string Relaxed Groove quartet John’s Book of Alleged Dances Meditative (1994) and this duo for violin and piano, 40% Road Movies (1995). The title “is total whimsy,” MAE LIN, VIOLIN he acknowledged, “probably suggested by JESSICA CHOE, PIANO the ‘groove’ in the piano part, all of which is required to be played in a ‘swing’ mode.” THOMAS ADÈS Life Story 10’ /text Tennessee Williams MARIA MÄNNISTÖ, SOPRANO For the first movement, Relaxed Groove, ERIC JACOBS, BASS CLARINET Adams offers an image of “a relaxed drive ANGELIQUE POTEAT, BASS CLARINET down a not unfamiliar road.” The central slow TRAVIS GORE, DOUBLE BASS movement, Meditative, suggests to him “a solitary figure in an empty desert landscape.” STEVE REICH Different Trains 27’ The fast finale, 40% Swing, is “a big perpetual America - Before the war— motion machine … for four-wheel drives only.” Europe - During the war— He explained the origin of the movement’s After the war ARTUR GIRSKY, VIOLIN title: “On modern MIDI sequencers the NATASHA BAZHANOV, VIOLIN desired amount of swing can be adjusted SAYAKA KOKUBO, VIOLA with almost ridiculous accuracy. 40% provides WALTER GRAY, CELLO a giddy, bouncy ride, somewhere between an Ives ragtime and a long rideout by the Goodman Orchestra, circa 1939. It is very Musicians’ biographies may be found at seattlesymphony.org. difficult for violin and piano to maintain over the seven-minute stretch, especially in the tricky cross-hand style of the piano part. Relax, and leave the driving to us.” Media Sponsor: secondinversion.org At 18, Thomas Adès (b. 1971) earned second place in the BBC’s Young Musician of the Year competition — as a pianist. For most performers this would have been validation enough, but for Adès it sparked a desire to test a different path in music. He soon wrote his first serious composition, the song cycle Five Eliot Landscapes, marked as his Op. 1. He composed Life Story at the precocious age of 22, not long after Please note that the timings provided for this concert are approximate. his very first performance by a professional Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording ensemble (when the BBC Philharmonic equipment, and any other use of such copying devices during a performance is prohibited. Orchestra played his Chamber Symphony, Op. 2). This sultry setting for soprano, two

24 SEATTLESYMPHONY.ORG PROGRAM NOTES

bass clarinets and double bass was Adès’ I traveled back and forth by train frequently actual train whistles add extra depth and contribution to Mary Wiegold’s Songbook, between New York and Los Angeles realism to the layered accompaniment. a compilation of new music from England from 1939 to 1942, accompanied by my and beyond spearheaded by soprano Mary governess. While the trips were exciting The movements connect without pause, Wiegold and composer John Woolrich. and romantic at the time, I now look back such that the American scene cuts and think that, if I had been in Europe suddenly to Europe - During the war. Here The text of Life Story comes from Tennessee during this period, as a Jew I would have the speech excerpts come from Holocaust Williams (1911–83), the American playwright had to ride very different trains. With this in survivors living in the United States, their best known for A Streetcar Named Desire mind I wanted to make a piece that would harrowing tales made more urgent with the (1947) and Cat on a Hot Tin Roof (1955). accurately reflect the whole situation.” background wailing of sirens. Like Blanche and Maggie, the discontented heroines of those respective plays, the The raw material for Different Trains came The final movement comes After the war. unnamed lovers described in Life Story stew from tape recordings. Reich tracked down Returning speech excerpts from the first in an atmosphere thick with cigarette smoke his former governess, and also a retired movement commingle with new post-war and world-weariness. The singer’s phrases Pullman porter, whose voices are most reflections, and the music grows more are loping and exaggerated, prodded along prominent in the broad and expectant first rhapsodic and long-lined. The restless by music that seems to belong in some movement, America - Before the war. To rhythms churn forward until they fade post-modern, nihilistic nightclub. As Adès convert these narratives into music, Reich to silence, like the distant vanishing point explained in a program note, “It reflects “selected small speech samples that are where parallel railroad tracks appear all the double-edges of the poem: comic more or less clearly pitched and then to converge. and tragic, relaxed and formal, seedy and notated them as accurately as possible in tender, with a toe-stubbing punchline.” musical notation. The strings then literally © 2017 Aaron Grad imitate that speech melody.” Recordings of Steve Reich (b. 1936) was pivotal in the rise of the musical style known as “minimalism,” easily the most influential TEXT compositional approach of the last 50 years. Following his studies at The Juilliard School and Mills College, Reich moved away from musical academia; he made Thomas Adès Life Story his living driving a taxi in San Francisco, Text by Tennessee Williams and he connected with other West Coast pioneers, most importantly Terry Riley. After you’ve been to bed together for the there’s some interruption. Slow room first time, service comes up Reich’s first breakthrough works utilized without the advantage or disadvantage of with a bowl of melting ice cubes, or one of techniques of tape looping, as heard in any prior acquaintance, you rises to pee It’s Gonna Rain (1965) and Come Out (1966). the other party very often says to you, and gaze at himself with mild astonishment After moving to New York, he established his Tell me about yourself, I want to know all in the bathroom mirror. own ensemble, Steve Reich and Musicians, about you, And then, the first thing you know, before to perform his multi-layered, pulsing scores what’s your story? And you think maybe you’ve had time that drew upon African and Asian percussion they really and truly do to pick up where you left off with your patterns. With his landmark Music for 18 enthralling life story, Musicians (1974–76), Reich demonstrated sincerely want to know your life story, and they’re telling you their life story, exactly as the impressive scope and range possible so you light up they’d intended to all along, in music constructed from repetitive cycles. a cigarette and begin to tell it to them, the He also found new ways to utilize recording two of you and you’re saying, Oh, oh, oh, oh, oh, technology, combining live and pre-recorded lying together in completely relaxed each time a little more faintly, the vowel at layers of the same instrument in such works positions last becoming as Vermont Counterpoint (1982) for flute like a pair of rag dolls a bored child no more than an audible sigh, and Electric Counterpoint (1987) for guitar. dropped on a bed. as the elevator, halfway down the corridor and a turn to the left, Different Trains, from 1988, united these You tell them your story, or as much of your draws one last, long, deep breath of separate threads of Reich’s musical style story exhaustion into one deeply personal and moving as time or a fair degree of prudence allows, and stops breathing forever. Then? composition. “The idea for the piece came and they say, Oh, oh, oh, oh, from my childhood,” Reich wrote in a oh, Well, one of you falls asleep program note. “When I was one year old my each time a little more faintly, until the oh and the other one does likewise with a parents separated. My mother moved to Los is just an audible breath, and then of lighted cigarette in his mouth, Angeles and my father stayed in New York. course and that’s how people burn to death in Since they arranged divided custody, hotel rooms.

encoremediagroup.com/programs 25 RICK FRIEND

TUESDAY, OCTOBER 17, 2017, AT 7:30PM Piano & composer

A native of Clifton, New Jersey, Rick Friend NOSFERATU: studied piano and composition at the A SYMPHONY OF Oberlin College HORROR Conservatory of Music. An avid movie buff SPECIAL PERFORMANCES Thousand Oaks of Sparkes Bill Photo: since childhood, Friend became interested in silent movies in his Pablo Rus Broseta, conductor high school days, when, just for fun, he Rick Friend, piano & composer and his friends rented from the library David Schmader, host a 20-minute version of Buster Keaton’s comedy, The General. Watching it in silence Seattle Symphony for a few minutes irked his curiosity to go over to the piano and start improvising for the film as it played. Act I 37’ From then on, he was hooked on silent INTERMISSION movie improv music. He has appeared as soloist with various orchestras, performing Act II 44’ his arrangements for The Mark of Zorro, The General, The Phantom of the Opera, Nosferatu and The Thief of Bagdad. He has See Pablo Rus Broseta’s biography on page 33. appeared with the Atlanta Symphony, Saint Louis Symphony, Fort Worth Symphony and Spokane Symphony.

My favorite thing about playing for silent movies is that I am sharing the experience with the audience — both the experience of the story in the movie and of the magic of a silent movie with live music. My favorite moment in the movie is the most quiet moment when the music is calm, and the image on the screen is serene, but you know that something catastrophic is about to happen. The first time I performed this music for Nosferatu was difficult, because the movie is so subtle. The next time I played for it, I could feel how creepy it was, and as a result the music came to me with ease. I have had many opportunities to come to Seattle when visiting my family. I’ve discovered it to be a city that I like. I love the pine trees and the view of the harbor. It’s just like a scene in Nosferatu.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

26 SEATTLESYMPHONY.ORG

FRIDAY, OCTOBER 20, 2017, AT 8PM SATURDAY, OCTOBER 21, 2017, AT 8PM FRIDAY, OCTOBER 27, 2017, AT 12 NOON VIVALDI FOUR SEASONS BAROQUE & WINE SERIES

Dmitry Sinkovsky, conductor, countertenor & violin Seattle Symphony

CHARLES AVISON Concerto grosso No. 3 in D minor 11’ (after Scarlatti) Largo andante Allegro spiritoso Più allegro Vivace

ANTONIO VIVALDI “Cessate, omai cessate” (“Cease, 12’ henceforth cease”) Cantata, RV 684 Largo e sciolto: “Cessate, omai cessate” (“Cease, henceforth cease”) Larghetto—Andante molto: “Ah ch’infelice sempre” (“Ah, always ungrateful”) Andante e pianissimo: “A voi dunque ricorro” (“So to you I resort”) Allegro: “Nell’orrido albergo ricetto di pene” (“In this terrible sanctuary”) DMITRY SINKOVSKY, COUNTERTENOR

INTERMISSION

ANTONIO VIVALDI Le quattro stagioni (“The Four Seasons”), 39’ Op. 8, Nos. 1–4 La primavera (“Spring”) Allegro—Largo—Allegro: Danza pastorale L’estate (“Summer”) Allegro non molto—Adagio—Presto L’autunno (“Autumn”) Allegro—Adagio molto—Allegro L’inverno (“Winter”) Allegro non molto—Largo—Allegro DMITRY SINKOVSKY, VIOLIN

Pre-concert Talk one hour prior to performance on Friday, October 27. Speaker: Stephen Bryant, Seattle Symphony Second Violin

Baroque & Wine Series Sponsor: Four Seasons Hotel Seattle Media Sponsor: Classical KING FM 98.1

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

encoremediagroup.com/programs 27 PROGRAM NOTES

Charles Avison (1709–70) was a British term now with sacred music, as in the stagioni (“The Four Seasons”) live composer, organist and writer who hundreds of church cantatas composed on as the crown jewels within Vivaldi’s worked mainly in the northern city of on German texts by J.S. Bach, but incomparable catalogue of solo concertos. Newcastle. He gained insight into Italian in its original context a cantata was styles through his lessons in London just as likely to be a secular, dramatic The sonnets offered Vivaldi ample with the composer Francesco Geminiani, composition. (Bach wrote secular opportunities for word painting, as in a former student of both Alessandro cantatas too, including one about being the “birds in joyous song” in the first Scarlatti and Archangelo Corelli. As hopped up on coffee!) “Cessate omai movement of La primavera (“Spring”), the director of a concert series, Avison cessate” by Antonio Vivaldi (1678–1741) represented by trilling violin motives, had ample opportunities to write and is a prime example of the secular countered later by thunder and lightning. program works in the popular concerto cantata, with a sequence of recitatives The docile slow movement depicts a grosso format, which had emerged from and arias conveying the heartbreak goatherd napping in a meadow, with the Rome around 1700. After the landmark of a spurned lover. Following a brief violas assigned the part of his barking publication of Corelli’s Op. 6 concertos orchestral introduction and recitative, dog. The finale introduces nymphs and in 1712, countless imitators produced the first aria establishes an intimate, shepherds dancing to bagpipes, a sound scores for multiple soloists and orchestra pastoral tone with its guitar-like plucking. evoked in the droning accompaniments. — not least Handel, who composed The pulsing aria that follows describes 12 of his own “grand” concertos that seeking solace in caves. The finale is L’estate (“Summer”) brings the “heat of he published in London in 1739. a superb example of a revenge aria, the burning sun,” matched by wilting a favorite formulation of the era. musical figures. The soloist enters in the Avison published his most famous set style of a cuckoo, with the distinctive of concerti grossi in 1744. He borrowed Vivaldi took after his father in playing two-note call embedded within constant the structure from Corelli, employing the violin, but he initially trained for a life bow-strokes. The arrival of a stiff wind a solo group of two violins and cello in the church instead of studying music. from the north, bringing a squall, sends within an ensemble of strings and basso Ordained in 1703, he took a job at a the movement into an agitated state. The continuo (the shared bass part for school for orphaned girls in Venice, where slow movement depicts another nap, some combination of harpsichord, cello, he taught them violin and, for a time, also this one interrupted by the nuisance of bass or other low instruments). For the performed mass. He was known in his day gnats and flies and occasional peals of actual musical material, Avison mined as a top-notch violinist, with less attention thunder. The finale unleashes the full the keyboard sonatas of his teacher’s paid to his many compositions, spanning force of the summer storm, the lines other main teacher, Scarlatti, whose chamber music, opera, sacred music and cascading down like sheets of rain. popularity in England spiked after a of course his concertos — more than 500 major publication appeared in 1738. total, with at least 230 featuring the violin. L’autunno (“Autumn”) begins with peasants dancing and drinking in celebration of The Concerto grosso No. 3 in D minor Vivaldi developed, or codified, some the harvest, until they all settle into an (after Scarlatti) begins with a pulsing of the most important aspects of inebriated slumber. The slow movement Largo andante, which Avison adapted concerto style, such as the fast– descends into the soundest sleep yet, from a short Grave movement in one slow–fast sequence of movements with the soloist joining the muted strings of Scarlatti’s keyboard sonatas in the and the use of ritornello structure as in slow-moving phrases, leaving only the same key. The second movement, a way to differentiate sections for the harpsichord to decorate the harmonies Allegro spiritoso, transposes the opening soloist and full ensemble. Even before with ad libitum arpeggios. The finale of a C-minor keyboard sonata up a his first breakthrough collection of wakes for a hunt, complete with imitations step but preserves its forceful octave concertos reached the public in 1711, of hunting horns and barking dogs. proclamations. The third movement private copies of works traded among comes from a refreshing F-major sonata, musicians sent Vivaldi’s influence L’inverno (“Winter”) paints a scene of its three-beat meter imparting a dance- rippling through Europe. (Perhaps no desolate cold and chattering teeth. The like lilt. Avison’s Concerto ends with composer was a more ardent admirer slow movement moves the scene to a echoing counterpoint that had appeared or skillful imitator of Vivaldi than cozy fire inside, while pizzicato raindrops on the very first page of Scarlatti’s London Bach, just seven years his junior.) continue to fall outside. Starting with printing of Essercizi per Gravicembalo hesitant, slippery steps on the ice, the (Harpsichord Exercises), so it was In 1725 Vivaldi published a set of finale builds to raging gusts of wind. probably familiar to the aficionados twelve concertos under the title who were most likely to buy and play Il cimento dell’armonia e dell’invenzione © 2017 Aaron Grad Avison’s highly marketable scores. (“The Contest Between Harmony and Invention”). He named the first In the Baroque era, the cantata was a four concertos after the seasons, and genre of music for one or more singers he organized the musical ideas to accompanied by an ensemble, its name correspond to descriptive sonnets that derived from the Italian verb meaning he likely wrote himself. These interrelated “to sing.” We most often associate the works that we know simply as Le quattro

28 SEATTLESYMPHONY.ORG DMITRY SINKOVSKY TEXT & TRANSLATION Conductor, countertenor & violin

“Virtuosity, finesse, Antonio Vivaldi “Cessate, omai cessate” (“Cease, henceforth cease”) Cantata expression, imagination, “Cessate, omai cessate” “Cease, henceforth cease” nothing is missing from Cessate, omai cessate, Cease, henceforth cease, Sinkovsky.” rimembranze crudeli savage memories – Le Monde d’un affetto tiranno; of a potent love; già barbare e spietate heartless and remorseless, Dmitry Sinkovsky was groomed for an

mi cangiaste i contenti you have changed my joy Photo: in un immenso affanno. into intense regret. international career Cessate, omai cessate, Cease, henceforth cease, by the Moscow Conservatory where he di lacerarmi il petto, to tear up my soul, studied violin with Alexander Kirov, and di trafiggermi l’alma, to penetrate my spirit, Zagreb Music Academy in Croatia where di toglier al mio cor riposo e calma. to steal peace and serenity from my heart. he studied conducting with Tomislav Povero core afflitto e Woeful, battered and abandoned are you, my Facini. He has since taken numerous abbandonato, heart, prizes in major competitions from the se ti toglie la pace if a domineering passion Premio Bonporti in Italy (2005) to the Bach un affetto tiranno, can deprive you of calm Competition in Leipzig (2006), the Musica perché un volto spietato, un’alma infida, because a merciless expression, an unfaithful spirit, Antiqua Competition in Bruges (First Prize, la sola crudeltà pasce ed annida. shelters and fosters nothing but malice. Audience Prize and Critics’ Prize, 2008) to the Romanus Weichlein Prize at the “Ah ch’infelice sempre” “Ah, always ungrateful” Biber Competition in Austria in 2009 for Ah, ch’infelice sempre Ah, ungrateful Dorilla his “extraordinary interpretation of Biber’s mi vuol Dorilla ingrata, wants me to continue suffering; Rosary Sonatas” and First Prize at the ah, sempre più spietata ah, always more unmercifully Telemann Competition in Magdeburg (2011). m’astringe a lagrimar. she induces my tears. Critics and public alike praise his ability to “play from the heart” while interpreting with Per me non v’è ristoro, For me there is no cure, ease music of dazzling difficulty. He has per me non v’è più spene. for me no more hope. recorded for both Naïve and the Russian E il fier martoro e le mie pene, Only death will quench label, Caro Mitis. His recording Per Pisendel solo la morte può consolar. my pain and sadness. together with the orchestra Il Pomo D’oro, on which he is both soloist and conductor, “A voi dunque ricorro” “So to you I resort” was released in 2013 in Naïve’s Vivaldi A voi dunque ricorro, So to you I resort, Edition series and was awarded a Diapason orridi spechi, taciturni orrori, hopeless places, soundless horrors, d’Or. Sinkovsky continues to teach violin at solitari ritiri ed ombre amiche; solitary caves and friendly shadows, the Moscow Conservatory, a post he has tra voi porto il mio duolo, that I come with all my sorrow, held since 2005. perché spero da voi quella pietade, because I hope that you will have compassion, che Dorilla inumana non annida. that cannot be seen in thankless Dorilla. Vengo, spelonche amate, I come, dear caves, vengo, spechi graditi, I come, hospitable places, alfine meco involto until at last, destroyed by my grief, in mio tormento in voi resti sepolto. I will entomb myself there.

“Nell'orrido albergo ricetto di pene” “In this terrible sanctuary” Nell’orrido albergo, In this terrible sanctuary, ricetto di pene, hiding from my sorrow, potrò il mio tormento I shall be able to let go sfogare contento, of my pains, potrò ad alta voce and call out chiamare spietata “hardhearted and Dorilla l’ingrata, thankless Dorilla,” morire potrò. and perish.

Andrò d’Acheronte I’ll go to the su la nera sponda, grim edges of Acheron, tingendo quell’onda soiling that river di sangue innocente, with innocent blood, gridando vendetta crying out for vengeance ed ombra baccante and, like the dark Bacchante, vendetta farò. I will exact revenge.

encoremediagroup.com/programs 29 OVERVIEW THURSDAY, OCTOBER 26, 2017, AT 7:30PM SUNDAY, OCTOBER 29, 2017, AT 2PM

Prokofiev and SHOSTAKOVICH Shostakovich SYMPHONY NO. 10 Prokofiev and Shostakovich, the outstanding Russian composers of the Soviet era, were strikingly dissimilar in their personalities and early experiences. Raised in a middle-class family during Pablo Rus Broseta, conductor the last decades of czarist rule, Prokofiev was brashly self-confident. Early in Beatrice Rana, piano his career he traveled widely, living Seattle Symphony in America and Europe for nearly two decades. Shostakovich grew up in poverty after the Russian Revolution. Festive Overture, Op. 96 6’ High-strung as a child, he remained nervous and introverted all his life. SERGEY PROKOFIEV Piano Concerto No. 3 in C major, Op. 26 28’ Andante—Allegro Yet they also had much in common. Tema con variazioni Both were excellent and fluent Allegro ma non troppo composers. Both cultivated established BEATRICE RANA, PIANO musical forms — symphony, concerto, sonata and others — in a conservative INTERMISSION modern vein. Both moved easily between expressions of quintessentially Russian DMITRI SHOSTAKOVICH Symphony No. 10 in E minor, Op. 93 57’ lyricism and an equally Russian irony. Moderato Both endured complex relationships with Allegro the Soviet government, which was at Allegretto once their patron and their dangerous Andante—Allegro overseer. Finally, both were skilled composers of orchestral music, as the works on our program demonstrate. Pre-concert Talk one hour prior to performance. Speaker: Claudia Jensen, Affiliate Instructor at the University of Washington’s Slavic Languages Department I have great memories from the Shostakovich Concerto Festival Ask the Artist on Thursday, October 25, in the Samuel & Althea Stroum Grand Lobby I had the opportunity to conduct last following the concert. season with the Seattle Symphony and Guests: Pablo Rus Broseta and Beatrice Rana the three fantastic soloists, Kevin Ahfat, Moderator: Mikhail Shmidt, Seattle Symphony First Violin Aleksey Semenenko and Edgar Moreau. Probably no other composer in the 20th century achieved such a well-balanced and magnificent symphonic form as Shostakovich did, especially in his Tenth Symphony. For instance, the timing and construction of the first movement is remarkable. It lasts nearly half of the duration of the symphony! His orchestral sound has always attracted me. One can discover a lot of his personality listening carefully to the way that he uses the orchestral forces. I believe that his sound reveals a lot about him, even more than his melodies or harmonies.

– Pablo Rus Broseta Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

30 SEATTLESYMPHONY.ORG OVERVIEW PROGRAM NOTES

DMITRI SHOSTAKOVICH SERGEY PROKOFIEV had originated some time earlier, during his early career in Russia. He salvaged Festive Overture, Op. 96 Piano Concerto No. 3 in C major, much of the third movement from a string Op. 26 BORN: September 25, 1906, in Saint Petersburg quartet begun but abandoned three DIED: August 9, 1975, in Moscow BORN: April 23, 1891, in Sontsovka, Ukraine years previously. The second movement WORK COMPOSED: 1954 DIED: March 5, 1953, in Moscow had been sketched in 1913, and some of the passages in the first movement date WORLD PREMIERE: November 6, 1954, in WORK COMPOSED: 1921 from 1916 and even earlier. So rich in Moscow. Alexander Melik-Pashayev conducted WORLD PREMIERE: December 16, 1921, in ideas were Prokofiev’s sketch books that the Bolshoi Theater Orchestra. Chicago. The composer played the solo part, he could later declare: “When I began and Frederick Stock conducted the Chicago working on the concerto ... I already had Initial fanfares reflect the patriotic Symphony Orchestra. all the thematic material I needed except occasion for which Shostakovich for the third theme of the finale and the wrote this overture. They return After beginning the concerto in a subordinate theme of the first movement.” near the end of work, combining with the lyrical vein, Prokofiev moves on to lighter, running music that forms the main his rhythmic manner: the tempo The composer performed the solo part portion of the piece. quickens and the piano joins the when the piece received its premiere proceedings with staccato figuration. performance on December 16, 1921, in Chicago. This duty proved more Dmitri Shostakovich was renowned for his Soloist and orchestral winds extend this demanding than Prokofiev had anticipated extraordinary compositional facility. His idea in a series of exchanges. — “I’m nervous and practicing hard ... Festive Overture gives an example of the The next theme derives its oriental flavor every day,” he wrote shortly before the ease with which he could conceive music. not only from the sinuous shape of its event — but the performance went well and the music was warmly received. In the autumn of 1954 the composer melody but also its introduction by oboe to It has since gained a secure position received an unexpected visit at his a rhythmic accompaniment from castanets. as the most popular of the composer’s Moscow apartment from Vasily Nebol’sin, Late in the movement, a reprise of these concertos and, indeed, as one of an official at the Bolshoi Theater. A two themes takes on added interest the most popular of all his works. concert scheduled to take place in a few through strangely colorful instrumentation days’ time coincided with the anniversary and some pungent harmonies. In his autobiography, Prokofiev identified of the October Revolution that brought four traits that he considered characteristic the Communist Party to power in 1917. In the finale, high-speed brilliance of his style. The first was an allegiance During the Soviet era such anniversaries gives way to a warmly romantic to classical ideals of form and thematic were customarily observed at the Bolshoi interlude. A return to the energetic development, which he credited to his with the performance of a festive new material that opened the movement early contact with the music of Beethoven. composition. But unaccountably, nothing rounds the proceedings into a To this he added a penchant for searching had been arranged for the approaching large-scale A–B–A design. out new harmonies, instrumental sonorities concert. Nebol’sin therefore appealed, and melodic shapes. He identified somewhat desperately, to Shostakovich. rhythm as the third aspect of his music — Prokofiev’s Third Piano Concerto specifically, a tendency to use a driving The composer agreed to help and invited has some of the most intelligent, pulse and steely rhythmic figures within it. a visiting friend to sit and keep him clever and witty writing that I can think of, The final quality was lyrical expression. company. “Then he starting composing,” and still reveals beautiful and passionate this companion remembered. “The speed melodies throughout the concerto. All four of these traits shape the Third at which he wrote was truly astounding. It’s a rare combination of geometrical Piano Concerto. Its broad form follows Moreover, when he wrote light music, architecture and deep emotions. I the classic concerto design of three he was able to talk, make jokes and played this concerto for the first time movements in a fast–slow–fast sequence. compose simultaneously, like the back in 2013. Being a ‘consummate’ The first opens with an introductory legendary Mozart.” In a matter of hours performer of Prokofiev’s Second passage featuring a lyrical melody with the score was ready. “Two days later, the Concerto, which is incredibly dramatic something of the flavor of a Russian folk rehearsal took place,” recalled the friend and tragic, it felt very refreshing. song. Subsequent developments tap who had watched Shostakovich write Prokofiev’s penchant for strong, driving the piece. “I hurried down to the theater – Beatrice Rana rhythms, as well as the impish humor and heard this brilliant, effervescent we often encounter in his music. work, with its vivacious energy spilling Sergey Prokofiev’s Third Piano Concerto is over like uncorked champagne.” the most brilliant and in all ways the most The second movement unfolds in successful of his five contributions to its theme-and-variations form, a curiously Scored for 2 flutes and piccolo; 3 oboes; 3 genre. Although the composer wrote the somber march theme stated at the clarinets; 2 bassoons and contrabassoon; work during a vacation in France in 1921, outset by the orchestra giving rise to 4 horns; 3 trumpets; 3 trombones; tuba; most of the musical ideas that went into it timpani and percussion; strings. five contrasting paraphrases. In the

encoremediagroup.com/programs 31 PROGRAM NOTES continued

finale, Prokofiev recaptures the drive he maintained an uneasy and ambivalent a winsome intermezzo. Here Shostakovich of the opening movement in passages relationship with his nation’s rulers. His incorporates a pair of musical monograms of impressive keyboard virtuosity. difficulties with Stalin’s regime bear into the music. The first is the four-note tangentially on the Tenth Symphony. motif D-S-C-H (spelled out in German Scored for solo piano; 2 flutes (the 2nd Twice during his career the composer musical nomenclature, which uses “Es” for doubling piccolo); 2 oboes; 2 clarinets; was officially censured for offending the pitch E-flat and “H” for B-natural. The 2 bassoons; 4 horns; 2 trumpets; 3 trombones; Soviet musical taste. In 1936 the official composer used this, his musical signature timpani and percussion; strings. Communist Party newspaper, Pravda, in many of his compositions.) The second, denounced his opera Lady Macbeth of heard as a repeated horn call, spells the Mtsensk District as “musical chaos.” the name “Elmira.” This alludes to Elmira DMITRI SHOSTAKOVICH One week later a second Pravda Nazirova, one of Shostakovich’s students. Symphony No. 10 in E minor, Op. 93 review attacked his ballet The Limpid The composer sent her numerous letters Stream. Shostakovich responded with during the summer of 1953, when he was BORN: September 25, 1906, in Saint Petersburg a contrite apology, and his next major writing this symphony. He may have been DIED: August 9, 1975, in Moscow work, his Fifth Symphony, reverted to in love with her, though his sentiments WORK COMPOSED: 1953 an accessible, conservative style. probably were not reciprocated. WORLD PREMIERE: December 17, 1953, in Leningrad. Yevgeny Mravinsky conducted the Though this brought a reprieve, Shostakovich prefaces the finale with Leningrad Philharmonic. Shostakovich’s position was by no means a poignant introduction in slow tempo. secure. In 1948 the Central Committee of The ensuing Allegro brings a musical the Communist Party issued a resolution whirlwind leading to a brilliant conclusion. The symphony begins with cellos denouncing some of the country’s leading and basses quietly sounding what composers for the sin of “decadent Scored for 2 flutes and piccolo (the 2nd seems a mournful chant. Its first formalism” (code for modern innovation). flute doubling 2nd piccolo); 3 oboes (the three notes, a minor-key “do-re-mi” figure, Shostakovich’s Ninth Symphony was 3rd doubling English horn); 3 clarinets (the form the basis for much of the symphony. specifically singled out for criticism. 3rd doubling E-flat clarinet); 3 bassoons Once more the composer responded (the 3rd doubling contrabassoon); 4 horns; 3 trumpets; 3 trombones; tuba; Those same three notes, now made apologetically: “I again deviated in the timpani and percussion; strings. savagely aggressive, form the main direction of formalism and began to idea of the second movement. speak a language incomprehensible to © 2017 Paul Schiavo the people. ... The Party is right, and I The third movement opens with yet am deeply grateful ... for [its] criticism.” another transformation of the symphony’s During the next five years he issued signature “do-re-mi” figure. Shostakovich mostly film scores and patriotic cantatas introduces his musical monogram, D-S- written in a style that would satisfy even C-H, early on in the voices of flutes and the most conservative bureaucrat. clarinets, repeatedly into the movement. Later, a horn repeatedly sounds a theme With the death of Stalin in March 1953, that spells out “Elmira,” the name of a and the return of a more liberal climate, favorite student. Near the end of the Shostakovich could again fully assert movement, the two names encoded his creative personality. He did this with in notes sound in close succession. his Symphony No. 10, composed during the summer and autumn of that year. The restrained introduction that begins Today it is widely regarded as the finest the finale culminates in brief bugle-call of Shostakovich’s 15 symphonies. figures for the clarinet and flute. The energetic music that follows pauses only The broad first movement, which accounts to reconsider material from the earlier for almost half the symphony’s length, movements, including the D-S-C-H motif. reveals Shostakovich at the height of his inventive powers. Though his themes are Dmitri Shostakovich was one of the remarkably concise, the composer is able leading symphonic composers of the to extract music of considerable substance last century. His 15 symphonies include and beauty from them, often by presenting light works but, more significantly, the movement’s signature melodic ideas epic dramas played out in the in various contrapuntal combinations. language of orchestral music. His Tenth Symphony is among the latter. The second movement is a brief, highly concentrated Allegro with a wild and Shostakovich lived and worked his entire somewhat menacing character. By adult life under Soviet communism, and contrast, the Allegretto that follows offers

32 SEATTLESYMPHONY.ORG PABLO RUS BROSETA Conductor NAREH ARGHAMANYAN Pablo Rus Broseta is Associate Conductor of November 9 | 7:30 p.m. the Seattle Symphony, Compelling msicality having originally been meets fi erce technique appointed Assistant when Armenian pianist Conductor in 2015. Nareh Arghamanyan makes During the 2017–2018 her Seattle debut – with an season, he leads the all-Russian program. Photo: Yuen Lui Studio/Chuck Moses Studio/Chuck Lui Yuen Photo: Seattle Symphony in a wide variety of concerts, including an all-Russian program with pianist Beatrice Rana, Carmina burana and a festival of MONTROSE TRIO Prokofiev concertos. In 2016–2017, he December 9 | 7:30 p.m. conducted a festival of Shostakovich The Montrose Trio takes concertos as well as a concert with Yo-Yo Ma. the stage at Meany Center He is rapidly building a wide-ranging with a program that ranges repertoire from Handel to John Adams, with a from the whimsy of Haydn focus on the great symphonic repertoire. As and robust romanticism of guest conductor, Rus Broseta’s 2017–2018 Brahms to the colorful world season includes debuts with the Houston of Shostakovich. and Kitchener-Waterloo symphonies, and return engagements with the SWR Symphonieorchester and Orquesta de Valencia. Rus Broseta studied composition and at the Conservatory of his native Valencia, with further studies in conducting in Lyon, at the Conservatorium TICTS STILL AAILABL van Amsterdam and Universität der MACTRRG Künste Berlin.

BEATRICE RANA Piano

At only 24 years old, Beatrice Rana is making TAX-WISE waves on the classical WAYS music scene, arousing admiration and interest TO SUPPORT THE from conductors, critics SYMPHONIC MUSIC YOU LOVE and audiences around the world. She Photo: Marie Staggat Marie Photo: collaborates with Donating to the Seattle Symphony through stock or via a direct conductors of the highest level such as transfer from your IRA is both generous and tax-efficient! Riccardo Chailly, , Yannick Nézet-Séguin, Fabio Luisi, Jun Märkl, Lahav Great ways to give: Shani, Andrés Orozco-Estrada, Susanna ■ Gifts of appreciated stock you’ve held over one year can result in Mälkki, Leonard Slatkin and Zubin Mehta. An a charitable deduction and save on capital gains tax. exclusive Warner Classics recording artist, Rana’s most recent recording of Bach’s ■ The IRA Charitable Rollover is here to stay, so if you’re 70 ½ Goldberg Variations has been met with years or older, you can donate through a tax-free transfer and critical acclaim. Beatrice Rana came to public count it as your required minimum distribution. attention in 2011 after winning First Prize at the Montreal International Competition and in 2013 when she won the Silver Medal and the Audience Award at the 14th Van Cliburn International Piano Competition. Born in Italy into a family of musicians, Rana lives in Rome where she continues her studies with her To learn more about tax-wise giving, contact Becky Kowals at mentor, Benedetto Lupo, and studied 206.215.4852 or [email protected]. previously with Arie Vardi at Hanover’s Hochschule für Musik.

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PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE Katharyn Alvord Gerlich 15 The Seattle Symphony acknowledges with gratitude the The following donors have generously underwritten Dr. Martin L. Greene and Kathleen Wright ° 5 following donors who have made lifetime commitments the appearances of principal musicians this season. Lyn and Gerald Grinstein ^ 15 of more than $1 million as of August 31, 2017. Jean-François and Catherine Heitz ° 10 Thomas and Susan Bohn Ilene and Elwood Hertzog ° 15 4Culture Sue and Robert Collett Charles E. Higbee, MD and Donald D. Benedict* 15 Dr.* and Mrs. Ellsworth C. Alvord, Jr. Patricia and Jon Rosen Dr. Kennan H. Hollingsworth ^ 15 Andrew W. 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Whetzel 5 Mrs. Jackie A. O’Neil 5 Geoffrey Antos 5 Ann L. Brand Wayne Wisehart 5 Gerald and Melissa Overbeck Tracy L. Baker 15 Rosemary and Kent Brauninger 5 Jeff Wood and Diane Summerhays PAS Financial Planning Tom Barghausen and Sandy Bailey Herb Bridge and Edie Hilliard Barbara and Richard Wortley 5 Allan and Jane Paulson 15 Janice Berlin S. Lori Brown Keith Yedlin David F. Peck 15 Leslie and Michael Bernstein 5 Lisa Bury and John R. Taylor Anonymous (2) Jason Perkizas Rebecca Galt Black 15 Cy and Kathleen Butler Nancy and Christopher Perks 10 Matt Brannock and Claire Taylor Mary and Patrick Callan Conductors Club ($2,000 - $3,499) Marcus Phung 5 Alec and Maddy Brindle 5 Karen Cameron 5 Cary Plotkin and Marie-Therese Brincard Zane and Celie Brown 10 Bill and Janette Adamucci 5 Corinne A. Campbell 5 Aimme Qiao Steven Bush and Christine Chang Harriet and Dan Alexander 5 Elizabeth M. Campbell Carrie Delaney Rhodes April Cameron 10 Drs. Linda and Arthur Anderson ∞ 5 Wally and Sally Campbell Ed and Marjorie Ringness 15 Joshua D. Closson Dr. Larry and DeAnne Baer Dr. Lysanne Cape 5 Richard and Bonnie Robbins Mr. and Mrs. Tony Cockburn Kris Barker Carol and John Austenfeld Nancy M. Robinson 15 Cogan Family Foundation 10 Jane and Peter Barrett Charitable Trust 5 Annie and Ian Sale Samuel and Helen Colombo 15 Patty and Jimmy Barrier Trish Carpenter Kate and Matthew Scher Donald and Ann Connolly 5 Dr. and Mrs. Ronald J. Beck 5 Vicente Cartas Espinel Eckhard Schipull 15 David and Christine Cross 5 Dr. Melvin Belding and Dr. Kate Brostoff 5 Patrick Cazeau Dr. and Mrs. Jason Schneier 5 James and Barbara Crutcher Capt. and Mrs. Paul Bloch 10 Terri Chan and Tony Dexter 5 Susan Schroeter-Stokes and Dr. Bob Day 5 Hal and Anne Bomgardner 5 Kent and Barbara Chaplin 15 Robert Stokes 5 Dr. Stella Desyatnikova William and Beatrice Booth Jorge Chavez Jo Ann Scott Cindy Dobrow Bob and Bobbi Bridge 5 Gerrie Cherry Jeff and Kim Seely Jim and Gaylee Duncan Claire and Aaron Burnett Mr. James Chesnutt 5 Janet and Thomas Seery 10 Charles Engelke and Laurie White Frank and Phyllis Byrdwell ^ Chien-her Chin Barbara and Richard Shikiar 15 Andrew Faulhaber 5 Janitta and Bob Carithers Lisa Chiou Anne Shinoda-Mettler Gerard Fischer Cecily Carver Michelle and Abhineet Chowdhary Robin Siegl and Paul Andrews David and Dorothy Fluke ^ 15 Jonathan Caves and Marian Christjaener 5 Mary Snapp and Spencer Frazer William E. Franklin 5 Patricia Blaise-Caves 5 Terese Clark Christopher Snow 5 Doris H. Gaudette 15 Patrick Chinn and Angela Redman John Clawson 5 Lorna Stern 15 Erica L. Gomez Jeffrey Christianson Mark Cockerill and Marie Kennedy Alexander and Jane Stevens 10 Michele and Bob Goodmark 5 Gakyung Chung Robert and Janet Coe Isabel and Herb Stusser 10 Douglas Grady Robert E. Clapp ∞ 5 Sam and Karen Coe Victoria Sutter 5 Betty Graham Mr. and Mrs. Ross Comer 10 Ida Cole Ronald and Pamela Taylor 5 Dr. and Mrs. Theodore Greenlee, Jr. 15 Peter and Lori Constable ∞ Ellen and Phil Collins 15 Mr. and Mrs. C. Rhea Thompson William Haines 15 Jeffrey and Susan Cook 5 Susan and Laurence Commeree 10 Betty Lou and Irwin* Treiger 15 Barbara Hannah and Patricia Cooke Mr. and Mrs. Frank Conlon Manijeh Vail 5 Ellen-Marie Rystrom 15 T. W. Currie Family 10 Ray Conner Mary Lou and Dirk van Woerden 5 Jane Hargraft and Elly Winer ∞ + 5 Frank and Dolores Dean 15 Herb and Kathe Cook 5 Charlie Wade + Michèle and Dan Heidt 5 Renee Duprel ∞ + Nick Crossley Jan and Nancy Wanamaker 5 Deena J. Henkins Dr. Lewis and Susan Edelheit Richard Cuthbert and John and Fran Weiss 15 Dick and Nora Hinton Paul and Kimberly Fisher Cheryl Redd-Cuthbert Norma Wells 5 Bob Hoelzen and Marlene Botter 5 Jane and Richard Gallagher 5 Robert Darling 5 Charles Wheeler Robert C. Jenkins Jean Gardner ^ 15 Tom DeBoer Ms. Bethany Winham Charles and Joan Johnson 15 Katarina and Jim Garner Karin Desantis Jessie and David Woolley-Wilson Michael A. Klein and Catherine A. Melfi 5 Janice A. and Robert L. Gerth 15 David and Helen Dichek Jerry and Nancy Worsham 10 Ms. Maritta Ko Fred Goldstein and David Pitt Anthony DiRe Sally and David Wright Albert and Elizabeth Kobayashi 15 Lucia and Jeffrey Hagander 5 Dwight and Susan Dively 5 Kay H. Zatine 15 Thomas and Kathleen Koepsell Ken and Cathi Hatch ^ Everett and Bernie DuBois 10 Christian and Joyce Zobel 10 Lisa Ann Mikulencak and Ken Hayashi ∞ 5 Ken Duncan and Tanya Parish 5 Igor Zverev 15 Bernhard Kohlmeier Terrill and Jennifer Hendrickson 5 Charlie Dunn Anonymous (12) Drs. Kotoku and Sumiko Kurachi 5 Harold and Mary Fran Hill 10 Maria Durham and Viva la Música Club 10 Tatyana Kutsy Alice and Paul Hill

36 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Jeff Eby and Zart Dombourian-Eby  5 Don and Carla Lewis 5 John Richardson II 5 To our entire donor family, thank you for Mr. Scott Eby ∞ 5 Jerry and Marguerite Lewis Mr. and Mrs. Charles Riley 5 your support. You make our mission and Branndon R. Edwards Henry Li Deborah and Andrew Rimkus 5 music a reality. Leo and Marcia Engstrom 5 Bobbie Lindsay and Douglas Buck Melissa Rivello Mr. David Epstein Michael Linenberger and Sallie Dacey Dr. and Mrs. Tom Robertson 5 Did you see an error? Help us Dr. and Mrs. R. Blair Evans 10 Robert and Monique Lipman Ms. Jean C. Robinson 5 update our records by contacting Kim and Scott Fancher Anne and Steve Lipner Eric Robison [email protected] or Karen and Bill Feldt 5 Anamaria T. Lloyd Jack Rodman and Koh Shimizu 206.215.4832. Thank you! Junko and Glen Ferguson Sharon and Marty Lott Stan and Michele Rosen Maria Ferrer Murdock Lovett-Rolfe Family Trust Dr. Len and Gretchen Jane Rosoff Lori and Miguel Ferrer Roy and Laura Lundgren Helen and Ivan Rouzanov 5 HONORARIUM GIFTS 15 5 Jerry and Gunilla Finrow Mr. and Mrs. Louis Lundquist Michelle and Jerry Rubin Gifts to the Seattle Symphony are a 15 Ashley Myers and Andrew Fitz Gibbon Sandy Mackie Don and Toni Rupchock wonderful way to celebrate a birthday,  Patty Fleischmann Rebecca and Laird Malamed David Sabee and Patricia Isacson Sabee honor a friend or note an anniversary. Michael and Barbara Malone 5 Sarah and Shahram Salemy Debra and Dennis Floyd In addition to recognition in the Encore 5 5 Jack and Jan Forrest Elliot Margul Matthew Salisbury program, your honoree will receive a card Judith Frank Mark Litt Family DAF of the Jewish Sara Delano Redmond Fund from the Symphony acknowledging your 10 5 5 Ms. Janet Freeman-Daily Federation of Greater Seattle Art Schneider and Kim Street thoughtful gift. Donald and Ann Frothingham Charles T. Massie ∞ 15 Judith Schoenecker and 5 Andrew and Molly Gabel ° Lois Mayers Christopher L. Myers Gifts were made to the Seattle 5 15 5 Terri and Joseph Gaffney Michael and Rosemary Mayo Nancy and James Schultz + Symphony in recognition of those listed 10 Martin and Ann Gelfand Jennifer McCausland Janet Sears ∞ below between September 1, 2016 5 15 Ruth and Bill* Gerberding ^ John and Gwen McCaw Virginia Senear and August 31, 2017. Please contact 10 5 James and Carol Gillick ^ John McGarry and Michelle Wernli Dr. Anita Shaffer Donor Relations at 206.215.4832 or 5 George Gilman Diane and Scott McGee Julie Shankland [email protected] if you 10 15 15 Lester E. Goldstein Karen and Rick McMichael ∞ Linda Sheely ∞ would like to recognize someone in a 10 15 Jeffrey and Martha Golub Dr. and Mrs. James F. McNab Charles Shipley future edition 15 Mary McWilliams 10 Todd Shively and Christopher Woods Bill and Joy Goodenough of Encore. Catherine B. (Kit) Green 10 Jerry Meharg Dr. Charles Simrell and Deborah Giles 15 5 Maridee Gregory ∞ David Meinert Jill Singh 1201 Third Avenue Parking Garage, by 15 Julie Gulick Mary Mikkelsen Randip Singh Charles Montange and Kathleen 5 Robert Grey and Kathryn Guykema Dr. Stewart Miller Connie Smith Patterson Patricia Hackett and Mark Houtchens Laurie Minsk and Jerry Dunietz Douglas Smith and Stephanie Ellis-Smith 5 5 Megan Hall and James Janning + Chie Mitsui ∞ Stephen and Susan Smith Bob Ash, by Deena C. Hanke ∞ Charles Montange and Michele Souligny ∞ Jeff Eby and Zart Dombourian-Eby 15 Dave and Sandy Hanower Kathleen Patterson Fawn and Jim Spady Sue and Thomas Raschella Linda and Wolfram Hansis 15 James Monteith and Marita Caya 5 Doug and Katie Sprugel 5 5 Dr. and Mrs. James M. Hanson Alex and Nayla Morcos Stella Stamenova Susan and Armin Baumgartel, by Karin and Frederic Harder Mary and Alan Morgan Steve and Sandy Hill Family Fund at the Zanne and Ian Gerrard 15 15 Doug and Barbara Herrington Christine B. Moss Seattle Foundation ^ Erica Peterson Kate Harris and Andrew Jones Kevin Murphy Diane Stevens 5 Mary Heckman Marcia Murray Cynthia Stroum Bill Beery, by 15 Stuart and Evelyn Henderson Mr. and Mrs. J. P. Naughton David Tan and Sherilyn Anderson-Tan Madeline Beery Gabriel and Raluca Hera Paul Neal and Steven Hamilton ∞ 5 Bob and Mimi Terwilliger 10 5 5 5 Robert and Eileen Hershberg Kirsten Nesholm Peter Chuang and Elaine Tsai Steve Bush and Christine Chang, by 5 Toni and Rod Hoffman Paul and Linda Niebanck Kenneth Tschritter Clarius Group Norm Hollingshead 5 Linda Nordberg Dr. and Mrs. H. B. Tukey 10 5 Bob Holtz and Cricket Morgan Eric Noreen and Suzi Hill Lorna Tumwebaze T.J. Callahan, by 15 Hannah Hoose Ken and Pearl Noreen Dolores Uhlman Tim Callahan Mr. Roy Hughes 5 Lise Obeling Sami Uotila and Tuula Rytila Joni Scott and Aedan Humphreys ∞ Rena and Kevin O’Brien Jan van Horn ∞ The Cello Section, by 5 15 George and Peggy Hunt Mary Odermat Johanna P. VanStempvoort ∞ Betty Graham Michael Hunter Mr. and Mrs. Thomas Olson Karoline Vass Patricia Hunter Kristen O’Reilly Tara and John Verburg Dale and Leslie Chihuly, by Joyce and Craig Jackson Gordon Orians Donald J. Verfurth Liz Chambers and Jim Johnson 15 10 Ralph E. Jackson Leo Ortiz and Adriana Aguirre Doug* and Maggie Walker Highland Street Foundation 5 10 Randall Jahren Thomas and Cynthia Ostermann Stephanie Wallach Barbara and Donald Tober Clyde and Sandra Johnson 5 Richard and Peggy Ostrander Lois Waplington 5 Dr. Kari Jones Meg Owen Debra Ward Elaine Cho, by Shreya Joseph David and Gina Pankowski Judith F. Warshal and Wade Sowers Samuel Plott Gretchen Kah 5 Christopher Parker John Watson 5 5 5 Shirley Kah Richard and Sally Parks Greg Wetzel Terry Clark, by 10 Hannah and Sarah Kane Margaret Paul and Paul J. Johansen Roger and June Whitson ∞ Lara Clark Peter Kelly Perspectives of New Music Mitch Wilk 5 Sean and Lisa Kelly Rosemary Peterson Elizabeth and Troy Wormsbecker Samuel Clarke, by 5 Janet Wright Ketcham Foundation Don and Sue Phillips Carol Wright David Gaglione Ford W. Kiene 10 Derek and Anna Pierce Talia Silveri Wright Dibra and Kent Kildow Valerie and Stanley Piha Michael and Gail Yanney Marianne Cole, by 15 15 Michael and Mary Killien Andrey Popov Lee and Barbara Yates Mitzi Cieslak Stacy and Doug King Ruth Ann and Jim Powers Robert and Eileen Zube 5 5 Karol King Jo-Anne D. Priebe Anonymous (25) Rosalie Contreras, by 5 15 Virginia King Llewelyn G. and Joan Ashby Pritchard ^ Robert Haeger Alana Knaster Harry* and Ann Pryde 5 5 years of consecutive giving 10 Peter and Susan Knutson Ann Ramsay-Jenkins 10 years of consecutive giving Samantha DeLuna and Jesse Bearden, by 15 Vera Koch Paul and Bonnie Ramsey 15 years or more of consecutive giving Jennifer Lee Maryann and Tom Kofler Mary C. Ransdell and Keith B. Wong ∞ Monthly Sustaining Donor Jordan Louie 10  Jodi Krause Wendy and Murray Raskind Musician Brandon Patoc Eric Lam 5 Reverend Kerry and Robin Reese 10 ° Board Member 15 10 Ron and Carolyn Langford Cecilia Paul and Harry Reinert ^ Lifetime Director Raemarie Duclos, by 15 Peter M. Lara Kristi Rennebohm-Franz ∞ + Staff Francis Powers* J&J Latino O’Connell Jean A. Rhodes 5 * In Memoriam 10 Virginia and Brian Lenker ∞ Valerie Rice Steve Frank, by 5 15 Derek Leung Fred Richard Pat and Jon Rosen

encoremediagroup.com/programs 37 SEATTLE SYMPHONY DONORS

Janice Gerth, by Rose and Richard Bender, by Melvyn Poll, by Robert Gerth Alan Cordova Friends of Abbott Construction Janet Abrams Sam Glatstein, by Beatrice and Arlene Berlin, by Asma Ahmed Benjamin Glatstein Janice Berlin and Mark Hartman Ash Family Foundation Larry and Sherry Benaroya David Haggerty, by Grandma Bosma, by Maureen and Joel Benoliel Marc Stiles Andrew Emory Lisa Bergman Carolyn Burnett Lenore Hanauer, by Bob Bradbury, by Everyone at Cactus Restaurant Penelope Burke Jane Ann Bradbury Barbara Calvo and Al Benoliel LouAnne Shelton Dale and Leslie Chihuly Mary Henderson, by Joan and Frank Conlon Linda Werner Richard M. Campbell, by Maryann Crissey Alison Andrews Sandra and Gary Etlinger Mr. and Mrs. Glen Hiner, by Joyce Franich Timotha and Charles Freedenberg Eugene Leibowitz Eugene and Sue John Sharon Friel Edna Kelso Marlene and Jon Fuson Virginia Hunt-Luce, by Janet Ketcham, in honor of Music Beyond Borders Laurie Griffith Thomas Luce Mary Langholz Jane Hargraft and Elly Winer Debra and Gary Larson David and Sharron Hartman Linda Jones, by Erika Lim Delney and Andrew Hilen Rochelle Morrissey John Marshall Carolee and Tom Mathers Llewelyn and Jonie Pritchard Marilyn McManus Pierre and Felice Loebel, by Randy Robinson and Jane Hadley Stewart Miller Marilyn Layton Fred Simons Linda Nordberg Constance and Larry Martin Carole Tingstad Jack Norman Patricia Oye Marcia Mason, by Arthur Caputi, Jr., by William Poll Kathleen and Eric Ottum Marti Caputi Ann Pryde Pat and Jon Rosen Reid and Marilyn Morgan, by Kathryn G. Cavin, by Milicent Savage Ilene and Elwood Hertzog James Cavin SRG Partnership, Inc Carlyn Steiner Ludovic Morlot, by Frederic Chopin, by Leena and Mel Sturman Martine and Dan Drackett Xiaoxia Zhou Diane and Dennis Warshal Wyman Youth Trust Laurel Nesholm, by Kent Coleman, by Barbara and Jonathan Zweig Moya Vazquez Jan Coleman Frank Powers, by Llewelyn Pritchard, by Lucy J. Ding, by Richard Andler and Carole Rush Carol and Thomas Olson Paula Ding Ruth Ann and Jim Powers Pat and Jon Rosen Shawn Powers Beulah Frankel, by Seattle Symphony Volunteers W. David Rambo, by Ginny Gensler Nancy Tracy Trenton Rambo Shirley H. Fuller, by Elaine Raines, by Stella Rolph, by Marise and Randy Person Cindy Chang Simone Spiess Linda and Randy Ebberson Barbara Bye Goesling, by Laurel Kalina Pat Rosen, by Llewelyn and Jonie Pritchard Sheila Lukehart Mina Miller and David Sabritt Sheri Sharp Allan Granquist, by Katherine and Douglas Sprugel Norman and Elisabeth Sandler, by Steven Lundholm Carole Wilson Stephanie and Michael Beers Martin Greenfield, by Jean Robbins, by Virgina Senear, by Pat and Jon Rosen Nancy Kyler Kelly Schmidt Alice Laitner Sarah Hamilton, by Giovina Da Sessions T.E. and Peggy Spencer, by Barbara and Charles Jennings John and Nancy McConnell Carole Sanford, by Frederick Hayes, by Horizon House Supported Living Rachel Swerdlow, Walter Gray, and Paul Rafanelli, by Sue and Robert Collett Mark Linsey and Janis Traven Langdon Simmons, by Donald Thulean, by David Howe, by Llewelyn and Jonie Pritchard Gerard Fischer Mary Howe Richard Howe Donald Strong, by Stephen Whyte, by Jane Qualia Mary Anne Strong Mark Schletty and Jan Laskey Christopher Weeks B. K. Walton, by James and Mary Lou Wickwire, by Gretchen Hull, by Penelope Yonge Melissa and David Wickwire Anonymous Ralph Wedgewood, by Susan Kane, by Thomas Chatriand and Cindy Gustafson MEMORIAL GIFTS Hannah Kane Jane Kippenhan Michael Vargas Gifts were made to the Seattle Symphony to remember Milton Katims, by those listed below between September 1, 2016 and Pamela and Patrick Steele Brian Weiss, by August 31, 2017. For information on remembering a Sue Eriksen friend or loved one through a memorial gift, please Dina Jacobson contact Donor Relations at 206.215.4832 or Laurence Lang, by Lars Sorensen [email protected]. Rosalie Lang

Janice T. Whittaker, by Joseph and Carol Andrews, by Isaac Michael Levin, by Jody Friday Robin and Zev Siegl Sophie-Shifra Gold

38 SEATTLESYMPHONY.ORG SEATTLE SEATTLE SYMPHONY SYMPHONY ENDOWMENT FUND

The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to DONORS the Endowment Fund since its inception. The following list is current as of August 31, 2017. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected]. ESTATE GIFTS $5 Million + Estate of Lenore Ward Forbes We gratefully remember the following individuals for The Benaroya Family Estate of George A. Franz their generosity and forethought, and for including Charles Simonyi Fund for Arts and Sciences Jean Gardner the Seattle Symphony in their will, trust or beneficiary Anonymous Estate of Mr. and Mrs. Irvin Gattiker designation. These legacy gifts provide vital support Anne Gould Hauberg* for the Symphony now and for future generations. $1,000,000 - $4,999,999 Richard and Elizabeth Hedreen (Estate gifts since September 1, 2014.) Leslie and Dale Chihuly Estate of William K. and Edith A. Holmes The Clowes Fund, Inc. Estate of Susanne F. Hubbach Dr. William and Mrs. Laura Andrews Priscilla Bullitt Collins* John Graham Foundation Harriet C. Barrett Trust Judith A. Fong Mr. and Mrs. Stanley P. Jones Barbara and Lucile Calef The Ford Foundation Estate of Betty L. Kupersmith Robert E. and Jeanne Campbell Dave and Amy Fulton John and Cookie* Laughlin Charles Robb Chadwick Kreielsheimer Foundation E. Thomas McFarlan Carmen Delo Marks Family Foundation Estate of Alice M. Muench Nancy Lee Dickerson Estate of Gladys and Sam Rubinstein Nesholm Family Foundation Sherry Fisher Samuel* and Althea* Stroum Estate of Opal J. Orr Jane B. Folkrod Dr. Robert Wallace M. C. Pigott Family Lenore Ward Forbes PONCHO Marion O. Garrison $500,000 - $999,999 Estate of Mrs. Marietta Priebe Elizabeth C. Giblin Alex Walker III Charitable Lead Trust Mr. and Mrs. Paul R. Smith Merle P. Griff and Nadine Griff Mack Mrs. John M. Fluke, Sr.* Estate of Frankie L. Wakefield Helen and Max Gurvich Douglas F. King Estate of Marion J. Waller Carol Hahn-Oliver Estate of Ann W. Lawrence Washington Mutual Sarah C. Hamilton The Norcliffe Foundation Anonymous Allan and Nenette Harvey Estate of Mark Charles Paben Yveline Harvey James D. and Sherry L. Raisbeck Foundation $25,000 - $49,999 Anne Marie Haugen Joan S. Watjen, in memory of Craig M. Watjen Edward and Pam Avedisian Susanne F. Hubbach Estate of Bernice Baker Gretchen and Lyman Hull $100,000 - $499,999 The Boeing Company Betty L. Kupersmith Estate of Glenn H. Anderson Estate of Ruth E. Burgess E. Marian Lackovich Andrew W. Mellon Foundation Estate of Barbara and Lucile Calef Anna L. Lawrence Bob and Clodagh Ash Mrs. Maxwell Carlson Arlyne Loacker Alan Benaroya Alberta Corkery* Olga M. McEwing Estate of C. Keith Birkenfeld Norma Durst* Jean and Peter J. McTavish Mrs. Rie Bloomfield* Estate of Margret L. Dutton Norman D. Miller The Boeing Company Estate of Floreen Eastman Nuckols-Keefe Family Foundation C.E. Stuart Charitable Fund Hugh S. Ferguson* Beatrice Olson Richard* and Bridget Cooley Mrs. Paul Friedlander* Carl A. Rotter Dr. Susan Detweiler and Dr. Alexander Clowes* Adele Golub John C. Rottler Mildred King Dunn Patty Hall Allen E. Senear E. K. and Lillian F. Bishop Foundation Thomas P. Harville Amy Sidell Estate of Clairmont L. and Evelyn Egtvedt Harold Heath* Phillip Soth Estate of Ruth S. Ellerbeck George Heidorn and Margaret Rothschild* Morton Stelling Senator and Mrs. Daniel J. Evans Phyllis and Bob* Henigson Ida L. Warren Fluke Capital Management Michael and Jeannie Herr Estate of Dr. Eloise R. Giblett Charles E. Higbee, MD and Donald D. Benedict* Agnes Gund Mr. and Mrs. L. R. Hornbeck Helen* and Max* Gurvich JNC Fund Estate of Mrs. James F. Hodges Sonia Johnson* Estate of Ruth H. Hoffman The Keith and Kathleen Hallman Fund Estate of Virginia Iverson David and Karen Kratter Estate of Peggy Anne Jacobsson Estate of Marlin Dale Lehrman Robert C. Jenkins Estate of Coe and Dorothy Malone Estate of Charlotte M. Malone Estate of Jack W. McCoy Bruce and Jolene McCaw Estate of Robert B. McNett Bruce and Jeanne McNae Estate of Peter J. McTavish Microsoft Corporation Estate of Shirley Callison Miner National Endowment for the Arts PACCAR Foundation Northwest Foundation Mr. and Mrs. W. H. Purdy Estate of Helen A. Overton Estate of Elizabeth Parke Peach Foundation Sue and Tom Raschella Estate of Elsbeth Pfeiffer Keith and Patricia Riffle Estate of Elizabeth Richards Rita* and Herb* Rosen and the Rosen Family Jon and Judy Runstad Seafirst Bank Estate of Joanne M. Schumacher Security Pacific Bank Weyerhaeuser Company Jerry and Jody Schwarz The William Randolph Hearst Foundations Seattle Symphony Women’s Association Estate of Helen L. Yeakel Patricia Tall-Takacs and Gary Takacs Estate of Victoria Zablocki U S WEST Communications Anonymous (3) Estate of Dr. and Mrs. Wade Volwiler Estate of Marion G. Weinthal $50,000 - $99,999 Estate of Ethel Wood Dr.* and Mrs. Ellsworth C. Alvord, Jr. Anonymous (2) Estate of Mrs. Louis Brechemin Estate of Edward S. Brignall * In Memoriam Sue and Robert Collett Frances O. Delaney* John and Carmen* Delo

encoremediagroup.com/programs 39 MUSICAL LEGACY SOCIETY

The Musical Legacy Society honors those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant future for the Seattle Symphony, helping the Orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community. To learn more about the Musical Legacy Society, or to let us know you have already remembered the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of August 31, 2017.

Charles M. and Barbara Clanton Ackerman Paul Leach and Susan Winokur I GIVE BECAUSE ... Joan P. Algarin Lu Leslan Kathleen Amberg Marjorie J. Levar Richard Andler and Carole Rush Mel Longley and Tanya Wanchena-Longley Ron Armstrong Thomas and Virginia Hunt Luce Elma Arndt Ted and Joan Lundberg Bob and Clodagh Ash Judsen Marquardt and Constance Niva Susan A. Austin Ian and Cilla Marriott Rosalee Ball Doug and Joyce McCallum David W. Barker Tom McQuaid Donna M. Barnes Jean E. McTavish* Carol Batchelder William C. Messecar Drs. Janet P. and George* Beckmann Jerry Meyer and Nina Zingale Alan Benaroya Charles N. Miller Rebecca Benaroya Elizabeth J. Miller Donald/Sharon Bidwell Living Trust Mrs. Roger N. Miller Dona Biermann Murl G. Barker and Ronald E. Miller I had such Bob* and Jane Ann Bradbury Reid and Marilyn Morgan Rosemary and Kent Brauninger George Muldrow Sylvia and Steve Burges Marr and Nancy Mullen Dr. Simpson* and Dr. Margaret Burke Isa Nelson Dr. William and Mrs. Mary Ann Champion Gina W. Olson a great Sue and Robert Collett Sarah M. Ovens Dr. Marshall Corson and Mrs. Lauren Riker Donald and Joyce Paradine Betsey Curran and Jonathan King Dick and Joyce Paul Frank and Dolores Dean Jane and Allan Paulson time the Robin Dearling and Gary Ackerman Stuart N. Plumb Lorraine Del Prado and Thomas Donohue Roger Presley and Leonard Pezzano John Delo Mrs. Eileen Pratt Pringle Dr. Susan Detweiler and Dr. Alexander Clowes* Mr. and Mrs. W. H. Purdy Fred and Adele Drummond James and Sherry Raisbeck last time Mildred King Dunn Dana Reid and Larry Hitchon Sandra W. Dyer J. Stephen and Alice Reid Ann R. Eddy Bernice Mossafer Rind David and Dorothy Fluke Bill* and Charlene Roberts I came to Gerald B. Folland Junius Rochester Judith A. Fong Jan Rogers Jack and Jan Forrest Patricia and Jon Rosen Russell and Nancy Fosmire James T. and Barbara Russell Ernest and Elizabeth Scott Frankenberg Mary Ann Sage hear the Cynthia L. Gallagher Thomas H. Schacht Jane and Richard Gallagher Judith Schoenecker and Christopher L. Myers Jean Gardner Annie and Leroy Searle Cheryl and Billy Geffon Virginia and Allen* Senear Symphony. Natalie Gendler Leonard* and Patricia Shapiro Carol B. Goddard Jan and Peter Shapiro Frances M. Golding Barbara and Richard Shikiar Jeffrey Norman Golub Valerie Newman Sils Dr. and Mrs. Ulf and Inger Goranson Evelyn Simpson Thank you! Betty Graham Betty J. Smith Catherine B. Green Katherine K. Sodergren Dr. Martin L. Greene Althea C. and Orin H.* Soest Roger J.* and Carol* Hahn-Oliver Sonia Spear James and Darlene Halverson Karen J. Stay Barbara Hannah Diane Stevens Harriet Harburn Patricia Tall-Takacs and Gary Takacs Ken and Cathi Hatch Gayle and Jack Thompson Michele and Dan Heidt Art and Louise Torgerson Ralph and Gail Hendrickson Betty Lou and Irwin* Treiger – Susanne Deena J. Henkins Muriel Van Housen Charles E. Higbee, MD Sharon Van Valin Harold and Mary Frances Hill Jean Baur Viereck Bob Hoelzen and Marlene Botter Dr. Robert Wallace Frank and Katie Holland Nicholas A. Walls Dr. Kennan H. Hollingsworth Judith Warshal and Wade Sowers Chuck and Pat Holmes Douglas Weisfield David and Shelley Hovind James and Janet Weisman Richard and Roberta Hyman John and Fran Weiss Janet Aldrich Jacobs Robert T. Weltzien Jennifer James, MD Dorothy E. Wendler Robert C. Jenkins Gerald W. and Elaine* Millard West WHY DO YOU GIVE? Dr. Barbara Johnston Selena and Steve Wilson Norman J. Johnston* and L. Jane Hastings Johnston Ronald and Carolyn Woodard Atul R. Kanagat Arlene A. Wright Don and Joyce Kindred Janet E. Wright Dell King Rick and Debbie Zajicek SEATTLESYMPHONY.ORG/GIVE Douglas F. King Anonymous (51) Stephen and Barbara Kratz Frances J. Kwapil * In Memoriam 206.215.4832 M. LaHaise Ned Laird

40 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT

The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of March 2, 2017. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

Seattle Symphony Volunteers ◊

$50,000 – $99,999 $10,000 – $14,999 Glazer’s Camera † Consulate General of the Republic of Poland Classical KING FM 98.1 ◊ Aaron Copland Fund For Music Heartwood Provisions † Cornerstone Advisors, Inc. Google Inc. † Bill & Melinda Gates Foundation MG2 Foundation DreamBox Learning John Graham Foundation Matching Gifts Muckleshoot Indian Tribe Educational Legacy Fund KEXP † Coca-Cola Company Matching Gifts Music4Life Finlandia Foundation Seattle Chapter Laird Norton Wealth Management Foster Pepper PLLC Peg and Rick Young Foundation Firestone Walker Brewing Company † Microsoft Corporation Four Seasons Hotel † Puyallup Tribe of Indians Fox’s Seattle † Microsoft Matching Gifts Fran’s Chocolates ◊ RBC Foundation Inn at the Market † Nesholm Family Foundation Holland America Line ◊ RN74 Seattle † KAN | Orchids Flowers † Precept Wine ◊ Lakeside Industries S. L. Pitts PC Kerloo Cellars † Seattle Met Magazine † Lino Tagliapietra Inc. Sheraton Seattle Hotel † Milliman † Skanska USA KeyBank Foundation Lagunitas Brewing Company $25,000 – $49,999 Perkins Coie LLP Starbucks Coffee Company RBC Wealth Management The Metropolitan Grill † Ann and Gordon Getty Foundation The Westin Hotel, Seattle † Robert Chinn Foundation Milkwood & Co. † Rosanna, Inc. † O Wines † Boeing Matching Gift Program $3,000 – $4,999 Paul & Dottie Foundation of the Treeline Foundation Amphion Foundation Classic Pianos ◊ DuPage Foundation U.S. Bank Foundation The Capital Grille † DSquared † Rachel’s Ginger Beer † Weill Music Institute † Clark Nuber Encore Media Group † Rotie Cellars † Wells Fargo Foundation Dick’s Drive-In ◊ Garvey Schubert Barer † The PONCHO Foundation Anonymous J.P. Morgan Chase & Co. Fast Water Heater Steinway & Sons Seattle/Bellevue ◊ GE Foundation Matching Gifts Nordstrom Sun Liquor † $5,000 – $9,999 Genworth Foundation Peach Foundation Talking Rain † AETNA Google Matching Gifts Seattle Cancer Care Alliance Treveri Cellars † Apex Foundation IBM International Foundation Wells Fargo Private Bank Tolo Events † Atsuhiko & Ina Goodwin Tateuchi Lane Powell PC Foundation Tulalip Tribes Charitable Fund $15,000 – $24,999 Schwabe, Williamson & Wyatt The Benaroya Company Wilson Sonsini Goodrich Chihuly Studio † & Rosati Foundation BNY Mellon Clowes Fund, Inc. $1,000 – $2,999 Wyman Youth Trust Brown Bear Car Wash Estates Wine Room ◊ Acción Cultural Espagñola Chihuly Garden + Glass Jean K. Lafromboise Foundation Alfred & Tillie Shemanski Trust Fund Citi Community Capital † In-Kind Support Port Blakely Big Mario’s Pizza † Creelman Foundation ◊ Financial and In-Kind Support Sheri and Les Biller Family Foundation Brandon Patoc Photography † Davis Wright Tremaine Wild Ginger Restaurant † Cadence Winery † D.V. & Ida McEachern Charitable Trust Caffé Vita † GE Foundation CityBldr

GOVERNMENT SUPPORT

Important grant funding for the Seattle Symphony is provided by the government agencies listed below. We gratefully acknowledge their support, which helps us to present innovative symphonic programming and to ensure broad access to top-quality concerts and educational opportunities for underserved schools and communities throughout the Puget Sound region. For more information about the Seattle Symphony’s family, school and community programs, visit seattlesymphony.org/families-learning.

encoremediagroup.com/programs 41 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES HOW TO ORDER: HOW TO GIVE: Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our TICKET OFFICE: The concert you’re about to enjoy is possible because of donations made by generous presenting sponsors and committees who make these The Seattle Symphony Ticket Office is located events possible. Individuals who support the events music-lovers like you. at Third Ave. & Union St., downtown Seattle. below are included among the Individual Donors listings. Likewise, our corporate and foundation HOURS: Mon–Fri, 10am–6pm; Sat, 1–6pm; We invite you to join the caring community of partners are recognized for their support in the and two hours prior to performances and individuals, companies and foundations who bring Corporate & Foundation Support listings. For more through intermission. outstanding symphonic music to the community. information about Seattle Symphony events, please visit seattlesymphony.org/give/special-events. PHONE: PHONE: 206.215.4747 or 1.866.833.4747 206.215.4832 OPENING NIGHT GALA, SEPTEMBER 16, 2017 Honoring Leslie and Dale Chihuly ONLINE: seattlesymphony.org. ONLINE: SUPPORTING SPONSORS seattlesymphony.org/give JPMorgan Chase & Co. GROUP SALES: Nordstrom

206.215.4818 or MAILING ADDRESS: CO-CHAIRS [email protected]. P.O. Box 21906, Seattle, WA 98111-3906 Renée Brisbois Terry Hecker MAILING ADDRESS: P.O. Box 2108, Seattle, WA 98111-2108 COMMITTEE Kathleen Boyer Hisayo Nakajima Dr. Meredith Broderick Paul Rafanelli Zartouhi Elizabeth Roberts Dombourian-Eby Jon Rosen SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Kathy Fahlman Dewalt Christine Suignard Located in The Boeing Company Gallery, Symphonica is from ushers. Beth Ketcham open weekdays from 11am–2pm and 90 minutes prior to SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Benaroya Hall is barrier-free and meets or exceeds all HOLIDAY MUSICAL SALUTE, DECEMBER 5, 2017 PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those CO-CHAIRS with disabilities are available. Those with oxygen Rebecca Ebsworth COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous flow. Michelle Codd is located in The Boeing Company Gallery. Requests for accommodations should be made when COMMITTEE LATE SEATING: Late-arriving patrons will be seated purchasing tickets. For a full range of accommodations, Roberta Downey Tiffany Moss at appropriate pauses in the performance, and are please visit our website at seattlesymphony.org. Kathleen Mitrovich Kirsten Towfiq invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. An infrared hearing system is available for patrons TEN GRANDS, MAY 13, 2017 CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Kathy Fahlman Dewalt The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Co-Founder and Executive Director is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. COMMITTEE Rosanna Bowles Carla Nichols LOST AND FOUND: Please contact the Head ADMISSION OF CHILDREN: Children under the age of Cheri Brennan Fawn Spady Usher immediately following the performance or 5 will not be admitted to Seattle Symphony performances Steven Dewalt Saul Spady call Benaroya Hall security at 206.215.4715. except for specific age-appropriate children’s concerts. Tom Horsley Stephanie White Nader Kabbani David Woolley-Wilson EMERGENCY PHONE NUMBER: Please leave the BENAROYA HALL: Excellent dates are available for Ben Klinger Jessie Woolley-Wilson appropriate phone number, listed below, and your exact those wishing to plan an event in the S. Mark Taper Ghizlane Morlot Barbara Wortley seat location (aisle, section, row and seat number) with Foundation Auditorium, the Illsley Ball Nordstrom your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand CLUB LUDO, JUNE 9, 2017 the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall CHAIR Hall, 206.215.4776. for more information. Tiffany Moss COMMITTEE Eric Berlinberg Erica Gomez Brittany Boulding Eric Jacobs DINING AT BENAROYA HALL Duncan Carey Jason Perkizas Powered by Tuxedos and Tennis Shoes Catering and Events Samantha DeLuna Talia Silveri Jackie Ernst Saul Spady MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a few short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to ALL ticket holders two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call 206.336.6699.

DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal before a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid waiting in line at intermission.

42 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt

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A MUSICAL PARTNERSHIP In June a quartet of Seattle Symphony musicians traveled to The afternoon’s recital featured Symphony musicians Natasha Microsoft’s Redmond campus to perform for employees and Bazhanov, violin; Artur Girsky, violin; Walter Gray, cello; and their families. The afternoon recital is part of a series of on- Rachel Swerdlow, viola. The quartet performed Mozart’s String campus performances celebrating the longstanding partnership Quartet No. 15 and Mendelsohn’s String Quartet No. 3, much to between Microsoft and the Symphony, and recognizing the the delight of the audience. generous support of Microsoft employees. The Seattle Symphony thanks the Microsoft community for Keith Yedlin of Microsoft opened the event, followed by more than 20 years of generous support, sharing the joy of Symphony Vice President of Development Jane Hargraft who symphonic music in Seattle and beyond. Special thanks to the welcomed guests and thanked attendees for their support, Microsoft ambassadors, employees who help facilitate on- highlighting the strong relationship between the Symphony campus Symphony events and outreach, for all their work on and Microsoft and the valuable impact their partnership has on this important partnership. the greater Puget Sound community.

PHOTOS: 1 Microsoft ambassadors: Keith Yedlin, Jack Freelander, Akshay Kulkarni and Stella Stamenova; not pictured: Ksenija Pergar 2 Symphony musicians Natasha Bazhanov, Artur Girsky, Walter Gray and Rachel Swerdlow 3 Microsoft employees and their families were an enthusiastic audience 4 & 5 Attendees also enjoyed talking with musicians following the recital 6 Microsoft employees came out in large numbers for the on-campus recital

encoremediagroup.com/programs 43 LUXURY Nothing if not rare.

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