NOVEMBER 2017
LUDOVIC MORLOT, MUSIC DIRECTOR
2017–2018 FEATURED ARTIST KENNETH TARVER MORLOT C O N D U C T S BERLIOZ LES NUITS D’ÉTÉ SYMPHONIE FANTASTIQUE REQUIEM
KIRILL GERSTEIN P L A Y S RACHMANINOV PIANO CONCERTO NO. 3 CONTENTS
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EAP full-page template.indd 1 7/17/17 3:08 PM CONTENTS NOVEMBER 2017
4 / CALENDAR
6 / THE SYMPHONY
10 / NEWS
FEATURES 12 / TENOR OF GRACE
14 / YOUR SYMPHONY. YOUR LEGACY.
CONCERTS 17 / November 2, 4 & 5 BERLIOZ SYMPHONIE FANTASTIQUE
22 / November 9 & 11 BERLIOZ REQUIEM
30 / November 10 RAVEL & SCHUBERT
32 / November 15 DEVOTCHKA WITH THE SEATTLE SYMPHONY
33 / November 16, 17 & 18 HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT WITH THE SEATTLE SYMPHONY
34 / November 30, December 1 & 2 RACHMANINOV PIANO 17 / IAN BOSTRIDGE CONCERTO NO. 3 Photo: Sim Canetty-Clarke Sim Photo: 46 / GUIDE TO THE SEATTLE SYMPHONY
47 / THE LIS(Z)T
32 / DEVOTCHKA 22 / SEATTLE SYMPHONY CHORALE Photo: Photo: Tso Jerome Photo courtesyPhoto of DeVotchKa
ON THE COVER: Kenneth Tarver 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 November & Classical KING FM 98.1 every December 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
■ NOVEMBER 7:30pm 7:30pm 2pm Finlandia Berlioz Symphonie Live @ Benaroya Hall: Foundation: Finland 100 2pm fantastique Hauschka 7:30pm SRJO with Symphony Musicians Wycliffe Gordon: The Circle Celebration* Meet the Musicians 8pm Art of the Trombone Post-concert Live @ Benaroya Hall: 8pm Berlioz Symphonie Reception* Yanni fantastique 1 2 3 4
2pm Berlioz Symphonie 10am 7:30pm 7:30pm 8pm 2pm Cascade Youth fantastique Planned Giving Live @ Benaroya Hall: Berlioz Requiem Ravel & Schubert Symphony Orchestra 7pm Music of Seminar* 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 5:30pm 7:30pm 7:30pm Harry Potter 8pm Harry Potter 2pm Seattle Youth Byron Schenkman & AIA Seattle: AIA Live @ Benaroya and the Chamber of and the Chamber of Symphony Orchestra Friends — Schumann: Honor Awards Hall: DeVotchKa Secrets™ in Concert with Secrets™ in Concert with 2pm Casa Patas Flamenco: Binomio The Poet Speaks with the Seattle the Seattle Symphony the Seattle Symphony 7:30pm SCGS: Brasil Symphony 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 7:30pm Symphony Orchestra Live @ Benaroya Encanto Holiday 5pm RCMFS: Hall — YIRUMA LIVE Concierto Autumn Evenings in North America 2017 8pm 7:30pm NWAA, KNKX Live @ Benaroya 88.5 & The Stranger Hall: The Tenors present David Sedaris 19 20 21CASA PATAS FLAMENCO22 23 24 25
7pm 7:30pm 10am 7:30pm ■ DECEMBER 11am SPU: Sacred Sounds Seattle Arts & Friends Open Rachmaninov Piano Family Concerts: 12pm of Christmas Lectures presents Rehearsal* Concerto No. 3 The Snowman Isabel Allende Rachmaninov Piano 7:30pm Seattle Arts Concerto No. 3 8pm & Lectures presents Rachmaninov Piano Kevin Young Concerto No. 3 26 27 28 29 30 1 2
2pm 10am Holiday Musical 10:30am Tiny Tots: 9:30, 10:30 & 11:30am Jeremy Denk in Salute* Holiday Hooray! Tiny Tots: Holiday Recital 1pm Benaroya Hall 8pm Holiday Pops Hooray! Tour 7:30pm Live @ 8pm Live @ 2 & 8pm Benaroya Hall 7:30pm NWU: Benaroya Hall: Emily Holiday Pops presents Joe Biden Christmas Traditions Haines & The Soft Skeleton 3 4 5 RUTH REINHARDT6 CONDUCTS MESSIAH7 8 9
2pm Holiday Pops 3:30pm 7:30pm 1 & 8pm 7:30pm Seattle Men’s Friends Onstage The Coats Handel Messiah Chorus: A Sassy Brassy Rehearsal* Holiday 8pm 2 & 7:30pm Handel Messiah The Coats 7:30pm Live @ Benaroya Hall: Portland Cello Project 10 11 12 13 14 15 16
2pm 7:30pm 7:30pm 7:30pm 7:30pm 7:30pm 2 & 7:30pm Handel Messiah Ensign Symphony Ensign Symphony Seattle Men’s Chorus: Seattle Men’s Chorus: A Festival of Lessons Seattle Men’s Chorus: 2pm The Coats & Chorus presents & Chorus presents A Sassy Brassy A Sassy Brassy & Carols A Sassy Brassy Hosannah! Hosannah! Holiday Holiday Holiday 8pm Seattle Men’s Chorus: A Sassy Brassy Holiday 17 18 19 20 21 22 23
7pm Byron 8pm 8pm Schenkman & Beethoven Beethoven 24 Friends – An Evening Symphony No. 9 Symphony No. 9 of Viennese Classics 9pm New Year’s Eve: 7:30pm Great Balls of Fire! Beethoven 31 25 26 27 Symphony No. 9 28 29 30
LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information
Live @ Benaroya Hall — Casa Patas Flamenco: Binomio (November 16–18) 4 SEATTLESYMPHONY.ORG Ruth Reinhardt conducts Messiah (December 15–17)
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I’ve been an actor all my life, so I was always working in the MONTROSE TRIO December 9 evenings. I’ve performed with nearly all the local stage companies at one time The Montrose Trio, comprised of pianist Jon Kimura Parker and former or another. My greatest successes have members of the Tokyo String Quartet, makes its Meany Center debut been in British comedies, but I’ve done with a program that ranges from the whimsy of Haydn to the colorful just about every kind of role. Now that I’m world of Shostakovich. semi-retired, I have a lot more time to go to concerts. My favorite piece of music is Brahms’ Fourth Symphony, but I also really love violin concertos. Those are among my favorite concerts to see.
– Brian
CONNECT WITH US: Share your photos using #ListenBoldly and MARK O’CONNOR FEAT. THE O’CONNOR BAND follow @seattlesymphony on Facebook, AN APPALACHIAN CHRISTMAS December 16 & 17 Instagram, Twitter and Snapchat. Download the Listen Boldly app to easily purchase Celebrate the season with an unforgettable evening of festive fiddling tickets, skip the Ticket Office lines and receive exclusive offers. and holiday bluegrass, as well as songs from O’Connor’s recent album, Coming Home.
seattlesymphony.org TICKETS: 206.215.4747 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 Open Position 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 ■ SIMON JAMES Second Assistant Concertmaster
NOV 03 7:30
Pianist Bassoonist Jovino Martin Santos Neto Kuuskmann An elegant & intimate venue located in the heart of downtown Bellevue. Featuring weekly music performances & table seating paired with wine and beer selections you can enjoy throughout the performance.
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Photo: James Holt James Photo: 2:00
Even if you’ve never heard the Seattle Symphony in concert, you’ve probably heard violinist Simon James in one of your favorite films or video games. His extensive list of recordings includes everything from Halo and World of Warcraft to Selma and Eternal Sunshine of the Spotless Mind. He’s even toured with Billy Joel and Elton John. Cellist Nathan Chan Most recently Simon was the featured soloist on A.R. Rahman’s The Flying Lotus, commissioned and premiered by the Seattle Symphony as part of the 2017 Celebrate Asia concert. Rahman, the Grammy and Academy Award-winning composer for the www.resonance.events film Slumdog Millionaire, released the recording of The Flying Lotus through Universal Music on October 6. (A.R. Rahman and Simon James are pictured together above.)
“As long as the standard is good, I’ll play anything,” reflects James. “I take pride in contributing my part, whether it’s rock-and-roll, a video game or a Beethoven symphony.” That passion for his work carries over into everything he does. “I like to work hard and I don’t have too many hobbies,” says James. “My kids would tell you that I play spider solitaire and binge on Netflix but that’s about it.”
Today he prides himself on teaching and training a new generation of violinists — a path he initially avoided. “I used to vow that I would never teach because I had my own problems to work on,” laughs James. “But I think the key to having a good career is reinventing yourself every once in awhile. It keeps things fresh.”
But what he loves most is returning to the stage each night. “Every night we go to work and the audience goes nuts and that feels pretty special,” says Simon. “The audience is a big part of the Seattle Symphony. They’re why I love playing.”
For more on the Seattle Symphony, visit seattlesymphony.org/stories.
encoremediagroup.com/programs 7 ■ SIMPLE GIFTS ROOTS Young Adult Shelter
The Seattle Symphony began working with ROOTS Young Adult Shelter in 2013. Located in the University District, ROOTS offers 45 beds every night, serving almost 600 young people last year alone. Guests are ages 18 through 25 and are often leaving abusive homes, foster care or unaccepting parents. ROOTS welcomes them warmly and connects them with options for jobs and housing.
In addition to receiving complimentary tickets to concerts throughout the season, this month Seattle Symphony staff, board, musicians and volunteers will come together to prepare and serve a meal to youth at ROOTS.
ROOTS Young Adult Shelter is 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.
“I could not have felt more at home anywhere else. Thank you for allowing us to enjoy this unique experience.”
Photo courtesyPhoto of ROOTS – Concertgoer from ROOTS
■ 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 S. Philip, President, Mary Ann Champion Yoshi Minegishi * Executive Committee Member Douglas Jackson Seattle Symphony Chorale Robert Collett Marilyn Morgan Susan Johannsen Bonnie Peterson, President, Isa Nelson Nader Kabbani Seattle Symphony Volunteers Viren Kamdar
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair Mario Abbruzzese Leslie Jackson Chihuly David Tan Chair Muriel Van Housen Secretary Brian Grant J. Pierre Loebel Rick White Michael Slonski Treasurer Joaquin Hernandez
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair 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 Charlie Wade Teaching Artists Renee Duprel Senior Vice President of Marketing Associate Vice President of Development & Business Operations (Campaign) COMMUNICATIONS Jennifer Adair Maria Kolby Wolfe Shiva Shafii Vice President & General Manager Major Gifts Officer (Campaign) Public Relations Manager Maureen Campbell Melville Betsy Groat Heidi Staub Vice President & Chief Financial Officer Development Officer (Campaign) Managing Editor Rosalie Contreras Becky Kowals James Holt Vice President of Communications Director of Major Gifts and Planned Giving Digital Content Manager Elena Dubinets Nicholas Walls, Marsha Wolf Andrew Stiefel Vice President of Artistic Planning Major Gift Officers Social Media & Content Manager Jane Hargraft Amy Bokanev Vice President of Development MARKETING Gift Officer Kristen NyQuist Christy Wood Jessica Lee, Tess Benson Director of Board Relations Director of Marketing Development Coordinators (Major Gifts) & Strategic Initiatives Rachel Spain Paul Gjording Laura Reynolds Marketing Manager Senior Major Gift Officer Vice President of Education & Community (Foundations & Government Relations) Kyle Painter Engagement Megan Hall Marketing Operations Coordinator Director of Development Operations EXECUTIVE OFFICE Barry Lalonde Alicia Archambault Director of Digital Products Margaret Holsinger Stewardship Manager Executive Assistant to the President & CEO/ Jason Huynh Martin K. Johansson Office Manager Digital Marketing Manager Development Communications Manager Herb Burke Jacob Roy ARTISTIC PLANNING Tessitura Manager Data Operations Manager Paige Gilbert Gerry Kunkel Maery Simmons Assistant Artistic Administrator Corporate & Concierge Accounts Manager Data Entry Coordinator Rose Gear Jessica Forsythe Tami Horner Personal Assistant to the Music Director Art Director Senior Manager of Special Events Dmitriy Lipay Helen Hodges, Jadzia Parker & Corporate Development Director of Audio & Recording Graphic Designers Zoe Funai Blaine Inafuku Forrest Schofield Special Events Manager Artist Services, Media & Chorale Manager Group Services Manager Ryan Hicks Joe Brock Corporate Development Manager ORCHESTRA & OPERATIONS Retail Manager Kelly Woodhouse Boston Christina Hajdu FINANCE & FACILITIES Director of Operations Sales Associate David Nevens Ana Hinz Brent Olsen Controller Production Manager Ticket Sales Manager Megan Spielbusch Scott Wilson Nina Cesaratto Accounting Manager Personnel Manager Assistant Sales Manager Jacqueline Moravec Keith Higgins Molly Gillette Payroll/AP Accountant Assistant Personnel Manager Ticket Office Coordinator 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 Aaron Burns, Damien De Witte Chris Dinon, Building Engineers Aaron Gorseth, Sophia El-Wakil John Roberson, Facilities Sales & Operations Coordinator Rodney Kretzer Michael Schienbein, Keith Godfrey Facilities & Security Coordinator Ira Seigel House Manager Stage Technicians HUMAN RESOURCES Tanya Wanchena Assistant House Manager & Usher Scheduler Kathryn Osburn EDUCATION & Human Resources Generalist COMMUNITY ENGAGEMENT Milicent Savage, Patrick Weigel Karya Schanilec Amy Heald Assistant House Managers Receptionist/Marketing Assistant Collaborative Learning Manager Dawn Hathaway, Lynn Lambie, Mel Longley, Ryan Marsh, Markus Rook Jérémy Jolley Head Ushers Artistic Collaborations 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
Company Gallery all month long. long. month all Gallery Company {
the Seattle Symphony.” Seattle the
disabilities every step of the way. Drop donations off at collection boxes in The Boeing Boeing The in boxes collection at off donations Drop way. the of step every disabilities
forward to becoming Music Director of of Director Music becoming to forward
with Northwest Center to collect clothing, supporting local children and adults with with adults and children local supporting clothing, collect to Center Northwest with
with deeply felt joy and honor that I look look I that honor and joy felt deeply with
During the month of November the Seattle Symphony is partnering partnering is Symphony Seattle the November of month the During A MONTH OF CARING OF MONTH A
the world,” added Dausgaard. “So it is is it “So Dausgaard. added world,” the natural beauty of this magical part of of part magical this of beauty natural
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“I love the city of Seattle and the great great the and Seattle of city the love “I seattlesymphony.org/hms there! you See Plan.
January and June. June. and January and a delightful luncheon, all while supporting the Seattle Symphony Players’ Pension Pension Players’ Symphony Seattle the supporting while all luncheon, delightful a and
conduct two subscription programs in in programs subscription two conduct Apprentices. Join us at the Westin Seattle for fabulous pop-up shops, hot cider, mimosas mimosas cider, hot shops, pop-up fabulous for Seattle Westin the at us Join Apprentices.
In the current season Dausgaard will will Dausgaard season current the In in a concert of holiday favorites featuring Young Artists and the Northwest Boychoir Boychoir Northwest the and Artists Young featuring favorites holiday of concert a in
November 10. November
On December 5 conductor Stuart Chafetz leads the orchestra orchestra the leads Chafetz Stuart conductor 5 December On HOLIDAY MUSICAL SALUTE MUSICAL HOLIDAY Inextinguishable,” will be available on on available be will Inextinguishable,”
{ BENE NOTA ” and No. 4, “The “The 4, No. and ” espansiva, Sinfonia “
of Nielsen’s Symphonies No. 3, 3, No. Symphonies Nielsen’s of
Symphony Media, a live recording recording live a Media, Symphony
His most recent release on Seattle Seattle on release recent most His
Ludovic Morlot Ludovic
Award. Award. Gramophone
and nominated for a 2017 2017 a for nominated and Europadisc Cordialement, Cordialement,
was named Disc of the Year by by Year the of Disc named was
which Cooke), Deryck by version holiday season. season. holiday
Mahler’s Symphony No. 10 (performing (performing 10 No. Symphony Mahler’s have a very happy Thanksgiving, and that we see you many times this this times many you see we that and Thanksgiving, happy very a have
include the 2016 live recording of of recording live 2016 the include you hope I journey! musical this on me joining for you thank always, As
projects with the Seattle Symphony Symphony Seattle the with projects
recorded orchestras. Dausgaard’s Dausgaard’s orchestras. recorded Beethoven’s Symphony No. 9, as well as our annual Holiday Pops concerts. concerts. Pops Holiday annual our as well as 9, No. Symphony Beethoven’s
Dausgaard joins one of America’s most most America’s of one joins Dausgaard Messiah and and Handel’s enjoy to you invite I again. yet works musical
With over 70 albums to his name, name, his to albums 70 over With
Of course, the holiday season invites us to experience some of our favorite favorite our of some experience to us invites season holiday the course, Of
and abandon.” and
devotion spirit, team generosity, fuses with us in California. California. in us with
artistry inspiring “Their Dausgaard. tour on and Seattle in both perform will he which Concerto, “Emperor”
Symphony is very special to me,” shared shared me,” to special very is Symphony
Beethoven’s for spring next orchestra the join will Denk more. and
“Making music with the Seattle Seattle the with music “Making
Schumann Beethoven, by music of recital thrilling a be to sure is what
European orchestras. European
This December please join us as our Featured Artist Jeremy Denk delivers delivers Denk Jeremy Artist Featured our as us join please December This
several with director music a as
experience extensive and recording
“Sinfonia espansiva” “Sinfonia and Symphony No. 4, “The Inextinguishable.” “The 4, No. Symphony and catalogue:
to programming, a deep history with with history deep a programming, to
2019. This new disc includes two powerhouse symphonies from Nielsen’s Nielsen’s from symphonies powerhouse two includes disc new This 2019.
brings a highly individual approach approach individual highly a brings
Conductor Thomas Dausgaard, who will succeed me as Music Director in in Director Music as me succeed will who Dausgaard, Thomas Conductor
Guest Conductor since 2014, Dausgaard Dausgaard 2014, since Conductor Guest
Nielsen recording led by my dear friend, Seattle Symphony Principal Guest Guest Principal Symphony Seattle friend, dear my by led recording Nielsen The Seattle Symphony’s Principal Principal Symphony’s Seattle The
Seattle Symphony Media. On November 10 the label will release a new all- new a release will label the 10 November On Media. Symphony Seattle 2018–2019 season. 2018–2019
I am so pleased at the continued success of our in-house record label, label, record in-house our of success continued the at pleased so am I Morlot, whose tenure concludes after the the after concludes tenure whose Morlot,
succeed current Music Director Ludovic Ludovic Director Music current succeed
in D minor, one of my favorite French symphonies. French favorite my of one minor, D in 2019–2020 season! Dausgaard will will Dausgaard season! 2019–2020
conductor Johannes Debus, who will also conduct Franck’s Symphony Franck’s conduct also will who Debus, Johannes conductor
Seattle Symphony beginning in the the in beginning Symphony Seattle
become the next Music Director of the the of Director Music next the become Sergey Rachmaninov’s fiendishly difficult Piano Concerto No. 3 led by by led 3 No. Concerto Piano difficult fiendishly Rachmaninov’s Sergey
conductor Thomas Dausgaard will will Dausgaard Thomas conductor Also in November we’ll welcome pianist Kirill Gerstein to play to Gerstein Kirill pianist welcome we’ll November in Also
We are thrilled to announce that Danish Danish that announce to thrilled are We
you to appreciate the composer’s status as a true musical revolutionary. revolutionary. musical true a as status composer’s the appreciate to you some of Berlioz’s most moving and groundbreaking compositions will help help will compositions groundbreaking and moving most Berlioz’s of some
Photo: Brandon Patoc
Requiem (see page 12 for more on Kenneth Tarver). I hope this deep dive into into dive deep this hope I Tarver). Kenneth on more for 12 page (see Requiem Artist Kenneth Tarver, who joins us for Berlioz’s Berlioz’s for us joins who Tarver, Kenneth Artist
Photo: Lisa-Marie Mazzucco Les nuits d’été nuits Les , and our Featured Featured our and , Berlioz’s with
who will make his Seattle Symphony debut debut Symphony Seattle his make will who
two superb singers: Englishman Ian Bostridge, Bostridge, Ian Englishman singers: superb two
incredible music to life, we will have help from from help have will we life, to music incredible
on the music of Hector Berlioz. To bring this this bring To Berlioz. Hector of music the on
This month I am looking forward to focusing focusing to forward looking am I month This
wonderful music in store for you! you! for store in music wonderful
Welcome to Benaroya Hall. We have so much much so have We Hall. Benaroya to Welcome
DAUSGAARD!
LUDOVIC MORLOT, MUSIC DIRECTOR MUSIC MORLOT, LUDOVIC
THOMAS THOMAS
NEWS FROM: NEWS
ANNOUNCING ANNOUNCING ■ November 2017 Volume 31, No. 3 PREMIER RETIREMENT LIVING
Paul Heppner Publisher
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encoremediagroup.com/programs 11 TENOR OF GRACE Seattle Symphony Featured Artist this season, Kenneth Tarver finds transcendence in the details.
BY ANDREW STIEFEL
Seattle Symphony Featured Artist this season, Tarver appears with Morlot and the orchestra in Berlioz’s Requiem on November 9 and 11 and in a chamber concert on November 10 performing Ravel’s Chansons madécasses. Later this season he joins Morlot in the Seattle Symphony’s production of Stravinsky’s Persephone on April 26 and 28.
“The repertoire that I have been invited to sing with your wonderful orchestra and Morlot is indeed amazing,” says Tarver. “I feel so privileged making music with such great musicians in the beautiful acoustics of Benaroya Hall.”
Renowned for the beauty of his tone and his impressively even vocal range, Tarver has performed with many of the leading conductors and orchestras today, including Sir Colin Davis and Pierre Boulez. “When I worked with Boulez and The Cleveland Orchestra, he brought a special transparency to the orchestra in Berlioz’s music,” says Tarver. “He was able to create such a cushion of delicate sound that it became very easy to spin and float the vocal line as required.”
Tarver grew up on music, but not necessarily Berlioz. “I grew up in Motown and as a youngster in Detroit I was always fascinated with the creative arts,” reflects Tarver. “In elementary school at the age of 9 I played the role of the Tin Man in The Wizard of Oz and I recall the horror of having to appear on stage in ballet shoes and tights.”
His music teacher at the time recognized Tarver’s early talents and encouraged him to pursue music. At age 16, he Conceived for more than 300 musicians, Hector Berlioz’s left home to attend the Interlochen Arts Academy and begin Requiem alternates between grand gestures and intimate his vocal training. “The idea of a career in music has been moments. With multiple choirs and brass ensembles surrounding with me since my early teens,” says Tarver. “But winning the the audience, Berlioz even suggests that the tenor solo could Met’s competition and being chosen for their young artist instead be sung by 10 tenors — if the conductor chooses. Instead program made me realize that maybe I had what it takes to of ten soloists, however, Seattle Symphony Music Director Ludovic pursue a career.” Morlot has chosen to feature the voice of a single tenor — Kenneth Tarver. There was never much doubt that he would be a tenor, and specifically, a tenor di grazia. His voice is agile, light and “I’m thrilled to welcome my dear friend Kenneth back to sing graceful — nothing like the heavier dramatic tenors associated Berlioz and Stravinsky with us this season,” says Morlot. “Kenneth with Puccini or Wagner. “A tenor di grazia doesn’t beat the is an incredible artist and I know you’ll enjoy his sensitive and orchestra and listener into submission,” laughs Tarver. lyrical approach to this music.” “You caress and dazzle them.”
12 SEATTLESYMPHONY.ORG ARRIVE CURIOUS. LEAVE INSPIRED.
For Tarver, tenor di grazia is as much about the technique as the expressivity of the voice type. “It means not only having a beautiful sound but all the style and technical wizardry that goes with music that requires one to move the voice very quickly, sustain long melodies and have a well-balanced sound,” he explains.
His signature roles are found in the music of Mozart and Rossini, where technical agility intermingles with elegant, deeply felt vocal lines. “We have a desire for Always Free | Next to Seattle Center hyper expressivity in the arts, which is Tuesday–Saturday, 10am–5pm wonderful in a way as it encourages DiscoverGates.org | dramatic engagement with the music and the audience,” says Tarver. “The challenge is finding a balance between expression and the technical demands of the music.” Fresh. Local. Seasonal. Mexican Good.
It is clear that Tarver makes the music his priority, finding transcendence in the details of a perfectly crafted melody. “As I sing through the journey of my life, I have been privileged to see the world and create art with the finest people,” he reflects. “I feel grateful for the opportunities that I’ve had to share this wonderful music with audiences and, hopefully, I can look forward to many more.”
You can purchase tickets for Kenneth Tarver’s appearances by stopping by the Ticket Concierge in the Grand Lobby (available for most performances) before your concert or during intermission, or on our Listen Boldly app, online, in-person at the Ticket Office or by calling 206.215.4747.
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encoremediagroup.com/programs 13 YOUR SYMPHONY. YOUR LEGACY. Stories from the Musical Legacy Society BY MARTIN K. JOHANSSON
“The Symphony’s music brings the soft side of life to your heart. It feeds the soul, erases sorrow and celebrates life. That’s a wonderful thing.”
making great performances for us. It doesn’t happen overnight. They’ve spent their lives preparing for this moment, and that’s extraordinary. Photo: James Holt James Photo:
Why is it important to you to support the Seattle Symphony as This month we hear from Jean Baur Viereck about her a donor and a member of the Musical Legacy Society? passion for symphonic music and the Seattle Symphony. Jean is a member of the Musical Legacy Society which Well, I support the Symphony and wholeheartedly believe in the honors patrons who have included the Symphony in their Symphony. I believe that everybody gives something. You give will or estate plans. Legacy donors help to ensure a vibrant something when you attend, you give something if you volunteer future for the Seattle Symphony. and, if you can, you give money. The important thing is that we don’t only take, but must also give something back. You give from Jean, have you always been interested in symphonic music? the heart and you give whatever you can. My mother was very culturally attuned, she was really an I think that a thoughtful citizen contributes to those entities they aficionado of good music, so I went with her to the symphony enjoy while they’re alive. And isn’t it a wonderful thought to as a small child. My mother took me to everything. She wanted think in the hereafter, when you’re gone, that organization will me to be exposed to all of the arts. I can remember a key part of be there to help other people learn and experience the benefits my growing up was a little radio. I used to listen in bed until late you’ve enjoyed? You’re leaving a little bit of yourself to help at night. The radio had a red dial, and when the light was on, it somebody else. shined through the sheets, and my mother could see that I was listening to the radio too late at night. I always got caught because Thank you, Jean, for sharing your passion and the joy of I had it on. symphonic music with your community! What do you enjoy the most about the concert experience?
The Symphony’s music brings the soft side of life to your heart. It feeds the soul, erases sorrow and celebrates life. The musicians For more information about the Musical Legacy Society come together to make music, to make the audience feel good. contact Becky Kowals at 206.215.4852 or That’s a wonderful thing. [email protected].
And I so appreciate the musicians. Knowing how many years of The Seattle Symphony’s Musical Legacy Society is dedication, study and commitment goes into sitting on that stage, generously sponsored by Laird Norton Wealth Management.
14 SEATTLESYMPHONY.ORG DISCOVER A NEW ERA OF LUXURY
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EAP full-page template.indd 1 10/13/17 4:19 PM PRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA
MASTERWORKS SEASON SPONSOR OF THE SEATTLE SYMPHONY
OFFICIAL AIRLINE OF THE SEATTLE SYMPHONY ORCHESTRA
EAP full-page template.indd 1 10/19/16 3:56 PM OVERVIEW THURSDAY, NOVEMBER 2, 2017, AT 7:30PM SATURDAY, NOVEMBER 4, 2017, AT 8PM SUNDAY, NOVEMBER 5, 2017, AT 2PM Hector Berlioz, perhaps more than any artist of his time, embodied the spirit of 19th-century Romanticism. The composer’s BERLIOZ SYMPHONIE Romantic temperament affected both his life and music. Passionate and FANTASTIQUE idealistic, Berlioz was given to incendiary enthusiasms and determined struggles. Through most of his career he crusaded against Paris’ musical establishment, which looked on his innovations with suspicion or Ludovic Morlot, conductor outright indignation. Ian Bostridge, tenor Seattle Symphony Critics who judged Berlioz a radical were not entirely wrong. Berlioz disdained the safe, orderly music of his French contemporaries, HECTOR BERLIOZ Les nuits d’été, Op. 7 (“Summer Nights”) 32’ preferring instead whatever effect best /text Théophile Gautier “Villanelle” expressed his ideas. His works were /edited Ian Kemp “Le spectre de la rose” not, however, the ravings of a musical (“The Ghost of the Rose”) barbarian, as his critics claimed, but the “Sur les lagunes: Lamento” authentic and imaginative expression of (“On the Lagoons: Lament”) a well-honed sense of drama. Each of “Absence” Berlioz’s compositions expresses a dramatic “Au cimetière: Clair de lune” scenario, often in highly vivid terms. This is (“At the Cemetery: Moonlight”) as true of his purely instrumental pieces as “L’île inconnue” (“The Unknown Island”) of his operas or other vocal works, as our IAN BOSTRIDGE, TENOR concert demonstrates.
INTERMISSION The focus of this week and next HECTOR BERLIOZ Symphonie fantastique, Op. 14 49’ week’s program is to explore the (“Fantastic Symphony”) music of Berlioz, a composer who is very important both for the history of music and Rêveries—Passions (“Visions and Passions”) for me personally. Berlioz opened the door Un bal (“A Ball”) to fully fledged Romanticism; his music Scène aux champs (“In the Country”) serves as a bridge between late Marche au supplice (“March to the Scaffold”) Beethoven and the world of Liszt and Songe d’une nuit du sabbat Wagner. Through this music we can (“Dream of a Witches’ Sabbath”) understand why Berlioz developed a reputation as a great orchestrater — such invention and poetry!
These three pieces show a very young Media Sponsor: Classical KING FM 98.1 composer exploring the quintessential Month of Caring Sponsor: Northwest Center themes of Romanticism: love and death. Les nuits d’été follows the progress of love in one’s life, from youthful innocence to loss, and finally, renewal. Symphony fantastique explores the proximity of love and death, while the Requiem is a kind of celebration in death.
I am privileged to welcome Ian Bostridge in Seattle. I had the chance to perform Britten’s Serenade for Tenor, Horn and Strings with him in Amsterdam. And it’s a joy to welcome back our Featured Artist Kenneth Tarver, who sang Berlioz’s Romeo and Juliet with us a few years ago. 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 – Ludovic Morlot 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 17 PROGRAM NOTES
HECTOR BERLIOZ instrument orchestra, the Orchestra of a beloved, but with the possibility of the Age of Enlightenment. Berlioz creates reunion. Consequently, its music is of Les nuits d’été, Op. 7 (“Summer Nights”) an absolutely unique sound world which brighter character. BORN: La Côte-Saint-André, near Grenoble, summons up the poetic aura of mid- France, December 11, 1803 Romanticism but also speaks to us now. Like “Le spectre de la rose,” the fifth song DIED: Paris, March 8, 1869 Full of humour and sensuality as these in the cycle, “Au cimetière,” is a ghost story songs are, it is great to be singing them in of sorts, and Berlioz’s atmospheric music is WORK COMPOSED: unknown–1841; orchestrated Seattle and in such great company. perfectly suited to its haunting verses. The 1843–56 concluding song invites us to sail to the WORLD PREMIERE: Several songs of Les nuits – Ian Bostridge land of love. d’été were performed individually on different occasions during Berlioz’s lifetime, but evidently Hector Berlioz’s Les nuits d’été (“Summer Scored for solo tenor; pairs of woodwinds; 3 not the complete set. The occasion of the first Nights”) is perhaps the most beautiful horns; harp; strings. integral performance is unknown. cycle of love songs in French music, but the work’s genesis is shrouded in mystery. Berlioz seems to have written these six Berlioz was at his best when writing HECTOR BERLIOZ songs for mezzo-soprano and orchestra music of either high drama or in 1840 and 1841, though one or two Symphonie fantastique, Op. 14 dream-like languor. He gives us might have originated earlier. Unusually, (“Fantastic Symphony”) the latter in the second of these six since the composer was a prolific writer songs, “Le spectre de la rose,” weaving WORK COMPOSED: 1830–32 of letters, there is no mention of them in an exquisite musical tapestry whose WORLD PREMIERE: December 5, 1830, at his correspondence from this time. The combination of clarinet, flute, solo the Paris Conservatoire. François Habeneck songs speak of love, and especially lost cello and violin tones imparts a conducted an orchestra assembled especially for love, suggesting that Berlioz may have delicate sensuality. the occasion. experienced some romantic heartache at this time, yet nothing in his biography In the ensuing song, “Sur les lagunes,” directly supports this notion. Symphonie fantastique relates a story Berlioz combines the rhythms of a of obsessive love, represented by a barcarolle, the traditional Venetian Berlioz garnered the verses for Les nuits recurring melody that appears in gondolier’s song, with minor-key d’été from a collection of poems by varied forms throughout the composition. harmonies and striking aural gestures Théophile Gautier published in 1838. By We first encounter this theme in the initial to create the most dramatic music of the summer of 1841, the six songs were movement, where it is played by violins Les nuits d’été. complete and ready for publication in a against a spare accompaniment suggesting version with piano accompaniment. Over the the irregular beating of a distressed heart. The music of the final song, “L’île next decade and a half, Berlioz transcribed inconnue,” conjures up the wind and the piano parts for orchestra, completing In the second movement, the signature billowing sails described in the text. the orchestration of all six in 1856. Although theme intrudes upon an intoxicating other composers had set individual songs waltz melody and combines with it with orchestral accompaniment, Les nuits in counterpoint. I first got to know the Les nuits d’été d’été stands as the first important song cycle in a performance on LP with Jessye for voice and orchestra. The third movement begins with a duet Norman, Colin Davis and the London between English horn and oboe. Berlioz Symphony Orchestra. It was almost The six songs trace an arc from young, instructs the latter instrument to play from unbelievable, a quarter of a century later, hopeful love through bereft love and offstage, so that it sounds as if from a to be performing the same work with finally to what seems an acceptance of great distance. Sir Colin in New York. love’s impermanence. The first number, “Villanelle,” uses the imagery of a The final movement imagines a witches’ Ludovic Morlot and I share that springtime stroll in the woods to evoke sabbath, and the signature melody experience of having been supported youthful romance. Berlioz sets Gautier’s becomes a grotesque, mocking dance. and encouraged by Sir Colin and, verses to an appealing tune, but his artistry having worked on Britten and Mahler reveals itself most of all in the orchestral Berlioz was more than a composer of with Ludovic, it’s enormously exciting to asides that color and punctuate the colorful music. He was himself one of return to a piece which has been such an vocal melody. Orchestral sonority also the most colorful figures of the 19th important part of my repertoire over the plays a crucial role in the second song, century. Much of his life reads like a years (both in the piano and the orchestra “Le spectre de la rose.” Romantic novel, and its most fascinating versions) and with someone who is so chapter concerns the creation of his steeped in the French tradition. The mood turns darker with the third Symphonie fantastique. song, “Sur les lagunes,” a heartbroken I first performed Les nuits d’été with the lament for a deceased love. The ensuing late lamented Heinrich Schiff and an early In 1827 Berlioz, then a struggling graduate “Absence” also speaks of longing for of the Paris Conservatoire, attended a
18 SEATTLESYMPHONY.ORG IAN BOSTRIDGE Tenor
Ian Bostridge was born in performance of Hamlet by a troupe of dance begins to whirl; in its most violent London. He was a fellow English actors visiting Paris. In the role of outburst it mingles with the Dies irae, and in history at Corpus Ophelia was a beautiful young actress the dream is over (No. 5).” Christi College, Oxford named Harriet Smithson. As the composer (1992–95) and elected relates in his Memoirs: “The impression A fantastic plot on which to base a fantastic honorary fellow of the made on my heart and mind by her symphony. But the reality of subsequent college in 2001. In 2003 he was made an extraordinary talent, nay her dramatic events proved no less fabulous. After a Canetty-Clarke Sim Photo: genius, was equaled only by the havoc performance of an early version of his Honorary Doctor of Music wrought in me by the poet she so piece, Berlioz departed for Italy for what by the University of St. Andrews and in nobly interpreted.” was to be a three-year sojourn. Eventually 2010 he was made an honorary fellow of the composer felt stifled and restless there St. John’s College Oxford. In 2014 he was Berlioz’s infatuation with Harriet Smithson, and cut short his stay. Upon returning to Humanitas Professor of Classical Music at which he nursed for the next three years, Paris, his first order of business was a the University of Oxford. He was made a inevitably led to an extravagant expression. public concert of his music, and Symphonie CBE in the 2004 New Year’s Honors. His In 1830 the composer told a close friend fantastique was heard on December 5, international recital career takes him to the that he was writing a “grand symphony 1832. In the audience was none other than foremost concert halls of Europe, Japan and (Episode from an Artist’s Life) in which the Harriet Smithson, whom Berlioz had not North America. His many recordings have development of my infernal passion is to be seen for more than two years. won all the major international record prizes depicted.” He outlined the program of the and been nominated for 15 Grammys. In work as follows: She had been taken to the concert by 2016 he was awarded the The Pol Roger friends and had known neither what Duff Cooper Prize for non-fiction writing for “I imagine that an artist ... sees for the first music was to be performed nor who its his latest book, Schubert’s Winter Journey: time a woman who embodies the ideal of composer would be. But she recognized Anatomy of an Obsession. beauty and fascination that his heart has Berlioz at once as he entered the hall, and long been seeking; he falls desperately she suffered an even greater shock of in love with her. As the result of an odd recognition upon learning the “program” whim, whenever the image of the loved of Symphonie fantastique. Berlioz’s one appears ... it is accompanied by a memoirs describe her reaction: “‘Am I musical thought ... That is the reason for dreaming? I can no longer doubt. It is of the appearance, in every movement of the me he speaks. He loves me still.’ From that symphony, of the chief melody of the first moment, so she has often told me, she felt Allegro (No. 1). the room reel about her ... and at the end returned home like a sleepwalker with no “Finding himself one day in the country, he clear notion of what was happening.” hears in the distance two shepherds piping ... This pastorale immerses him in delightful That confrontation between Berlioz and reverie (No. 2). Harriet Smithson through the premiere of Symphonie fantastique proved momentous. “He goes to a ball, but ... his idée fixe They met the following day and within a MUSIC AT returns to trouble him, and the beloved year were married. melody makes his heart pound during ST. JAMES a brilliant waltz (No. 3). [Berlioz later In its narrative structure, intense subjectivity, CATHEDRAL reversed the order of these second and and themes of obsessive passion, third movements.] death and the supernatural, Symphonie 2017-2018 fantastique is perhaps the quintessential “In a fit of despair he poisons himself Romantic work of art. But beyond these with opium; but instead of killing him, the considerations is the music itself. Berlioz’s FRIDAY SUNDAY FRIDAY narcotic induces a horrible vision in which score is a dazzling composition of 12.15.17 12.31.17 1.26.18 he believes he has killed his beloved, compelling melodies and harmony, brilliant 7:30pm 11:00pm 8:00pm has been condemned to death, and orchestration and vivid musical drama, and A Service of The Americans Jubilate! with witnesses his own execution. March to it remains one of the most fantastic (in every Readings & in Paris: A Gala Cathedral the scaffold ... (No. 4). sense) musical experiences available. Carols New Year’s Eve Organist Cathedral Concert Joseph Adam Choir, Women’s Cathedral Choir Conducted by “He sees himself surrounded by a Scored for 2 flutes (the 2nd flute doubling Schola, Jubilate! & organ, works Stacey Sunde & piccolo); 2 oboes (the 2nd oboe doubling Young Women’s of Dupré, Dr. Paul Thornock, hideous throng of sorcerers and devils, Ensemble, Schola Widor, and chant-based come together to celebrate the sabbath English horn); 2 clarinets (the 1st clarinet Cantorum, Vierne. works by Parisian night ... At last the melody arrives ... The doubling E-flat clarinet); 4 bassoons; 4 horns; 2 Cathedral Brass. composers. ceremony begins. The bells ring, ... a chorus cornets and 2 trumpets; 3 trombones; 2 tubas; 2 timpani plus percussion; 2 harps; strings. For more information, call 206-382-4874 or sings the plainchant sequence of the dead visit www.stjames-cathedral.org/music TH (Dies irae) ... Then finally the sabbath round- © 2017 Paul Schiavo 804 9 AVENUE • SEATTLE
encoremediagroup.com/programs 19 TEXT & TRANSLATION
Hector Berlioz: Les nuits d’été, Op. 7 (“Summer Nights”)
“Villanelle” “Villanelle” “Sur les lagunes” “On the Lagoons: Lament” Quand viendra la saison nouvelle, When the new season has come, Ma belle amie est morte, My beautiful love is dead, quand auront disparu les froids, when the cold has disappeared, je pleurerai toujours; I will weep forever; tous les deux, nous irons, ma belle, together we will go, my lovely one, sous la tombe elle emporte into the tomb, she has taken pour cueillir le muguet au bois; to gather lilies-of the valley in the mon âme et mes amours. my soul and my love. sous nos pieds égrénant les perles woods. Dans le ciel, sans m’attendre, Without waiting for me, que l’on voit au matin trembler, Beneath our feet dew shines like elle s’en retourna; she has returned to heaven. nous irons écouter les merles siffler. pearls L’ange qui l’emmena The angel which took her there trembling in the morning, ne voulut pas me prendre. did not want to take me. Le printemps est venu, ma belle, we will go to hear the blackbirds Que mon sort est amer! How bitter is my fate! c’est le mois des amants béni; whistle. Ah! sans amour, s’en aller sur la mer! Ah! without love, to go to sea! et l’oiseau, satinant son aile, dit des vers au rebord du nid. Spring has come, my lovely one, La blanche créature The fair creature Oh! viens donc sur ce banc de this is the month blessed by lovers; est couchée au cercueil; is lying in the coffin; mousse, and the bird, smoothing its wing, comme dans la nature how everything in nature pour parler de nos beaux amours, speaks its verses from the rim of its tout me paraît en deuil! seems bereaved to me! et dis-moi de ta voix si douce: nest. La colombe oubliée The forsaken dove “Toujours!” Oh! Come here, onto this mossy pleure et songe à l’absent; weeps and dreams of the one who bank, mon âme pleure et sent is absent; Loin, bien loin égarant nos courses, to speak of our beautiful love, qu’elle est dépareillée. my soul weeps and feels faisons fuir le lapin caché, and you’ll whisper to me so softly, Que mon sort est amer! that it has been abandoned. et le daim au miroir des sources “Forever!” Ah! sans amour, s’en aller sur la mer! How bitter is my fate! admirant son grand bois penché; Ah! without love, to go to sea! puis, chez nous, tout heureux, tout Far, very far, wandering from our Sur moi la nuit immense aises, path, s’étend comme un linceul; Above me the immense night en paniers, enlaçant nos doigts, frightening the hidden rabbit, je chante ma romance spreads itself like a shroud; revenons rapportant des fraises des and the buck, in the mirror of the que le ciel entend seul. I sing my romanza bois. spring Ah! comme elle était belle, which heaven alone hears. admiring its great twisted antlers; et comme je l’aimais! Ah! how beautiful she was, then home, with our hearts rejoicing, Je n’aimerai jamais and how I loved her! lacing our fingers together like une femme autant qu’elle. I will never love baskets, Que mon sort est amer! another woman as much as I loved we’ll return, carrying wild Ah! sans amour, s’en aller sur la mer! her; strawberries. how bitter is my fate! Ah! without love, to go to sea!
“Le spectre de la rose” “The Ghost of the Rose” “Absence” “Absence” Soulève ta paupière close Open your closed eyelids Reviens, reviens, ma bien-aimée! Return, return, my dearest love! Qu’effleure un songe virginal! gently brushed by a maiden’s pure Comme une fleur loin du soleil; Like a flower far from the sun; Je suis le spectre d’une rose dream! la fleur de ma vie est fermée, the flower of my life has closed, que tu portais hier au bal. I am the ghost of the rose loin de ton sourire vermeil. removed from the charm of your Tu me pris encore emperlée that you wore last night at the ball. smile. des pleurs d’argent de l’arrosoir, You took me when I was still Entre nos cœurs quelle distance; et, parmi la fête étoilée, sprinkled with pearls tant d’espace entre nos baisers. Between our hearts how long a tu me promenas tout le soir. of silvery tears from the watering- Ô sort amer! ô dure absence! distance! can, Ô grands désirs inapaisés! What a wide space between our O toi qui de ma mort fus cause, and, among the sparkling festivities, kisses! sans que tu puisse le chasser, you carried me the entire night. D’ici là-bas, que de campagnes, O bitter fate! O cruel absence! Toutes les nuits mon spectre rose que de villes et de hameaux, O longing vain, unsatisfied! à ton chevet viendra danser. O you who caused my death, que de vallons et de montagnes, Mais ne crains rien, je ne réclame without the power to chase it away, a lasser le pied des chevaux! From thee to me, how wide the ni messe ni De Profundis; you will be visited every night by my country, ce léger parfum est mon âme, ghost, towns and hamlets in long array, et j’arrive du du paradis. which will dance at your bedside. what winding valleys, rugged But fear nothing; I demand mountains, Mon destin fut digne d’envie; neither mass nor requiem; to weary the feet of horses! et pour avoir un sort si beau, This mild perfume is my soul, plus d’un aurait donné sa vie, and I have come from paradise. car sur ton sein j’ai mon tombeau, et sur l’albâtre où je repose My destiny is worthy of envy; un poète, avec un baiser, and to have a fate so beautiful, écrivit: “Ci-gît une rose more than one would give his life que tous les rois vont jalouser.” for your bosom is my grave, and on the alabaster where I rest, a poet has written with a kiss “Here lies a rose, which all kings may be jealous.”
20 SEATTLESYMPHONY.ORG “Au cimetière: Clair de lune” “At the Cemetery: Moonlight” “L'île inconnue” “The Unknown Island” Connaissez-vous la blanche tombe, Do you know the white tomb, Dites, la jeune belle, Tell me, young beauty, où flotte avec un son plaintif where floats with plaintive sound, où voulez-vous aller? where do you wish to go? l’ombre d’un if? in the shadow of a yew tree? La voile enfle son aile, The sail swells, Sur l’if, une pâle colombe, On the yew a pale dove, la brise va souffler! the breeze is beginning to blow. triste et seule, au soleil couchant, sad and alone, under the setting sun, chante son chant. sings its song. L’aviron est d’ivoire, The oar is made of ivory, le pavillon de moire, the flag is of silk, Un air maladivement tendre, An melody sickly tender, le gouvernail d’or fin; the helm is of fine gold; à la fois charmant et fatal, at the same time charming and j’ai pour lest une orange, I have for ballast an orange, qui vous fait mal, ominous, pour voile, une aile d’ange, for a sail, the wing of an angel, et qu’on voudrait toujours entendre; which makes you feel agony, pour mousse un séraphin. for a deck boy, a seraph. un air, comme en soupire aux cieux yet which you wish to hear always; l’ange amoureux. a melody like a sigh from the Dites, la jeune belle, Tell me, young beauty, heavens où voulez-vous aller? where do you wish to go? On dirait que l’âme éveillée of an angel in love. La voile enfle son aile, The sail swells, pleure sous terre, à l’unisson de la la brise va souffler! the breeze is beginning to blow. chanson, One might say that an awakened et, du malheur d’être oubliée soul Est-ce dans la Baltique? Is it to the Baltic Sea? se plaint dans un roucoulement bien is weeping under the earth in unison Dans la mer Pacifique, To the Pacific Ocean, doucement. with this song, dans l’île de Java? to the island of Java? and, from the misfortune of being Ou bien est-ce Norvège, Or else to Norway, Sur les ailes de la musique forgotten, cueillir la fleur de neige, to gather the flower of the snow, on sent lentement revenir un laments its sorrow by cooing very ou la fleur d’Angsoka? or the flower of Angsoka? souvenir. sweetly. Une ombre, une forme angélique, Dites, la jeune belle, dites Tell me, young beauty, passe dans un rayon tremblant, On the wings of the music où voulez-vous aller? where do you wish to go? en voile blanc. one feels the slow return of a “Menez-moi,” dit la belle, “Lead me,” says the pretty one, memory. “a la rive fidèle “to the faithful shore Les belles de nuit, demi-closes, A shadow, a form angelic, où l’on aime toujours.” where one loves forever!” jettent leur parfum faible et doux passes in a trembling ray of light, Cette rive, ma chère, This shore, my darling, autour de vous, in a white veil. on ne la connaît guère we hardly know at all et le fantôme aux molles poses au pays des amours. in the land of love. murmure en vous tendant les bras: The beautiful flowers of the night, “Tu reviendras!” half-closed, send their perfume, faint and sweet, Oh! jamais plus, près de la tombe around you, je n’irai, quand descend le soir au and the phantom of soft form manteau noir, murmurs, holding her arms out to écouter la pâle colombe you: chanter, sur la pointe de l’if, “You will return!” son chant plaintif! Oh! never again near the tomb shall I go, when night lets fall its black mantle, to hear the pale dove sing on the limb of the yew its plaintive song!
encoremediagroup.com/programs 21 THURSDAY, NOVEMBER 9, 2017, AT 7:30PM SATURDAY, NOVEMBER 11, 2017, AT 8PM BERLIOZ REQUIEM
Ludovic Morlot, conductor Kenneth Tarver, tenor Seattle Symphony Chorale Seattle Pro Musica Seattle Symphony
HECTOR BERLIOZ Requiem, Op. 5 (Grande messe des morts) 82’ Requiem et Kyrie: Introït Dies irae: Prose—Tuba mirum Quid sum miser Rex tremendæ Quaerens me Lacrymosa Offertorium: Chœur des âmes du Purgatoire Hostias Sanctus Agnus Dei KENNETH TARVER, TENOR SEATTLE SYMPHONY CHORALE SEATTLE PRO MUSICA
This concert is performed without intermission. Inclusion is
Ask the Artist on Saturday, November 11, in the Samuel & Althea Stroum Grand Beautiful Lobby following the concert. Guests: Ludovic Morlot and Kenneth Tarver Proud sponsor of the Moderator: Joseph Crnko, Associate Conductor for Choral Activities Seattle Symphony, November 2017 Berlioz Requiem is generously underwritten by Barney and Rebecca Ebsworth, in memory of Muriel Mueller. Seattle Symphony programs Media Sponsor: Classical KING FM 98.1 like Sensory Friendly Concerts, Month of Caring Sponsor: Northwest Center designed for children with Autism Spectrum Disorder and other disabilities, harmonize perfectly with our mission of inclusion. With Early Intervention, Early Learning, School-to-Work and Employment Services, Northwest Center champions inclusion every step of the way.
When People Of All Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Abilities Learn and Work 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. Together, Everyone Benefits
22 SEATTLESYMPHONY.ORG PROGRAM NOTES
Hector Berlioz was an innately dramatic stroke, Berlioz retains this halo of Paris, and this revived plans to present composer, and he frequently took orchestral tone into the next section. Berlioz’s Requiem. But the composer’s his inspiration from dramatic sources. troubles were not yet over. First Luigi Among these were classical stories (his Cherubini, the powerful director of the There is something achingly magnum opus is a huge opera based on Conservatoire and composer of several beautiful about Berlioz’s melodies Virgil’s The Aeneid), Goethe’s Faust and Requiem settings, took offense at being which are highly original, so rewarding Shakespeare, whom Berlioz venerated passed over in favor of a young upstart and emotionally involving to sing and and whose plays sparked many of on this important occasion, and he hear. Even by Berlioz’s exalted maneuvered behind the scenes to have the composer’s works. Even Berlioz’s standards of lyricism, the Sanctus from Berlioz’s work replaced with one of his orchestral masterpiece, Symphonie the Requiem is incredibly beautiful: it is own. Berlioz managed to ward off this fantastique, which Seattle Symphony truly a moment of grace, reflection, threat, but he failed to prevent another performed last week, relates an beauty and ‘holiness’ in the midst of a intrusion: the insistence by an unnamed extravagant dream through exceptionally quite large work. The Requiem is very official that the performance be entrusted dramatic music. special for me as I had the privilege to to François Habeneck. sing it with Sir Colin Davis and the Berlioz’s keen sense of drama informs London Symphony Orchestra in the The most distinguished French conductor even his sacred compositions, especially monumental architecture of St Paul’s of the day, Habeneck was now an the greatest of those works, the Grande Cathedral in London. old man and no friend to Berlioz. The messe des morts, or Requiem. Its text is composer’s misgivings about Habeneck’s the most inherently dramatic of Christian ability to direct the large and complex – Kenneth Tarver liturgies, and Berlioz emphasizes, even work proved well founded when, during the performance, the venerable amplifies, that quality in his musical The first performance of Hector Berlioz’s conductor paused in his labors for a setting of the verses. From its hair- Grande messe des morts, or Requiem, pinch of snuff, allowing the musicians raising evocation of trumpets summoning took place in Paris in December 1837. It simply to play on without his direction. humanity to judgement to the seemingly was one of the high points of its author’s This occurred just at the approach of celestial harmonies that accompany career, but this triumph did not come a critical transition between sections, its final plea for mercy, this Requiem easily. Still in his early 30s, Berlioz was “the one moment,” Berlioz exclaims in considers mortality, forgiveness and the widely considered the untamed radical his Memoirs, “in which the conductor’s prospect of eternal life not as abstract among French composers, and the direction is absolutely indispensable.” theological notions but as vital and conservative bureaucrats who controlled The composer, who was seated on viscerally felt reality. the Paris Opéra, the Conservatoire and stage, managed to save the performance other musical institutions saw fit to place by leaping to his feet and leading the obstacles in his path whenever they could. musicians through the passage. HECTOR BERLIOZ In the case of the Requiem, these nearly proved fatal to one of the great works of The Requiem is one of Berlioz’s finest Requiem, Op. 5 (Grande messe French music from the 19th century. des morts) achievements. In fashioning the work, the composer liberally rearranged the The composition was engendered in BORN: La Côte-Saint-André, near Grenoble, traditional Latin text of the Missa pro 1836 by a commission from France’s France, December 11, 1803 defunctis, for his goal was to exploit the Minister of the Interior, whose duties DIED: Paris, March 8, 1869 musical and dramatic potential of the included overseeing artistic affairs for the Catholic funeral liturgy rather than to WORK COMPOSED: 1837 government. This official, Berlioz wrote produce a narrow, ecclesiastical reading. WORLD PREMIERE: December 5, 1837, in Paris, in his Memoirs, “belonged to that small The music is impressive on a number of conducted by François Habeneck. minority of French politicians who are counts, most obviously in its heroic scale. interested in music, and to the still more Berlioz delighted in grandiose effects, select company who have a feeling for Berlioz’s Requiem is full of striking and he orchestrated them superbly. But it.” The Requiem he asked Berlioz to aural effects. For example, in the we should not assume that in employing compose was to be performed in honor of large forces, great sonorities and a broad Tuba mirum section, the composer the martyrs of the Revolution of 1830, the musical canvas he was merely indulging calls for four brass choirs to be placed in brief uprising that thwarted the efforts of his own proclivities. Rather, these separate locations, thereby allowing calls King Charles X to extend his powers. and responses across the hall. features of the work were pragmatic responses to the occasion and setting for Although Berlioz fulfilled the commission which it was written. Berlioz’s highly original sense of in the short time allowed him, the instrumental color is evident in the government summarily cancelled the Berlioz understood that he was composing remarkable combination of trombones performance shortly before it was to for an important civic ceremony, and in and flutes in the Hostias movement. take place. But in October 1837 a French France this entailed certain expectations. general, Charles-Marie de Damrémont, The tradition of large-scale compositions The Sanctus movement brings a tenor was killed while leading an assault on for public gatherings established during the Algerian city of Constintine. His death solo surrounded by ethereal high-register the French Revolution had carried over occasioned a solemn funeral service in sounds in the orchestra. In a wonderful into the Imperial era of Napoleon and his
encoreartsseattle.com 23 PROGRAM NOTES DESTINATION RETIREMENT... continued Luxury Living in Sunny Sequim “Live in the Beauty of it all” successors, and such music was expected to glorify the state as much as display the composer’s artistry.
In addition to fulfilling this need, Berlioz was careful to consider the acoustic space for which he was writing. The Church of the Invalides, where the performance was to take place, is among the largest in Paris, and music composed on an insufficient scale would Sequim Sequim seem incongruous in its vast confines. Voted Also Featured in Berlioz solved this problem boldly. He BEST NORTHWEST WEEKEND employed a large contingent of singers SMALL TOWN ESCAPES and instrumentalists for his performance 2017 May 21, 2017 and used the spatial configuration of the USA Today L.A. Times church to dramatic effect.
Designed with you in mind. The Lodge is a full service, independent retirement community. But despite the overall grandeur of the Fine Dining • Spacious Apartments • Individual Cottages score, much of the Requiem is restrained and intimate in tone. Indeed, the quiet Month to Month Rental • No Upfront Buy-in Fee passages serve to heighten the effect of the more dramatic ones. The Dies OPTION C irae passage, for example, which often www.thelodgeatsherwood.com is set to thunderous music, appears here as a gentle chant that makes the 360-681-3100 terror of Tuba mirum, which follows, all 660 Evergreen Farm Way, Sequim, WA 98382 the more vivid. Similarly, silencing the orchestra at Quaerens me throws the violent instrumental figures in the ensuing STRAWBERRY Lacrymosa into sharper relief. Berlioz’s THEATRE WORKSHOP masterful use of contrast can also be observed in the abrupt change of tone between the busily contrapuntal Hosanna and the heavenly stillness of the ensuing JOSE GONZALES TRIO Sanctus. Numerous instances of his PERFORMS imaginative orchestration can be heard throughout the Requiem. “a charlie ” It hardly needs to be stated that these brown christmas and other effects serve a larger artistic purpose, and that for all its drama this music is ultimately a deeply felt spiritual declaration. Near the end of his life, original music by Vince Guaraldi Berlioz proclaimed that if all his works had to perish he would ask reprieve only for the Requiem. The music’s beauty justifies his assessment of its worth.
Scored for mixed chorus and tenor solo; 4 flutes; 2 oboes and 2 English horns; 4 clarinets; 4 bassoons; 6 horns; 4 cornets and 4 trumpets; 8 trombones; 3 tubas; 2 timpani and percussion; strings. In addition, the work calls for 4 offstage brass ensembles consisting of - I: 2 cornets, 2 trombones and tuba; II: 2 trumpets and 2 trombones; III: 2 trumpets and 2 trombones; and IV: 2 trumpets, 2 trombones and 2 tubas. SUNDAY DEC 10 CORNISH PLAYHOUSE AT SEATTLE CENTER © 2017 Paul Schiavo
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24 SEATTLESYMPHONY.ORG TEXT & TRANSLATION
Hector Berlioz: Requiem, Op. 5 (Grande messe des morts)
Requiem et Kyrie Quaerens me Requiem aeternam dona eis, Grant them eternal rest, Lord, Quaerens me, sedisti lassus: Seeking me, you sat down Domine, and may perpetual light shine on redemisti crucem passus. exhausted; you redeemed me by et lux perpetua luceat eis. them. Tantus labor non sit cassus. suffering the cross. Te decet hymnus, Deus, in Sion, To you praise is due upon Zion, O Juste judex ultionis, Such labor should not be in vain. et tibi reddetur votum in Jerusalem. God, and to you vows will be made donum fac remissionis Just Judge of justice, make the gift Exaudi orationem mean, ad te in Jerusalem. ante diem rationis. of remission before the day of omnis caro veniet. Listen to my prayer; unto you all Ingemisco tanquam reus. accounting. Requiem aeternam dona defunctis, flesh shall come. Supplicanti parce, Deus. I sigh as one accused. Domine, Rest eternal grant to the dead, Preces meae non sunjt dignae, Spare a suppliant, O God. et lux perpetua luceat eis. Lord, and may perpetual light shine sed tu bonus fac benigne, My prayers are not worthy, but you Kyrie eleison. on them. ne perenni cremer igne. good one, be merciful, lest I Christe eleison. Lord have mercy upon us. Quid Mariam absolvisti burn not in eternal flame. Kyrie eleison. Christ have mercy upon us. et latronem exaudisti, You who absolved Mary Magdalen Lord have mercy upon us. mihi quoque spem dedisti. and listened to the thief Inter oves locum praesta, have given hope. Dies irae et ab haedis me sequestra, Among the sheep grant me a place, Dies irae, dies illa, Day of wrath, that day the world statuens in parte dextra. and from the goats separate me solvet saeclum in favilla, will dissolve the earth in ashes, setting me on Thy right hand. teste David cum Sibylla. as witness David and the Sibyl. Quantus tremor est futurus, What trembling there will be Lacrymosa quando judex est venturus, when the Judge shall come Lacrymosa dies illa, That tearful day when from the cuncta stricte discussurus! who shall shatter everything qua resurget ex favilla, embers rises guilty man thoroughly! judicandus homo reus. to be judged. Tuba mirum spargens sonum Pie Jesu, Domine Merciful Lord Jesus, per sepulchra regionum The trumpet, spreading its Dona eis requiem. grant them rest. coget omnes ante thronum. wondrous sound Mors stupebit et natura, to the tombs of every region, cum resurget creatura, will gather all before the throne. Offertorium Judicanti responsura. Death and Nature will be stupefied Domine Jesu Christe! Rex gloriae! Lord Jesus Christ! Glorious King! Liber scriptus proferetur, when all creation arises to answer libera animas omnium fidelium free the souls of all the faithful in quo totum continetur, to the Judge. defunctorum de poenis dead from punishment. unde mundus judicetur. A book of writing will be brought Domine, libera eas de poenis Lord, deliver them from punishment Jundex ergo cum sedebit, forth in which everything is inferni et de profundo lacu! in the inferno and from the deep quidquid latet, apparebit: contained, by which the world will Libera eas, et sanctus Michael pit! Deliver them, and may the nil inultum remanebit. be judged. signifier repraesentet eas in standard-bearer St. Michael bring When the Judge is seated, lucem sanctam, quam olim Abrahae them into holy light, which once whatever is hidden will be exposed; et semini eius promisisti Domine to Abraham and his seed you nothing will remain unpublished. Jesu Christe. Amen. promised, Lord Jesus Christ. Amen. Quid sum miser Quid sum miser! tunc dicturus? What am I, miserable one! then to Quem patronum rogaturus, say? Hostias cum vix justus sit securus? What patron shall I entreat, when Hostias et preces tibi, laudis Sacrifices and prayers to you, we Recordare, Jesu pie, the righteous are scarcely secure? offerimus. offer with praise. quod sum causa tuae viae: Remember, merciful Jesus, that I am Suscipe pro animabus illis, Receive them for the souls of those ne me perdas illa die. the cause of your journey; quarum hodie memoriam facimus. whom today we commemorate. Oro supplex et acclinis, do not forsake me on that day. cor contritum quasi cinis; I pray, bowed and kneeling, my Sanctus gere curam mei finis. heart contrite as ashes; take care of Santus, sanctus, Deus Sabaoth. Holy, holy, Lord of hosts. me at the end. Pleni sunt coeli et terra gloria tua. Heaven and earth are filled with Hosanna in excelsis. your glory. Rex tremendae Hosanna in the highest. Rex tremendae majestatis, King of fearful majesty who freely quid salvandos salvas gratis, saves the redeemed, save me, salva me, fons pietatis. fount of mercy. Recordare, Jesu pie, Remember, merciful Jesus, that I am quod sum causa tuae viae: the cause of your journey; do not ne me perdas illa die. forsake me on that day. continued on next page Confutatis maledictis, Silencing the accursed to acrid flammis acribus addictis, flames consigning them, voca me… call me… et de profundo lacu! and from the deep pit! Libera me de ore leonis, Deliver me from the lion’s mouth. ne cadam in obscurum, lest I fall into darkness, ne absorbeat me Tartarus. lest the abyss swallow me up.
encoreartsseattle.com 25 JOSEPH CRNKO TEXT & TRANSLATION continued Seattle Symphony Associate Conductor for Choral Activities
Joseph Crnko was Agnus Dei Agus Dei! qui tollis peccata mundi, Lamb of God! who takest away the sins appointed Associate dona eis requiem sempiternam. of the world, grant them rest everlasting. Conductor for Choral Te decet hymnus, Deus, in Sion, To you praise is due upon Zion, O God, and to Activities for Seattle et tibi reddetur votum in Jerusalem; you vows will be made in Jerusalem. Symphony in Exaudi orationem meam, ad te omnis Listen to my prayer; unto you all flesh shall September 2007. caro veniet. come. Crnko brings a wealth Requiem aeternam dona defunctis, Grant the dead eternal rest, of choral conducting, Domine, et lux perpetua luceat Lord, and may perpetual light shine on eis, cum sanctis tuis in them with your saints in eternity, Lord, because arranging, recording aeternam, Domine, quia pius es. you are merciful. and education experience to his position. Amen. Amen. He has prepared the Seattle Symphony Chorale for numerous critically acclaimed performances, including Bach’s St. Matthew Passion, Britten’s War Requiem, Handel’s Messiah and Verdi’s Requiem. Crnko is currently in his 34th year as Music Director of the Northwest Choirs. During his tenure, he has established the Northwest Choirs’ reputation as one of the nation’s premier children’s choirs. Crnko tours worldwide with the elite Northwest Boychoir, most recently with concert tours throughout our nation and Europe. Under his directorship, the Northwest Boychoir has produced four top-selling Christmas recordings. In addition to his work with the Northwest Choirs, Crnko regularly conducts orchestral and choral recording sessions for movie and video game TUESDAY, DECEMBER 5, AT 10AM | THE WESTIN SEATTLE soundtracks, including those for the video games Halo, Medal of Honor and World of Warcraft. Some of his recent film projects include Boondock Saints, The Celestine HOLIDAY Prophecy, The Last Stand and Let Me In. MUSICAL SALUTE Join the Symphony for a festive start to the holiday season. Conductor Stuart Chafetz leads the orchestra in a concert of seasonal favorites featuring Young Artists and the Northwest Boychoir. You’ll also enjoy fabulous pop-up shops, hot cider, mimosas and a delightful luncheon. See you there!
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26 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY CHORALE KENNETH TARVER
The Seattle Symphony Chorale Tenor serves as the official chorus of the Seattle Symphony. Over the past four A graduate of Yale decades, the Chorale has grown in University, Oberlin artistry and stature, establishing itself College and the Met as a highly respected ensemble. Critics Young Artist program, have described the Chorale’s work Grammy Award-winning as “beautiful, prayerful, expressive,” Detroit-born tenor “superb” and “robust,” and have Kenneth Tarver praised it for its “impressive clarity specializes in Mozart, and precision.” The Chorale’s 120 Berlioz and virtuosic Bel Photo: Photo: VanHouten Ben volunteer members, who are teachers, Canto repertoire. During his extensive doctors, attorneys, musicians, students, bankers and professionals from all fields, bring operatic career he has performed in such not only musical excellence, but a sheer love of music and performance to their endeavor. prestigious venues as the Festival of Aix-en- Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale Provence, the Edinburgh Festival, performs with the Seattle Symphony both onstage and in recorded performances. Staatsoper Berlin and Covent Garden. He has appeared with leading orchestras such Soprano Lauren Cree James Pham as London Symphony Orchestra, the New Caitlin Anderson-Patterson Paula Corbett Cullinane Theodore Pickard York Philharmonic, the Concertgebouw Laura Ash Aurora de la Cruz Vijay Ramani Amsterdam and the Berlin Phiharmonic with Amanda Bender Lisa De Luca Chris Reed conductors including Sir Colin Davis, Lolly Brasseur Robin Denis Jonathan M. Rosoff Riccardo Chailly, Claudio Abbado and Ellen Cambron Cindy Funaro Bert Rutgers Pierre Boulez, recording extensively for Emma Crew Carla J. Gi!ord Peter Schinske Opera Rara (La Donna del lago), Harmonia Erin M. Ellis Amy Gleixner Alan Sheaffer Mundi, LSO Live (Les Troyens, Beatrice et Jacquelyn Ernst Kelly Goodin Spencer Small Kaitlyn Gervais Catherine Haddon M. Scott Spalding Benedict, Romeo et Juliette). Recent Samantha Gorham Shreya Joseph Max Willis recording include Rossini’s La gazza ladra, Emily Han Shan Jiang Bianca e Falliero and Sigismondo (Naxos), Teryl Hawk Inger Kirkman* Bass and CosÌ fan tutte and Don Giovanni with Caitlin Hutten Sara Larson John Allwright Teodor Currentzis for Sony, which The Sharon Jarnigan Rachel Lieder Simeon Jay Bishop Times in London praised for “Kenneth Elizabeth Johnson Monica Namkung Hal Bomgardner Tarver’s mellifluous Don Ottavio — giving an Katy Kaltenbrun Erica J. Peterson Andrew Cross object lesson in style and technique.” Seung Hee Kim Angela Petrucci Darrel Ede Lori Knoebel Karis Pratt Morgan Elliott Kori Loomis Beth Puryear Evan Figueras Janelle Maroney Alexia Regner Curtis Fonger Megan McCormick Valerie Rice Steven Franz Geraldine Morris Emily Ridgway David Gary Kristen Nelson Dale Schlotzhauer Raphael Hadac Rachel Nofziger Darcy Schmidt Kelvin Helmeid Helen Odom Carreen A. Smith Rob Jones Nicolle Omiste Heather Allen Strbiak Ronald Knoebel Margaret Paul Kathryn Tewson Tim Krivanek Sasha S. Philip Paula Thomas KC Lee Kaitlyn Puryear JoAnn Wuitschick Thomas C. Loomis Emily Reed Mindy Yardy Bryan Lung Kirsten Ruddy Glenn Nielsen Ana Ryker Tenor Brandon John Reid Emily Sana Matthew Blinstrub Ken Rice Barbara Scheel* James Clarke Martin Rothwell* Laura A. Shepherd Spencer Davis Edward Sam Joy Chan Tappen Anton R. du Preez Christopher Smith Catherine Thornsley Jacob Garcia Jim Snyder Andrea Wells Jim Howeth Andrew Sybesma Neil Johnson Joseph To Alto Kevin Kralman* Michael Uyyek Cynthia Beckett Patrick Le Quere Jared White Ivy Rose Bostock Ian Loney Lavert Woodard Nancy Brownstein James H. Lovell Carol Burleson Andrew Magee * principal of section Kathryn Cannon Miller Lucky James Middaugh Terri Chan Ed Morris Rachel Cherem Alexander Oki
encoreartsseattle.com 27 Photo: Patoc Brandon
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28 SEATTLESYMPHONY.ORG SEATTLE PRO MUSICA Photo courtesy of Seattle Pro Musica Musica Pro courtesyPhoto of Seattle
Seattle Pro Musica is a critically acclaimed choral organization whose mission is to enrich and inspire our audiences, singers and community through the experience of choral artistry, and to increase access to and appreciation of choral music. Recipient of the Margaret Hillis Award for Choral Excellence and the ASCAP/Chorus America Award for Adventurous Programming, Seattle Pro Musica is ranked by American Record Guide as “among America’s very best choirs.” 35
Under the baton of Artistic Director and Conductor Karen P. Thomas, Seattle Pro Musica has received international acclaim for its recordings and live performances. Choir and Organ writes: “Seattle Pro Musica presents a cappella singing at its best.” Fanfare Record says: “This is truly an extraordinary choir.” Seattle Pro Musica has appeared by invitation for numerous international and national festivals, and has performed with Jane Eaglen, Andrea Bocelli, Josh Groban, Pacific MusicWorks and Seattle Symphony. In 2014, members of Seattle Pro Musica appeared on the Grammy Award-winning album Winds of Samsara.
Karen P. Thomas, artistic director & conductor
frans.com Soprano 1 Corina Rahmig Tenor 2 Helen Anderson Jessica Staire David Dodman Jordan Berg Marit Trelstad Rich Eckert Stephanie Gray Hannah Won Grégoire Lurton Ashley Husmann Jonathan Siehl SEATTLE Teresa Nemeth Alto 2 Danny Szydlo CHAMBER Katie Skovholt Gail Broder Fred Williams Jenny Spence Cathy Federici MUSIC Miriam Nunley Bass 1 SOCIETY Soprano 2 Liz Reed Hawk Jim Bartscher JAMES EHNES Lillian Balmforth Kelly Sanderbeck John Draxler Artistic Director Jonna Farley Elizabeth Sanders Ben Flynn Erin Gabriel Karen Segar Ryan Gao Sophia Jung Anna Thelen Frank Hadder Shadia Kawa Peter Hemmen Elaine Lee Tenor 1 Rick Johnson WINTER FESTIVAL Ada Ng Chris Burch Wes Kim Jan Strand Jacob Buys Josh Smith JANUARY 19-28, 2018
Judy Williams Casey Glick ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall Anthony Gromko Bass 2 Alto 1 Jim Howeth Brian Grant Marissa Burkey Kevin Kralman Peter Lifland BOX OFFICE 206.283.8808 // Allison Freel Tom Lin seattlechambermusic.org Emily Jordan Lee Maneman Liz Langeland Jon Repp Tickets Teena Littleton Chris Rule on sale Rose Morrison Grant Vandehey Now!
encoreartsseattle.com 29 PROGRAM NOTES ILLSLEY BALL NORDSTROM RECITAL HALL FRIDAY, NOVEMBER 10, 2017, AT 8PM Francis Poulenc (1899–1963) was only 21 when he emerged among a crop of RAVEL & SCHUBERT young French composers dubbed Les CHAMBER SERIES Six, and yet he was well on his way to developing the musical personality that one critic would famously describe as Kenneth Tarver, tenor | Natasha Bazhanov, violin | Timothy Garland, violin “part monk, part rascal.” Those qualities Artur Girsky, violin | Sayaka Kokubo, viola | Efe Baltacıgil, cello arise in the Sonata for Horn, Trumpet Meeka Quan DiLorenzo, cello | Walter Gray, cello | Jeffrey Barker, flute and Trombone that Poulenc composed John Turman, horn | Alexander White, trumpet | David Lawrence Ritt, trombone in 1922, with its mix of earnest clarity and Joseph Adam, piano | Carlin Ma, piano neoclassical witticisms. The sonata follows a classic pattern with its fast first movement that fleshes out two opposing themes, FRANCIS POULENC Sonata for Horn, Trumpet and Trombone 9’ followed by a lyrical slow movement, Allegro moderato: Grazioso and closing with an animated rondo. Andante: Très lent Rondeau: Animé György Ligeti (1923–2006) began JOHN TURMAN, HORN composing in a folk-influenced style ALEXANDER WHITE, TRUMPET indebted to his Hungarian predecessors Bartók and Kodály, but in the 1960s he DAVID LAWRENCE RITT, TROMBONE forged a groundbreaking new technique he dubbed “micropolyphony,” an otherworldly GYÖRGY LIGETI Trio for Violin, Horn and Piano 22’ sound that figured prominently in Stanley Andantino con tenerezza Kubrick’s 2001: A Space Odyssey. Vivacissimo molto ritmico After reaching a fantastical extreme Alla Marcia in the 1977 opera Le Grand Macabre, Ligeti once again reinvented his style. Lamento: Adagio The Trio for Violin, Horn and Piano TIMOTHY GARLAND, VIOLIN from 1982 marked the arrival of a new JOHN TURMAN, HORN chapter, one that honored centuries of CARLIN MA, PIANO European practice while still exploring the cutting edge of contemporary music. MAURICE RAVEL Chansons madécasses (“Madagascan Songs”) 14’ /text Evariste Désiré “Nahandove”: Andante quasi allegretto Ligeti’s subtitle acknowledged that his trio was an “Homage to Brahms,” who wrote de Forges Parny “Aoua”: Andante a seminal score for the same unusual trio “Il est doux”: Lento of violin, horn and piano. Both composers KENNETH TARVER, TENOR chose to utilize the natural horn, meaning JEFFREY BARKER, FLUTE an instrument that can only play overtones WALTER GRAY, CELLO determined by the length of the horn’s JOSEPH ADAM, PIANO coiled tubing, without the valves that can access chromatic pitches and allow for INTERMISSION smoothed-out intonation. Valve horns were just coming into vogue when Brahms FRANZ SCHUBERT String Quintet in C major, Op. 163 55’ wrote his trio, and his use of the older Allegro ma non troppo natural horn evoked a sense of nostalgia and timelessness. These qualities are Adagio even more striking in Ligeti’s modern Scherzo: Presto trio, with the horn’s plangent tone and Allegretto—Più allegro incongruous intonation on full display. ARTUR GIRSKY, VIOLIN NATASHA BAZHANOV, VIOLIN Following Brahms’ template, Ligeti’s trio SAYAKA KOKUBO, VIOLA begins with a tender slow movement that MEEKA QUAN DILORENZO, CELLO proceeds to a lively scherzo. After that point, it inverts the established trajectory EFE BALTACIGIL, CELLO of a slow movement leading to a rowdy closer; instead, a hard-edged march gives way to a heart-wrenching lament steeped
Please note that the timings provided for this concert are approximate. in 300 years of hallowed tradition. 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 We have the American heiress Elizabeth equipment, and any other use of such copying devices during a performance is prohibited. Sprague Coolidge to thank for some of the greatest chamber music treasures
30 SEATTLESYMPHONY.ORG PROGRAM NOTES NOV 3
of the 20th century. One of her early too, with the complete work lasting commissions went to the Frenchman about 50 minutes. Schubert’s publisher Maurice Ravel (1875–1937), followed in due rejected the piece at the time, and it did course by Bartók, Stravinsky, Schoenberg, not reach the public until the 1850s. Poulenc, Prokofiev and Britten, among other European stars. She also initiated The quintet begins with music that gives such American masterpieces as Copland’s the deceptive impression of being a slow Appalachian Spring, Barber’s Hermit introduction, although it is actually integral Songs and Crumb’s Ancient Voices to the exposition (the portion of a sonata- of Children, which all debuted in the allegro form that lays out the essential intimate concert hall she created at the arguments). The harmonies wander and UW Symphony with Seattle Symphony Horns Library of Congress in Washington, D.C. modulate freely throughout this “fast but Performing works by Beethoven, Schumann, not rushed” opening movement, clouding and Dvořák. With faculty artist Jeff Fair and Coolidge gave Ravel a very specific the home key of C major with dark streaks Seattle Symphony colleagues. format to work with — a song cycle for of C minor and other foreign realms. 7:30 pm Meany Theater female voice accompanied by flute, cello and piano — but she left the choice of The next three movements all seize upon text to the composer. The poems that the uncomfortably close relationship Ravel chose for his 1926 cycle, Chansons of a half-step or semitone (i.e. adjacent DEC madécasses, came from a collection keys on a piano). In the slow movement, 8 by Evariste Désiré de Forges Parny, a a sublime E-major meditation gives way French writer most famous for an earlier to a turbulent central section up a half- book of erotic poems. Parny had claimed step in F minor. When the E-major theme that his Madagascar Songs were actual returns, its once-tranquil texture retains folk verses from the African island, but some of the churning F-minor figures. more likely the poems were entirely of his own invention, at most influenced by The Scherzo returns to the work’s home his proximity to Madagascar when he key of C major, exploiting the resonance worked for France’s colonial army in India. of open strings in its robust main theme, but then it deviates to a strangely subdued The opening song uses the bare texture middle section in D-flat major, again a of cello and voice to capture the poem’s half-step higher. The finale revisits the UW Symphony with sense of loneliness. The vocal setting ongoing drama of major versus minor, Jon Kimura Parker, piano Performing music by Prokofiev and glosses over the most racy lines of the and the Quintet’s final gesture — a unison Gershwin, including Gershwin’s Piano text, instead focusing the greatest passion D-flat falling a half-step to C — leaves a Concerto in F Major with Jon Kimura Parker. on repeated calls of the name that central question closed but unsettled. 7:30 pm Meany Theater gives this song its title: “Nahandove.” © 2017 Aaron Grad From its opening shout, “Aoua!” matches the brutal intensity of a text that JAN contemplates colonial oppression, building thick textures and crunching dissonances. 11 The final song, “Il est doux,” captures the sweet indolence of a summer day. The text again veers toward the erotic, matched with slow and sensuous dance music. The singer breaks the spell with a nonchalant final line: “Go and prepare the meal.”
Franz Schubert (1797–1828), dying of syphilis at the age of 31, continued to create some of his most beautiful and Faculty Recital: Robin McCabe, with Rachelle McCabe, piano adventurous music to the very end. He Duo performances of music by completed the String Quintet in C major Bernstein, Brahms, and William Hirtz. only a month or two before he died, but 7:30 pm Meany Theater like so much of the work by this visionary composer, it was deemed valueless at the time. The design was atypical, adding an extra cello to the traditional string quartet (as Boccherini had done) instead of the second viola favored by Mozart, MORE AT: WWW.MUSIC.WASHINGTON.EDU Beethoven and most other composers ArtsUW TICKET OFFICE: 206.543.4880 since. The sheer scope was astounding,
encoreartsseattle.com 31 PABLO RUS BROSETA WEDNESDAY, NOVEMBER 15, 2017, AT 7:30PM Conductor Pablo Rus Broseta is Associate Conductor of DEVOTCHKA the Seattle Symphony, having originally been WITH THE SEATTLE appointed Assistant Conductor in 2015. SYMPHONY During the 2017–2018 season, he leads the LIVE @ BENAROYA HALL Lui Yuen Photo: Seattle Symphony in a wide variety of concerts, including an all-Russian program with pianist Beatrice Pablo Rus Broseta, conductor Rana, Carmina burana and a festival of DeVotchKa Prokofiev concertos. In 2016–2017, he Nick Urata, vocals, guitars, theremin, trumpet and piano conducted a festival of Shostakovich Jeanie Schroder, acoustic bass and sousaphone concertos as well as a concert with Shawn King, drums, percussion and trumpet Yo-Yo Ma. He is rapidly building a wide- ranging repertoire from Handel to John Tom Hagerman, violin, viola, accordion and piano Adams, with a focus on the great Seattle Symphony symphonic repertoire. As guest conductor, Rus Broseta’s 2017–2018 season includes Tonight’s program will be announced from the stage and includes one debuts with the Houston and Kitchener- 20-minute intermission. Waterloo symphonies, and return engagements with the SWR Symphonieorchester and Orquesta de Valencia. Rus Broseta studied composition and saxophone at the Conservatory of his Please turn off all electronic devices and refrain from taking photos or video. native Valencia, with further studies in Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording conducting in Lyon, at the Conservatorium equipment, and any other use of such copying devices during a performance is prohibited. van Amsterdam, and Universität der Künste Berlin.
DEVOTCHKA
For more than a decade DeVotchKa has been melting its sweeping influences into an authentic and totally original blend of rock ‘n’ roll. DeVotchKa’s first big break happened when KCRW introduced LA listeners to DeVotchKa on Morning Becomes Eclectic. The directors of Little Miss Sunshine happened to be listening this fateful day, loved what they heard, and hired the band to write the score for their film. A critical and box office smash, the film was nominated for the Best Picture Oscar and, for DeVotchKa’s soundtrack, a Grammy. The little band from Denver was suddenly known all across the nation, playing large venues and major music festivals, including Coachella, Austin City Limits, Lollapalooza and Glastonbury. The love spread to Europe, Asia and South America which are yearly destinations for the band. Since Little Miss Sunshine front man Nick Urata has composed the scores for countless films including Crazy Stupid Love, Whiskey Tango Foxtrot and Paddington. Most recently, Urata composed the original music score for Netflix Original,A Series of Unfortunate Events, based on the children’s novel series by Lemony Snicket.
32 SEATTLESYMPHONY.ORG JUSTIN FREER
THURSDAY, NOVEMBER 16, 2017, AT 7:30PM Conductor FRIDAY, NOVEMBER 17, 2017, AT 8PM American composer/ SATURDAY, NOVEMBER 18, 2017, AT 8PM conductor Justin Freer was born and raised in Huntington Beach, HARRY POTTER AND California. He has established himself as THE CHAMBER OF one of the West Coast’s most exciting musical SECRETS™ IN CONCERT voices and has quickly become a highly sought-after conductor and producer of film music concerts around WITH THE SEATTLE the world. Freer began his formal studies on trumpet, but quickly turned to piano and SYMPHONY composition, composing his first work at 11 SPECIAL PERFORMANCES and giving his professional conducting debut at 16. Justin Freer, conductor Seattle Symphony He has served as composer for several independent films and has written motion picture advertising music for some of 20th JOHN WILLIAMS Harry Potter and the Chamber of Secrets Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Act I 78’ Stood Still and Aliens in the Attic. As a conductor Freer has appeared with some of the most well-known orchestras in the INTERMISSION world including the Chicago Symphony Orchestra, London Philharmonic, New York Act II 78’ Philharmonic and San Francisco Symphony.
Freer has been recognized with numerous About Warner Bros. Consumer Products grants and awards from organizations Warner Bros. Consumer Products, a Warner Bros. Entertainment Company is one of the leading licensing including ASCAP, BMI, the Society of and retail merchandising organizations in the world. Composers and Lyricists and the Henry HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. Mancini Estate. He is the Founder and ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © President of CineConcerts, a company JKR. (s17) dedicated to the preservation and CINECONCERTS concert presentation of film, curating CineConcerts is one of the leading producers of live music experiences performed with visual media. and conducting full length music score Founded by producer/conductor Justin Freer and producer/writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live performances live with film for such wide experience. Recent and current live concert experiences include Gladiator, The Godfather, It’s a Wonderful ranging titles as Gladiator, The Godfather, Life, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, Breakfast at Tiffany’s, It’s A Wonderful Life and Breakfast at Tiffany’s. Justin Freer has quickly become one of the most sought-after conductors of film music with a long list of full symphonic live to projection projects. He has appeared with some of the and most recently Harry Potter and the world’s leading orchestras including the Chicago Symphony Orchestra, London Philharmonic Orchestra, Sorcerer’s Stone. New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive There is nowhere else in the world sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment. now where you can see these movies presented with 90 live musicians Harry Potter and the Chamber of Secrets in Concert Produced by CineConcerts breathing musical life into the film in a way Justin Freer, President/Founder/Producer Press Director: Andrew P. Alderete Brady Beaubien, Co-Founder/Producer Worldwide Representation: WME Entertainment that has never been done before. I think David Hoffis, Sound Engineer/Production Supervisor Music Preparation: JoAnn Kane Music Service that John Williams is one of the great Ed Kalnins, Playback Operator and Synthesizer Music Editing: Ramiro Belgardt and Ed Kalnins geniuses of all music, not just film. He’s a Production Sound RemixingJustin Moshkevich, Igloo Music Marketing Director: Kory Kelly Studios monolithic giant in our craft, in our art-form, and he’s given us such memorable A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark melodies. Between J.K. Rowling’s Wizarding Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams. World and John’s creations, what a wonderful marriage. Month of Caring Sponsor: Northwest Center
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 33 OVERVIEW THURSDAY, NOVEMBER 30, 2017, AT 7:30PM FRIDAY, DECEMBER 1, 2017, AT 12 NOON SATURDAY, DECEMBER 2, 2017, AT 8PM For all its variety and complexity, most music, from simple folk songs to elaborate symphonies and concertos, is composed RACHMANINOV of three primary elements: melody, harmony and rhythm. The artistic use of PIANO CONCERTO these sonic building blocks accounts for nearly all that we find beautiful in the music of Bach or Beethoven, Ellington or NO. 3 The Beatles.
But the compositions that constitute the Johannes Debus, conductor program for our concert make important use of two other sonic qualities. These Kirill Gerstein, piano are instrumental virtuosity and tone color, Seattle Symphony each essential to one or the other of these pieces. Sergey Rachmaninov was SERGEY RACHMANINOV Piano Concerto No. 3 in D minor, Op. 30 42’ a brilliant pianist, and he incorporated Allegro ma non tanto dazzling keyboard figuration into many of Intermezzo: Adagio— his compositions. This is especially true Finale: Alla breve of his Piano Concerto No. 3, which uses KIRILL GERSTEIN, PIANO virtuoso keyboard writing as an essential part of the musical fabric. In César INTERMISSION Franck’s Symphony in D minor timbre, the distinctive tonal properties of different CÉSAR FRANCK Symphony in D minor 41’ instruments plays a comparably Lento—Allegro non troppo significant role. Allegretto Allegro non troppo Hardly any other piece in the concerto repertoire enjoys such a Pre-concert Talk one hour prior to performance. great and almost devilish attraction as Rachmaninov’s monumental Third Piano Ask the Artist on Thursday, November 30, in the Samuel & Althea Stroum Grand Concerto. A 40-minute tour de force with thundering cascades of full-handed chords Lobby following the concert. and other mind-boggling virtuosity, it Guests: Johanes Debus and Kirill Gerstein equally shows a very simple, intimate,
wistful, melancholic and lyrical side as the Kirill Gerstein’s performances are generously underwritten by an anonymous donor famous main theme — a memory of a through the Seattle Symphony’s Guest Artists Circle. Russian Orthodox chant — suggests. Rachmaninov 3 is, for me, one of the ultimate romantic statements in music.
Since the days of playing organ in my youth, I admired the music of César Franck. Listen to the nostalgic English horn melody that opens the second movement; it always casts a magic spell around me, sending me on a “recherche du temps perdu” to the times I sat on an organ bench.
But now I’m happy to stand on the podium, and I’m very much looking forward to my debut with the Seattle Symphony.
– Johannes Debus
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.
34 SEATTLESYMPHONY.ORG Photos: Brandon Patoc Photos: Brandon
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The Seattle Symphony’s Musical Legacy Society is generously sponsored by Laird Norton Wealth Management. PROGRAM NOTES
SERGEY RACHMANINOV Sergey Rachmaninov composed his Third performance occurred on January 16, 1910, Piano Concerto in 1909 and played the at Carnegie Hall in New York, when the Piano Concerto No. 3 in D minor, solo part in its initial performance, given in orchestra was led by Gustav Mahler. Op. 30 New York in November of that year. One BORN: Semyonovo, Russia, April 1, 1873 of the earliest reviews of the concerto Apart from its obvious virtuosity, the noted that its “extreme difficulties bar it concerto’s musical character derives DIED: Los Angeles, March 28, 1943 from performance by any but pianists of chiefly from two traits that inform WORK COMPOSED: 1909 exceptional technical powers.” The work Rachmaninov’s output as a whole: WORLD PREMIERE: November 28, 1909, in has indeed become famous as an Everest an unabashedly lush and effusive New York. The composer was the piano soloist, for pianists, so much so that it served as an Romanticism and a certain Russian and Walter Damrosch conducted the emblem for daunting pianistic challenge in melancholy. The composer establishes New York Symphony. Shine, the 1996 film about the Australian the latter quality at the beginning of the pianist David Helfgott. work with a theme given out by the piano as a spare melodic line over minimal The element of virtuosity for which Rachmaninov composed this work at a orchestral accompaniment. The minor- this concerto is famous is not present time his career and his production as mode contours of this subject suggest from the start. Instead, Rachmaninov a composer were enjoying a period of an old Russian song. One musicologist uses the piano in a restrained manner to ascendency. Some years earlier, the critical even proposed that it derives from a state the first theme of the opening failure of his First Symphony had plunged Russian Orthodox Church chant, though movement. But with this done, the solo the Russian musician into a state of Rachmaninov insisted that it “is borrowed instrument adds glittering figuration to the depression and creative torpor. For three neither from folk song nor from liturgical orchestra’s restatement of the theme, years he idled away much of his time at sources. It simply wrote itself.” Later we establishing transcendent keyboard the rural estates of family and friends. (One hear a second subject, a warmly romantic technique as a key aspect of the piece. imagines his life at this time as something idea announced by the piano alone, and The concerto’s initial theme returns in varied out of a play by Chekhov.) Eventually, a third theme that has something of the form during the second movement. Other however, he regained confidence in character of a march. The development material from the opening movement recurs his abilities and began writing again, of these materials leads to a thunderous in the finale. producing a stream of music that climax and a long, extremely demanding cemented his reputation as a composer. cadenza solo. An abbreviated reprise of the initial subject then brings the Rachmaninov’s Third Piano Concerto With his renewed success came new movement to a quiet conclusion. was written for his first American tour. opportunities. Early in 1909 Rachmaninov This mighty piece has helped shape my way received an offer to undertake an The second movement, which of playing the piano. Through its immense extensive concert tour of the United Rachmaninov describes as an musical and technical challenges, as well as States. Initially he hesitated to accept, not “intermezzo,” entails two highly contrasted tone production demands, this concerto wishing to absent himself from his family types of music. Its initial section considers itself has the power to teach and dictate the for a period of months. But the financial a quiet theme introduced by the strings necessary means of expression. While the terms of the offer were too generous to but worked up by the piano into an almost piece is famous for its melodic beauty and pass up. Rachmaninov was particularly vehemently impassioned expression. technical difficulty, its structural tempted by the possibility of purchasing an Suddenly, however, the tempo quickens, inventiveness is often overlooked. The automobile during his stay in America. the texture becomes gossamer, and the large solo cadenza in the middle of the first music assumes the manner of an animated movement is simultaneously a recapitulation In accepting the American invitation, scherzo. Here the orchestral woodwinds of the opening, thus making the movement Rachmaninov agreed to compose a new give out a variant of the main theme of a sonata form in an original way. This piano concerto that he would perform with the first movement. The finale, which placement of the cadenza in the middle, several orchestras. All through the spring follows without pause, is the concerto’s rather than at the end of the movement, is a of 1909 various obligations prevented most spirited movement, and it provides a tip of the hat to Mendelssohn’s Violin him from working on this piece, and it was thrilling display of keyboard virtuosity. Concerto. The quick waltz in the second not until June that he set to writing it. The movement is Rachmaninov’s homage to composition went smoothly, however, and Scored for solo piano; pairs of woodwinds; 4 Tchaikovsky, whose First Piano Concerto the piece was finished before the end horns; 2 trumpets; 3 trombones; tuba; timpani contains a waltz-like scherzo in the slow of summer. and percussion; strings. movement as well. But Rachmaninov had not had time to Seattle was actually the first place in the learn the demanding solo part before U.S. that I travelled to. This was in 1991 and his departure for the United States. He I was a part of a Russian cultural exchange therefore brought a practice keyboard delegation. So, I have a particularly soft spot along on the voyage and on this device for this city, though that is not difficult — it is worked to master the concerto’s a wonderful place to visit (and I am addicted intricacies. This unusual practicum to coffee). proved sufficient. Rachmaninov played the concerto with consistent success – Kirill Gerstein throughout his American tour. A notable
36 SEATTLESYMPHONY.ORG JOHANNES DEBUS Conductor
Johannes Debus has CÉSAR FRANCK metamorphosis of the composer’s maturity. been Music Director of It also is among the most successful the Canadian Opera Symphony in D minor attempts to fuse the essentially Austro- Company since 2009. He conducted the BORN: Liège, Belgium, December 10, 1822 German form and character of the symphony with traditional French concern Boston Symphony DIED: Paris, November 8, 1890 for color and supple melodic lines. Orchestra in a WORK COMPOSED: 1888 Significantly, Franck was not French but performance of Mozart’s Photo: Tony Hauser Tony Photo: WORLD PREMIERE: February 17, 1889, in Paris. Belgian by birth, and although he spent Die Entführung aus dem Jules Garcin conducted the orchestra of the most of his career in Paris, he was more Serail at Tanglewood in 2010 and Société des concerts du Conservatoire. receptive than most native Frenchmen to subsequently in works by Mozart and musical influences from outside France. Haydn in four subscription concerts, marking his Symphony Hall debut. He made The dark initial motif announced by Franck enriches the composition with his debut with The Cleveland Orchestra in the low strings during the thematic cross-references within and the summer of 2012 and with the Toronto symphony’s opening moments between its three movements. (As we Symphony and the Philharmonia in London becomes the principal theme of the heard already, Rachmaninov’s Third in 2013. Debus graduated from the ensuing Allegro, the main body of the first Piano Concerto follows the same Hamburg Conservatoire before being movement. practice.) Adhering to classical precepts engaged as répétiteur and, subsequently, of symphonic design, the composer Kapellmeister by Frankfurt Opera where he Beginning with Berlioz, French composers prefaces the opening movement with an have loved the sound of the English horn. introduction in slow tempo. Here Franck acquired an extensive repertoire from Franck features this instrument in the foreshadows the principal theme of the Mozart to Thomas Adès. He has second movement, providing one of the fast-paced music that follows. A second collaborated with internationally acclaimed most famous English horn solos in the important subject, one marked by a broad ensembles such as Ensemble orchestral literature. syncopated rhythmic figure, appears only Intercontemporain, Ensemble Modern, well after the movement is under way. Klangforum Wien and Musikfabrik.
The history of music is replete with child The Allegretto that follows serves as both prodigies, performers or composers slow movement and scherzo. Its opening KIRILL GERSTEIN who attain exceptional prowess at an passage, a memorable English horn Piano early age. Some of them — Mozart and melody sung over an accompaniment of Mendelssohn, for example — go on to rich harp and string pizzicato, is perhaps the The multifaceted pianist artistic achievement. More often, the early loveliest idea in the symphony, as well Kirill Gerstein is rapidly brilliance fades and the youthful promise as the most famous. Franck develops ascending into classical is unfulfilled. And on rare occasions, the this theme further in the brisk, scherzo- music’s highest ranks. two trajectories merge: the young savant like central section. The finale begins Gerstein is the sixth struggles upon reaching adulthood but and concludes with a robust subject eventually recovers and blossoms into an introduced by the cellos and bassoon, but recipient of the important artist. this movement also contains conspicuous prestigious Gilmore recollections of themes heard earlier Artist Award. Gerstein Photo: Marco Borggreve Marco Photo: This was true of Rachmaninov, and it is in the symphony. was also awarded First even more so of César Franck. Having Prize at the 2001 Arthur Rubinstein Piano caused something of a sensation with Scored for 2 flutes; 2 oboes and English horn; Competition in Tel Aviv, and received a his feats as a child prodigy, Franck 2 clarinets and bass clarinet; 2 bassoons; 4 2002 Gilmore Young Artist Award and a soon settled into a rather staid and horns; 2 cornets and 2 trumpets; 3 trombones; 2010 Avery Fisher Grant. Gerstein records unremarkable career as a teacher tuba; timpani; harp; strings. for Myrios Classics. His solo recordings and church organist. Although his © 2017 Paul Schiavo feature a highly praised disc of Liszt’s improvisations at the organ were by complete Transcendental Etudes, all accounts phenomenal (Franz Liszt Mussorgsky’s Pictures at an Exhibition and reportedly left one of these performances Schumann’s Carnaval, and his recording of muttering comparisons between Franck works by Schumann, Liszt and Oliver and Bach), his early compositions were Knussen was chosen by The New York anything but that. From about 1870, Times as one of the best recordings of 2010. however, Franck’s music began to take His most recent recording for the Myrios on a greater boldness, clarity and depth label is Gershwin’s Rhapsody in Blue and of expression, and his fame now rests on those works completed during the last 12 Concerto in F with the St. Louis Symphony, years of his life. Chief among them is his with David Robertson conducting. Symphony in D minor.
This composition, Franck’s only work in symphonic form, dates from 1888 and crowns the extraordinary creative
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PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE Clise Properties, Inc. The Seattle Symphony acknowledges with gratitude the The following donors have generously underwritten the William O. and K. Carole Ellison Foundation following donors who have made lifetime commitments appearances of principal musicians this season. Katharyn Alvord Gerlich 15 of more than $1 million as of September 25, 2017. Dr. Martin L. Greene and Kathleen Wright ° 5 Thomas and Susan Bohn Lyn and Gerald Grinstein ^ 15 4Culture Sue and Robert Collett Jean-François and Catherine Heitz ° 10 Dr.* and Mrs. Ellsworth C. Alvord, Jr. Patricia and Jon Rosen Ilene and Elwood Hertzog ° 15 Andrew W. Mellon Foundation Anonymous Charles E. Higbee, MD and Donald D. Benedict* 15 ArtsFund Dr. Kennan H. 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Wright III and Katherine Janeway 15 Illsley Ball Nordstrom Foundation 206.336.6623. Kreielsheimer Foundation Virginia and Bagley* Wright 15 The Kresge Foundation Rick and Debbie Zajicek INDIVIDUALS Marks Family Foundation Anonymous (4) Bruce and Jeanne McNae The Seattle Symphony gratefully recognizes the Microsoft Corporation following individuals for their generous Annual Fund MAESTROS CIRCLE and Special Event gifts through September 25, 2017. If Microsoft Matching Gifts Program Gold ($15,000 - $24,999) M.J. Murdock Charitable Trust you have any questions or would like information about 10 National Endowment for the Arts supporting the Seattle Symphony, please visit us online Warren A. and Anne G. Anderson 15 Nesholm Family Foundation at seattlesymphony.org/give or contact Donor Relations Thomas and Susan Bohn 15 The Norcliffe Foundation at 206.215.4832. 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Elliot Margul 5 Don and Toni Rupchock 15 Mr. Leo van Dorp 5 Mark Litt Family DAF of the Jewish Federation of David Sabee and Patricia Isacson Sabee Jan van Horn ∞ Greater Seattle 5 Sarah and Shahram Salemy Johanna P. VanStempvoort ∞ 15 Charles T. Massie ∞ 15 Matthew Salisbury Karoline Vass Lois Mayers Sara Delano Redmond Fund Tara and John Verburg Florence and Charlie Mayne Art Schneider and Kim Street 5 Donald J. Verfurth Michael and Rosemary Mayo 15 Judith Schoenecker and Christopher L. Myers 5 Doug* and Maggie Walker 10 Jennifer McCausland Nancy and James Schultz + 5 Stephanie Wallach John and Gwen McCaw Janet Sears ∞ 15 Lois Waplington John McGarry and Michelle Wernli Virginia Senear 15 Debra Ward Diane and Scott McGee Dr. Anita Shaffer 5 Judith F. Warshal and Wade Sowers Karen and Rick McMichael ∞ 15 Julie Shankland John Watson 5 Dr. and Mrs. James F. McNab Julie and Don Shaw Jonathan Weintraub Mary McWilliams 10 Linda Sheely ∞ 15 Greg Wetzel 5 Jerry Meharg Charles Shipley 15 Amy and Jeff Wilcox David Meinert Todd Shively and Christopher Woods Mitch Wilk Mary Mikkelsen 15 Dr. Charles Simrell and Deborah Giles 15 Elizabeth and Troy Wormsbecker Dr. Stewart Miller Jill Singh Carol Wright Laurie Minsk and Jerry Dunietz Randip Singh Talia Silveri Wright Chie Mitsui ∞ Connie Smith Michael and Gail Yanney Charles Montange and Kathleen Patterson 15 Douglas Smith and Stephanie Ellis-Smith Mindy Yardy James Monteith and Marita Caya 5 Stephen and Susan Smith 5 Lee and Barbara Yates 15 Alex and Nayla Morcos Michele Souligny ∞ Anonymous (25) Mary and Alan Morgan Fawn and Jim Spady Christine B. Moss 15 Doug and Katie Sprugel 5 5 5 years of consecutive giving Kevin Murphy 15 Stella Stamenova 10 10 years of consecutive giving Marcia Murray Steve and Sandy Hill Family Fund at the 15 15 years or more of consecutive giving Mr. and Mrs. J. P. Naughton 15 Seattle Foundation ^ 15 ∞ Monthly Sustaining Donor Paul Neal and Steven Hamilton ∞ 5 Diane Stevens 5 Musician Kirsten Nesholm 5 Ton Swan and Kayley Runstad Swan ° Board Member Paul and Linda Niebanck David Tan and Sherilyn Anderson-Tan ^ Lifetime Director Linda Nordberg Priscilla and Theodore Tanase + Staff Eric Noreen and Suzi Hill Bob and Mimi Terwilliger 10 * In Memoriam Ken and Pearl Noreen Peter Chuang and Elaine Tsai 5 Lise Obeling Kenneth Tschritter To our entire donor family, thank you for your support. Rena and Kevin O’Brien Dr. and Mrs. H. B. Tukey 10 You make our mission and music a reality. Mary Odermat Lorna Tumwebaze Did you see an error? Help us update our records Alida Oles Dolores Uhlman 15 by contacting [email protected] or Mr. and Mrs. Thomas Olson Sami Uotila and Tuula Rytila 206.215.4832. Thank you! Gordon Orians Leo Ortiz and Adriana Aguirre Thomas and Cynthia Ostermann 10 Richard and Peggy Ostrander Meg Owen 5 David and Gina Pankowski 5 Christopher Parker Richard and Sally Parks 5 Margaret Paul and Paul J. Johansen 10 Mary and Kerry Person Perspectives of New Music TAX-WISE WAYS Lisa Peters and James Hattori Rosemary Peterson TO SUPPORT THE Don and Sue Phillips Derek and Anna Pierce Valerie and Stanley Piha SYMPHONIC MUSIC YOU LOVE Andrey Popov Ruth Ann and Jim Powers Jo-Anne D. Priebe Llewelyn G. and Joan Ashby Pritchard ^ 15 Donating to the Seattle Symphony through stock or via a direct Harry* and Ann Pryde Ann Ramsay-Jenkins transfer from your IRA is both generous and tax-efficient! Paul and Bonnie Ramsey Mary C. Ransdell and Keith B. Wong Great ways to give: Wendy and Murray Raskind 10 ■ Gifts of appreciated stock you’ve held over one year can result in Reverend Kerry and Robin Reese 10 Cecilia Paul and Harry Reinert 10 a charitable deduction and save on capital gains tax. Kristi Rennebohm-Franz ∞ Jean A. Rhodes 5 ■ The IRA Charitable Rollover is here to stay, so if you’re 70 ½ Valerie Rice Fred Richard 15 years or older, you can donate through a tax-free transfer and John Richardson II 5 count it as your required minimum distribution. Mr. and Mrs. Charles Riley 5 Deborah and Andrew Rimkus 5 Melissa Rivello Melissa and Manuel Rivelo Dr. and Mrs. Tom Robertson 5 Ms. Jean C. Robinson 5 Eric Robison Jack Rodman and Koh Shimizu Dina Rohm Stan and Michele Rosen To learn more about tax-wise giving, contact Becky Kowals at Dr. Len and Gretchen Jane Rosoff 206.215.4852 or [email protected]. Helen and Ivan Rouzanov 5 Michelle and Jerry Rubin
encoremediagroup.com/programs 41 SEATTLE SYMPHONY DONORS
HONORARIUM GIFTS David Haggerty, by MEMORIAL GIFTS Gretchen Hull, by Gifts to the Seattle Symphony are a Marc Stiles Gifts were made to the Seattle Anonymous wonderful way to celebrate a birthday, Symphony to remember those listed honor a friend or note an anniversary. Lenore Hanauer, by below between September 30, 2016 and Susan Kane, by In addition to recognition in the Encore Penelope Burke September 25, 2017. For information Hannah and Sarah Kane program, your honoree will receive a on remembering a friend or loved one card from the Symphony acknowledging Mary Henderson, by through a memorial gift, please contact Milton Katims, by your thoughtful gift. Linda Werner Donor Relations at 206.215.4832 or Pamela and Patrick Steele [email protected]. Gifts were made to the Seattle Mr. and Mrs. Glen Hiner, by Laurence Lang, by Symphony in recognition of those listed Eugene Leibowitz Joseph and Carol Andrews, by Rosalie Lang below between September 30, 2016 Robin and Zev Siegl and September 25, 2017. Please contact Virginia Hunt-Luce, by Isaac Michael Levin, by Donor Relations at 206.215.4832 or Thomas Luce Rose and Richard Bender, by Sophie-Shifra Gold [email protected] if you Alan Cordova would like to recognize someone in a Linda Jones, by Melvyn Poll, by future edition of Encore. Rochelle Morrissey Beatrice and Arlene Berlin, by Friends of Abbott Construction Janice Berlin and Mark Hartman Janet Abrams 1201 Third Avenue Parking Garage, by Pierre and Felice Loebel, by Asma Ahmed Charles Montange and Marilyn Layton Grandma Bosma, by Ash Family Foundation Kathleen Patterson Constance and Larry Martin Andrew Emory Larry and Sherry Benaroya Maureen and Joel Benoliel Bob Ash, by Marcia Mason, by Bob Bradbury, by Lisa Bergman Jeff Eby and Zart Dombourian-Eby Kathleen and Eric Ottum Jane Ann Bradbury Carolyn Burnett Sue and Thomas Raschella LouAnne Shelton Everyone at Cactus Restaurant Reid and Marilyn Morgan, by Barbara Calvo and Al Benoliel Susan and Armin Baumgartel, by Ilene and Elwood Hertzog Richard M. Campbell, by Dale and Leslie Chihuly Zanne and Ian Gerrard Alison Andrews Joan and Frank Conlon Erica Peterson Ludovic Morlot, by Joyce Franich Maryann Crissey Martine and Dan Drackett Eugene and Sue John Sandra and Gary Etlinger Bill Beery, by Edna Kelso Timotha and Charles Freedenberg Madeline Beery Laurel Nesholm, by Janet Ketcham, in honor of Sharon Friel Moya Vazquez Music Beyond Borders Marlene and Jon Fuson Steve Bush and Christine Chang, by Mary Langholz Laurie Griffith Clarius Group Llewelyn Pritchard, by Debra and Gary Larson Jane Hargraft and Elly Winer Carol and Thomas Olson Erika Lim David and Sharron Hartman T.J. Callahan, by Pat and Jon Rosen John Marshall Delney and Andrew Hilen Tim Callahan Llewelyn and Jonie Pritchard Carolee and Tom Mathers W. David Rambo, by Randy Robinson and Jane Hadley Marilyn McManus The Cello Section, by Trenton Rambo Fred Simons Stewart Miller Betty Graham Carole Tingstad Linda Nordberg Stella Rolph, by Jack Norman Dale and Leslie Chihuly, by Simone Spiess Arthur Caputi, Jr., by Patricia Oye Brookshire Green Foundation Marti Caputi William Poll Liz Chambers and Jim Johnson Pat Rosen, by Ann Pryde Highland Street Foundation Mina Miller and David Sabritt Kathryn G. Cavin, by Pat and Jon Rosen Marks Family Foundation James Cavin Milicent Savage Linda and Gerald Nordberg Norman and Elisabeth Sandler, by SRG Partnership, Inc Jane and Joel Scott Stephanie and Michael Beers Frederic Chopin, by Carlyn Steiner Linda Stevens Xiaoxia Zhou Leena and Mel Sturman Barbara and Donald Tober Virgina Senear, by Diane and Dennis Warshal Kelly Schmidt Kent Coleman, by Wyman Youth Trust Elaine Cho, by Jan Coleman Barbara and Jonathan Zweig Samuel Plott T.E. and Peggy Spencer, by John and Nancy McConnell Lucy J. Ding, by Frank Powers, by Terry Clark, by Paula Ding Richard Andler and Carole Rush Lara Clark Rachel Swerdlow, Walter Gray, and Dr. Kennan H. Hollingsworth Paul Rafanelli, by Beulah Frankel, by Isa Nelson Samuel Clarke, by Mark Linsey and Janis Traven Ginny Gensler Ruth Ann and Jim Powers David Gaglione Shawn Powers Donald Thulean, by Shirley H. Fuller, by Seattle Symphony Volunteers Marianne Cole, by Gerard Fischer Marise and Randy Person Nancy Tracy Mitzi Cieslak Ralph Wedgwood, by Barbara Bye Goesling, by Elaine Raines, by Rosalie Contreras, by J. Mary and Alan Morgan Llewelyn and Jonie Pritchard Cindy Chang Robert Haeger Linda and Randy Ebberson Stephen Whyte, by Allan Granquist, by Laurel Kalina Samantha DeLuna and Jesse Bearden, by Mark Schletty and Jan Laskey Steven Lundholm Sheila Lukehart Jennifer Lee Sheri Sharp Jordan Louie James and Mary Lou Wickwire, by Martin Greenfield, by Katherine and Douglas Sprugel Brandon Patoc Melissa and David Wickwire Pat and Jon Rosen Carole Wilson
Raemarie Duclos, by Sarah Hamilton, by Jean Robbins, by Francis Powers* Barbara and Charles Jennings Nancy Kyler Alice Laitner Steve Frank, by Frederick Hayes, by Giovina Da Sessions Pat and Jon Rosen Sue and Robert Collett Carole Sanford, by Janice Gerth, by David Howe, by Horizon House Supported Living Robert Gerth Mary Howe Richard Howe Langdon Simmons, by Sam Glatstein, by Jane Qualia Llewelyn and Jonie Pritchard Benjamin Glatstein Christopher Weeks
42 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 September 25, 2017. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected]. Donald Strong, by $5 Million + Frances O. Delaney* Mary Anne Strong John and Carmen* Delo The Benaroya Family Estate of Lenore Ward Forbes B. K. Walton, by Charles Simonyi Fund for Arts and Sciences Estate of George A. Franz Penelope Yonge Anonymous Jean Gardner Estate of Mr. and Mrs. Irvin Gattiker Ralph Wedgewood, by $1,000,000 - $4,999,999 Anne Gould Hauberg* Thomas Chatriand and Cindy Gustafson Leslie and Dale Chihuly Richard and Elizabeth Hedreen Jane Kippenhan The Clowes Fund, Inc. Estate of William K. and Edith A. Holmes Michael Vargas Priscilla Bullitt Collins* Estate of Susanne F. Hubbach Judith A. Fong John Graham Foundation Brian Weiss, by The Ford Foundation Mr. and Mrs. Stanley P. Jones Sue Eriksen Dave and Amy Fulton Estate of Betty L. Kupersmith Dina Jacobson Kreielsheimer Foundation John and Cookie* Laughlin Lars Sorensen Marks Family Foundation E. Thomas McFarlan Estate of Gladys and Sam Rubinstein Estate of Alice M. Muench Janice T. Whittaker, by Samuel* and Althea* Stroum Nesholm Family Foundation Jody Friday Dr. Robert Wallace Estate of Opal J. Orr M. C. Pigott Family ESTATE GIFTS $500,000 - $999,999 PONCHO We gratefully remember the following individuals for Alex Walker III Charitable Lead Trust Estate of Mrs. Marietta Priebe their generosity and forethought, and for including Mrs. John M. Fluke, Sr.* Mr. and Mrs. Paul R. Smith the Seattle Symphony in their will, trust or beneficiary Douglas F. King Estate of Frankie L. Wakefield designation. These legacy gifts provide vital support Estate of Ann W. Lawrence Estate of Marion J. Waller for the Symphony now and for future generations. The Norcliffe Foundation Washington Mutual (Estate gifts since September 1, 2014.) Estate of Mark Charles Paben Anonymous James D. and Sherry L. Raisbeck Foundation Dr. William and Mrs. Laura Andrews Joan S. Watjen, in memory of Craig M. Watjen $25,000 - $49,999 Harriet C. Barrett Trust Edward and Pam Avedisian Barbara and Lucile Calef $100,000 - $499,999 Estate of Bernice Baker Robert E. and Jeanne Campbell Estate of Glenn H. Anderson The Boeing Company Charles Robb Chadwick Andrew W. Mellon Foundation Estate of Ruth E. Burgess Trudel Dean Bob and Clodagh Ash Estate of Barbara and Lucile Calef Carmen Delo Alan Benaroya Mrs. Maxwell Carlson Nancy Lee Dickerson Estate of C. Keith Birkenfeld Alberta Corkery* Sherry Fisher Mrs. Rie Bloomfield* Norma Durst* Jane B. Folkrod The Boeing Company Estate of Margret L. Dutton Lenore Ward Forbes C.E. Stuart Charitable Fund Estate of Floreen Eastman Marion O. Garrison Richard* and Bridget Cooley Hugh S. Ferguson* Elizabeth C. Giblin Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Paul Friedlander* Merle P. Griff and Nadine Griff Mack Mildred King Dunn Adele Golub Helen and Max Gurvich E. K. and Lillian F. Bishop Foundation Patty Hall Carol Hahn-Oliver Estate of Clairmont L. and Evelyn Egtvedt Thomas P. Harville Sarah C. Hamilton Estate of Ruth S. Ellerbeck Harold Heath* Allan and Nenette Harvey Senator and Mrs. Daniel J. Evans George Heidorn and Margaret Rothschild* Yveline Harvey Fluke Capital Management Phyllis and Bob* Henigson Anne Marie Haugen Estate of Dr. Eloise R. Giblett Michael and Jeannie Herr Susanne F. Hubbach Agnes Gund Charles E. Higbee, MD and Donald D. Benedict* Gretchen and Lyman Hull Helen* and Max* Gurvich Mr. and Mrs. L. R. Hornbeck Betty L. Kupersmith Estate of Mrs. James F. Hodges JNC Fund E. Marian Lackovich Estate of Ruth H. Hoffman Sonia Johnson* Anna L. Lawrence Estate of Virginia Iverson The Keith and Kathleen Hallman Fund Arlyne Loacker Estate of Peggy Anne Jacobsson David and Karen Kratter Olga M. McEwing Robert C. Jenkins Estate of Marlin Dale Lehrman Jean and Peter J. McTavish Estate of Charlotte M. Malone Estate of Coe and Dorothy Malone Norman D. Miller Bruce and Jolene McCaw Estate of Jack W. McCoy Nuckols-Keefe Family Foundation Bruce and Jeanne McNae Estate of Robert B. McNett Beatrice Olson Microsoft Corporation Estate of Jean and Peter J. McTavish Carl A. Rotter National Endowment for the Arts Estate of Shirley Callison Miner John C. Rottler Northwest Foundation PACCAR Foundation Allen E. Senear Estate of Helen A. Overton Mr. and Mrs. W. H. Purdy Amy Sidell Peach Foundation Estate of Elizabeth Parke Phillip Soth Estate of Elsbeth Pfeiffer Sue and Tom Raschella Morton Stelling Estate of Elizabeth Richards Keith and Patricia Riffle Ida L. Warren Jon and Judy Runstad Rita* and Herb* Rosen and the Rosen Family Estate of Joanne M. Schumacher Seafirst Bank Weyerhaeuser Company Security Pacific Bank The William Randolph Hearst Foundations Jerry and Jody Schwarz Estate of Helen L. Yeakel Seattle Symphony Women’s Association Estate of Victoria Zablocki Patricia Tall-Takacs and Gary Takacs Anonymous (3) U S WEST Communications Estate of Dr. and Mrs. Wade Volwiler $50,000 - $99,999 Estate of Marion G. Weinthal 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
encoremediagroup.com/programs 43 MUSICAL LEGACY SOCIETY
The Musical Legacy Society celebrates 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 included 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 September 25, 2017.
Charles M. and Barbara Clanton Ackerman Ned Laird I GIVE BECAUSE ... Joan P. Algarin Paul Leach and Susan Winokur Kathleen Amberg Lu Leslan Richard Andler and Carole Rush Marjorie J. Levar Ron Armstrong Mel Longley and Tanya Wanchena-Longley Elma Arndt Thomas and Virginia Hunt Luce Bob and Clodagh Ash Ted and Joan Lundberg Susan A. Austin Judsen Marquardt and Constance Niva Rosalee Ball Ian and Cilla Marriott David W. Barker Doug and Joyce McCallum Donna M. Barnes Tom McQuaid Carol Batchelder Jean E. McTavish* Drs. Janet P. and George* Beckmann William C. Messecar Alan Benaroya Jerry Meyer and Nina Zingale Rebecca Benaroya Charles N. Miller Donald/Sharon Bidwell Living Trust Elizabeth J. Miller Dona Biermann Mrs. Roger N. Miller The Seattle Bob* and Jane Ann Bradbury Murl G. Barker and Ronald E. Miller Rosemary and Kent Brauninger Reid and Marilyn Morgan Sylvia and Steve Burges George Muldrow Dr. Simpson* and Dr. Margaret Burke Marr and Nancy Mullen Symphony Dr. William and Mrs. Mary Ann Champion Isa Nelson Sue and Robert Collett Gina W. Olson Dr. Marshall Corson and Mrs. Lauren Riker Sarah M. Ovens Betsey Curran and Jonathan King Donald and Joyce Paradine is doing a Frank and Dolores Dean Dick and Joyce Paul Robin Dearling and Gary Ackerman Jane and Allan Paulson Lorraine Del Prado and Thomas Donohue Stuart N. Plumb wonderful job John Delo Roger Presley and Leonard Pezzano Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Eileen Pratt Pringle Fred and Adele Drummond Mr. and Mrs. W. H. Purdy Mildred King Dunn James and Sherry Raisbeck connecting Sandra W. Dyer Dana Reid and Larry Hitchon Ann R. Eddy J. Stephen and Alice Reid David and Dorothy Fluke Bernice Mossafer Rind Gerald B. Folland Bill* and Charlene Roberts to the Judith A. Fong Junius Rochester Jack and Jan Forrest Jan Rogers Russell and Nancy Fosmire Patricia and Jon Rosen Ernest and Elizabeth Scott Frankenberg James T. and Barbara Russell community. Cynthia L. Gallagher Mary Ann Sage Jane and Richard Gallagher Thomas H. Schacht Jean Gardner Judith Schoenecker and Christopher L. Myers Cheryl and Billy Geffon Annie and Leroy Searle It is the Natalie Gendler Virginia and Allen* Senear Carol B. Goddard Leonard* and Patricia Shapiro Frances M. Golding Jan and Peter Shapiro Jeffrey Norman Golub Barbara and Richard Shikiar people’s Dr. and Mrs. Ulf and Inger Goranson Valerie Newman Sils Betty Graham Evelyn Simpson Catherine B. Green Betty J. Smith Symphony! Dr. Martin L. Greene Katherine K. Sodergren Roger J.* and Carol* Hahn-Oliver Althea C. and Orin H.* Soest James and Darlene Halverson Sonia Spear Barbara Hannah Karen J. Stay Harriet Harburn Diane Stevens Ken and Cathi Hatch Patricia Tall-Takacs and Gary Takacs Michele and Dan Heidt Gayle and Jack Thompson Ralph and Gail Hendrickson Art and Louise Torgerson Deena J. Henkins Betty Lou and Irwin* Treiger Charles E. Higbee, MD Muriel Van Housen Harold and Mary Frances Hill Sharon Van Valin – Eleanor Bob Hoelzen and Marlene Botter Jean Baur Viereck Frank and Katie Holland Dr. Robert Wallace Dr. Kennan H. Hollingsworth Nicholas A. Walls Chuck and Pat Holmes Judith Warshal and Wade Sowers David and Shelley Hovind Douglas Weisfield Richard and Roberta Hyman James and Janet Weisman Janet Aldrich Jacobs John and Fran Weiss Jennifer James, MD Robert T. Weltzien WHY DO YOU GIVE? Robert C. Jenkins Dorothy E. Wendler Dr. Barbara Johnston Gerald W. and Elaine* Millard West Norman J. Johnston* and L. Jane Hastings Johnston Selena and Steve Wilson Atul R. Kanagat Ronald and Carolyn Woodard Don and Joyce Kindred Arlene A. Wright Dell King Janet E. Wright SEATTLESYMPHONY.ORG/GIVE Douglas F. King Rick and Debbie Zajicek Stephen and Barbara Kratz Anonymous (51) Frances J. Kwapil 206.215.4832 M. LaHaise * In Memoriam
44 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 Google Matching Gifts Consulate of the Republic of Poland in Seattle Classical KING FM 98.1 ◊ Aaron Copland Fund For Music Heartwood Provisions † Cornerstone Advisors, Inc. Geekwire † The Benaroya Company The Lark Ascends † DreamBox Learning Google Inc. † Bill & Melinda Gates Foundation MG2 Foundation Ebay John Graham Foundation Matching Gifts Muckleshoot Indian Tribe Educational Legacy Fund KEXP † Coca-Cola Company Matching Gifts Music4Life Eli Lilly & Company Foundation Laird Norton Wealth Management Foster Pepper PLLC Neiman Marcus Finlandia Foundation Seattle Chapter Microsoft Corporation Four Seasons Hotel † Peg and Rick Young Foundation ◊ Firestone Walker Brewing Company † Microsoft Matching Gifts Fran’s Chocolates Puyallup Tribe Of Indians Fox’s Seattle † Nesholm Family Foundation Garvey Schubert Barer † RBC Foundation ◊ Genworth Foundation Precept Wine ◊ Holland America Line RN74 Seattle † Grand Hyatt Hotel New York † Seattle Met Magazine † Lakeside Industries S. L. Pitts PC Lino Tagliapietra Inc. Silverstein Properties Grousemont Foundation Kane Environmental, Inc $25,000 - $49,999 Perkins Coie LLP Skanska USA RBC Wealth Management Kerloo Cellars † Bank of America Starbucks Coffee Company Robert Chinn Foundation KeyBank Foundation Boeing Matching Gifts Program The Westin Hotel, Seattle † Treeline Foundation Lagunitas Brewing Company Chihuly Studio † U.S. Bank Foundation LAUGH Studios † Classic Pianos ◊ $3,000 - $4,999 Weill Music Institute † Neon Taco † DSquared † Amphion Foundation Wells Fargo Foundation O Wines † Encore Media Group † The Capital Grille † Paul & Dottie Foundation of the Anonymous Clark Nuber J.P. Morgan Chase & Co. DuPage Foundation Dick’s Drive-In ◊ Nordstrom The PONCHO Foundation $5,000 - $9,999 Fast Water Heater Co Peach Foundation The Ruth and Robert Satter Seattle Cancer Care Alliance AETNA Casualty and Surety Grand Image Art † Charitable Trust Apex Foundation Wells Fargo Private Bank Lane Powell PC Steinway & Sons Seattle/Bellevue ◊ Atsuhiko & Ina Goodwin Tateuchi Schwabe, Williamson & Wyatt Sun Liquor † Foundation $15,000 - $24,999 Tesla Motors † Thompson Seattle † BNY Mellon Clowes Fund, Inc. Yamaha Treveri Cellars † Brown Bear Car Wash Estates Wine Room ◊ Tolo Events † Casualty & Surety Jean K. Lafromboise Foundation $1,000 - $2,999 Tulalip Tribes Charitable Fund Chihuly Garden + Glass KCTS 9 † Alfred and Tillie Shemanski Trust Fund UBS Employee Giving Programs Citi Community Capital Northwest Center Bank of America Foundation Matching Wilson Sonsini Goodrich & Rosati Creelman Foundation Gifts Program Port Blakely Foundation Davis Wright Tremaine Big Mario’s Pizza † Rosanna, Inc. † Wyman Youth Trust D.V. & Ida McEachern Charitable Trust Butler Valet † Sheri and Les Biller Family Foundation GE Foundation Cadence Winery † Wild Ginger Restaurant † † In-Kind Support Glazer’s Camera † CityBldr ◊ Financial and In-Kind Support 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 45 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Located in The Boeing Company Gallery, Symphonica is from ushers. COMMITTEES open weekdays from 11am–2pm and 90 minutes prior to SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Special Events provide significant funding each season Benaroya Hall is barrier-free and meets or exceeds all to the Seattle Symphony. We gratefully recognize our PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities presenting sponsors and committees who make these online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events possible. Individuals who support the events with disabilities are available. Those with oxygen below are included among the Individual Donors COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous listings. Likewise, our corporate and foundation is located in The Boeing Company Gallery. flow. Requests for accommodations should be partners are recognized for their support in the Corporate & Foundation Support listings. For more LATE SEATING: Late-arriving patrons will be seated made when purchasing tickets. For a full range of information about Seattle Symphony events, please at appropriate pauses in the performance, and are accommodations, please visit seattlesymphony.org. visit seattlesymphony.org/give/special-events. 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 OPENING NIGHT GALA, SEPTEMBER 16, 2017 CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Honoring Leslie and Dale Chihuly The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and SUPPORTING SPONSORS JPMorgan Chase & Co. personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Nordstrom ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or CO-CHAIRS Renée Brisbois except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. Terry Hecker EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark COMMITTEE Kathleen Boyer Hisayo Nakajima seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Dr. Meredith Broderick Paul Rafanelli your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Zartouhi Elizabeth Roberts the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Dombourian-Eby Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Kathy Fahlman Dewalt Christine Suignard Hall, 206.215.4776. for more information. Beth Ketcham
HOLIDAY MUSICAL SALUTE, DECEMBER 5, 2017
CO-CHAIRS Rebecca Ebsworth DINING AT BENAROYA HALL Michelle Codd
COMMITTEE LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior Dr. Meredith Broderick Tiffany Moss to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid Roberta Downey Kirsten Towfiq waiting in line at intermission. Kathleen Mitrovich
MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: 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 TEN GRANDS, MAY 13, 2017 seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony Kathy Fahlman Dewalt performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit Co-Founder and Executive Director opentable.com or call 206.336.6699. COMMITTEE DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Rosanna Bowles Carla Nichols pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Cheri Brennan Fawn Spady a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Steven Dewalt Saul Spady Tom Horsley Stephanie White weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Nader Kabbani David Woolley-Wilson HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Ben Klinger Jessie Woolley-Wilson Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Ghizlane Morlot Barbara Wortley performances in the S. Mark Taper Foundation Auditorium. CLUB LUDO, JUNE 9, 2017 DELICATUS: Delicatus is Seattle’s own cross cultural Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is CHAIR open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Tiffany Moss COMMITTEE Eric Berlinberg Erica Gomez Brittany Boulding Eric Jacobs Duncan Carey Jason Perkizas Samantha DeLuna Talia Silveri CONTACT US Jackie Ernst Saul Spady
TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | P.O. Box 2108, Seattle, WA 98111-2108
GROUP SALES: [email protected] | 206.215.4818
SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music lovers like you. Learn more and make your gift for symphonic music at seattlesymphony.org/give. You can also call us at 206.215.4832 or mail your gift to P.O. Box 21906, Seattle, WA 98111-3906.
46 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt
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THE SPIRIT OF SERVICE Every season volunteers are a welcoming face to thousands The annual event also included the election of volunteer of concertgoers as ushers, share the joy of music with people Board officers for the 2017–2018 season. The Symphony is young and old through education and community programs, proud to welcome Bonnie Peterson, President; Dr. Stephen steward world-class musicians to Benaroya Hall as Artist Guild, President-Elect; Carmen Spofford, Past President; Aides, support auditions to bring new musicians into the Dr. Claudia Crawford, Treasurer; Kate Gormley, Secretary; orchestra, work tirelessly in the music library and throughout and Christopher Ta, Membership Chair. the administrative offices, and fulfill countless other duties in The Seattle Symphony thanks the more than 300 volunteers support of the Seattle Symphony. who give their time and energy, playing a vital role in bringing In June the Symphony celebrated our dedicated volunteers our music to life. For more information about volunteer with an appreciation event hosted by Senior Vice President of opportunities at the Seattle Symphony, please visit Marketing & Business Operations Charlie Wade. Music Director seattlesymphony.org/volunteer. Ludovic Morlot also spoke at the event, thanking the volunteers for their generous service.
PHOTOS: 1 Former Symphony Volunteers President Richard Mori 2 Longtime volunteer Isa Nelson with Symphony Volunteers President Bonnie Peterson 3 Symphony Volunteers Past-President Carmen Spofford 4 Seattle Symphony President & CEO Simon Woods mingling with volunteers 5 Latanya Cason and volunteer Michelle Lucena
encoremediagroup.com/programs 47 B:8.625” T:8.375” S:7.375” C M Y K BELLEVUE SQUARE T:10.875” S:9.875” B:11.125”
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