FEBRUARY 2019 GRAMOPHONE’S ORCHESTRA OF THE YEAR
LUDOVIC MORLOT, MUSIC DIRECTOR
KINAN AZMEH PREMIERES HIS NEW CLARINET CONCERTO LAWRENCE BROWNLEE & ERIC OWENS IN RECITAL SIR ANDRÁS SCHIFF WITH THE SEATTLE SYMPHONY & IN RECITAL My legacy. My partner.
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Untitled-2 1 12/17/18 4:34 PM CONTENTS FEBRUARY 2019
4 / CALENDAR
6 / MEET THE MUSICIANS
8 / THE SYMPHONY
10 / NEWS
FEATURES
12 / Say Hello to Octave 9
CONCERTS
15 / February 6 Silkroad Ensemble with Kinan Azmeh 17 / February 8, 9 & 10 E.T. The Extra-Terrestrial in Concert 19 / February 14 & 16 Prokofiev Symphony No. 7 23 / February 17 Lawrence Brownlee & Eric Owens 27 / February 18 Songplay Featuring Joyce DiDonato JOYCE DIDONATO
Photo: Pari Dukovic Pari Photo: 29 / February 19 27 Debussy String Quartet 31 / February 22 & 23 Amadeus Live with the Seattle Symphony 33 / February 28 & March 3 Sir András Schiff Beethoven Piano Concerto No. 4 37 / March 2 LAWRENCE BROWNLEE ERIC OWENS
Photo: Shervin LainezPhoto: Sir András Schiff in Recital Photo: Dario Acosta Dario Photo:
23 23 46 / BENAROYA HALL GUIDE
47 / THE LIS(Z)T
ON THE COVER: Kinan Azmeh (page 15) with the Seattle Symphony by Brandon Patoc COVER DESIGN: Kate Hourihan EDITOR: Heidi Staub
© 2019 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 PERFORMANCE SPACE: LOOKING AHEAD: ON THE DIAL: Tune in to Classical ■ S. MARK TAPER FOUNDATION AUDITORIUM KING FM 98.1 every Wednesday at 8pm ■ ILLSLEY BALL NORDSTROM RECITAL HALL for a Seattle Symphony spotlight and MARCH ■ OCTAVE 9: RAISBECK MUSIC CENTER the first Friday of every month at 9pm ■ SAMUEL & ALTHEA STROUM GRAND LOBBY for concert broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
7:30pm 1 8pm 2 There is Sunshine in Sir András Schiff My Soul Today in Recital ENSIGN SYMPHONY & SEATTLE SYMPHONY CHORUS
7:30pm Side-by-Side with Ballard High School Orchestra SEATTLE SYMPHONY
8pm Soundbites SEATTLE SYMPHONY
11am 3 4 7:30pm 5 6:30pm 6 5pm 7 5:30pm 8 10am–4pm 9 Octave 9 Ribbon Dean Baquet & International Octave 9 First The Symphony: Octave 9 Family Cutting Marty Baron Women’s Day 2019 Thursday Open Shostakovich Open House SEATTLE SYMPHONY SEATTLE ARTS & BE BOLD SEATTLE House SEATTLE SYMPHONY SEATTLE SYMPHONY LECTURES SEATTLE SYMPHONY 2, 3, 4 & 5pm 8pm 11am Octave 9 Open 7:30pm Joshua Bell Family Concert: The Houses Joshua Bell Mendelssohn Violin Man with the Violin SEATTLE SYMPHONY Mendelssohn Violin Concerto SEATTLE SYMPHONY Concerto SEATTLE SYMPHONY 2pm SEATTLE SYMPHONY 8pm Sir András Schiff Joshua Bell Conducts & Plays Mendelssohn Violin SEATTLE SYMPHONY Concerto SEATTLE SYMPHONY
3pm Ravel, 10 1pm 11 12 3:30pm 13 7:30pm 14 7:30pm 15 8pm 16 Schumann & Mahler Benaroya Hall Tour Friends Onstage Bach Mass in University of Bach Mass in SEATTLE YOUTH SEATTLE SYMPHONY Rehearsal* B minor Washington B minor SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY Community Concert SEATTLE SYMPHONY ORCHESTRA 7:30pm SEATTLE SYMPHONY 6pm Max Raabe & The Brooklyn to Ballard Palast Orchester 8pm SEATTLE SYMPHONY LIVE @ BENAROYA An Evening with 7pm Her Vision | Her HALL Burt Bacharach Voice LIVE @ BENAROYA HALL WOMEN WHO SCORE 7:30pm Samin Nosrat NWAA, KNKX 88.5 FM & THE STRANGER
2pm 17 7:30pm 18 7:30pm 19 7:30pm 20 7:30pm 21 10pm 22 10am & 12pm 23 Bach Mass in Wayne Marshall in Michael Tilson In the Spotlight: Shostakovich [untitled] 2 Sensory Friendly B minor Recital Thomas & San John Harbison Symphony No. 15 SEATTLE SYMPHONY Concert: Springing SEATTLE SYMPHONY SEATTLE SYMPHONY Francisco Symphony SEATTLE SYMPHONY SEATTLE SYMPHONY for the Violins SAN FRANCISCO SEATTLE SYMPHONY 7pm SYMPHONY 5pm Contemporary Mozart Violin Music Marathon Sonatas SEATTLE SYMPHONY BYRON SCHENKMAN & 7:30pm FRIENDS David Russell SEATTLE CLASSIC GUITAR SOCIETY 8pm Shostakovich Symphony No. 15 SEATTLE SYMPHONY
12 & 8am 24 7:30pm 25 7:30pm 26 27 28 7:30pm 29 8pm 30 Contemporary Music Capturing the Capturing the Makana The Glenn Miller Marathon Impossible Impossible LIVE @ BENAROYA Orchestra SEATTLE SYMPHONY NATIONAL NATIONAL HALL SEATTLE SYMPHONY GEOGRAPHIC LIVE GEOGRAPHIC LIVE 2pm Capturing the 8pm Impossible The Glenn Miller NATIONAL Orchestra GEOGRAPHIC LIVE SEATTLE SYMPHONY
2pm 31 The Glenn Miller Orchestra SEATTLE SYMPHONY
*Donor Events: Call 206.215.4832 for more information seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832
4 SEATTLESYMPHONY.ORG ■ ON THE BEAT Who’s Here to Hear Photo: James Holt James Photo:
We’re both originally from Taiwan but we met in Seattle. Right now we have a 2 year old, so when we have a chance to go out, we enjoy going to movies or fine dining. Sometimes we like to sing together. My husband Jack will play the guitar THE (R)EVOLUTION and I’ll sing, but we have very different tastes in music. For me, I like a little bit of everything. I like classical, I like pop OF STEVE JOBS songs. He likes rock music and death metal, so very different. I don’t always understand the lyrics in his music with FEB. 23–MAR. 9 all the screaming and yelling, but he Opera, 2017 Fe Santa For Howard Ken © Photo says it is relaxing. For me, I think classical is relaxing.
“TOTALLY USER-FRIENDLY!” West Coast Premiere! – Joyce, left, with Jack, right –The Los Angeles Times In English with English subtitles. This innovative and crowd-pleasing Evenings 7:30 PM Sunday 2:00 PM portrait of Apple’s visionary co-founder dazzles with “visually stunning” (ABQ Featuring the Seattle Opera Chorus Journal) staging and lyrical, cutting-edge and members of Seattle Symphony music mixing traditional and electronic Orchestra. instrumentation. Compelling, funny, and MCCAW HALL CONNECT WITH US: touching, the unique production “does 206.389.7676 what opera does best: giving audiences a Share your photos using #ListenBoldly and SEATTLEOPERA.ORG/STEVEJOBS follow @seattlesymphony on Facebook, glimpse into the inner life of its title 2018/19 SEASON SPONSOR: character” (Marin Independent Journal). LENORE M. HANAUER Instagram, Twitter and Snapchat. Download PRODUCTION SPONSORS: the Listen Boldly app to easily purchase Don’t miss this remarkable example of ARTSFUND, C.E. STUART CHARITABLE TRUST, TAGNEY JONES FAMILY FUND AT tickets, skip the Ticket Office lines and receive theatrical imagination. SEATTLE FOUNDATION exclusive offers.
Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances
encoremediagroup.com/programs 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR
French conductor Ludovic Morlot was Chief Conductor of La Monnaie for three years Morlot has been Music (2012–14). During this time he conducted several new Director of the Seattle productions including La Clemenza di Tito, Jenu°fa and Pelléas Symphony since 2011. et Mélisande as well as concert performances in both Brussels During the 2018–2019 and at the Aix-en-Provence Easter Festival. season they will continue in their incredible Trained as a violinist, Morlot studied conducting at the Pierre musical journey, focusing Monteux School (U.S.) with Charles Bruck and Michael Jinbo. particularly on the music He continued his education in London at the Royal Academy of Debussy, and works by of Music and then at the Royal College of Music as recipient composers he influenced of the Norman del Mar Conducting Fellowship. Morlot was or that influenced him. elected a Fellow of the Royal Academy of Music in 2014 in Among others, newly recognition of his significant contribution to music. He is commissioned works this Chair of Orchestral Conducting Studies at the University of season are Caroline Shaw’s Washington School of Music. Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: Piano Concerto and the U.S. premiere of Pascal Dusapin’s At Swim-Two-Birds. The orchestra has many successful recordings on their label which have won three Grammy Awards.
SEATTLE SYMPHONY ORCHESTRA ROSTER
LUDOVIC MORLOT Thomas Dausgaard Music Director Designate 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 Wes Dyring OBOE Jonathan Karschney KEYBOARD Noah Geller Allison Farkas * Mary Lynch Assistant Principal Joseph Adam Sayaka Kokubo David & Amy Fulton Concertmaster Principal Jenna Breen Organ + Daniel Stone Supported by anonymous donors John Turman Open Position, Rachel Swerdlow Danielle Kuhlmann Clowes Family Associate Concertmaster Julie Whitton Ben Hausmann PERSONNEL MANAGER Associate Principal Open Position TRUMPET Scott Wilson CELLO Chengwen Winnie Lai Assistant Concertmaster David Gordon Efe Baltacıgil Stefan Farkas ASSISTANT PERSONNEL Simon James Boeing Company Principal Trumpet MANAGER Marks Family Foundation Principal Cello Second Assistant Concertmaster ENGLISH HORN Alexander White Keith Higgins Meeka Quan DiLorenzo Jennifer Bai Stefan Farkas Assistant Principal Mariel Bailey Assistant Principal LIBRARY Christopher Stingle Cecilia Poellein Buss Nathan Chan CLARINET Michael Myers Robert Olivia Timothy Garland Eric Han Benjamin Lulich Associate Librarian Leonid Keylin Bruce Bailey TROMBONE Mae Lin Roberta Hansen Downey Mr. & Mrs. Paul R. Smith Principal Jeanne Case Mikhail Shmidt Walter Gray Clarinet Ko-ichiro Yamamoto Librarian Clark Story Vivian Gu Emil Khudyev Principal Rachel Swerdlow John Weller Joy Payton-Stevens Associate Principal David Lawrence Ritt Assistant Librarian Jeannie Wells Yablonsky David Sabee Laura DeLuca Stephen Fissel Arthur Zadinsky Dr. Robert Wallace Clarinet TECHNICAL DIRECTOR BASS BASS TROMBONE Eric Jacobs Joseph E. Cook SECOND VIOLIN Jordan Anderson Stephen Fissel Elisa Barston Mr. & Mrs. Harold H. Heath Principal E-FLAT CLARINET ARTIST IN ASSOCIATION Principal String Bass TUBA Laura DeLuca Dale Chihuly Michael Miropolsky Joseph Kaufman John DiCesare John & Carmen Delo Assistant Principal BASS CLARINET Principal 2018–2019 SEASON Assistant Principal Second Violin COMPOSER IN RESIDENCE Jonathan Burnstein Eric Jacobs Kathleen Boyer Brendan Fitzgerald * TIMPANI Derek Bermel Gennady Filimonov Jennifer Godfrey BASSOON James Benoit HONORARY MEMBER Evan Anderson Travis Gore Seth Krimsky Principal Natasha Bazhanov Jonathan Green Cyril M. Harris Principal Matthew Decker † Brittany Breeden Stephen Bryant FLUTE Paul Rafanelli Assistant Principal Mike Gamburg ** + Resident Linda Cole Demarre McGill Dana Jackson * PERCUSSION Xiao-po Fei Principal † In Memoriam Artur Girsky Michael A. Werner Supported by David and Shelley Hovind CONTRABASSOON ** On Leave Andy Liang Principal Andrew Yeung Jeffrey Barker Mike Gamburg ** * Temporary Musician for 2018–2019 Michael Clark Associate Principal Dana Jackson * season Matthew Decker VIOLA Judy Washburn Kriewall HORN Susan Gulkis Assadi Zartouhi Dombourian-Eby HARP Jeffrey Fair PONCHO Principal Viola Valerie Muzzolini PICCOLO Charles Simonyi Principal Horn Arie Schächter ** Principal Zartouhi Dombourian-Eby Assistant Principal Mark Robbins Supported by Eliza and Brian Shelden Robert & Clodagh Ash Piccolo Mara Gearman Associate Principal Timothy Hale Supported by Stephen Whyte Penelope Crane
6 SEATTLESYMPHONY.ORG ■
Photo: Eric Han music, somuchlove for eachother, andsomuchlove for theaudience.” a way that issopositive andsostrong,” hesays. “Itcomes from somuchlove for the and energy for makingmusictogether. “Everybody inthecello sectioncontributes in Eric says that hefeels fortunate to have found afamily ofcolleagues that share hisjoy bridge to communicate ourfeelings andemotionswitheachother.” and Englishfluently, butbeyond thelanguagebarrier, musiccreates thisamazing this was athird languagethat Icould useto communicate,” herecalls. “IspeakKorean truly appreciate hisinstrument. “Itwas inmy teens, my late teens, whenIreally felt that Although hestarted thecello early, Eric says that itwasn’t untillater that hebeganto instrument.” different grains inthewood andyou canalmost seethecarvingsinsurface ofthe that “I’masupercello nerd, soItake alotofphotos ofmy cello. You canseethe Of course, his lifelong passion stars inmany ofhispictures. Laughing,Ericadmits powerful.” to capture thecalmness oftheocean withthepeaceful boat sailingaway. Simple, but there isasingleboat with‘Peace’ written ontheback,” hesays. “Itwas goodtiming house. “The sunsetwas perfectly reflected offthesnowy mountainsand,inthewater, So far, hisfavorite photo isoftheOlympicPeninsula, taken from therooftop ofhis see orwant to holdonto.” to holdonto allthesememories,” heexplains. “For meit’s aboutcapturingthingsthat I by anotherartform —photography. “Irealized that photos were theonlyway we have Eric Hanhasbeenplaying thecello since hewas 6,buthe’s recently become intrigued Cello Eric Han MEET THEMUSICIANS
encoremediagroup.com/programs 7 ■ FEATURED COMMUNITY PARTNER Peer Seattle
The Seattle Symphony has partnered with Peer Seattle (formerly known as Seattle Area Support Groups) since 2012. Peer Seattle is a nonprofit that cultivates powerful, healthy lives by providing peer emotional support and development services to the LGBTQ community and their allies embracing issues of mental health, chemical and behavioral addiction, and chronic illness. Peer Seattle serves Western Washington gay, lesbian, bisexual, transgender, transsexual, and sexual minority communities and their allies impacted by temporary or chronic mental health or behavioral addiction, or chronic illnesses such as HIV/AIDS or other sexually transmitted diseases.
Peer Seattle is one of nearly 80 partners in the Seattle Symphony’s Community Connections program which provides complimentary tickets to diverse communities in the Puget Sound region.
“Being in recovery, it’s great to be able to have opportunities to experience new things and to learn how to have fun in healthy ways.”
Photo: James Holt James Photo: – Ticketholder, Seattle Area Support Groups
■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.
SEATTLE SYMPHONY BOARD OF DIRECTORS
RENÉ ANCINAS Chair* Molly Gabel Secretary* Paula Boggs Vice Chair, Audiences & Communities* Dana Reid Vice Chair, Governance* Michael Slonski Treasurer* Woody Hertzog Vice Chair, Development* Stephen Whyte Vice Chair, Finance*
DIRECTORS Ronald Koo DESIGNEES Sherry Benaroya Yoshi Minegishi Rosanna Bowles Stephen Kutz Zartouhi Dombourian-Eby, Alexandra Brookshire Marilyn Morgan Renée Brisbois Ned Laird* Musician Representative Phyllis Byrdwell Isa Nelson Leslie Jackson Chihuly Paul Leach* Carla Gifford, President, Phyllis Campbell Marlys Palumbo
Isiaah Crawford Scott McCammant Seattle Symphony Chorale Mary Ann Champion Sally Phinny Susan Detweiler Michael Mitrovich Stephen Guild, President, Robert Collett James Raisbeck Seattle Symphony Volunteers Rebecca Ebsworth Hisayo Nakajima David Davis Sue Raschella Nancy Neraas Jonathan Karschney, Nancy Evans Bernice Rind † Larry Estrada Musician Representative Laurel Nesholm* Dorothy Fluke Jill Ruckelshaus Jerry Farley Krishna Thiagarajan, Judith Fong Sheila Noonan President & CEO David Fulton Jon Runstad Mauricio Gonzalez de la Dick Paul Jean Gardner Martin Selig Fuente Jay Picard CHAIR EMERITA Ruth Gerberding John F. Shaw Brian Grant Peter Russo Leslie Jackson Chihuly James Gillick Linda Stevens Jeremy Griffin Elisabeth Beers Sandler Jerry Grinstein Patricia Tall-Takacs LIFETIME DIRECTORS Michael Hatch Kathy Savitt Patty Hall Marcus Tsutakawa Terry Hecker Jim Schwab* Llewelyn Pritchard Cathi Hatch Cyrus Vance, Jr. Chair Jean-François Heitz* Robert Wallace Steven Hill Karla Waterman Richard Albrecht Parul Houlahan* Ken Hollingsworth Ronald Woodard * Executive Committee Susan Armstrong Douglas Jackson Patricia Holmes Arlene Wright Robert Ash Susan Johannsen David Hovind William Bain † In Memoriam Aimee Johnson* Henry James Bruce Baker Nader Kabbani J. Pierre Loebel Cynthia Bayley Viren Kamdar
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair René Ancinas Joaquin Hernandez David Tan Chair Muriel Van Housen Secretary Nancy B. Evans Viren Kamdar Rick White Michael Slonski Treasurer Brian Grant
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Glen Lee Krishna Thiagarajan, President & CEO Michael Slonski Treasurer Chris Martin Leo van Dorp Zartouhi Dombourian-Eby, Musician Representative
8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF Bischofberger SENIOR MANAGEMENT TEAM Jérémy Jolley DEVELOPMENT Violins est. 1955 Krishna Thiagarajan Artistic Collaborations Manager Aaron Sumpter President & CEO Katie Hovde Development Officer, Assistant to VP of Leslie Jackson Chihuly Chair Program Associate Development Professional Charlie Wade Renee Duprel Senior Vice President of Marketing COMMUNICATIONS Associate Vice President of Development Repairs & Business Operations Shiva Shafii (Campaign) Jennifer Adair Public Relations Manager Paul Gjording Appraisals Vice President & General Manager Heidi Staub Senior Major Gift Officer (Foundations & Government Relations) & Sales Rosalie Contreras Managing Editor Betsy Groat Vice President of Communications James Holt Campaign Operations Manager Elena Dubinets Digital Content Manager 1314 E. John St. Kent Anderson Vice President of Artistic Planning Andrew Stiefel & Creative Projects Donor Relations Officer Seattle, WA Social Media & Content Manager Jane Hargraft Dinah Lu 206-324-3119 Vice President of Development Campaign Coordinator MARKETING www.bviolins.combviolinsltd.com Laura Reynolds Christy Wood Becky Kowals Vice President of Education & Community Senior Director of Marketing & Sales Director of Major Gifts & Planned Giving Engagement Rachel Spain Marsha Wolf Cheronne Wong Marketing Manager Senior Major Gift Officer collectif9 Vice President & CFO BV 071811 repair 1_12.pdf Amanda DiCesare Amy Bokanev, Michael Maniaci Wednesday, Major Gift Officers EXECUTIVE OFFICE Marketing Assistant March 27 Alexa Bayouk, Mady Ellars Margaret Holsinger Barry Lalonde 7:30 pm | $19–$44 Development Coordinators (Major Gifts) Executive Assistant to the President & CEO, Director of Digital Products Montreal’s cutting-edge class ical string band Office & Board Relations Manager Herb Burke, Jason Huynh Megan Hall heralds a new age in genre-bending perfor- Director of Development Operations Alex Shiley Digital Project Managers mance through their energized, innovative Office Assistant Gerry Kunkel Martin K. Johansson arrangements of classical repertoire. Corporate & Concierge Accounts Manager Communications & Grants Manager ARTISTIC PLANNING Stephanie Tucker Jacob Roy DANILO Paige Gilbert Senior Graphic Designer Data Operations Manager Manager of Artistic Planning & Popular Maery Simmons BRITO Jadzia Parker Friday, Apr. 5 Programming Graphic Designer Data Operations Coordinator Michael Gandlmayr Forrest Schofield Kathleen Shin 7:30 pm | $19–$44 Assistant Artistic Administrator Group Services Manager Annual Fund Coordinator Mandolin soloist and composer Danilo Brito Stephanie Torok Joe Brock Peter Gammell is important to the world of music both for Senior Manager of Creative Projects & Retail Manager Director of Corporate Development & Community Engagement Special Events his extraordinary musicianship and unique Christina Hajdu Dmitriy Lipay musical and cultural tradition. His ability goes Sales Associate Molly Gillette Director of Audio & Recording Special Events Officer beyond technical skill and can be defined as Nina Cesaratto Rose Gear true art, feeling, and transcendence. Ticket Office Sales Manager Jessica Kittams Personal Assistant to the Music Director & Stewardship Events Officer Artistic Coordinator Brian Goodwin THE MIKADO Ticket Office Coordinator Ryan Hicks Corporate Development Manager Saturday, Apr. 13 ORCHESTRA & OPERATIONS Asma Ahmed, Mary Austin, James Bean, Jennifer Boyer, 7:30 pm | $39–$69 Kelly Woodhouse Boston Danela Butler, Hannah Hirano, FINANCE & FACILITIES This all-new, critically- Director of Operations Mike Obermeyer, Gabrielle Turner, Alexandra Perwin acclaimed production is Ana Hinz Emerson Wahl, Tobie Wheeler Controller the result of a cooperative effort between Production Manager Ticket Services Associates Megan Spielbusch New York Gilbert & Sullivan Productions and Liz Kane Accounting Manager the Asian-American theatrical community in Assistant to VP & GM VENUE ADMINISTRATION Olivia Fowler New York to promote diversity, equity, and Scott Wilson Matt Laughlin Payroll/AP Accountant inclusive practices with classic works of art. 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encoremediagroup.com/programs 9 ■ FOR YOUR NEWS FROM: PLAYLIST LUDOVIC MORLOT, MUSIC DIRECTOR Welcome to Benaroya Hall. We have so much music in store for you! This month we have a wonderful opportunity to celebrate the global exchange of musical ideas when the Seattle Symphony performs with the world-renowned Silkroad Ensemble on February 6. This concert will feature music of diverse cultures by composers Chen Yi, Edward Perez and Vijay Iyer. I’m especially delighted Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: that clarinetist Kinan Azmeh will return to the Benaroya Hall stage to play the premiere of his Clarinet Concerto; Kinan’s moving solo performance with the Seattle Symphony during our 2016 Music Beyond Borders concert was unforgettable. Continuing in the spirit of musical exchange, I hope you’ll join us for Just Released our exciting upcoming community concerts. On February 15 the Seattle The latest Seattle Symphony recording Symphony will perform an all-Latinx program together with musicians from dropped the end of January, featuring the Ballard Civic Orchestra and Seattle World Youth Orchestra at Highline Ludovic Morlot conducting renowned tenor Performing Arts Center. And on March 1 we’ll perform a Side-by-Side Ian Bostridge with the orchestra in music of Concert with Ballard High School Orchestra. three iconic French composers: Debussy, Berlioz and Ravel. The Seattle Times raved This March I return to the podium for two programs, beginning with Bach’s about Bostridge’s “warm tone quality and Mass in B minor, a work that is close to my heart. Later in March I’ll lead a beautiful expression” during the performance work inspired by Bach: John Harbison’s Organ Symphony, What Do We of Berlioz’s Les nuits d’été, and the live-in- Make of Bach? It’s a joy to celebrate the 80th year of American composer concert track is paired with studio recordings John Harbison by performing this incredible piece with organist Wayne of Ravel’s imaginative Shéhérazade Marshall in Benaroya Hall. and Debussy’s colorfully rich Le livre de , orchestrated by John Adams. I am thrilled that we will open a new performance space this March called Baudelaire Octave 9: Raisbeck Music Center. Octave 9 will use state-of-the-art Listen now or get your own digital download technology to create immersive multimedia experiences and will serve as a or CD — it’s available through all major online laboratory for innovation and collaboration. I invite you to explore this new music retailers and streaming services. Or Symphonica space through one of our imaginative programs this spring! stop by , The Symphony Store at Benaroya Hall before your concert or during Thank you for your support of the Symphony. I look forward to seeing you intermission to pick up a CD. again very soon. Grammy Watch Cordialement, The Seattle Symphony Ludovic Morlot was nominated for three Music Director Grammy Awards — the most of any orchestra this year! Nielsen Symphonies Nos. 3 and 4, conducted by Thomas Dausgaard, was nominated for Best Orchestral NOTA BENE Performance and Aaron Jay Kernis’ Violin Concerto, conducted by Ludovic Morlot BERIO & BOULEZ Join us for performances of Berio’s Circles and Boulez’s sur Incises on with soloist James Ehnes, was nominated March 22 at [untitled] 2 — the Symphony’s late-night contemporary series in the Samuel for Best Classical Instrumental Solo and & Althea Stroum Grand Lobby. Listen to the Seattle Symphony’s recording of Berio’s Best Contemporary Classical Composition. Sinfonia with Grammy-winning vocal ensemble Roomful of Teeth and Boulez’s Notations Listen to the Grammy-nominated albums and for an introduction to these composers. seattlesymphony.org/recordings tune in to the Grammy Awards on Sunday, February 10. FREE COMMUNITY CONCERTS Ballard High School Orchestra students will play an all- This Week / Next Week Scandinavian program side-by-side with the Seattle Symphony at a free concert at Ballard Follow the Seattle Symphony’s This Week / High School Auditorium on March 1. On March 15 Ludovic Morlot and David Alexander Next Week playlist on Spotify to hear what’s Rahbee conduct the Seattle Symphony in music composed by UW faculty members and coming up next at Benaroya Hall. Seattle Symphony musicians at Meany Hall. seattlesymphony.org/inthecommunity
10 SEATTLESYMPHONY.ORG February 2019 Volume 32, No. 6
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encoremediagroup.com/programs 11 SAY HELLO TO OCTAVE 9: RAISBECK MUSIC CENTER Seattle’s newest music Octave 9’s first Artist in Residence, cellist venue opens March 3 Seth Parker Woods, in a rendering provided by LMN Architects. By Shiva Shafii
On March 3, the corner of Second acoustics of Octave 9 from a cozy lounge the Seattle Symphony. “In this space, we Avenue and Union Street in downtown to the spacious sound of a concert hall to will live and breathe today’s art and support Seattle will be abuzz for the Grand the Grand Canyon. Octave 9’s modular contemporary composers with a dedicated Opening of Octave 9: Raisbeck Music surround screens with 13 moveable panels medium for their work. Arts are the way Center, a one-of-a-kind technology-infused can encompass an audience during a live a society articulates itself, and Octave 9 venue offering a glimpse into the future performance or illuminate light glistening signifies the importance of supporting the of music. off the desert sands as a surround-sound voices of today.” recording of John Luther Adams’ Become For over 16 years, the 2,000-square- Desert plays. What better example of this than the foot space housed Soundbridge Seattle Contemporary Music Marathon on March Symphony Music Discovery Center, but on The Grand Opening of Octave 9 will be 23–24? With 24 consecutive hours of March 3 it will reopen as Octave 9, a place celebrated from March through June with a programs co-curated by musicians, that reimagines the way we experience variety of concerts and events, showcasing composers and artists, featuring music music, learning and community. But how? Octave 9’s capabilities and versatility. from over 50 contemporary composers, Through technology and design that GeekWire affirms the inaugural season of the marathon is split into three “acts” — transports audiences sonically and visually. concerts to be just “as experimental as Nightfall, Dreams and Daybreak. Marathon the space.” With five world premieres and passes are available for the entire 24-hour The space boasts a powerful, state- over 70 instrumentalists performing works period or you can purchase individual of-the-art Meyer Sound Constellation® from over 70 contemporary composers, acts separately. acoustic system that uses 42 speakers Octave 9 represents a bold commitment to and 30 microphones, referred to as the music of today. An immersive overnight experience, the “photoshop of sound” by The New Dreams is curated by composer and artist Yorker’s Alex Ross. With the touch of a “Octave 9 is groundbreaking,” shared Marcin Pączkowski who will transform button, Constellation can transform the Krishna Thiagarajan, President & CEO of the space through performance into an
12 SEATTLESYMPHONY.ORG supporters who havemadeOctave9:Raisbeck MusicCenter areality. is supportedbytheJudithA.Fong MusicDirectorsFund.We thankallthe 4Culture/King CountyBuilding forCultureandLMNArchitects.Programming by JamesandSherryRaisbeck, NorcliffeFoundation,Sage Leadership supportforOctave9constructionwasgenerouslyprovided commissioned Bermeltocompose Eaton. TheSeattleSymphony also Stephen NewbyandKaley Lane works fromSeattle-basedcomposers concerts alsoincludecommissioned electronics andspatialization.These contemporary musicindialoguewith second programisanexploration of of jazzandclassicalwhilethe American musicattheintersection first programtellsanarrativeof Composer inResidence. Bermel’s the SeattleSymphony’s 2018–2019 Octave 9curatedbyDerekBermel, one oftwochamberconcertsin Parker Woods willalsoperformon of innovation. continue Octave9’s sense of technologyandmusicpromisesto comfortability withtheintersection Woods, inthespace. Parker Woods’ interdisciplinary artistSethParker first Artistin Residence, cellistand audiences gettohearOctave9’s will bethesecondtimeSeattle The ContemporaryMusicMarathon Daybreak. new dayleadingintothefinalact, Adams’ songbirdsongsstartsthe to everynote. At sunrise, JohnLuther immersive visualsthatareresponding mesmerized bytheatmosphericand will beenvelopedinsoundand performance, audiencemembers midnight to7am.Inthisall-night interactive soundinstallationfrom of themanyGrandOpeningevents. down tocheckoutOctave9atone Join us!Bringyourfamilyandfriends all ages.” and engagementformusicloversof destination foreducation,inspiration to joinusinmakingOctave9a confidence andaninvitationtoothers shared. “Our giftisavoteof in thisnewspace,” JamesRaisbeck to bothinnovationandcommunity the SeattleSymphony’s commitment “Sherry andIarethrilledtosupport redefining whatismusicallypossible. then, pushespasttheboundaries, seven octaves.Anine-octaverange, grand piano, whichspansjustover was inspiredbythesizeofaconcert the formerSoundbridge.Thename matching challengetotransform Raisbeck, whoprovideda$2million philanthropists JamesandSherry is namedinhonorofSeattle Octave 9:Raisbeck MusicCenter for innovativeexperiences. Octave 9 isSeattle’s newesthome for familiesthatsparkcuriosity, artists andcomposers,toevents illuminating conversationsalongside and interactiveperformances,to From multi-sensorychamberconcerts the spaceonApril28. by SeattleSymphony musiciansin technology, whichwillbepremiered a newworkusingOctave9’s unique
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Photo: James Holt more information. octave9 fortickets and Visit seattlesymphony.org/ Sunday, March24 ■ Saturday, March23& showcase ofnewmusic. 24-hour multi-disciplinary Immerse yourselfina Marathon Contemporary Music ■ Wednesday, March20 composer JohnHarbison. with PulitzerPrize-winning Engage inconversation John Harbison In theSpotlight: ■ Sunday, March10 evening ofperformances. Derek Bermelcuratesan Composer inResidence Brooklyn toBallard ■ Saturday, March9 Music Center. at Octave9:Raisbeck explore withyourfamily Come play, learnand Family OpenHouse ■ Friday, March8 Washington. Emeritus, Universityof Larry Starr, Professor A conversationwithDr. Shostakovich The Symphony: ■ Thursday, March7 demonstration ofOctave9. for afreeopenhouseand Thursday ofeverymonth Join usonthefirst First Thursday Grand Opening ■ Sunday, March3 Cutting andOpenHouse Grand OpeningRibbon Raisbeck MusicCenter. celebration ofOctave9: month-long GrandOpening invites youtojoinusinthe The SeattleSymphony CELEBRATIONS OPENING GRAND OCTAVE 9 13
SEATTLE SYMPHONY LUDOVIC MORLOT, MUSIC DIRECTOR
MARCH 29–31 APRIL 25 & 26 GLENN MILLER ORCHESTRA SURROGATE CITIES Ludovic Nick Hilscher, director Morlot Glenn Miller Orchestra Ludovic Morlot, conductor The world-famous Glenn Miller Orchestra, with its unique jazz Jocelyn B. Smith, vocals sound, is one of the most popular and sought-after big bands David Moss, vocals in the world today. HEINER GOEBBELS: Surrogate Cities Friday performance sponsored by Morgan Stanley. From its sultry intimacy of cabaret to hallucinogenic sound effects and striking visual effects, Surrogate Cities, by Heiner Goebbels, studies the essence of a modern metropolis — its people, its power structures and its place in a changing world — with the world premiere of a new piece woven into Surrogate Cities. Underwritten by Judith A. Fong
APRIL 11 & 13 DVOŘÁK NEW WORLD SYMPHONY Thomas Dausgaard, conductor Nicola Benedetti, violin GEORGE WALKER: Sinfonia No. 5, “Visions” (World Premiere) MAY 31, JUNE 1–2 SZYMANOWSKI: Violin Concerto No. 2 CIRQUE GOES BROADWAY DVOŘÁK: “New World” Symphony Jack Everly, conductor Scottish violinist Nicola Benedetti brings her powerhouse Troupe Vertigo musicianship to Szymanowski’s Violin Concerto No. 2. In his Ben Crawford, vocals Symphony No. 9, “From the New World,” Dvořák reflected Ron Remke, vocals back the bountiful and optimistic United States that welcomed Christina DeCicco, vocals him with open arms. Troupe Cirque with a Broadway twist! Join Thomas Dausgaard’s performances are generously underwritten by Ilene and Vertigo Elwood Hertzog. Thomas Dausgaard’s performances receive additional support the Seattle Symphony as acrobats from the Scan|Design Foundation by Inger & Jens Bruun. and aerialists dazzle with spectacular Friday performance sponsored by Morgan Stanley. music from Broadway’s greatest shows. Friday performance sponsored by Morgan Stanley. Sunday performance sponsored by Microsoft. FOR TICKETS: 206.215.4747 | SEATTLESYMPHONY.ORG
EAP full-page template.indd 1 1/29/19 3:55 PM 2/6 WEDNESDAY, FEBRUARY 6, 2019, AT 7:30PM SEATTLE SYMPHONY PROGRAM LUDOVIC MORLOT, MUSIC DIRECTOR SILKROAD ENSEMBLE NOTES WITH KINAN AZMEH SPECIAL PERFORMANCES Tonight we have a chance to witness the versatility of the Silkroad musicians and Ludovic Morlot, conductor composers in a rare partnership with our own orchestra. Members of the Silkroad Silkroad Ensemble Ensemble break the customary concert Cristina Pato, bagpipes music ritual by engaging with their diverse Wu Man, pipa roots and contributing a non-classical cultural legitimacy. The music they co-create Kinan Azmeh, clarinet combines respectful representations of their Sandeep Das, tabla own cultures’ past and new ways of looking Shane Shanahan, percussion into the globalized future; it showcases and transcends multiple cultures at once MARCH 29–31 Matthew Decker, percussion (guest from the Seattle Symphony) APRIL 25 & 26 by cross-fertilizing very different traditions. GLENN MILLER ORCHESTRA Seattle Symphony This music celebrates ethnic diversity while SURROGATE CITIES Ludovic reinforcing the previously unthinkable Nick Hilscher, director Morlot VIJAY IYER City of Sand (Speculative Dunhuang) 27’ connections and commonalities between Glenn Miller Orchestra Ludovic Morlot, conductor Frontier the formerly exclusionary Western classical The world-famous Glenn Miller Orchestra, with its unique jazz Jocelyn B. Smith, vocals The Road music and other world music cultures. The feeling of mutual understanding, open sound, is one of the most popular and sought-after big bands David Moss, vocals Cave 17 in the world today. Gathering communication and sincere joy expressed HEINER GOEBBELS: Surrogate Cities Entrustment during the Silkroad performances becomes Friday performance sponsored by Morgan Stanley. infectious, asserting that classical music is a From its sultry intimacy of cabaret to hallucinogenic sound effects and SILKROAD ENSEMBLE striking visual effects, Surrogate Cities, by Heiner Goebbels, studies the dynamic art form relevant to SEATTLE SYMPHONY the current conditions of our ever- essence of a modern metropolis — its people, its power structures and its connected world. place in a changing world — with the world premiere of a new piece woven EDWARD PEREZ The Latina 6/8 Suite 15’ into Surrogate Cities. Tarantella-Muiñeira While, on surface, tonight’s concert is going Underwritten by Judith A. Fong Tanguillo: The High Seas to follow the rules of a typical symphony Joropo-Festejo: Muiñeira de Chantada orchestra presentation — it has a defined Fandango: Prueba de Fuego structure and the musicians will be reading SILKROAD ENSEMBLE music from the written scores created MEMBERS OF THE SEATTLE SYMPHONY by professional composers rather than improvising — the essence of music-making INTERMISSION will be unique. The works performed tonight were conceived specifically for the particular CHEN YI Introduction, Andante and Allegro 15’ lineup that features the non-Western (World Premiere and Seattle Symphony musicians, instruments and performance co-commission) APRIL 11 & 13 techniques, and most of these compositions Introduction DVOŘÁK NEW WORLD SYMPHONY can be performed only by the musicians Andante for whom they were written: they inspire an Thomas Dausgaard, conductor Allegro incredibly flexible output enhanced by the Nicola Benedetti, violin SEATTLE SYMPHONY spirit of individual soloists jointly working GEORGE WALKER: Sinfonia No. 5, “Visions” (World Premiere) together. MAY 31, JUNE 1–2 KINAN AZMEH Clarinet Concerto (World Premiere and 20’ SZYMANOWSKI: Violin Concerto No. 2 CIRQUE GOES BROADWAY Seattle Symphony commission*) Vijay Iyer is an incredibly gifted composer DVOŘÁK: “New World” Symphony and performer; he is among the most Jack Everly, conductor KINAN AZMEH, CLARINET Scottish violinist Nicola Benedetti brings her powerhouse brilliant jazz pianists of the current times. His Troupe Vertigo SEATTLE SYMPHONY musicianship to Szymanowski’s Violin Concerto No. 2. In his ruminative City of Sand for clarinet, tabla, Ben Crawford, vocals pipa, percussion and string orchestra was Symphony No. 9, “From the New World,” Dvořák reflected KINAN AZMEH Wedding 8’ Ron Remke, vocals co-commissioned by Silkroad Ensemble back the bountiful and optimistic United States that welcomed SILKROAD ENSEMBLE Christina DeCicco, vocals and A Far Cry chamber orchestra. It him with open arms. Troupe SEATTLE SYMPHONY Cirque with a Broadway twist! Join beautifully illustrates a multicultural Thomas Dausgaard’s performances are generously underwritten by Ilene and Vertigo approach that both the composer and the Elwood Hertzog. Thomas Dausgaard’s performances receive additional support the Seattle Symphony as acrobats *Kinan Azmeh’s Clarinet Concerto is commissioned by Classical Movements for the Seattle commissioning groups have embraced in from the Scan|Design Foundation by Inger & Jens Bruun. and aerialists dazzle with spectacular Symphony as part of the Eric Daniel Helms New Music Program. their music-making. The piece reflects the Friday performance sponsored by Morgan Stanley. music from Broadway’s greatest shows. Kinan Azmeh’s performance is generously underwritten by Nader and Oraib Kabbani. painted murals found in multiple hand- carved cave temples around the town of Friday performance sponsored by Morgan Stanley. Concert sponsored by Delta Air Lines. Sunday performance sponsored by Microsoft. Dunhuang in the north-Western China, the FOR TICKETS: Please note that the timings provided for this concert are approximate. title of which means “City of Sand.” Iyer Please turn off all electronic devices and refrain from taking photos or video. explains that these paintings “reveal to us Performance ©2019 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. a deliriously hybrid Buddhism informed 206.215.4747 | SEATTLESYMPHONY.ORG by Hinduism, Zoroastrianism, early Islam,
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Taoism, Confucianism and Manichaeism. In The Syrian composer and clarinetist Kinan Syria, my country’s men and women, my these caves we see evidence of an organic Azmeh, who is also a member of Silkroad, home in New York, my extended community globalism emerging in Dunhuang from the first appeared as a soloist with the Seattle here in the U.S. and all of those who spoke movements and interactions of Chinese, Symphony exactly two years ago, performing up against injustice everywhere. Indian, Central Asian, North African and two movements from his Suite for Improvisor Middle Eastern peoples along the Silk Road. and Orchestra to rapt ovations at the end When Classical Movements commissioned … The experiences we associate with the of the Music Beyond Borders concert me to write a clarinet concerto for the Seattle Silk Road — migration, discovery, encounter, featuring music from the countries banned Symphony’s 2018–2019 season all I wanted interaction — all depend on improvisation: by the February 2017 executive order. The was to write a piece that would enjoy a lot of our capacity to sense, decide and act in last of these movements, Wedding, will be freedom. Therefore, what I have scored here relation to each other. … Eventually, through performed again to end tonight’s concert. is a piece that is free from any programmatic speculating about Dunhuang’s deep past, It captures the spirit of a wedding party in or autobiographical information. The only I realized that just as in these caves, and a Syrian village usually held in the public summary that can be given here is that there just as in culture as a whole, individual and square for everyone to attend. Azmeh finds it is an introduction, there is a lullaby and there collective improvisation would help us make “quite inspiring to see that, in spite of all the is an ecstatic dance in one of my favorite the most of our shared presence.” bullets and the atrocities, people still have rhythms in Arabic music called ‘Katakufti’ or the resilience to simply fall in love. After all, ‘Nawari,’ and in a similar fashion to many of The electric Galician gaitera (bagpipe falling in love is probably one of the very few my earlier works, the soloist has lots of room player) Cristina Pato commissioned The human rights that no authority can take away.” to improvise. Latina 6/8 Suite from Edward Perez in 2015. The daughter of a Galician immigrant Right upon the conclusion of the memorable I am very grateful to the Seattle Symphony to Venezuela, Pato explains that the performance at Music Beyond Borders, and Classical Movements for bringing this piece is “a way to embrace my heritage Azmeh was approached by the Seattle piece to life and for making me feel at home through music, looking at the connections Symphony with a suggestion to write a thousands of miles away from home, and between the country where the word Latino new piece for the orchestra, and, thanks who reminded me that small gestures of originated — Italy — and the countries that to the support of Classical Movements, we solidarity can travel far, freely! are considered Latino today.” In this four- are witnessing its premiere tonight. Three movement suite starting with the Italian sections of Azmeh’s new one-movement – Kinan Azmeh Tarantella , she wanted Perez to explore Clarinet Concerto follow a typical fast–slow– just one rhythm (6/8) found in such different fast structure of a traditional instrumental styles as the Venezuelan joropo, the Peruvian concerto, but are filled with non-Western festejo, the Galician muiñeira, the tanguillo rhythms and exciting improvised solos KINAN AZMEH and the fandango — the rhythm that has requiring the orchestra musicians to listen Clarinet & composer travelled throughout the world telling a story attentively and communicate with the soloist of human migration to different countries of in a very engaged way. Hailed as a “virtuoso” and The Latin America. “intensely soulful” by Program notes by Elena Dubinets, Seattle Symphony New York Times and The first piece on the second half of our Vice President of Artistic Planning & Creative Projects “spellbinding” by The program is the only work written for orchestra New Yorker, Syrian-born, without the Silkroad musicians, though with genre-bending composer It was less than a week after the this specific concert in mind. The Chinese and clarinetist Kinan infamous travel ban was issued that composer Chen Yi was Music Alive’s Azmeh has been touring the Seattle Symphony got in touch with me Photo: Connie Tsang composer in residence with the Seattle the globe with great and invited me to take part in Music Beyond Symphony in 2003–2004 season, and acclaim as a soloist, composer and My Musical Borders, a concert celebrating the cultures her Third Symphony, subtitled improviser in the most prestigious concert Journey to America and people of seven Muslim-majority , was commissioned halls in the world. He has collaborated with and premiered by the Seattle Symphony in countries whose citizens were temporarily Yo-Yo Ma, Daniel Barenboim, John 2004 in honor of its centennial. Chen Yi’s banned from entering the U.S. While I was on McLaughlin and Djivan Gasparian, among new three-movement work, Introduction, stage performing my Suite for Improvisor and others and leads his own bands Hewar and Andante and Allegro, is, in her own words, Orchestra in Seattle that night on February 8, Kinan Azmeh CityBand. He is also a Silkroad “inspired by two sacred animals in Chinese 2017, I kept thinking of what a rollercoaster of Ensemble artist with whom he won a Grammy legend: the black xuanwu (a combination a week that was; within seven days I in 2016. As a composer, his recent of turtle and snake in one) and the white managed to experience the thrill of commissions include pieces for the Seattle tiger in the mountain. The first movement, performing at the new Elbphilharmonie in Symphony, the New York Philharmonic and Introduction, goes from tranquil to vivid and Hamburg, the familiarity of being very close the Saint Paul Chamber Orchestra. He is a energetic; its pentatonic motivic material is to home playing the Mozart Clarinet Concerto drawn from Chinese folk music and expands graduate of The Juilliard School, the in Beirut, the worry and anger that come with into a bold melody in the Peking Opera music Damascus High Institute of Music and being stranded somewhere and not allowed style. The sonority in the second movement, Damascus University’s School of Electrical to go home, and finally the relief of returning Andante, is dark, mysterious and imaginative Engineering, and he holds a doctorate in back to my apartment in New York, thanks to in a boundless space. The contrasting third music from the City University of New York. movement, Allegro, is dramatic and powerful, a block to the presidential executive order by with a developing ostinato that keeps Washington’s Attorney General. These growing towards a brilliant finale.” thoughts were about home; my home in
16 SEATTLESYMPHONY.ORG 2/8–10 SILKROAD ENSEMBLE FRIDAY, FEBRUARY 8, 2019, AT 8PM SATURDAY, FEBRUARY 9, 2019, AT 8PM SUNDAY, FEBRUARY 10, 2019, AT 2PM E.T. THE EXTRA-TERRESTRIAL IN CONCERT SEATTLE POPS SERIES The Silkroad Ensemble creates music that engages difference, sparking radical Jack Everly, conductor | Seattle Symphony cultural collaboration and passion-driven learning to build a more hopeful world. A STEVEN SPIELBERG Film Founded by cellist Yo-Yo Ma, the group has been called “vibrant and virtuosic” by the Wall Street Journal, “one of the 21st century’s great ensembles” by the Vancouver Sun, and a “roving musical laboratory without walls” by the Boston Globe. DEE WALLACE Silkroad musicians appear in many PETER COYOTE configurations and settings, from intimate groups of two and three in museum HENRY THOMAS as ELLIOTT galleries to rousing complements Music by of eighteen in concert halls, public JOHN WILLIAMS squares and amphitheaters. Off the stage, they lead professional development Written by and musician training workshops, create MELISSA MATHISON residency programs in schools, museums, Produced by and communities, and experiment STEVEN SPIELBERG & KATHLEEN KENNEDY with new media and genres to share Directed by Silkroad’s approach to radical cultural STEVEN SPIELBERG collaboration. A UNIVERSAL PICTURE
Silkroad musicians and composers hail from more than 20 countries, drawing on a rich tapestry of traditions to create a new musical language — a uniquely engaging and accessible encounter between the Tonight’s program is a presentation of the complete filmE.T. The Extra-Terrestrial with a live foreign and the familiar that reflects our performance of the film’s entire score, including music played by the orchestra during the end many-layered contemporary identities. As credits. Out of respect for the musicians and your fellow audience members, please remain seated the Los Angeles Times has said, Silkroad’s until the conclusion of the credits. “vision of international cooperation is not E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal what we read in our daily news reports. Studios. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Theirs is the better world available if we, Entertainment. like these extraordinary musicians, agree Director Steven Spielberg’s heartwarming masterpiece is one of the brightest stars in motion to make it one.” picture history. Filled with unparalleled magic and imagination, E.T. The Extra-Terrestrial follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott. Experience all the The Silkroad Ensemble has performed in mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences more than 100 cities in over 30 countries around the world. and recorded seven albums; its 2016 This presentation is approximately two hours and 15 minutes including one 20-minute release, Sing Me Home, won the Grammy intermission. Award for Best World Music Album. The Music of Strangers, a documentary about The Seattle Symphony’s presentation of E.T. The Extra-Terrestrial in Concert is sponsored by the Ensemble directed by the Academy Boeing. Award-winning filmmaker Morgan Neville, Sunday performance sponsored by Microsoft. premiered at the Toronto International Film Festival in 2015 and was released Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. worldwide in 2016. Performance ©2019 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 17 JACK EVERLY Conductor
Jack Everly is the of attendees and reaching millions of Principal Pops viewers annually. Conductor of the Indianapolis and Originally appointed by Mikhail Baltimore symphony Baryshnikov, Everly was conductor of orchestras, Naples the American Ballet Theatre (ABT) for 14 Philharmonic Orchestra years, where he served as Music Director. and the National Arts In addition to his ABT tenure, he teamed Photo: Andre Ringuette - Andre Photo: Photography Freestyle Centre Orchestra with Marvin Hamlisch on Broadway shows (Ottawa). He has conducted the Los that Hamlisch scored. He conducted Angeles Philharmonic at the Hollywood Carol Channing hundreds of times Bowl, The New York Pops at Carnegie Hall, in Hello, Dolly! in two separate Broadway the San Francisco Symphony and productions. numerous appearances with The Cleveland Orchestra at Blossom Music Everly, a graduate of the Jacobs School of Center. Everly will conduct over 90 Music at Indiana University, is a recipient of performances in more than 22 North the 2015 Indiana Historical Society Living Boeing is proud American cities this season. Legends Award and holds an Honorary Doctorate of Arts from Franklin College in to support As Music Director of the National Memorial his home state of Indiana. He is a proud Day Concert and A Capitol Fourth on resident of the Indianapolis community the Seattle PBS, Everly proudly leads the National and when not on the podium you can find Symphony Orchestra in these patriotic him at home with his family, which includes Symphony and celebrations on the West Lawn of the U.S. Max the wonder dog. Capitol attracting hundreds of thousands its mission to unleash the power of music, PRODUCTION CREDITS bring people
E.T. The Extra-Terrestrial in Concert is produced by Film together and lift Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. the human spirit.
Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Luke Dennis
Music Composed by John Williams
Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Kristin Stark, Carol Nygren, Tamara Woolfork, Patrick Koors, Daniel Posener, Tammy Olsen, Angela Emery, Shayne Mifsud, Lauren Purnell, Darice Murphy, Chris Herzberger, Noah Bergman, Paul Ginsburg, Mark Graham and the musicians and staff of the Seattle Symphony.
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311282-144_SEA_Symp_E.T.Concert_AQFNL.indd 1 12/11/18 3:39 PM 2/14–16 THURSDAY, FEBRUARY 14, 2019, AT 7:30PM SATURDAY, FEBRUARY 16, 2019, AT 8PM OVERVIEW
PROKOFIEV Dances Macabre SYMPHONY NO. 7 We habitually think of music as uplifting, as expressing our best impulses and aspirations. And so it often does. The HONORING THE LEGACY OF BUSTER & NANCY ALVORD songs we sing to children, the widespread use of music for religious expression, the heroic and triumphant character of so many Vasily Petrenko, conductor symphonies and concertos all reflect the Aleksey Semenenko, violin beneficence we attribute to music. Yet Seattle Symphony music can also conjure darker aspects of the human imagination. Particularly, it can make vivid our notions of ghostly or PAUL DUKAS The Sorcerer’s Apprentice 12’ demonic forces, of strange apparitions and chilling threats. All this we hear in the JEAN SIBELIUS Violin Concerto in D minor, Op. 47 31’ witches Sabbaths, marches to the scaffold, Allegro moderato damnations of Faust, rites of spring and Adagio di molto other disturbing scenes that make up a Allegro, ma non tanto small but especially colorful part of the ALEKSEY SEMENENKO, VIOLIN orchestral literature. We dip into music’s darker aspect this INTERMISSION evening. Paul Dukas’ tone poem The Sorcerer’s Apprentice tells a story of supernatural power unleashed and running SERGEY PROKOFIEV Symphony No. 7 in C-sharp minor, Op. 131 31’ amok. Jean Sibelius’ Violin Concerto is, for Moderato the most part, not at all sinister — not until Allegretto its final movement, which brings what its Andante espressivo author described as a “danse macabre.” Vivace Only with the Symphony No. 7 of Sergey Pre-concert Talk one hour prior to performance. Prokofiev do we move decisively from shadows into light. Originally conceived Speaker: Dr. Gary Cannon, Artistic Director of the Cascadian Chorale for a young audience, this work smiles at Aleksey Semenenko’s performances are generously underwritten by Mel and Leena Sturman us practically from start to finish. Yet even through the Seattle Symphony’s Guest Artists Circle. here, in the final minutes, we hear hints of grotesquerie in mechanical accompaniment figures, drum rolls, muted trumpets Please note that the timings provided for this concert are approximate. and darkened harmonic complexion. Please turn off all electronic devices and refrain from taking photos or video. It’s not much of a stretch to find this Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording somewhat spooky. equipment, and any other use of such copying devices during a performance is prohibited.
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PAUL DUKAS story related in The Sorcerer’s Apprentice himself was a more than competent featured a famous cartoon mouse in the title violinist. Indeed, his youthful ambition was The Sorcerer’s Apprentice role. But this is well known, and we need to become a virtuoso performer on the not dwell on it. instrument. Only after years of practice and BORN: October 1, 1865, in Paris a painful realization that he would not have DIED: May 17, 1935, in Paris Scored for 2 flutes and piccolo; 2 oboes; 2 a career as a professional soloist did he turn clarinets and bass clarinet; 3 bassoons and WORK COMPOSED: 1897 fully to composition. contrabassoon; 4 horns; 2 trumpets and WORLD PREMIERE: May 18, 1897, in Paris. cornets; 3 trombones; timpani and percussion; Completed in 1905, Sibelius’ Violin The composer conducted the orchestra of the harp; strings. Concerto conforms with many modern Société Nationale de Musique. concertos in dispensing with the convention JEAN SIBELIUS of an orchestral exposition. The concerto’s first theme is a long, rhapsodic idea sung What to Listen For Violin Concerto in D minor, Op. 47 by the solo violin over a gentle orchestral Dukas opens this famous murmur, and it entails some surprising composition with enigmatic BORN: December 8, 1865, in Hämeenlinna, turns of line and harmony. Both this and harmonies that establish an air of mystery Finland the somber theme that follows end with and supernatural possibilities. Further DIED: September 20, 1957, in Järvenpää, cadenza passages (virtuoso solos) for harmonic magic attends the apprentice’s Finland the featured instrument. A third theme, casting of the spell. Picturesque figures then somewhat like a folk song, leads to a brief WORK COMPOSED: 1903–05 suggest the movement of an enchanted development passage that culminates in a broom from first halting steps to obsessive WORLD PREMIERE: October 19, 1905, in Berlin. still more extended cadenza. march to menacing frenzy. The return of the The German violinist Karl Halir was the soloist, master sorcerer and restoration of order are and Richard Strauss conducted. The second movement is given over to also plainly related by the music. Romantic ardor, Sibelius building the main melody into a great lyrical outpouring. The finale begins with timpani and basses What to Listen For establishing a rhythmic figure whose Sibelius underscores the importance The Sorcerer’s Apprentice is not Paul heavy-footed character prompted the of the violin by introducing several Dukas’ most substantial work, but it is by far English conductor and writer Donald Francis cadenza passages (virtuoso solos) for the the most famous. The French composer’s Tovey to describe the ensuing music as “a instrument early in the initial movement. inspiration for this piece was Der polonaise for polar bears.” Sibelius thought Later in the same movement we hear a still Zauberlehrling, a ballad-like poem written it a different kind of dance. Acknowledging more extended cadenza. Even apart from in 1796 by Johann Wolfgang von Goethe. the somewhat sinister character of the these passages, the concerto provides a Its verses tell of a young man who has theme played by the solo violin over the dazzling display of technical brilliance on been taken on as an apprentice to an aged galumphing accompaniment, he called the part of the solo performer. magician. The novice has seen his master the movement a “danse macabre.” use an incantation to turn a piece of wood However one characterizes it, this initial into a living servant. Indeed, the apprentice idea soon is countered by a rhythmically has memorized the magic saying, and when lively second subject, and Sibelius the old sorcerer departs the house, he tries The Sibelius Violin Concerto is my juxtaposes and develops the two themes in it out himself. absolute favorite to perform. The alternating succession. ultimate piece in terms of Finnish character, The charm succeeds in animating a broom, Scored for solo violin; pairs of woodwinds; it has unbelievable depth and nuance, and and the apprentice orders it to fetch water 4 horns; 2 trumpets; 3 trombones; really challenges me as a musician. While from a spring that lies close by the house. timpani; strings. the second movement speaks to me This the broom does, then does again — especially, I do love every note of the entire and again and again, for the apprentice has piece. I played with the Seattle Symphony in neglected to learn the command to make SERGEY PROKOFIEV 2017, part of a festival of Shostakovich’s six his enchanted worker cease its labors. concertos. I played two of the concertos in Symphony No. 7 in C-sharp minor, Water overflows the basin and begins to two days. It was a really unique opportunity! Op. 131 cover the floor. Just as the house is about I am looking forward to more music-making to become flooded, the sorcerer returns. BORN: April 23, 1891, in Sontsovka, Ukraine at such a special place. In the nick of time, he intones the proper DIED: March 5, 1953, in Moscow formula, and the broomstick falls to the floor, WORK COMPOSED: 1951–52 inanimate once again. – Aleksey Semenenko WORLD PREMIERE: October 11, 1952, in The vividness with which Dukas’ music Moscow. Samuil Samosud conducted the conjured up the scene, atmosphere and Jean Sibelius, Finland’s first great composer Moscow All-Union Radio Orchestra. narrative detail of this story prompted reserved his best creative work for his animators at the Walt Disney studio to select orchestra music, and it is this for which he The Sorcerer’s Apprentice for one of the is so highly esteemed today. Given the What to Listen For episodes in Fantasia, the 1940 film giving importance of orchestral music in his output, Prokofiev’s final composition is an visual representation to eight popular works it seems surprising that Sibelius composed attractive and extremely melodious from the orchestral literature. As brought only one concerto. What is not surprising work. The composer uses the traditional to the screen by the Disney artists, the is that this work features the violin. Sibelius four-movement symphonic design, with a
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To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852. VASILY PETRENKO PROGRAM NOTES Conductor Vasily Petrenko will become Music Director sober and substantial opening movement the Central Committee of the Communist of the Royal followed by a waltz-like intermezzo and a Party for the “decadent formalism” Philharmonic Orchestra tranquil Andante. The symphony concludes (read “modernism”) of a number of his in London in 2021. with a rollicking finale that provides a compositions, a charge that brought from Currently, Petrenko last glimpse of Prokofiev’s signature the composer an apology and promise to holds the position of musical wit. bring to his works a type of “melody that is Chief Conductor of the immediately understandable.” Oslo Philharmonic It is difficult to determine to what extent Orchestra, Chief Conductor of the Royal each of these factors — Prokofiev’s own Liverpool Philharmonic Orchestra, Chief During the middle decades of the 20th creative inclinations, the initial conception Conductor of the European Union Youth century, many composers in Western of the work as a piece for youngsters Orchestra and Principal Guest Conductor Europe and America, seeking to break and political pressure — influenced the of the State Academic Symphony decisively with the past, turned away from character of his Seventh Symphony. To a Orchestra of Russia. Petrenko has also the most venerable genre of orchestral certain extent they complemented each served as Principal Conductor of the music, the symphony. Symphonic writing other, and it seems reasonable to assume National Youth Orchestra of Great Britain and its traditions were maintained at this that all three contributed to shaping from 2009–13, and Principal Guest time primarily by two Soviet composers: the work. Dmitri Shostakovich and Sergey Prokofiev. Conductor of the Mikhailovsky Theatre The latter completed his first symphony Prokofiev builds the first movement on where he began his career as Resident in 1917, when he was in his mid-20s. three themes. The first, heard at the outset, Conductor from 1994–97. Petrenko won His last, which we hear now, came 35 entails a broad and expressive melody for Artist of the Year at the 2017 Gramophone eventful years later, during his final months the strings and a running counter-melody Awards, a decade after receiving their of creativity. that does not replace the initial idea but, Young Artist of the Year Award in 2007. In rather, augments it. This leads, before 2010 he won the Male Artist of the Year at In her memoirs, Prokofiev’s widow offers long, to another spacious melody, soaring the Classical Brit Awards a revealing description of the composer’s and ecstatic. Finally we hear a playful artistic goals during the last years of his life. subject, assigned to the high woodwinds “He told me of his desire for a simple, clear and glockenspiel. These materials merit musical language,” she writes. “He had attention, for they recur not only in this first ALEKSEY SEMENENKO been thinking of it for a long time ... movement but in the finale, also. Violin [W]hen he spoke of clarity and simplicity he would say that it was not a question of the The second movement starts in Born in Odessa, ‘old simplicity,’ which consisted in repeating rambunctious fashion but soon settles into Aleksey Semenenko what had already been said, but of a new a suave waltz that recalls similar music in began the violin at the simplicity linked with the direction our lives Prokofiev’s ballet Cinderella. These two age of 6, and just a were taking.” types of music, energetic and elegant, year later he performed alternate throughout this portion of the as soloist with the The “new simplicity” Prokofiev sought is the symphony. There follows a placid Andante Odessa Philharmonic. hallmark of several of his late compositions, whose melodies flow like a clear stream. Among his numerous above all his Seventh Symphony, the last Alexander Basta Photo: work he completed before his death, in Prokofiev begins the finale with a gallop, a awards are First Prize March 1953. Prokofiev was not the first kind of tune he wrote frequently, and often in the Young Concert Artists International composer whose final maturity shows a with a garish edge. Clearly enjoying this Auditions, Second Prize in the prestigious paring away of surface complexity in favor frenetic material, he rides it a good length, Queen Elisabeth Violin Competition, and of a more serene, direct and outwardly interrupting it only briefly for a march the coveted BBC New Generation Artist simple musical speech. The same trend interlude. Eventually the tempo relaxes for Award. The New York Times lauded may be discerned in the late compositions a return of the soaring theme of the first Semenenko for his “elegance, purity of of Mozart, Brahms, Bartók and others. (Of movement. More remarkably, the composer tone, and lively stage presence” following then recalls the playful third subject of course, apparent simplicity in a work of art his performance with the Orchestra of may mask profound content, as the music that same movement, but now more fully St. Luke’s at Lincoln Center. Semenenko of these composers demonstrates, but that realized and sounding rather fantastic. is another matter.) In the case of Prokofiev’s lives in Germany with his wife and frequent Scored for 2 flutes and piccolo; 2 oboes and Seventh Symphony, however, several piano partner, Inna Firsova. He plays a English horn; 2 clarinets and bass clarinet; 2 Stradivarius violin on loan from the factors besides the intangible one of its bassoons; 4 horns; 3 trumpets; 3 trombones; author’s artistic evolution prompted the tuba; timpani and percussion; harp; Deutsche Stiftung Musikleben Fund work’s transparent and accessible style. piano; strings. of Hamburg. Prokofiev originally intended the piece as a young person’s symphony for © 2019 Paul Schiavo the USSR Children’s Radio Division, and though the work quickly outgrew this initial conception, a youthful, even innocent, lyricism remains one of its important features. More ominously, Prokofiev had been censured in 1948 by
22 SEATTLESYMPHONY.ORG 2/17 SUNDAY, FEBRUARY 17, 2019, AT 2PM LAWRENCE BROWNLEE & ERIC OWENS IN RECITAL
Lawrence Brownlee, tenor ■ Eric Owens, bass ● Craig Terry, piano
WOLFGANG AMADEUS MOZART “Non più andrai” from 4’ Arr. Damien Sneed “All Night, All Day” ■ 5’ /text Lorenzo da Ponte Le Nozze di Figaro ● Arr. Hall Johnson “Deep River” ● 3’ GAETANO DONIZETTI “Ah! mes amis, quel 7’ /text Jules-Henri Vernoy jour de fête!” from Arr. Damien Sneed “Come by Here, Good Lord” ■ 3’ de Saint-Georges & La fille du régiment ■ Jean-François Alfred Bayard TRADITIONAL “Give Me Jesus” ● 3’
GIUSEPPE VERDI “Infelice! E tuo credevi” 4’ Arr. Margaret Bonds “He’s Got the Whole World in 3’ /text Francesco Maria Piave from Ernani ● & Craig Terry His Hand” ■●
GAETANO DONIZETTI “Voglio dire, 7’ HAROLD VICARS “Song of Songs” ■● 4’ /text Felice Romani lo stupendo elisir” /text Clarence Lucas from L’elisir d’amore ■● /arr. Craig Terry
GAETANO DONIZETTI “Una furtiva lagrima” 5’ HARRY WARREN “Lulu’s Back in Town” ■ 3’ /text Felice Romani from L’elisir d’amore ■ /text Al Dubin /arr. Craig Terry CHARLES GOUNOD “Le veau d’or” 2’ /text Paul Jules Barbier & from Faust ● LOUIS ALTER “Dolores” ■● 4’ Michel Carré /text Frank Loesser /arr. Craig Terry GEORGES BIZET “Je crois entendre 4’ /text Eugène Cormon & encore” from TONY VELONA “Lollipops and Roses” ● 4’ Michel Carré Les Pêcheurs /arr. Craig Terry de Perles ■ VINCENT YOUMANS “Through the Years” ■● 5’ GEORGES BIZET “Au fond du temple 5’ /text Edward Heyman /text Eugène Cormon & saint” from Les Pêcheurs /arr. Craig Terry Michel Carré de Perles ■● TRADITIONAL “I Don’t Feel no Ways Tired” ■ 5’ INTERMISSION TRADITIONAL “Peace Be Still” ● 5’
TRADITIONAL “Every Time I Feel 3’ the Spirit” ■●
Lawrence Brownlee’s performance is supported in part by the Melvyn Poll Tenor Fund.
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 ©2019 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 23 PROGRAM NOTES
Georges Bizet — a French composer loving romanza, “Una furtiva lagrima.” The Songs,” these pieces include a variety of perhaps best known for his sultry, seductive comic opera ends as Adina and Nemorino genres ranging from ballads to upbeat jazz Carmen — once said that “love is a rebellious finally come together as equals. standards. Several of the popular songs bird that nobody can tame.” And yet, Bizet originated in film:Harry Warren and Al and his contemporaries regularly sought The only operatic aria not grappling with Dubin wrote “Lulu’s Back in Town” for the to tame the bird through soaring, lyrical love is Charles Gounod’s “Le veau d’or” 1935 Broadway Gondolier (performed by melodies sung in the grandest of art forms: from Faust. In this timeless tale, Faust is Dick Powell and the Mills Brothers) while opera. The 19th century, which is commonly an old man who, after lamenting his lack Frank Sinatra sang Frank Loesser and Louis referred to as the Romantic era, brought of love in life, sells his soul to the devil Alter’s “Dolores” in Las Vegas Nights (1941). a plethora of great operatic works that (Méphistophélès) in exchange for an Singer Jack Jones won a Grammy for his explored the depths a character would go elixir of youth. Méphistophélès returns in rendition of Tony Velona’s ballad “Lollipops for one they love. Italian opera in particular the second act and sings a rousing aria, and Roses” and Vincent Youman’s 1932 exemplified this concept through the use commonly referred to as the Song of the “Through the Years” still endures today as a of bel canto, a type of musical writing Golden Calf, about the wonders of greed: popular standard. that focused on smooth phrases, a light, “To celebrate the infamous idol; Kings and soaring tone and an effortless delivery. This the people mixed together; to the somber This evening’s program ends with a selection operatic technique perfectly suited dramatic, sound of golden coins, they dance a wild of gospel songs including “I Don’t Feel no emotional arias, whether the speaker be round around his pedestal; and Satan leads Ways Tired,” “Peace Be Still” and “Every exclaiming the virtues of love or lamenting the dance.” Time I Feel the Spirit.” Gospel differs from its loss. spirituals in several ways, primarily that they Returning to heartache, the first half of our were often composed in the 19th-century Almost all of the eight pieces in the first program ends with Georges Bizet’s attempts to merge religious folksong with modern, half grapple with this “rebellious bird.” The to tame the “rebellious bird” of love in his Protestant hymnals. As a result, gospel evening begins with Wolfgang Amadeus 1863 opera Les Pêcheurs de Perles. In this employs a verse-chorus structure and Mozart’s “Non più andrai,” a charming aria tale of love and betrayal, two friends (Nadir usually has instrumental accompaniment sung by the title character of Le Nozze di and Zurga) both desire the same woman — a that emphasizes an offbeat. The joyful Figaro to the young Cherubino. Soon to young priestess of overwhelming beauty with nature of these pieces provides an uplifting depart for the military, Cherubino’s life of love an angelic voice. Though they promised to and transcendent conclusion to this and luxury will soon dissipate, Figaro teases. never pursue her, Nadir reminisces on how evening’s program. This jovial aria is followed by Italian composer he secretly sought the priestess out and seduced her in “Je crois entendre encore.” Gaetano Donizetti’s “Ah! mes amis, quel © 2019 Megan Francisco jour de fête!” from La fille du régiment, an Closing the first half is one of opera’s greatest exuberant piece performed by leading man male duets, “Au fond du temple saint,” Tonio after enlisting in the regiment due to which features Nadir’s and Zurga’s enduring friendship and promises of loyalty. This duet LAWRENCE BROWNLEE his love for the captain’s daughter, Marie. Tenor Contrasting Donizetti’s soaring tenor aria, perfectly reflects the theme present in each of these great operatic works: the love of Giuseppe Verdi’s “Infelice! E tuo credevi” Named 2017 Male both these men is “a rebellious bird that from Ernani features bass Silva lamenting his Singer of the Year by nobody can tame.” fiancée’s supposed infidelity as he discovers the International Opera two suitors in her bedroom. The second half of this evening’s program Awards, Lawrence Donizetti returns on this evening’s program turns from western Europe to the United Brownlee has been with two pieces from his operatic comedy- States and is broken into three parts: hailed by The Guardian of-errors, L’elisir d’amore (1832). In this traditional spirituals, American popular song as “one of the world’s and gospel favorites. Spirituals remain an leading bel canto
work, the peasant Nemorino is desperately Shervin LainezPhoto: in love with noblewoman Adina. After integral part of American history and culture stars.” Brownlee has she rebukes his passionate declarations, and are generally associated with slavery. appeared on the stages of every major Nemorino turns to a traveling doctor, Dr. These folk songs are religious in nature opera house, including the Metropolitan Dulcamara, who claims to possess love and melodically simple, most likely due to Opera, Teatro alla Scala, Royal Opera potions. In “Voglio dire, lo stupendo their oral tradition. This simplicity, however, House and more. He also recently elisir,” Dulcamara convinces Nemorino to provides room for ornamentation, which premiered a new song cycle, Cycles of My leads to many different variations on the buy a potion, which is actually just wine. Being, which centers on what it means to same song. This evening’s spirituals — “All Dulcamara ends the exchange by gleefully be an African American man living in Night, All Day,” “Deep River,” “Come by muttering “And tomorrow bright and early, America today. Brownlee’s latest album, Here, Good Lord,” “Give Me Jesus” and I’ll be skipping out of town.” Nemorino’s Allegro Io Son, received a Critic’s Choice “He’s Got the Whole World in His Hands” quest for Adina’s love causes the peasant to from Opera News, and followed his ignore the noblewoman in hopes of eliciting — all use textual repetition to emphasize previous Grammy-nominated release, her jealousy. After taking several doses of a desire for freedom as well as a deep, Virtuoso Rossini Arias. He received his the “love potion,” Nemorino finds himself unwavering faith. Masters of Music from Indiana University surrounded by women (who have learned, The American popular songs return to unbeknownst to the peasant, that he is now and went on to win a Grand Prize at the the theme of love that dominated the heir to a large fortune) and watches as Adina Metropolitan Opera National Council first half. Pulling from classics likeHarold tearfully turns away from the crowd in his auditions. Brownlee also serves as Artistic Vicar’s and Clarence Lucas’ 1914 “Song of Advisor at Opera Philadelphia.
24 SEATTLESYMPHONY.ORG ERIC OWENS Bass
Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital and operatic repertoire, Photo: Dario Acosta Dario Photo: Owens brings his powerful poise, expansive voice and instinctive acting faculties to stages around the world. A native of Philadelphia, Owens Memory Support in the most beautiful place imaginable. studied voice at Temple University and Dorothy’s Place is a new residential memory support then the Curtis Institute of Music for residence located inside of the Bayview community graduate school. In 2017 the Glimmerglass Festival appointed him as its Artistic on lower Queen Anne Hill. The 10-apartment memory Advisor, and he serves on the Board of support residence is designed to enable individuals to Trustees of both the National Foundation thrive through small group and individualized activities for Advancement in the Arts and Astral Artistic Services. Starting in 2019 Owens that stimulate the senses, trigger memories, and promote becomes the co-chair of the Curtis social engagement in a family-style setting. Institute’s opera department. His awards include Musical America’s 2017 Vocalist of the Year Award, 2003 Marian Anderson Learn more by calling (206) 701-1514 or visit BayviewSeattle.org. Award, a 1999 ARIA award, second prize in The Plácido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions and the Luciano Pavarotti International Voice Competition. EMERSON CRAIG TERRY Piano STRING QUARTET Lauded for his “sensitive and stylish” MARCH 6 | 7:30 P.M. (The New York Times) and “superb” BARBER: Adagio for Strings (Opera News) playing, pianist Craig Terry BRITTEN: String Quartet No. 3 in G Major enjoys an international BEETHOVEN: String Quartet No. 7 in F Major career regularly performing with the world’s leading singers and instrumentalists. Currently Terry serves as Music Director of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago after having served for 11 seasons at Lyric as Assistant Conductor. Previously, he served as Assistant Conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program.
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encoremediagroup.com/programs 25 Photo: Carlin Ma
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SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 2/18 MONDAY, FEBRUARY 18, 2019, AT 7:30PM PROGRAM SONGPLAY FEATURING NOTES JOYCE DIDONATO SPECIAL PERFORMANCES Play with that Song By Joyce DiDonato Joyce DiDonato, mezzo-soprano | Craig Terry, piano & arranger Chuck Israels, double bass | Jimmy Madison, percussion Every beginning voice student knows the routine: you walk through the austere door Charlie Porter, trumpet | Lautaro Greco, bandoneon — with trepidation, mind you, and often questioning your very existence — and TOMMASO GIORDANI “Caro mio ben” 4’ the skeptical teacher hands you their copy /arr. Craig Terry with of the yellowed and overly used Singer’s Chuck Israels Bible, The 24 Italian Art Songs. The cover, usually torn and hanging by a thread, aims GIULIO CACCINI “Amarilli mia bella” 4’ to end the suspense of whether your vocal /arr. Craig Terry with fate will be forever sealed as belonging to Chuck Israels the “high” or “low” categories. Regardless, this feels like “IT.”
LEON RUSSELL “Masquerade” 8’ And then we dive in, ready to summon both Callas and Pavarotti, all in one, and we let ALESANDRO PARISOTTI/ “Se tu m’ami”/“Star vicino” 7’ ‘er rip ... SALVATOR ROSA /arr. Craig Terry with Disaster. Week after week we pay to return Chuck Israels to the torture chamber for the humiliating attempt to NOT be flat this week. (Except that we went sharp last week and can’t CHARLIE PORTER Prelude 7’ quite figure out how to split the difference!) CHARLIE PORTER, TRUMPET Even if it says “Italian” on the cover, we may as well be attempting to sing in Swahili, and JERRY BOCK “Will he like me?” 4’ the questioning of your existence has now been fully answered: you are the epitome GIUSEPPE TORELLI “Tu lo sai” 5’ of utter dejection and have single-handedly /arr. Craig Terry with failed the entire human species. Chuck Israels How we grow to hate these songs for challenging our musical souls! How could DUKE ELLINGTON “Solitude” 6’ something which looks so benign on the page be the cause of such wretched ENRIQUE DELFINO Griseta 7’ anguish? Most of these poor pieces that LAUTARO GRECO, BANDONEON have been battered around over the centuries patiently allowing many of us BENEDETTO MARCELLO “Quella fiamma che m’accende” 4’ to sort out basic technique through them, have no real ownership — they are listed GIOVANNI PAISIELLO “Nel cor più non mi sento” 3’ as anonymous, or wrongly attributed to this /arr. Craig Terry with one or that one. Perhaps they are a match Chuck Israels for our misfit vocals? So returning to them years later (ok, GEORGE SHEARING “Lullaby of Birdland” 5’ even decades later!), I’m overwhelmed by the charm and the sweetness and the ZIZ CONFREY Dizzy Fingers 4’ innocence that exudes from their stained, CRAIG TERRY, PIANO yellowed pages! They call me back again — but this time with a bold invitation to play, GENE SCHEER “Lean Away” 5’ to invent, to celebrate a great song. Their overarching theme defiantly bridges the centuries and lines up with the eternal motif RICHARD RODGERS “With a Song in my Heart” 5’ that we’ve all been singing of throughout /lyric Lorenz Hart the years: LOVE.
See Craig Terry’s biography on page 25. Enter the ever-playful Craig Terry, who had Tour Management: Askonas Holt long envisioned these songs being given a slightly different “treatment.” Upon the first Please note that the timings provided for this concert are approximate. chords of his “Caro mio ben,” I was sold, Please turn off all electronic devices and refrain from taking photos or video. and we were off and running. Playing with Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording the old Italian melodies gave birth to the equipment, and any other use of such copying devices during a performance is prohibited. desire to also play with some of our favorite
encoremediagroup.com/programs 27 CHUCK ISRAELS CHARLIE PORTER PROGRAM NOTES Double bass Trumpet Revered as one of the Though a recent preeminent bassists in transplant to the west American Classics, letting love and heartfelt the world, Chuck coast, Charlie Porter music-making be our platform. Israels has performed first cut his teeth on the and recorded with Billie New York jazz scene, Our playground has joyously expanded Holiday, Benny while simultaneously to include an extraordinary gathering of Goodman, Herbie studying classical instrumentalists across all genres, each Hancock, John trumpet performance at bringing a particular sound and expertise, and yet we’ve all fused into something Coltrane, Bud Powell, The Juilliard School unique to this singular project. And it has Coleman Hawkins, Stan Getz, Bill Evans, under the tutelage of famed trumpeter and been some of the most joyous music- J.J. Johnson, Rosemary Clooney, Barbra composer Wynton Marsalis, who described making of my life. Streisand, Nina Simone, Jean-Pierre Porter’s playing as “fiery and intelligent.” Rampal, Tony Williams, Eric Dolphy, Jim Following in the footsteps of his mentor, When last I saw you “here,” I was singing on Hall, Wynton Marsalis, Patti Austin, Gary trumpeter and composer Charlie Porter the theme of War and Peace, hoping to lead Burton, George Russell, the Kronos String has delved into many projects from jazz you to a peaceful state of mind by the end. Quartet and countless others. Israels’ and classical to Arabic, Indian, African, If you’ve managed to stay there, I suppose love and joy are the next obvious steps: so many recordings as a bassist Australian Aboriginal and Korean music. throw your friends a fabulous, old-fashioned include Coltrane Time with John Porter holds degrees from The Juilliard dinner party (perhaps Italian cuisine is in Coltrane, My Point of View with Herbie School and Manhattan School of music in order?), press play, and revel in the joy of Hancock, Getz au Go-Go with Stan Getz, jazz and classical performance. He was meeting some old standards as we frolic and many recordings with the Bill Evans also a Fulbright Scholar at the Paris away. (You know you want to sing along!) Trio. As a composer and arranger, Israels Conservatory. As a composer he has been has written for Bill Evans, John Coltrane, commissioned by Chamber Music America But if you do sing along, (come on, make Jazz at Lincoln Center Orchestra with and Doris Duke Foundation. your old voice teacher proud!) just keep in mind what the great Louis Armstrong said: Wynton Marsalis, Berkshire Music Center, “You got to love to be able to play.” Richard Stoltzman and others.
JOYCE DIDONATO JIMMY MADISON LAUTARO GRECO Mezzo-soprano Percussion Bandoneon
Multi Grammy Award A musician at four Lautaro Greco studied winner and 2018 Olivier years, and a at the Astor Piazzolla Award winner for professional at age 12, Music School in the Outstanding Jimmy Madison has City of Buenos Aires. Achievement in Opera, been playing jazz all his Together with his Kansas-born Joyce life. He was described brother Emiliano Greco, DiDonato entrances as “the best kept secret he leads the Grecos audiences across the in jazz” in the Village Tango Septet, and he is Photo: Simon Pauly Simon Photo: globe and has been Voice. Leaving also a member of the proclaimed “perhaps the most potent Cincinnati to join Miami trumpeter Don Leopoldo Federico’s Orchestra and the female singer of her generation” by The Goldie at age 19, he was quickly hired by Pablo Agri Quarter. Greco has also been a New Yorker. With a voice “nothing less bandleader Lionel Hampton after a gig at soloist at the Juan de Dios Filbert than 24-carat gold” according to The New York’s world-famous Metropole. Since Argentinean Music Orchestra since 2007. Times, DiDonato has soared to the top of then, he has performed and recorded with Both as part of an ensemble and as a the industry both as a performer and a such diverse musical stylists as Marion soloist, Greco has taken part in many fierce advocate for the arts, gaining McPartland, Bobby Hackett, James Brown, musical tours and events in the Americas, international prominence in operas by Gerry Mulligan, Nina Simone, Al Cohn, Europe, and Asia. In 2010 he performed Handel and Mozart, as well as through her Rahsaan Roland Kirk, Joe Farrell, George the closing act at the Buenos Aires City wide-ranging, acclaimed discography. She Benson, Richie Havens, Stan Getz, Hubert Tango Festival with Leopoldo Federico’s is also widely acclaimed for the bel canto Laws, Lee Konitz, Anita O’Day, Art Farmer, Orchestra and the prestigious Panamanian roles of Rossini and Donizetti. An exclusive John Lewis, Ray Baretto, Shirley MacLaine, singer Rubén Blades. In 2008 he took part recording artist with Erato/Warner Classics, Maceo Parker, Ron Carter, Jon Hendricks, in Sexteto Mayor, with whom he recorded DiDonato’s most recent release Les The Joffrey Ballet, Chet Baker, David an album that won the Carlos Gardel Troyens has won the Recording (Complete Berger, Quincy Jones, Toots Theilmans Award to best Tango Orchestra Album. Opera) category at the 2018 International and The Duke Ellington Orchestra, to Also in 2008, he went on a solo tour Opera Awards, the Opera Award at the name a few. around France featuring Pablo 2018 BBC Music Magazine Awards and is Agri Quartet. nominated in the Opera category at this year’s Gramophone Awards.
28 SEATTLESYMPHONY.ORG 2/19 TUESDAY, FEBRUARY 19, 2019, AT 7:30PM PROGRAM DEBUSSY STRING NOTES QUARTET CHAMBER SERIES Like Luigi Boccherini (1743–1805), Baroque composer Jean Barrière (1707–47) Elisa Barston, violin composed four books of sonatas for cello and continuo, which he performed to great Kathleen Boyer, violin acclaim. Stylistically, his music blends Mikhail Shmidt, violin Italian vivacity and French decoration in Jeannie Wells Yablonsky, violin parallel to his countryman, the violinist/ composer Jean-Marie Leclair (1697–1764). Mara Gearman, viola Nathan Chan, cello The Sonata for Two Cellos in G major (1739) opens with an elegant Andante Walter Gray, cello giving the flowing melody to one cello Eric Han, cello while the second instrument gives support Valerie Muzzolini, harp with a series of repeated notes. Further contrast comes as the two performers Lisa Lewis, piano mirror each other via parallel motion that adds to the prevailing lyricism. The JEAN BARRIÈRE Sonata for Two Cellos in G major, No. 10 9’ minor-key Adagio is typically French in Andante its rich, decorative ornamentation. The Adagio work closes with an energetic Allegro Allegro prestissimo prestissimo that nods to Italian practice. NATHAN CHAN, CELLO As in the first movement, parallel motion ERIC HAN, CELLO alternates with independent lines. Shortly before a closing bravura episode, Barrière HENRIETTE RENIÉ Trio for Harp, Violin and Cello 29’ slows the pace for a moment of inward Allegro risoluto contemplation. Scherzo: Vivace scherzando Famously known as a superb harpist Andante and innovator who codified performing Finale: Allegro standards for the harp, Henriette Renié VALERIE MUZZOLINI, HARP (1875–1956) was a prodigiously gifted KATHLEEN BOYER, VIOLIN exponent for her chosen instrument — a ERIC HAN, CELLO decision she made at age 5! She studied harp with Alphonse Hasselmans and INTERMISSION composition with Théodore Dubois while a DARIUS MILHAUD Violin Sonata No. 2, Op. 40 15’ student at the Paris Conservatory. Though Pastoral secondary to her reputation as a harpist, Vif she left a small legacy of finished works Lent including the Trio for Harp, Violin and Très vif Cello (1901). JEANNIE WELLS YABLONSKY, VIOLIN The romantic Allegro risoluto that opens LISA LEWIS, PIANO the Trio is launched by a rhythmically dotted yet flowing theme. It is the violin CLAUDE DEBUSSY String Quartet in G minor, L. 85, Op. 10 25’ that initially sets the music in motion, Animé et très décidé accompanied by the harp and cello. A Assez vif et bien rythmé flowing and lyrical theme soon appears Andantino, doucement expressif before returning to the dotted theme. Très modéré—Très mouvementé et avec passion As the movement proceeds, the music ELISA BARSTON, VIOLIN alternates between faster and slower MIKHAIL SHMIDT, VIOLIN sections. A light and deft Scherzo: Vivace scherzando MARA GEARMAN, VIOLA follows, led by the violin alternating with the cello. The cello initiates WALTER GRAY, CELLO the ensuing Andante with a sad theme answered by the violin with a brief held note from the cello. The violin assumes Musicians’ biographies may be found at seattlesymphony.org. leadership accompanied by dotted chords Please note that the timings provided for this concert are approximate. from the harp. The cello continues sans Please turn off all electronic devices and refrain from taking photos or video. the violin, which shortly reemerges. The Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording overall mood is sweet and gently rocking, equipment, and any other use of such copying devices during a performance is prohibited. and serves as a duet between bowed instruments accompanied by the harp.
encoremediagroup.com/programs 29 PROGRAM NOTES
Two expectant chords separated by kind of curse: such productivity can lead years later he composed his only String silences announce the Finale: Allegro. to charges of derivative eclecticism and Quartet, Op. 10 (1893), a year before the The violin posits a sweet theme soon diminishing public interest in “new” works. premiere of his early “signature” piece answered by the cello, enhanced by the Prélude l’après-midi d’un faune. Though accompanying harp. A skipping theme The opening Pastoral abounds in some early critics were unsparing in emerges from the violin. Galloping energy engaging harmony as well as clever the negative assessment, though the builds, led by violin and cello, leavened by counterpoint. The violin is muted composer had strong supporters, including a slower lyrical episode before the gallop throughout the movement, which closes Paul Dukas. re-emerges. A broadly sweeping gesture with a dazzling sequence of contrasting brings the movement to a final close. snippets from the five themes that dot the The Quartet draws all of its thematic landscape before returning to the serene material from the principal subject Darius Milhaud (1892–1974) grew up in opening moments. A brief scherzo-like announced at the beginning of the Aix-en-Provence, absorbing the natural Vif ensues without a formal Trio section, opening Animé et très decide. The theme beauty of the area as well as its rich replaced herein by a short development is cast in Phrygian mode — essentially a musical traditions. Steeped as he was in an section. The following movement, Lent, descending scale from E to E an octave atmosphere rich in music, it seemed almost centers on two themes, and provides a lower using only the equivalent of the inevitable that he would eventually take terse development section. The violin white keys of a piano. The theme sounds on serious study of the art, and in 1909 he opens the concluding Très vif initiated by somewhat harsh initially and engenders found his way into the Paris Conservatoire a frenetic theme dancing over Stravinskian considerable energy through complex where he studied composition, violin, polytonality. A piano cadenza yields to a rhythms and sheer vehemence. The orchestration and counterpoint, among new violin motif. Both thematic ideas unite ensuing Assez vif et bien rythmé functions other related disciplines. After World in a brief coda. as a traditional scherzo and employs a War I, he spent time in Brazil, where dazzling array of rhythmic and coloristic he composed the Violin Sonata No. 2 Claude Debussy (1862–1910) attended the devices to greatly expand the harmonies (1917). As a composer he shared a trait in 1889 Paris Exhibition. This event turned and sonorities of his day. Strongly common with Martinů and Villa-Lobos, an out to help inspire Debussy to embrace accented pizzicato chords are immediately ability to create music very quickly and with non-Western musical ideas as a way of countered by a quirky motive from the apparent ease. This gift can bring with it a breaking away from three centuries of viola. A profusion of sudden sforzandos tonally based minor and major scales. Four adds to the energy and chip-on-shoulder challenge that Debussy was throwing into the gantlet. The plucked notes may have been inspired by Javanese gamelan, which had so intrigued him when he attended the 1889 Paris Exhibition, though he most likely knew Tchaikovsky’s use of pizzicato in the Russian composer’s Business, meet Fourth Symphony. The slow and romantic Andantino, doucement expressif employs pizzicatos to underline the rhythm. box office. The finale, marked Très modéré—Très mouvementé et avec passion, belies his anti-academic animus, introduces a rare Encore connects businesses and brands to the best fugal passage that transforms the first movement’s main theme. As the music of arts & culture in Seattle and the Bay Area.. progresses it grows increasingly quick as new thematic variants leap into the fray. A coda that recalls the very opening music of From fashion and finance to dining and diamonds, the Quartet ties up matters. smart business-owners know Encore is the best © 2019 Steven Lowe way to get their brand in the spotlight.
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30 SEATTLESYMPHONY.ORG 2/22–23 FRIDAY, FEBRUARY 22, 2019, AT 8PM SATURDAY, FEBRUARY 23, 2019, AT 8PM AMADEUS LIVE WITH THE SEATTLE SYMPHONY SPECIAL PERFORMANCES
Jeffrey Schindler, conductor Jessica Choe, piano Seattle Symphony Chorale Seattle Symphony
THE SAUL ZAENTZ COMPANY presents
A MILOŠ FORMAN FILM AMADEUS F. MURRAY ABRAHAM TOM HULCE ELIZABETH BERRIDGE SIMON CALLOW ROY DOTRICE CHRISTINE EBERSOLE JEFFREY JONES CHARLES KAY DIRECTOR OF PHOTOGRAPHY BY MIROSLAV ONDRICEK FILM SCORE RECORDING CONDUCTED AND SUPERVISED BY NEVILLE MARRINER PRODUCTION DESIGN BY PATRIZIA VON BRANDENSTEIN CHOREOGRAPHER TWYLA THARP SCREENPLAY AND ORIGINAL STAGE PLAY BY PETER SHAFFER PRODUCED BY SAUL ZAENTZ DIRECTED BY MILOŠ FORMAN
Microsoft and our employees are proud to support the Seattle Symphony and its programs This presentation is approximately three hours including one 20-minute intermission. which bring enriching musical experiences to Friday performance sponsored by Microsoft. people of all ages in the Please note that the timings provided for this concert are approximate. Pacific Northwest. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 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. Enjoy the performance!
encoremediagroup.com/programs 31 JEFFREY SCHINDLER SEATTLE SYMPHONY CHORALE Conductor The Seattle Symphony Chorale Conductor Jeffrey serves as the official chorus of the Schindler enjoys a Seattle Symphony. Over the past four dynamic international decades, the Chorale has grown in career that takes him artistry and stature, establishing itself from concert podiums as a highly respected ensemble. Critics around the world to the have described the Chorale’s work recording studios of as “beautiful, prayerful, expressive,” Hollywood and London. “superb” and “robust,” and have Schindler has praised it for its “impressive clarity conducted world-renowned orchestras and precision.” The Chorale’s 120 across the globe including the London Photo: VanHouten Ben volunteer members, who are teachers, Symphony Orchestra, Sydney Symphony doctors, attorneys, musicians, students, bankers and professionals from all fields, bring Orchestra and Seattle Symphony. He is not only musical excellence, but a sheer love of music and performance to their endeavor. one of the only conductors leading live Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale orchestra to film performances who has performs with the Seattle Symphony both onstage and in recorded performances. also conducted major Hollywood motion pictures, including X-men: Apocalypse, Soprano Terri Chan Andrew Magee The Wolfman and Jack the Giant Slayer. Caitlin Anderson-Patterson Rachel Cherem Ed Morris He recently celebrated his 100th Laura Ash Lauren Cree Wally Pfingsten performance in the Harry Potter franchise, Lolly Brasseur Paula Corbett Cullinane Theodore Pickard live orchestra with film. Other live orchestra Ellen Cambron Aurora de la Cruz Christopher Reed Shannon Christensen Robin Denis Jonathan M. Rosoff to film titles in his repertoire include Jillian Churchill Cindy Funaro Bert Rutgers Amadeus DreamWorks Animation in , Emma Crew Carla J. Gifford Peter Schinske Concert, and the Christmas favorite It’s a Erin M. Ellis Amy Gleixner Alan Sheaffer Wonderful Life. In July of 2015, he Jacquelyn Ernst Kelly Goodin Spencer Small produced and conducted the world Kaitlyn Gervais Catherine Haddon M. Scott Spalding premiere of March of the Penguins live to Dalia Gladstein Shan Jiang Brian Stajkowski film with the Seattle Symphony. He will be Emily Han Shreya Joseph Jeremy Paul Swingle making his debut performances in the Star Teryl Hawk Inger Kirkman Max Willis Wars galaxy with the Symphony Silicon Lyndsey Howell Sara Larson Dane Zielinski Valley in Spring 2019. Elizabeth Husmann Rachel Lieder Simeon Caitlin Hutten Cally Lindenmier Bass Sharon Jarnigan Audrey Morin John Allwright JESSICA CHOE Elizabeth Johnson Monica Namkung Christopher Benfield Piano Julia Joo Angela Petrucci Jay Bishop Katy Kaltenbrun Karis Pratt Hal Bomgardner Korean-American Seung Hee Kim Beth Puryear Andrew Cross pianist Jessica Choe Lori Knoebel Alexia Regner Darrel Ede has performed Meghan Limegrover Valerie Rice Morgan Elliott extensively across the Kori Loomis Emily Ridgway Evan Figueras U.S. in such halls as Megan McCormick Laura Marie Rivera Curtis Fonger The Kennedy Center, Adrienne Selvy Mildon Dale Schlotzhauer Steven Franz Geraldine Morris Darcy Schmidt David Gary Tanglewood, Lincoln Rachel Nofziger Carreen A. Smith Raphael Hadac Center, Wolf Trap and Photo: Joshua Huston Joshua Photo: Helen Odom Heather Allen Strbiak Kelvin Helmeid Carnegie Hall. She is Nicolle Omiste Kathryn Tewson Rob Jones the recipient of The Presser Foundation Taylor Peters JoAnn Wuitschick Ronald Knoebel Award as well as LaGesse Foundation Sasha S. Philip Mindy Yardy * Tim Krivanek Fellowship. An avid chamber musician, she Kaitlin Puryear KC Lee has performed on the Seattle Symphony Emily Reed Tenor Thomas C. Loomis Chamber Series, Vashon Chamber Series Ana Ryker Matthew Blinstrub Bryan Lung and Music of Remembrance, with such Emily Sana James Clarke Glenn Nielsen artists as Philippe Quint, Alexei Lubimov Barbara Scheel * Spencer Davis Mark Penrod Laura A. Shepherd Theo Floor Ken Rice and Joseph Swensen. Choe is a graduate Joy Chan Tappen Jacob Garcia Martin Rothwell * of Peabody Conservatory of Music and Catherine Thornsley Joel Gewecke Edward Sam The Juilliard School. Andrea Wells Zachary Herrington-Shaner Christopher Smith Eric Jeffords Garrett Smith Alto Neil Johnson Jim Snyder Cynthia Beckett Alexander Jones Michael Uyyek Cyra Valenzuela Benedict Kevin Kralman * Jared White Ivy Rose Bostock Robert Kuchcinski Monica Bowen Patrick Le Quere * principal of section Nancy Brownstein Ian Loney Kathryn Cannon Miller James H. Lovell
32 SEATTLESYMPHONY.ORG 2/28–3/3 THURSDAY, FEBRUARY 28, 2019, AT 7:30PM SUNDAY, MARCH 3, 2019, AT 2PM OVERVIEW
SIR ANDRÁS SCHIFF Three Bs BEETHOVEN PIANO At the end of the 19th century, music lovers in Germany and Austria began referring to “the three Bs”— Bach, Beethoven CONCERTO NO. 4 and Brahms — as the greatest among the great composers, resident deities of music’s Olympus. “The three Bs” was HONORING THE LEGACY OF BUSTER & NANCY ALVORD a handy mnemonic, and it soon caught on and spread. But by the middle of the Sir András Schiff, conductor & piano 20th century it appeared that another “B,” Béla Bartók, might also merit inclusion Seattle Symphony among the select company of history’s foremost composers. JOHANN SEBASTIAN BACH Piano Concerto No. 3 in D major, BWV 1054 17’ [No tempo indicated] There are, to be sure, significant differences Adagio e sempre piano between Bartók’s music and that of Allegro the German Bs, chiefly the Hungarian SIR ANDRÁS SCHIFF, CONDUCTOR & PIANO composer’s expansive modern sound- palette. But there are striking commonalities LUDWIG VAN BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 34’ also, as the pieces that form our program reveal. Most important, Bartók shares with Allegro moderato his German counterparts a tendency of Andante con moto— elaborating discreet melodic figures to Rondo: Vivace form broad passages of music. We hear SIR ANDRÁS SCHIFF, CONDUCTOR & PIANO this throughout Bach’s Piano Concerto in D major, BWV 1054, in the recurring INTERMISSION signature motif of the opening movement of BÉLA BARTÓK Concerto for Orchestra, Sz. 116, BB 123 35’ Beethoven’s Fourth Piano Concerto and in Introduzione: Andante non troppo— Bartók’s Concerto for Orchestra, especially Allegro vivace its initial movement. Giuoco delle coppie: Allegro scherzando The expansion of limited thematic material Elegia: Andante non troppo into large musical structures is not merely a Intermezzo interrotto: Allegretto stunt, nor is it a matter of composers being Finale: Pesante—Presto stingy with their melodic ideas. It’s a way of giving unity and integrity to a composition. See Sir András Schiff’s biography on page 38. This was a cardinal virtue prized, and achieved, by Bach, Beethoven and Bartók, Pre-concert Talk one hour prior to performance. each in his own way. Speaker: Dr. Larry Starr, retired Professor and Chair of American Music Studies at the School of Music, University of Washington
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 ©2019 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 PROGRAM NOTES
JOHANN SEBASTIAN BACH and he uses passages for the solo instrument casting of the slow movement as a dramatic to elaborate the several motifs that form this dialogue were virtually unprecedented when Piano Concerto No. 3 in D major, subject. There follows a slow movement that the work appeared, and the extensions of BWV 1054 finds the soloist spinning a beautiful aria over its thematic material are accomplished with a recurring theme for the cellos and basses. an ingenuity characteristic of Beethoven’s BORN: March 21, 1685, in Eisenach, Thuringia In the finale, a dance-like theme reappears, in best music. (presently central Germany) the manner of a rondo, between passages of DIED: July 28, 1750, in Leipzig brilliant figuration for the soloist. Instead of an orchestral statement, which WORK COMPOSED: Unknown, but probably ca. until this work had been the customary Scored for solo piano; strings. starting point for any concerto, Beethoven 1720, revised ca. 1739 begins with a brief meditation by the piano WORLD PREMIERE: Unknown, but probably alone. Its statement, growing out of a series ca. 1740 in Leipzig. Bach would have performed LUDWIG VAN BEETHOVEN of repeated notes, is answered at once by the solo part and directed the city’s Collegium Piano Concerto No. 4 in G major, the orchestra. Only upon the conclusion of that response does Beethoven launch into Musicum from the keyboard. Op. 58 a full and proper exposition of his thematic BORN: December 16, 1770, in Bonn material. The first subject is built on the DIED: March 26, 1827, in Vienna repeated-note figure of the soloist’s opening What to Listen For phrase, but this motif yields more than just WORK COMPOSED: This work follows the classic concerto 1806 the movement’s principal theme. It provides design of three movements in a WORLD PREMIERE: December 22, 1808, its own counterpoint, echoing in close fast–slow–fast pattern. Each of the outer Beethoven performing the solo part and imitation among different instruments; it is movements is built on a recurring theme conducting from the piano. woven against the second theme, a broad, for the orchestra heard between episodes minor-key melody given out by the violins; featuring the solo instrument. The heart of and it forms a bridge to the re-entry of the composition is a poetic instrumental aria the piano. marked by intensely expressive harmonies. What to Listen For The concerto’s unusual opening, a The close weaving of piano and orchestral phrase for the piano alone, establishes music that marks the first movement gives a motif that pervades the first movement. A way in the second to a kind of dramatic dramatic dialogue between orchestra and encounter unique in Beethoven’s output. Bach’s Piano Concerto No. 3 in D major, piano forms the second movement. The Here the piano responds lyrically to the stern BWV 1054 is rarely performed, yet its music finale begins with a rhythmic tattoo that statements of the orchestra, their exchanges will be familiar to many listeners. The work recurs through much of the movement. growing increasingly urgent and eloquent. is a transcription of one of Bach’s most The Romantic tradition linking this music with popular orchestral compositions, the Violin the mythic scene of Orpheus taming the Concerto in E major, BWV 1042. This piece Furies of the underworld with his song seems is hardly unique in having undergone entirely apt. A feeling of classical tragedy such a metamorphosis. All of Bach’s Beethoven completed his Fourth Piano prevails, and the movement ends on a note concertos featuring keyboard originally Concerto in 1806, a year of intense of sorrowful resignation. were composed with violin, flute or oboe productivity. The composer played the solo part in the work’s first public performance, as the solo instrument. Bach reworked The concluding rondo finds Beethoven’s which took place at a concert of his music those compositions relatively late in his spirits restored. This is the most elegant of given at the Theater-an-der-Wien in Vienna career, rescoring them for one or more the composer’s concerto finales, for although on December 22, 1808. That event proved solo harpsichords and string orchestra. He quite exuberant, it does not convey the a famous disaster. The under-rehearsed probably presented them in concerts by earthy humor that generally marks his closing orchestra was no match for the long and the Collegium Musicum of Leipzig, a civic movements. Rather, its delights are of a more mostly new program — this included, beside orchestra he directed intermittently from 1729 refined sort and often surprise us, as when the concerto, the premieres of the Fifth through 1741. the violas unexpectedly emerge from the and Sixth Symphonies and several other orchestral texture to sing a lyrical melody Many of the original versions of Bach’s works — nor for Beethoven’s idiosyncratic based on the recurring principal theme. concertos have been lost, only the later and temperamental conducting. Frigid (Later, the clarinets reprise the same tune.) As transcriptions for harpsichord having temperatures in the unheated theater made in the first movement, a cadenza — a virtuoso survived. Because the present D-major matters even more difficult. Contemporary solo for the featured instrument — precedes concerto coexists with the violin concerto on notices of the concert describe a general the conclusion. which it is based, modern pianists have taken debacle but make no specific mention of to this piece less readily than to most of the G-major Piano Concerto. It cannot have Scored for solo piano; flute; 2 oboes; 2 Bach’s other concertos. Still, their reluctance scored any great success, for it was not clarinets; 2 bassoons; 2 horns; 2 trumpets; seems surprising, since the keyboard version performed again during Beethoven’s lifetime. timpani; strings. is not just a mechanical transcription of the violin concerto. Rather, Bach adapted the The work deserved a better fate. Although solo part to the idiomatic capabilities of the not as sweeping or heroic in tone as keyboard. either the composer’s Third or Fifth piano concertos, the Fourth is every bit as beautiful Bach begins the opening movement with a and in several respects more original. Its confident theme stated by the full orchestra, unorthodox opening measures and the
34 SEATTLESYMPHONY.ORG PROGRAM NOTES
BÉLA BARTÓK of 1943, finding that the return to composition passages that form the bulk of the piece. We dramatically restored his spirits and health. hear in turn pairs of bassoons, oboes, clarinets, Concerto for Orchestra, Sz. 116, BB 123 By autumn his Concerto for Orchestra was flutes and trumpets, leading at last to a chorale complete. Koussevitzky led the premiere melody for the brass. The third movement is a BORN: March 25, 1881, in Nagyszentmiklós, on December 1, 1944, and the composer, haunting elegy, stark and funereal. Hungary who traveled to Boston for the occasion, DIED: September 26, 1945, in New York reported that “the performance was excellent. Bartók also gave a title to the fourth movement, WORK COMPOSED: 1943 Koussevitzky is very enthusiastic and says it is calling it Interrupted intermezzo. This begins with a melody, its flavor suggesting a folk WORLD PREMIERE: December 1, 1944, in Boston. the best orchestra piece of the last 25 years.” Since then, the Concerto for Orchestra has song, given to the oboe, then proceeds to a The Boston Symphony Orchestra performed under emerged as one of the most frequently played more pastoral subject in the strings. Into this the direction of Serge Koussevitzky. and widely enjoyed orchestral works of the placid music, however, comes the clarinet with 20th century. a melody rather similar to the march theme in Dmitri Shostakovich’s Seventh Symphony, What to Listen For The piece opens with a somber declamation which Bartók had heard during its historic radio “The title of this symphony-like by the low strings. Violins and flutes answer broadcast in 1942. Soon the entire orchestra orchestral work is explained by its with atmospheric tremolo and scale figures, has taken it up, enjoying a humorous romp tendency to treat the single orchestral and soon trumpets add a plaintive motif. before the more sedate initial material reasserts instruments in a concertante or soloistic This last figure is taken up by the orchestra, itself. The work closes with a brilliant finale, full manner. The ‘virtuoso’ treatment appears ... accelerating to an impressive climax. All this of color and energy. especially in the second movement, in which is an introduction to the main body of the first movement, which launches forth on a restless Scored for 3 flutes (the third flute doubling pairs of instruments consecutively appear with piccolo); 3 oboes (the third oboe doubling English melody presented by the violins. Two other brilliant passages.” – Béla Bartók horn); 3 clarinets (the third clarinet doubling ideas are prominent during the course of bass clarinet); 3 bassoons (the third bassoon the movement: a vigorous subject heard in doubling contrabassoon); 4 horns; 3 trumpets; the trombones, and a gently rocking theme 3 trombones; tuba; timpani and percussion; 2 introduced by the oboe. harps; strings. Concerto for Orchestra is Bartók’s most popular orchestral composition and perhaps the most Bartók titled the second movement Game of frequently performed of all his works. Ironically, Couples, a reference to the succession of duet © 2019 Paul Schiavo it was written at a time when its author had, in despair, all but abandoned his creative endeavors. “My career as a composer is as much as finished,” Bartók wrote at the end of 1942; “the quasi boycott of my works by the leading orchestras continues; no performances of either old works or new ones.”
His inability to obtain performances was but one of Bartók’s difficulties at this time. He had arrived with his wife in America in 1940, and his fortunes, spirit and health soon declined alarmingly. Living in precarious financial circumstances in New York, able to secure only part-time work but refusing any form of charity, he composed no new music during his first three years in this country. In the spring of 1943 he was hospitalized with the first signs of the blood disease polycythemia.
Then, at this low point of his life, something like a miracle happened. In May 1943, Bartók received a visit in his hospital room from Serge Koussevitzky, the renowned conductor of the Boston Symphony Orchestra and a champion of modern music. Koussevitzky brought with YOUR SYMPHONY. YOUR LEGACY. him a request for a new orchestral piece. By making a gift through your estate you join people Actually, this commission had been arranged by two of Bartók’s supporters, conductor Fritz like you who care deeply about the future of the Seattle Reiner and violinist Joseph Szigeti, but they Symphony and want to ensure that audiences experience kept their intervention secret, knowing that the composer’s pride would prevent him from the magic of the orchestra for generations to come. accepting an offer he suspected of being tainted by charity. To share your goals for your future gift, please contact Becky Kowals at [email protected] or 206.215.4852. The commission proved a powerful tonic. Bartók worked on it throughout the summer
encoremediagroup.com/programs 35 NAME A SEAT IN BENAROYA HALL As we celebrate the 20th anniversary of Benaroya Hall — home of the Seattle Symphony — we need your support to remain one of the finest concert halls in the world. Seats are available throughout the S. Mark Taper Foundation Auditorium and the Illsley Ball Nordstrom Recital Hall. Your gift is an opportunity to join in the legacy and preservation of Benaroya Hall. Join us today for this once-in-a-lifetime opportunity to be a part of Benaroya Hall history. CREATE A LASTING LEGACY
SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 3/2 SATURDAY, MARCH 2, 2019, AT 8PM PROGRAM SIR ANDRÁS SCHIFF NOTES IN RECITAL
Sir András Schiff, piano Leoš Janáček (1854–1928) was born into a musical family in Moravia, a region that LEOŠ JANÁČEK On an Overgrown Path 29’ now forms the eastern portion of the Our Evenings Czech Republic. After studies in Prague A Blown-Away Leaf and Vienna, he established himself in the Come with Us! Moravian capital of Brno as a teacher, choir The Madonna of Frydek director, critic and musicologist. It was They Chattered Like Swallows not until much later in life that he earned Words Fail! his lasting reputation as the composer of Jenůfa Good Night! and other landmark operas written Unutterable Anguish in the Czech language. In Tears In 1900 Janáček began composing a set The Barn Owl has not Flown Away! of miniatures influenced by Moravian folk music and his life in that region, intending ROBERT SCHUMANN Davidsbündlertänze, Op. 6 18’ them to be played on the harmonium, a Lebhaft small reed organ. By 1908 the cycle had Innig grown to ten short pieces for piano, which Mit Humor he published in 1911 under the title On an Ungeduldig Overgrown Path, along with descriptive Einfach headings for each selection. As Janáček Sehr rasch explained in a letter to a prospective Nicht schnell publisher, the short movements Frisch “contain distant reminiscences. Those Lebhaft reminiscences are so dear to me that I Balladenmäßig—Sehr rasch do not think they will ever vanish.” Some Einfach of the memories are happy, including Mit Humor A Blown-Away Leaf (which Janáček Wild und lustig described as “a love song”) and They Zart und singend Chattered Like Swallows (a reference Frisch to talkative girls); more of them are sad, Mit gutem Humor especially those composed after the death Wie aus der Ferne of Janáček’s daughter in 1903, such as In Tears. Nicht schnell INTERMISSION At the age of 20, Robert Schumann (1810–56) dropped out of a university law LEOŠ JANÁČEK Piano Sonata 1.X.1905, From the street 14’ program to pursue music. He was “not Presentiment a musical genius,” as he acknowledged Death in his diary, but he pursued his goals doggedly, moving to Leipzig to take piano ROBERT SCHUMANN Piano Sonata No. 1 in F-sharp minor, Op. 11 34’ lessons with the distinguished teacher Introduzione: Un poco Adagio—Allegro vivace Friedrich Wieck. Schumann hoped to Aria build a life as a virtuoso composer- Scherzo e Intermezzo: Allegrissimo performer, but in his efforts he damaged Finale: Allegro un poco maestoso his right middle finger permanently with an overzealous practice regimen and the use of an ill-advised mechanism to strengthen Please note that the timings provided for this concert are approximate. his fingers. The silver lining was that his Please turn off all electronic devices and refrain from taking photos or video. time in the Wieck household brought him Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording into contact with his teacher’s daughter, equipment, and any other use of such copying devices during a performance is prohibited. Clara, a gifted prodigy as a composer and pianist, who would become his wife twelve years after they first met.
In his writings from the mid-1830s, Schumann developed a fictional group he dubbed the Davidsbündler, or “League of David,” which was charged with protecting music against trivial and shallow practices — just like how the biblical King David vanquished the uncouth Philistines.
encoremediagroup.com/programs 37 PROGRAM NOTES
Besides the diametrically opposed of the Classical masters were more elusive Florestan and Eusebius who represented for him, and it took years of effort and the two sides of Schumann, the league various failures before he could complete included Meister Raro (a stand-in for his his Piano Sonata No. 1 in F-sharp minor I GIVE BECAUSE ... piano teacher), Chiara (Italian for Clara) and in 1835. The kernel of that sonata was a others from Schumann’s musical circle Fandango from 1832, based on the Spanish and beyond. dance of the same name with a distinctive rhythmic ostinato. The earlier music informs Schumann began the suite of piano pieces a songlike introduction, and it also figures he titled Davidsbündlertänze (“Dances in the heated thematic arguments in the of the League of David”) in August of 1837, fast body of the first movement. The mood just days after receiving word that Clara changes are sometimes shocking, and the had accepted his marriage proposal. His transitions can be quite abrupt, but that euphoria over the engagement spilled was in line with Schumann’s approach in out in a series of dances and vignettes, which he celebrated the extremes of his Classical music beginning with a direct quotation from personality, those diametrically opposed one of Clara’s own piano compositions, alter egos he named Florestan and a Mazurka from Soirées musicales. In the Eusebius. (The first edition of the score was was an integral first edition, Schumann included initials at actually “Dedicated to Clara, from Florestan the end of each movement to ascribe the & Eusebius.”) selection to Florestan or Eusebius — or part of my life both, in the case of the whimsical first Schumann labeled his slow movement selection. These 18 character sketches Aria, and he adapted its melody from an range from outbursts less than a minute earlier song setting. The scherzo brings growing up. long, such as the Impatient fourth number another wild juxtaposition, when the central that reflects the impassioned perspective of section strikes up a grand new melody to It is wonderful Florestan, to a luxurious four minutes in the be played “like a joke, but pompous.” The seventeenth, delivered “As from afar” with rondo finale always returns to the muscular an intimate sensitivity befitting Eusebius. main theme in true “Florestan” fashion, but to be able to the episodic structure allows for repeated Janáček was deeply affected by the events interruptions by pensive “Eusebius.” in his home city of Brno on October 1, 1905, hear many of when Austrian troops killed a laborer amid © 2019 Aaron Grad public demonstrations advocating for a Czech university. (Moravia was controlled my favorite by the Austro-Hungarian Empire, which SIR ANDRÁS SCHIFF viewed education in the local language as Conductor & piano works — and a threat to their power.) Janáček composed a three-movement sonata commemorating Sir András Schiff is the tragedy, with its date embedded into world-renowned as a be introduced the title: Piano Sonata 1.X.1905, From the pianist, conductor and street. The pianist Ludmila Tučková gave lecturer. Born in to new music. the first performance the following January, Budapest, he studied at but not before the composer ripped out the Liszt Academy with the third movement, a funeral march, and Pál Kadosa, György burned the pages. He later threw the Kurtág and Ferenc surviving movements into the river, but Rock Sheila Photo: Tučková had secretly kept a copy, saving Rados, and in London – Mary this music from oblivion. with George Malcolm. Recitals and special cycles, including the major keyboard works In the first movement, Presentiment, jagged of J.S. Bach, Haydn, Mozart, Beethoven, rhythmic patterns in the accompaniment Schubert, Chopin, Schumann and Bartók, exemplify Janáček’s tendency to let the form an important part of his activities. cadences of the Czech-language shape his Since 2004 he has performed complete insistent, speech-like utterances. Dotted cycles of Beethoven’s Piano Sonatas in 20 rhythms and church-like harmonies impart a cities. He has worked with most of the WHY DO YOU GIVE? solemn, timeless resonance in the second major international orchestras and Death. movement, titled conductors, but nowadays mostly play- Schumann was a talented poet in his teens, directs. In 1999 he founded his own and he naturally gravitated toward the chamber orchestra, the Cappella Andrea SEATTLESYMPHONY.ORG/GIVE more poetic genres of music, as seen in Barca. In 2014 Sir András Schiff was the many dances and colorful miniatures he bestowed a Knighthood for services to 206.215.4832 wrote for solo piano. The formal structures Music in the Queen’s Birthday Honours List.
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Whetzel ⁵ Dwight and Susan Dively ⁵ Alana Knaster Mary and Kerry Person Roger and June Whitson Sue Donaldson and Paul Fletcher ¹⁵ Drs. Peter H. and Susan M. Knutson Perspectives of New Music Jessie and David Woolley-Wilson Patrice Donohue Albert and Elizabeth Kobayashi ¹⁵ Don and Sue Phillips ⁵ Jerry and Nancy Worsham ¹⁰ Everett and Bernie DuBois ¹⁰ Vera Koch Mary Pigott Jeff and Korynne Wright Ken Duncan and Tanya Parish ⁵ Andrew N. Kornuta and Xingyu Li Tom and Brooke Pigott Kay H. Zatine ¹⁵ Renee Duprel + Becky Kowals and Max Rose + Valerie and Stanley Piha Igor Zverev ¹⁵ Mr. Scott Eby ∞ ⁵ Norbert and Kimberly Kusters Donald Pogoloff ⁵ Anonymous (14) Dr. Lewis and Susan Edelheit Afshan Lakha Jane Powers Branndon R. Edwards ∞ ⁵ Aidan Lang and Linda Kitchen Lori and Bill Price Musicians Club ($1,000 - $1,999) Donna Richman and Mike Ehrenberg ⁵ Ron and Carolyn Langford ¹⁵ Alexander Prior Bryan LaPorte ∞ Jennifer and Kurt Adair + Bill and Erin Ellis ⁵ Llewelyn G. and Joan Ashby Pritchard ^ ¹⁵ Peter M. Lara Bill and Janette Adamucci David Elop ¹⁵ Judy Quick Mr. David Epstein Law Offices of Lisa Saar Tom and Carol Quinsey Nance and Steve Adler ⁵ ¹⁵ Luis Espinosa Gregory and Mary Leach ¹⁵ Ann Ramsay-Jenkins Peter Aiau and Susan Ormbrek ⁵ ⁵ Justin Lee John Akin and Mary Stevens Brittni and Larry Estrada ° ⁵ Wendy and Murray Raskind ¹⁰ Sharon Lee Dr. Bruce and Joann Amundson Dr. and Mrs. R. Blair Evans ¹⁰ Eric Raub ⁵ Timothy Lee Adaline Ancinas Karen and Bill Feldt ⁵ Christopher and Lila Rayl Virginia and Brian Lenker ∞ Eve Gordon Anderson and Mark Anderson Junko and Glen Ferguson ¹⁵ Reverend Kerry and Robin Reese ¹⁰ Lori and Miguel Ferrer* Phyllis Leventhal Cecilia Paul and Harry Reinert Patrick Andre ∞ ⁵ ¹⁰ Don and Carla Lewis Phoebe Andrew Steven Fetter and Bonnie Kellogg ¹⁰ Kristi Rennebohm-Franz ∞ Jerry and Marguerite Lewis Richard and Dianne Arensberg Helga Filler ⁵ Lynn Resnick Betty Lewis Bridget Aumell Jerry and Gunilla Finrow ¹⁵ ¹⁰ Teresa Revelle Marilyn First Mike Lewis Hollace and James Rhodes Joel Barduson ⁵ Chien Li Steven Barger Shari and Michael Fleming Jean A. Rhodes ⁵ Jack and Jan Forrest Gina Linden ∞ Fred Richard Anna and Jonas Barklund ⁵ ⁵ ¹⁵ Jane H. Fox Bobbie Lindsay and Douglas Buck John Richardson II Cornelius Barnett ∞ ⁵ ¹⁵ ⁵ Steve Francks Sharon and Marty Lott Jennifer Ridewood Douglas and Maria Bayer ¹⁵ Lovett-Rolfe Family Trust Silas Beane and Kristin Bunce Judith Frank ⁵ Mr. and Mrs. Charles Riley ⁵ Thomas and Virginia Hunt Luce Patricia Bell Ms. Janet Freeman-Daily ¹⁵ Deborah and Andrew Rimkus ⁵ Sandy Mackie Joyce and Alan Bender Maureen Frisch Melissa and Manuel Rivelo Nancy and Roger MacPherson Judith and Arnold Bendich Carole Fuller and Evan Schwab Dr. Tom Roberts Rhonda Maloney ∞ Paul and Sarah Bliss Terri and Joseph Gaffney ⁵ ¹⁰ Dr. and Mrs. Tom Robertson ⁵ Rosemary and Byron Gee Mark Litt Family DAF of the Jewish Mary and David Robinson Capt. and Mrs. Paul Bloch ¹⁰ Martin and Ann Gelfand Federation of Greater Seattle ¹⁰ Ms. Jean C. Robinson Molly Blume ⁵ Charles T. Massie ∞ Audrey and David Bolson Abraham George and Catharin Maney ¹⁵ Dina Rohm Lois Mayers Marilyn Braarud Ruth and Bill* Gerberding ^ ⁵ Stan and Michele Rosen Janice A. and Robert L. Gerth Florence and Charlie Mayne Sara Delano Redmond Fund Bob* and Jane Ann Bradbury ¹⁰ ¹⁵ Malcolm and Diane McCallum Herb Bridge* and Edie Hilliard Gail Giacomazzi ⁵ Art Schneider and Kim Street ⁵ E. Thomas McFarlan Katharine M. Bullitt Bernel Goldberg + ¹⁰ Dr. and Mrs. Jason Schneier ⁵ John McGarry and Michelle Wernli Dr. Margaret Burke Bill and Joy Goodenough ¹⁵ Mr. and Mrs. Joseph Schocken ⁵ Diane and Scott McGee Lisa Bury and John R. Taylor Robert Greco Judith Schoenecker and ∞ Heather and Mike McKay Judy and Ward Bushnell Maridee Gregory ⁵ Christopher L. Myers ¹⁰ Karen and Rick McMichael ∞ Cy and Kathleen Butler Marilyn Gustafson ¹⁵ ¹⁵ Steve Schroeder and Cheryl Beighle ⁵ Dr. and Mrs. James F. McNab Mary and Patrick Callan Megan Hall and James Janning + ⁵ Patrick and Dianne Schultheis Lea and Larry Hamlin Melinda McNeely Nancy and James Schultz + Karen Cameron ⁵ ⁵ Rich and Reggie Hammond Gunda and Uwe Meissner ⁵ Janet Sears ∞ Corinne A. Campbell ⁵ ¹⁵ ∞ Jan and Andy Meyers Mary Campbell Deena C. Hanke ⁵ Maria Semple Karen and James Mhyre Wally and Sally Campbell Barbara Hannah ¹⁵ Virginia Senear ¹⁵ Dave and Sandy Hanower Mary Mikkelsen ¹⁵ Dr. Anita Shaffer Dr. Lysanne Cape ⁵ ⁵ Laurie Minsk and Jerry Dunietz Nora Capron Linda and Wolfram Hansis ¹⁵ Julie and Don Shaw Chie Mitsui ∞ Louis Carbonneau and Agnes Mallet Dr. and Mrs. James M. Hanson ⁵ Yumi and Craig Sherman Charles Montange and Janitta and Bob Carithers Karin and Frederic Harder Charles Shipley ¹⁵ Kathleen Patterson Carol and John Austenfeld Walter Harley and Anne Sustar ¹⁵ ¹⁵ Jon and Kim Shirley Racha and Wassef Haroun James Monteith and Marita Caya ⁵ Todd Shively and Christopher Woods Charitable Trust ⁵ Brady Montz Barbara Carr Susan and Tom Harvey ⁵ Cindy Shoffner Melinda Moore ∞ Patrick Cazeau Ken* and Cathi Hatch ^ ⁵ Sill Family Foundation Mary and Alan Morgan Anand Chakraborty Pat Hayenga Evelyn Simpson ∞ ¹⁵ Richard Mori Liz Chambers and Jim Johnson Admiral and Mrs. Thomas B. Hayward ⁵ ⁵ Dr. Charles Simrell and Deborah Giles ¹⁵ Mary Heckman Kevin Murphy ¹⁵ Mr. Charles Sitkin Kent and Barbara Chaplin ¹⁵ Mr. and Mrs. J. P. Naughton Jorge Chavez Nichole Heidrick ¹⁵ Connie Smith Joshua Hemphill David Neagle Garrett Smith Mr. James Chesnutt ⁵ Paul Neal and Steven Hamilton ∞ Heinke Clark Ralph and Gail Hendrickson ⁵ Stephen and Susan Smith ⁵ Robert and Claudia Nelson Ms. Constance Clarke Terrill and Jennifer Hendrickson ⁵ Michele Souligny ∞ ⁵
encoremediagroup.com/programs 41 SEATTLE SYMPHONY DONORS
Michael Spektor HONORARIUM GIFTS Patty Hall, by MEMORIAL GIFTS Richard Lundquist, by Kathleen and Robert Spitzer ⁵ Gifts to the Seattle Symphony Michael Hershey Gifts were made to the Seattle Jinja Yutzy Doug and Katie Sprugel ⁵ are a wonderful way to celebrate Symphony to remember those James Hanson, by Kenneth Martin, by Dr. and Mrs. Gordon Starkebaum ¹⁰ a birthday, honor a friend Jeanette Hanson listed below between January Boy Scout Troop 80 Susan Yates Stephens or note an anniversary. In 1, 2018 and December 19, 2018. Leslie and Dale Chihuly Steve and Sandy Hill Family Fund Jean and Roger Leed, by addition to recognition in the For information on remembering Glen and Ann Hiner at the Seattle Foundation ^ ¹⁵ John Burg Encore program, your honoree a friend or loved one through Llewelyn G. and Diane Stevens ⁵ will receive a card from the a memorial gift, please contact Joan Ashby Pritchard Michelle Strauss Dmitriy Lipay, by Symphony acknowledging your Donor Relations at 206.215.4832 Francis Szatanek Mike and Mary Lynn Sutherlin Tatyana Kutsy thoughtful gift. or [email protected]. Penny Zaleta Ton Swan and Diena Lukawski, by Kayley Runstad Swan Gifts were made to the Seattle Russ Mann Kenneth A. Moore Jr., by Ginger Ackerley, by Priscilla and Theodore Tanase Symphony in recognition of Renate and David Stage Marcia Mason, by Leslie J. Chihuly, Chee Wei Tang those listed below between Kathleen and Eric Ottum Chair Emerita Melvyn Poll, by Margaret Taylor and January 1, 2018 and December Friends of Abbott Robert Elliott ⁵ 19, 2018. Please contact Donor Reid and Marilyn Morgan, by Nancy Alvord, by Construction Bob and Mimi Terwilliger ¹⁰ Relations at 206.215.4832 or Ilene and Elwood Hertzog Dr. Diana Behler Janet Abrams Robert Shawn Thesman ⁵ [email protected] Leslie J. Chihuly, Ludovic Morlot, by Asma Ahmed Peter Chuang and Elaine Tsai ⁵ if you would like to recognize Chair Emerita Martine and Dan Drackett Ash Family Foundation Kenneth Tschritter someone in a future edition of Laurel and John Nesholm Jay Hereford and Larry and Sherry Benaroya Warren and Nancy Tucker ⁵ Encore. Llewelyn G. and Margaret Winsor Maureen and Joel Benoliel Dolores Uhlman ¹⁵ Joan Ashby Pritchard Sami Uotila and Tuula Rytila Lisa Bergman Llewelyn Pritchard, by Janice and Neill Urano Michael H. Beck, by Dwight Baker, by Carolyn Burnett Carol and Thomas Olson Jan van Horn ∞ Patricia and Jon Rosen Madred Slaker Everyone at Cactus Pat and Jon Rosen Restaurant Gretchen Van Meter ¹⁵ Renée Brisbois, by Rose and Richard Bender, by Barbara Calvo and Tara and John Verburg Jon Rosen, by Chap and Eve Alvord Alan Cordova Al Benoliel Donald J. Verfurth ⁵ Susan and Rich Ahearn Ryan Waite Steve Bryant, by Brenda Barnes Bob Bradbury, by Dale and Leslie Chihuly Joan and Frank Conlon Doug* and Maggie Walker ¹⁰ Elle Simon Keridan Cole Jane Ann Bradbury Silvia Waltner Steve and Kay Frank LouAnne Shelton Maryann Crissey Steve Bush and Connie Wang and Sally and Kit Narodick Sandra and Gary Etlinger Christine Chang, by Herb Bridge, by Zachary Pollack John and Laurel Nesholm Timotha and Charles Clarius Group Leslie J. Chihuly, Lois Waplington Vivian and Jim Schwab Freedenberg Chair Emerita Debra Ward ∞ T.J. Callahan, by Cynthia and Daniel Weiner Sharon Friel Marlene and Jon Fuson Judith F. Warshal and Tim Callahan Marcia and Mike Wiviott Richard M. Campbell, by Laurie Griffith Wade Sowers Alison Andrews Nathan Chan, Danielle Jerome L. Rubin, by Jane Hargraft and Elly Winer Eugene and Marilyn Webb ⁵ Joyce Franich Kuhlmann, John Turman and Patricia and Jon Rosen David and Sharron Hartman Jonathan Weintraub Eugene and Sue John Shaina Shepherd, by Delney and Andrew Hilen Greg Wetzel ⁵ Arie Schäcter, by Edna Kelso Mark Linsey and Janis Traven Ned and Kristen Lumpkin Amy and Jeff Wilcox Elle Simon Janet W. Ketcham Carolee and Tom Mathers Mitch Wilk ⁵ Dale and Leslie Chihuly, by Mary Langholz Seattle Symphony Horns, by Marilyn McManus Rosalind Horder Williams April and René Ancinas Debra and Gary Larson Carl de Marcken and Stewart Miller Delight Willing Brookshire Green Erika Lim Marina Meila Linda Nordberg Shannon Wilson and Foundation John Marshall Jack Norman Mitchell Johnson Susan Brotman , by Llewelyn G. and T.E. and Peggy Spencer Patricia Oye Mark Wittow Liz Chambers and John and Nancy McConnell Joan Ashby Pritchard William Poll Marsha Wolf and Ken Linkhart + Jim Johnson Randy Robinson and Ann Pryde Peggy Wolff Highland Street Foundation Rachel Swerdlow, Walter Gray, Jane Hadley Pat and Jon Rosen Elizabeth and Marks Family Foundation and Paul Rafanelli, by Fred Simons Milicent Savage Troy Wormsbecker Linda and Gerald Nordberg Mark Linsey and Janis Traven Carole Tingstad SRG Partnership, Inc Carol Wright ⁵ Jane and Joel Scott Janice and Neill Urano Kathryn G. Cavin, by Carlyn Steiner Michael and Gail Yanney Linda Stevens Pat Takahashi, by James Cavin Leena and Mel Sturman Mindy Yardy Barbara and Donald Tober Gary Morse and Diane and Dennis Warshal Lee and Barbara Yates ¹⁵ Charles Crane, by David Cross, by Ellen Bowman Wyman Youth Trust Mr. Rocky Yeh Muriel Martin Rebecca and Joseph Zalke Feng Hua and Bin Zhao Donald Thulean, by Barbara and Jonathan Zweig Jane Davis, by Mr. and Mrs. George* Zonoff ⁵ Thomas Dausgaard, by Gerard Fischer Frank Powers, by Clodagh and Robert Ash Anonymous (23) Matthew Voorsanger Richard Andler and Toshio Uno, by Laurel and John Nesholm Carole Rush 5 David Davis, by Anthony Uno Llewelyn G. and 5 years of consecutive giving Dr. Kennan H. Hollingsworth 10 Carissa Hussong Joan Ashby Pritchard 10 years of consecutive Ralph Wedgwood, by Isa Nelson giving Samantha DeLuna and Mary and Alan Morgan Barney Ebsworth, by Jane Powers 15 15 years or more of Ruth Ann and Jim Powers Jesse Bearden, by Simon Woods, by Leslie J. Chihuly, consecutive giving Jennifer Lee Chair Emerita Shawn Powers ∞ Leslie and Dale Chihuly Monthly Sustaining Donor Jordan Louie Seattle Symphony Volunteers ♫ Senator and Shirley Fleischmann, by Musician Brandon Patoc Virginia Senear Mrs. Daniel J. Evans ° Board Member Ellen and Arthur Rubinfeld Nancy Tracy ^ Lifetime Director Geoffrey Deschenes and Dana and Ned Laird Ruthe Ginn, by + Staff Meredith Broderick, by Laurel and John Nesholm Alex Raines, by Margaret Grubaugh * In Memoriam Kathleen Deschenes Llewelyn and Jonie Pritchard Charles Alpers and Pat and Jon Rosen Waldo Henning, by Ingrid Peterson Kathy and Steve Dewalt, by To our entire donor family, thank Mr. Anthony Uno Maria Durham and Viva la Nancy MacPherson Elaine Raines, by you for your support. You make Música Club Cindy Chang our mission and music a reality. Maria Durham, by William Forsythe Linda and Randy Ebberson Angela Henrick Somrak Jaion Laurel Kalina Did you see an error? Help us Norm Hollingshead Nancy Knudsen Sheila Lukehart update our records by contacting Gloria Ortiz and Milicent Savage Karen and Randall Nelson [email protected] or Pedro Trujillo Anonymous Sheri Sharp 206.215.4832. Thank you! Jorge E. Restrepo Hubert Locke, by Katherine and Nicolle Durham Rey Leslie J. Chihuly, Douglas Sprugel Nancy Paige Griffin, by Chair Emerita Carole Wilson Michael Schick and Llewelyn G. and Katherine Hanson Joan Ashby Pritchard
42 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY ENDOWMENT FUND Bernice Mossafer Rind, by Howie Barokas The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to Lou and Doris Berg the Endowment Fund since its inception. The following list is current as of December 19, 2018. For information Leslie J. Chihuly, Chair Emerita on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 Miriam Gray or [email protected]. Mr. and Mrs. Andrew Harris Dr. Kennan H. Hollingsworth $5 Million + Estate of Edward S. Brignall Charles and Joan Johnson The Benaroya Family Frances O. Delaney* Mr. Steve Loeb Charles Simonyi Fund for Arts and Sciences John and Carmen* Delo Ms. Sandy Lundberg Anonymous Estate of Lenore Ward Forbes Isa Nelson Estate of George A. Franz Susan and James Pass $1,000,000 - $4,999,999 Jean Gardner Margaret Pearl Leslie and Dale Chihuly Estate of Mr. and Mrs. Irvin Gattiker Llewelyn G. and Joan Ashby Pritchard The Clowes Fund, Inc. Anne Gould Hauberg* Rind Family Foundation Priscilla Bullitt Collins* Richard and Elizabeth Hedreen Jo-Ellen and Gregory Smith Judith A. Fong Estate of William K. and Edith A. Holmes Mr. David Thompson The Ford Foundation Estate of Susanne F. Hubbach Stan Shiebert, by Dave and Amy Fulton John Graham Foundation Arts, Recreation and Literature Department of Kreielsheimer Foundation Mr. and Mrs. Stanley P. Jones Seattle Public Library Marks Family Foundation Estate of Betty L. Kupersmith Estate of Gladys and Sam Rubinstein John and Cookie* Laughlin Ray and Jane Strohm, by Samuel* and Althea* Stroum E. Thomas McFarlan Al Ferkovich and Joyce Houser-Ferkovich Dr. Robert Wallace Estate of Alice M. Muench Donald Thulean, by Nesholm Family Foundation $500,000 - $999,999 Gerard Fischer Estate of Opal J. Orr Alex Walker III Charitable Lead Trust M. C. Pigott Family Lois Timlin, by Mrs. John M. Fluke, Sr.* PONCHO Margaret and Mark Van Gasken Douglas F. King Estate of Mrs. Marietta Priebe Estate of Ann W. Lawrence Mr. and Mrs. Paul R. Smith Kathleen Trier, by The Norcliffe Foundation Estate of Frankie L. Wakefield Horizon House Supported Living Estate of Mark Charles Paben Estate of Marion J. Waller B.K. Walton, by James D. and Sherry L. Raisbeck Foundation Washington Mutual Penelope Yonge Joan S. Watjen, in memory of Craig M. Watjen Anonymous
Joan Weber, by $100,000 - $499,999 $25,000 - $49,999 Dr. Sharon Zerr-Peltner Estate of Glenn H. Anderson Edward and Pam Avedisian Andrew W. Mellon Foundation Ralph Wedgewood, by Estate of Bernice Baker Bob and Clodagh Ash Thomas Chatriand and Cindy Gustafson The Boeing Company Dr. and Mrs. Ronald J. Beck Horizon House Supported Living Estate of Ruth E. Burgess Drs. Janet P. and George* Beckmann Jane Kippenhan Estate of Barbara and Lucile Calef Alan Benaroya Michael Vargas Mrs. Maxwell Carlson Estate of C. Keith Birkenfeld Anonymous Alberta Corkery* Mrs. Rie Bloomfield* Norma Durst* The Boeing Company Estate of Margret L. Dutton ESTATE GIFTS C.E. Stuart Charitable Fund Estate of Floreen Eastman We gratefully remember the following individuals for Sue and Robert Collett Hugh S. Ferguson* their generosity and forethought, and for including Richard* and Bridget Cooley Mrs. Paul Friedlander* the Seattle Symphony in their will, trust or beneficiary Dr. Susan Detweiler and Dr. Alexander Clowes* Adele Golub designation. These legacy gifts provide vital support Mildred King Dunn Patty Hall for the Symphony now and for future generations. E. K. and Lillian F. Bishop Foundation Thomas P. Harville (Estate gifts since September 1, 2016.) Estate of Clairmont L. and Evelyn Egtvedt Harold Heath* Estate of Ruth S. Ellerbeck George Heidorn and Margaret Rothschild* Dr. William and Mrs. Laura Andrews Senator and Mrs. Daniel J. Evans Phyllis and Bob* Henigson Barbara and Lucile Calef Fluke Capital Management Michael and Jeannie Herr Charles Robb Chadwick Estate of Dr. Eloise R. Giblett Charles E. Higbee, MD* and Donald D. Benedict* Phyllis B. Clark Agnes Gund Mr. and Mrs. L. R. Hornbeck Frances L. Condie Helen* and Max* Gurvich JNC Fund Trudel Dean Estate of Mrs. James F. Hodges Sonia Johnson* Carmen Delo Estate of Ruth H. Hoffman The Keith and Kathleen Hallman Fund Nancy Lee Dickerson Estate of Virginia Iverson David and Karen Kratter Muriel Anita Eisen Estate of Peggy Anne Jacobsson Estate of Marlin Dale Lehrman Sherry Fisher Robert C. Jenkins Estate of Coe and Dorothy Malone Jane B. Folkrod Klorfine Foundation Estate of Jack W. McCoy Elizabeth C. Giblin Estate of Charlotte M. Malone Estate of Robert B. McNett Merle P. Griff and Nadine Griff Mack Bruce and Jolene McCaw Estate of Jean and Peter J. McTavish Carol Hahn-Oliver Bruce and Jeanne McNae Estate of Shirley Callison Miner Sarah C. Hamilton Microsoft Corporation PACCAR Foundation Allan and Nenette Harvey National Endowment for the Arts Mr. and Mrs. W. H. Purdy Anne Marie Haugen Northwest Foundation Estate of Elizabeth Parke Susanne F. Hubbach Estate of Helen A. Overton Sue and Tom Raschella Gretchen and Lyman Hull Peach Foundation Keith and Patricia Riffle E. Marian Lackovich Estate of Elsbeth Pfeiffer Rita* and Herb* Rosen and the Rosen Family Arlyne Loacker Estate of Elizabeth Richards Seafirst Bank Fred J. Lorenz Jon and Judy Runstad Security Pacific Bank Olga M. McEwing Estate of Joanne M. Schumacher Jerry and Jody Schwarz Jean and Peter J. McTavish Weyerhaeuser Company Seattle Symphony Women’s Association Dorothy Faye Scholz The William Randolph Hearst Foundations Patricia Tall-Takacs and Gary Takacs Allen E. Senear Estate of Helen L. Yeakel U S WEST Communications Phillip Soth Estate of Victoria Zablocki Estate of Dr. and Mrs. Wade Volwiler Dr. Joseph S. Spinola Anonymous (3) Estate of Marion G. Weinthal Samuel and Althea Stroum Estate of Ethel Wood Anonymous $50,000 - $99,999 Lee and Barbara Yates Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Anonymous (2) Estate of Mrs. Louis Brechemin * In Memoriam
encoremediagroup.com/programs 43 MUSICAL LEGACY SOCIETY
We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of December 19, 2018.
Charles M. and William E. Franklin Ted and Joan Lundberg Barbara and Richard Shikiar Barbara Clanton Ackerman Cynthia L. Gallagher Judsen Marquardt and Constance Niva Seymour Silberstein and Julie Grosnick John and Andrea Adams Jane and Richard Gallagher Ian and Cilla Marriott Valerie Newman Sils Peter Aiau and Susan Ormbrek Jean Gardner Doug and Joyce McCallum Evelyn Simpson Harriet and Dan Alexander Cheryl and Billy Geffon Tom McQuaid Betty J. Smith Joan P. Algarin Natalie Gendler William C. Messecar Jo-Ellen and Gregory Smith Kathleen Amberg Carol B. Goddard Jerry Meyer and Nina Zingale Katherine K. Sodergren Richard Andler and Carole Rush Frances M. Golding Charles N. Miller Sonia Spear Ron Armstrong Jeffrey Norman Golub Elizabeth J. Miller Mary and Gordon Starkebaum Elma Arndt Dr. and Mrs. Ulf and Inger Goranson Mrs. Roger N. Miller Karen J. Stay Bob and Clodagh Ash Betty Graham Murl G. Barker and Ronald E. Miller Diane Stevens Susan A. Austin Catherine B. Green Charles Montange and Elizabeth Stokes Dr. and Mrs. Terrence J. Ball Dr. Martin L. Greene Kathleen Patterson Victoria Sutter Rosalee Ball James and Darlene Halverson Reid and Marilyn Morgan Patricia Tall-Takacs and Gary Takacs David W. Barker Barbara Hannah George Muldrow Gayle and Jack Thompson Donna M. Barnes Martha W. Hanscom Marr and Nancy Mullen Art and Louise Torgerson Carol Batchelder Harriet Harburn Isa Nelson Betty Lou and Irwin* Treiger Drs. Janet P. and George* Beckmann Ken* and Cathi Hatch Carolyn Niva Muriel Van Housen Madeline Beery Michele and Dan Heidt John and Joyce O’Connell Sharon Van Valin Alan Benaroya Ralph and Gail Hendrickson Gina W. Olson Jean Baur Viereck Rebecca Benaroya Deena J. Henkins Miles Olson Dr. Robert Wallace Donald/Sharon Bidwell Living Trust Charles E. Higbee, MD* Sarah M. Ovens Nicholas A. Walls Dona Biermann Harold* and Mary Frances Hill John Palo Jeffrey Ward and Charles Crain Karen Bonnevie Bob Hoelzen and Marlene Botter Donald and Joyce Paradine Judith Warshal and Wade Sowers Bob* and Jane Ann Bradbury Frank and Katie Holland Dick and Joyce Paul Douglas Weisfield Rosemary and Kent Brauninger Dr. Kennan H. Hollingsworth Jane and Allan Paulson James and Janet Weisman Sylvia and Steve Burges Chuck* and Pat Holmes Lisa Peters and James Hattori John and Fran Weiss Dr. Simpson* and Dr. Margaret Burke David and Shelley Hovind Stuart N. Plumb Robert T. Weltzien Dr. Mark and Laure Carlson Richard and Roberta Hyman Roger Presley and Leonard Pezzano Dorothy E. Wendler Dr. William and Mrs. Mary Ann Champion Janet Aldrich Jacobs Mrs. Eileen Pratt Pringle Gerald W. and Elaine* Millard West Sue and Robert Collett Jennifer James, MD Mr. and Mrs. W. H. Purdy Katherine B. and Hollis R. Williams Patricia Cooke Robert C. Jenkins John and Suzanne Rahn Selena and Steve Wilson Dr. Marshall Corson and Mrs. Lauren Riker Clyde and Sandra Johnson James and Sherry Raisbeck Ronald and Carolyn Woodard Betsey Curran and Jonathan King Dr. Barbara Johnston Mary C. Ransdell and Keith B. Wong Arlene A. Wright Frank and Dolores Dean Norman J. Johnston* and Dana Reid and Larry Hitchon Janet E. Wright Robin Dearling and Gary Ackerman L. Jane Hastings Johnston J. Stephen and Alice Reid Rick and Debbie Zajicek Lorraine Del Prado and Thomas Donohue Atul R. Kanagat Bernice Mossafer Rind* Anonymous (56) John Delo Don and Joyce Kindred Richard and Bonnie Robbins Dr. Susan Detweiler and Dell King Bill* and Charlene Roberts * In Memoriam Dr. Alexander Clowes* Douglas F. King Junius Rochester Fred and Adele Drummond Stephen and Barbara Kratz Jan Rogers Renee Duprel Tom Kuebler Patricia and Jon Rosen Sandra W. Dyer Drs. Kotoku and Sumiko Kurachi James T. and Barbara Russell Ann R. Eddy Frances J. Kwapil Mary Ann Sage David and Dorothy Fluke M. LaHaise Thomas H. Schacht Gerald B. Folland Ned Laird Judith Schoenecker and Judith A. Fong Paul Leach and Susan Winokur Christopher L. Myers Jack and Jan Forrest Kathleen Leahy Linda and Bruce Scott Russell and Nancy Fosmire Lu Leslan Annie and Leroy Searle Jon Fourre Marjorie J. Levar Virginia and Allen* Senear Jane H. Fox Mel Longley and Leonard* and Patricia Shapiro Jim Fox and Rodney Reagor Tanya Wanchena-Longley Jan and Peter Shapiro Ernest and Elizabeth Scott Frankenberg Thomas and Virginia Hunt Luce John F. and Julia P.* Shaw
■ THANK YOU MUSICAL LEGACY SOCIETY MEMBERS! The Seattle Symphony thanks all the individuals and families who have notified us that they have remembered the Symphony with a legacy gift.
By making a gift through your estate you join people like you who care deeply about the future of the Seattle Symphony and want to ensure that audiences experience the magic of the orchestra for generations to come. Your gift will help the Seattle Symphony unleash the power of music, bring people together, and lift the human spirit.
To notify us of your planned gift or to learn more about the Musical Legacy Society, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected].
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 December 19, 2018. 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 Delta Dental of Washington Anonymous Tulalip Tribes Charitable Fund Alaska Airlines Encore Media Group † Yamaha Google Inc. † KCTS 9 † $5,000 – $9,999 John Graham Foundation Peach Foundation Apex Foundation $1,000 – $2,999 Laird Norton Wealth Management Rosanna, Inc. † Citi Community Capital Alfred and Tillie Shemanski Trust Fund Microsoft Corporation Sheri and Les Biller Family Foundation Finlandia Foundation National Bank of America Foundation Microsoft Matching Gifts Virginia Mason Listen for Life Center GE Foundation Matching Gifts Program † Nesholm Family Foundation Wild Ginger Restaurant ◊ Glazer's Camera † Butler Valet Precept Wine ◊ Google Matching Gifts Consulate General of the Republic of Korea in Seattle Scan|Design Foundation $10,000 – $14,999 Heartwood Provisions † Ebay Matching Gifts by Inger and Jens Bruun Aaron Copland Fund For Music IntuitiveX Educational Legacy Fund Seattle Foundation AETNA Casualty and Surety Jean K. Lafromboise Foundation Eli Lilly & Company Foundation Amazon The Lark Ascends † Genworth Foundation $25,000 – $49,999 The Benaroya Company League of American Orchestras/ Grousemont Foundation Bank of America Bill & Melinda Gates Foundation Ford Musicians Award JTM Construction Boeing Matching Gifts Program Matching Gifts Martin Selig Real Estate MG2 Foundation Chihuly Studio † BNY Mellon Morgan Stanley Mitsubishi Corporation (Americas) Classic Pianos ◊ Expedia Muckleshoot Indian Tribe † Northwest Security Services Classical KING FM 98.1 ◊ Foster Pepper PLLC Music 4 Life † PONCHO Foundation DSquared † Four Seasons Hotel Peg and Rick Young Foundation † The Ruth and Robert Satter J.P. Morgan Chase & Co. Fran’s Chocolates Puyallup Tribe of Indians Charitable Trust Nordstrom Garvey Schubert Barer † Skanska USA Tolo Events † Seattle Cancer Care Alliance Holland America Line ◊ Starbucks Coffee Company ◊ UBS Employee Giving Programs Atsuhiko & Ina Goodwin Tateuchi Lakeside Industries The Westin Hotel, Seattle † Vital Mechanical Foundation Perkins Coie LLP Wheels Up Wilson Sonsini Goodrich & Rosati Virginia B. Toulmin Foundation Port Blakely Foundation Wells Fargo Private Bank T.E.W. Foundation $3,000 – $4,999 Wright Runstad † Thompson Seattle Amphion Foundation Wyman Youth Trust $15,000 – $24,999 Treeline Foundation Audi USA AegisLiving U.S. Bank Foundation † The Capital Grille † In-Kind Support Chihuly Garden + Glass Weill Music Institute † Clark Nuber ◊ Financial and In-Kind Support Davis Wright Tremaine Wells Fargo Foundation Grand Image Art †
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 BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS &
SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available COMMITTEES Located in The Boeing Company Gallery, Symphonica is from ushers. open weekdays from 11am–2pm and 90 minutes prior to Special Events provide significant funding each season SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. to the Seattle Symphony. We gratefully recognize our Benaroya Hall is barrier-free and meets or exceeds all presenting sponsors and committees who make these PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities events possible. Individuals who support the events online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those below are included among the Individual Donors with disabilities are available. Those with oxygen listings. Likewise, our corporate and foundation COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous partners are recognized for their support in the is located in The Boeing Company Gallery. flow. Requests for accommodations should be 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. OPENING NIGHT GALA, SEPTEMBER 15, 2018 An infrared hearing system is available for patrons Honoring Music Director Ludovic Morlot CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis SUPPORTING SPONSORS is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and JPMorgan Chase & Co. Nordstrom personal electronic devices prior to the performance. at the Head Usher stations in both lobbies.
ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head CO-CHAIRS 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or Rosalind Benaroya Poll Terry Hecker except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715.
EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are COMMITTEE appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark April Ancinas Eric Jacobs Sherry Benaroya Nader Kabbani seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Rosanna Bowles Hisayo Nakajima your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Meredith Broderick Paul Rafanelli the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Leslie Chihuly Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Linda Cole Elizabeth Sandler Hall, 206.215.4776. for more information. Dr. Susan Detweiler Jim Schwab Kathy Fahlman Dewalt Mel and Leena Sturman Parul Houlahan DINING AT BENAROYA HALL HOLIDAY MUSICAL SALUTE, DECEMBER 4, 2018
CO-CHAIRS Rebecca Ebsworth Michelle Codd LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid COMMITTEE waiting in line at intermission. Bridget Aumell Diena Lukawski Roberta Downey Tiffany Moss MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining Terry Hecker Alexander White with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and Ron Koo seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit TEN GRANDS, MAY 11, 2019 opentable.com or call 206.336.6699. Kathy Fahlman Dewalt DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Co-Founder and Executive Director pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open COMMITTEE weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Rosanna Bowles Fawn Spady Cheri Brennan Saul Spady HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Stephen Dewalt Stephanie White Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Tom Horsley David Woolley-Wilson performances in the S. Mark Taper Foundation Auditorium. Ben Klinger Jessie Woolley-Wilson Carla Nichols Barbara Wortley DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, Ryan Matthew Porter artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. YOUNG PATRON'S COUNCIL
CHAIR Molly Gabel
COMMITTEE CONTACT US Brittany Boulding Bryan Lung Breeden Tiffany Moss Matthew Brannock Jae Paek Nathan Chan Jason Perkizas Joycelyn Eby Jacob Roy TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays Jackie Ernst Shiva Shafii 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. Megan Francisco Saul Spady seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | PO Box 2108, Seattle, WA 98111-2108 Pete Gammell Rachel Spain Ryan Hicks Andrew Stiefel GROUP SALES: [email protected] | 206.215.4818 Nyssa Houzenga Claire Taylor Eric Jacobs Christy Wood The concert you’re about to enjoy is made possible through donations by generous music SUPPORT YOUR SYMPHONY: Andy Liang 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 PO Box 21906, Seattle, WA 98111-3906.
46 SEATTLESYMPHONY.ORG Photos: Brandon Patoc 4 3 / 2 /YoungArtistJulinCheungperformingwithhis 1 /HolidayLanepop-upshopsoffereduniquegift 6 / 5 / 4 /
HolidayMusicalSaluteCo-Chairs
Seattle Symphony hornplayers,(fromleft) Holiday MusicalSalute founderandLifetime Rebecca Ebsworth(farleft)and MichelleCodd teacher, PrincipalFluteDemarreMcGill ideas foreveryone Director DorothyFluke withBoardChair Emerita Principal JeffreyFair Danielle Kuhlman, JohnTurman, JennaBreenand (far right)enjoyamomentwithfriends Leslie Jackson Chihuly Northwest BoychoirApprentices SEEN THE & HEARDAT THE
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SEATTLE SYMPHONY 6 ( Z ) T 5 3 THE SEASON OFGIVING CELEBRATING a success. leadership anddedicationinmaking thisyear’s eventsuch Ebsworth, andtotheentireevent committeefortheir Michelle CoddandSymphony Boardmember Rebecca Special thankstotheHolidayMusical SaluteCo-Chairs, meaningful toeachandeveryorchestramember. attendees, donorsandvendors.Yoursupportisincredibly themselves. Thankyoutothemanytablehosts,sponsors, $100,000 matchingchallenge fromtheorchestramusicians future forthemusicians,andthisyear’s eventfeatureda contribution tothePlayers’ Pension Plan,supportingabright Holiday MusicalSalutebenefitstheSeattleSymphony’s conductor Stuart Chafetz. Young ArtistJulinCheung,flute, allunderthedirectionof Seattle Symphony, NorthwestBoychoirApprenticesand ones beforeenjoyingaconcertofholidayfavoritesbythe Over lunch,guestsvisitedwitholdfriendsandmadenew featuring localvendors,artistsandentrepreneurs. cocktails astheyshoppedtheirwayaroundpop-upshops Guests weretreatedtohotcider, cocoaandspecialty raised over$270,000 insupportoftheorchestramusicians. Musical Salutekicked offtheseasoninfestivestyleand On December4theSeattleSymphony’s annualHoliday seattlesymphony .org/liszt
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