NOVEMBER 2018 GRAMOPHONE’S ORCHESTRA OF THE YEAR
LUDOVIC MORLOT, MUSIC DIRECTOR
KHATIA
BUNIATISHVILI PLAYS RACHMANINOV’S PIANO CONCERTO NO. 2
MORLOT CONDUCTS SHOSTAKOVICH, TCHAIKOVSKY & U.S. PREMIERE BY PASCAL DUSAPIN BENAROYA HALL: 20 YEARS LATER Dear Donor,
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EAP full-page template.indd 1 10/24/18 3:16 PM CONTENTS NOVEMBER 2018
4 / CALENDAR
6 / MEET THE MUSICIANS
8 / THE SYMPHONY
10 / NEWS
FEATURE
12 / The Story of Benaroya Hall
CONCERTS
16 / November 1, 2 & 3 Shostakovich Violin Concerto No. 2 20 / November 6 Jordi Savall The Routes of Slavery 27 / November 8 & 10 Tchaikovsky Symphony No. 4 30 / November 9 Tchaikovsky Untuxed 31 / November 12 Joseph Adam in Recital 34 / November 13
ALINA IBRAGIMOVA Vienna Boys Choir Photo: Eva Vermandel Photo: Eva 16 36 / November 14 Inon Barnatan in Recital 39 / November 15, 17 & 18 Beethoven Symphony No. 5 43 / November 29 & December 1 Rachmaninov Piano Concerto No. 2 46 / November 30
VIENNA BOYS CHOIR INON BARNATAN Rachmaninov Untuxed Photo: Lukas Beck Lukas Photo: Photo: Marco Borggreve Marco Photo: 34 36 54 / BENAROYA HALL GUIDE 55 / THE LIS(Z)T
ON THE COVER: Khatia Buniatishvili (page 43) by Esther Haase, Sony Classical COVER DESIGN: Jessica Forsythe EDITOR: Heidi Staub
© 2018 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 DECEMBER ■ SAMUEL & ALTHEA STROUM GRAND LOBBY the first Friday of every month at 9pm AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL for concert broadcasts.
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
11am 1 Family Concerts: The Snowman SEATTLE SYMPHONY
2 & 8pm Jim Brickman: A Joyful Christmas LIVE @ BENAROYA HALL
8pm Rachmaninov Piano Concerto No. 2 SEATTLE SYMPHONY
2 3 4 5 6 7 8 7:30pm 7:30pm 10am 7pm 7pm 10:30am 9:30, 10:30 & The Tenors Winter Rose Holiday Musical Banff Mountain Film Banff Mountain Film Tiny Tots: 11:30am LIVE @ BENAROYA PACIFIC LUTHERAN Salute* Festival Festival The Winds: Tiny Tots: HALL UNIVERSITY SEATTLE SYMPHONY THE MOUNTAINEERS THE MOUNTAINEERS The Nutcracker The Winds: SEATTLE SYMPHONY The Nutcracker 7:30pm SEATTLE SYMPHONY Christmas Traditions 8pm NORTHWEST Holiday Pops 2 & 8pm UNIVERSITY SEATTLE SYMPHONY Holiday Pops SEATTLE SYMPHONY
9 10 11 12 13 14 15 2pm 7:30pm 7pm 8pm 1 & 8pm Holiday Pops Celtic Woman: The Friends Open Handel Messiah Handel Messiah SEATTLE SYMPHONY Best of Christmas Rehearsal* SEATTLE SYMPHONY SEATTLE SYMPHONY Tour with the Seattle SEATTLE SYMPHONY 7:30pm Symphony Jingle All The Way SEATTLE SYMPHONY SEATTLE MEN’S CHORUS
2pm 16 7:30pm 17 7:30pm 18 19 7:30pm 20 7:30pm 21 2pm 22 Handel Messiah Joy to the World The Irish Tenors Jingle All The Way Jingle All The Way Annual Holiday SEATTLE SYMPHONY ENSIGN SYMPHONY & BALLARD NW SENIOR SEATTLE MEN’S SEATTLE MEN’S Show CHORUS CENTER CHORUS CHORUS THE COATS 7:30pm The English Beat 7:30pm 7:30pm LIVE @ BENAROYA Annual Holiday Annual Holiday HALL Show Show THE COATS THE COATS 8pm Jingle All The Way 7:30pm SEATTLE MEN’S A Festival of Lessons CHORUS & Carols SEATTLE SYMPHONY
2 & 7pm 23 24 25 26 27 8pm 28 8pm 29 Jingle All The Way Beethoven Beethoven SEATTLE MEN’S CHORUS Symphony No. 9 Symphony No. 9 SEATTLE SYMPHONY SEATTLE SYMPHONY 2pm Annual Holiday Show THE COATS
2pm Beethoven 30 9pm 31 Symphony No. 9 New Year’s Eve SEATTLE SYMPHONY The Doo Wop Project 7pm Baroque String SEATTLE SYMPHONY Extravaganza BYRON SCHENKMAN & FRIENDS
*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 See Who’s Here to Hear
Photo: James Holt James Photo: VERDI’S
My wife and I are from Canada, we’re both from the Toronto area. REVENGE I’m an orthopedic surgeon and she is a family doctor. Living in Seattle we’ve had the opportunity to expand our STORY exposure to arts and culture. We’ve been coming to the Seattle Symphony almost every week since we moved Il trovatore here in 2013. We both play music, but we had a long hiatus while we focused on our careers. I’m trying to get back into playing the piano. And my wife plays clarinet, so I guess we’re both SWEEPING EMOTIONAL THRILLER JANUARY 12–26 aspiring amateur musicians. In Italian with English subtitles. Heat up your winter with a high-stakes Evenings 7:30 PM classic by the great Giuseppe Verdi (Aida, Sundays 2:00 PM – Navin Rigoletto). During a time of civil war, a mother’s love awakens a dark secret from Featuring the Seattle Opera Chorus and members of Seattle the past as two rival soldiers feud for the Symphony Orchestra. favor of a pure-hearted noblewoman destined for tragedy. Packed with rousing MCCAW HALL CONNECT WITH US: choruses, impressive arias, and familiar 206.389.7676 melodies, the intensely operatic Share your photos using #ListenBoldly and 2018/19 SEASON SPONSOR: masterpiece had audiences shouting “Viva LENORE M. HANAUER follow @seattlesymphony on Facebook, Verdi!” after its premiere. Instagram, Twitter and Snapchat. Download PRODUCTION SPONSORS: SEATTLE OPERA FOUNDATION the Listen Boldly app to easily purchase SEATTLEOPERA.ORG/TROVATORE ANN P. WYCKOFF tickets, skip the Ticket Office lines and receive exclusive offers. Photo: Philip Newton TICKETS START AT JUST $25!
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 ASSISTANTPERSONNEL MANAGER Simon James Boeing Company Principal Trumpet Marks Family Foundation Principal Cello Keith Higgins Second Assistant Concertmaster ENGLISH HORN Alexander White Meeka Quan DiLorenzo Jennifer Bai Stefan Farkas Assistant Principal LIBRARY Mariel Bailey Assistant Principal Christopher Stingle Robert Olivia Cecilia Poellein Buss Nathan Chan CLARINET Michael Myers Associate Librarian Timothy Garland Eric Han Benjamin Lulich Jeanne Case Leonid Keylin Bruce Bailey TROMBONE Mae Lin Roberta Hansen Downey Mr. & Mrs. Paul R. Smith Principal Librarian Clarinet Ko-ichiro Yamamoto Mikhail Shmidt Walter Gray Rachel Swerdlow Principal Clark Story Vivian Gu Emil Khudyev Assistant Librarian John Weller Joy Payton-Stevens Associate Principal David Lawrence Ritt Jeannie Wells Yablonsky David Sabee Laura DeLuca Stephen Fissel TECHNICAL DIRECTOR Arthur Zadinsky Dr. Robert Wallace Clarinet BASS BASS TROMBONE Joseph E. Cook Eric Jacobs SECOND VIOLIN Jordan Anderson Stephen Fissel ARTIST IN ASSOCIATION Elisa Barston Mr. & Mrs. Harold H. Heath Principal E-FLAT CLARINET Principal String Bass TUBA Dale Chihuly Laura DeLuca Michael Miropolsky Joseph Kaufman John DiCesare 2018-2019 SEASON COMPOSER IN John & Carmen Delo Assistant Principal BASS CLARINET Principal RESIDENCE Assistant Principal Second Violin Jonathan Burnstein Eric Jacobs Derek Bermel Kathleen Boyer Brendan Fitzgerald * TIMPANI Gennady Filimonov Jennifer Godfrey BASSOON James Benoit HONORARY MEMBER Evan Anderson Travis Gore Seth Krimsky Principal Cyril M. Harris † Natasha Bazhanov Jonathan Green Principal Matthew Decker Brittany Boulding Breeden Stephen Bryant FLUTE Paul Rafanelli Assistant Principal + Resident Mike Gamburg ** Linda Cole Demarre McGill † In Memoriam Xiao-po Fei Dana Jackson * PERCUSSION Principal ** On Leave Artur Girsky Michael A. Werner Supported by David and Shelley Hovind CONTRABASSOON Andy Liang Principal * Temporary Musician for 2018–2019 Andrew Yeung Jeffrey Barker Mike Gamburg ** season Michael Clark Associate Principal Dana Jackson * Matthew Decker VIOLA Judy Washburn Kriewall HORN Susan Gulkis Assadi Zartouhi Dombourian-Eby HARP Jeffrey Fair PONCHO Principal Viola Valerie Muzzolini Gordon 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 ■
love withclassical music.” longer Iplayed Istarted to realize that there were more palettes ofcolor. AndIfell in rock music,butmy dadencouraged meto getaformal training,” heexplains. “And the At first, Travis wasn’t sure hewanted to keep playing thebass. “Ireally wanted to play upright bass intheschoolorchestra.” and Istarted learningtunesby andBlackSabbath DeepPurple before Istarted playing One day hisfather invited himto tryplaying it.“We plugged itinto thestereo system out.” over andwe would openthecase to lookat it.Butwe didn’tdare touch itortake it fascinated by anelectricbass hisdadkept around thehouse. “Myfriendswould come Although itseemslike heshouldhave beendestined to play percussion, Travis was Atlanta. “Mydadwas ahugeinfluence onmegettinginto music,” herecalls. Travis remembers watching hisfather play drumswithrock bandsinChicagoand really locked intogether.” he says. “There’s almost nobetter feeling intheworld thanbeinginagroup that’s rounded,” hesays. Butregardless ofgenre, “my favorite thingisatightperformance,” “I grew upplaying inpunkbandsandtheyouth orchestra, soIneedto feel well- personal project isagroup calledFeeds onMajesty. Travis Gore surfingontheWashington coast orplaying withbandsaround Seattle. His When he’s notwithhisgrowing family orplaying withtheorchestra, you canfind Photo courtesy of Travis Gore Double Bass Travis Gore MEET THEMUSICIANS
encoremediagroup.com/programs MOZART ‘TILMIDNIGHT Monday, December31,2018 at11:00pm For moreinformation, call206-382-4874 or Chamber Orchestra inafestive all-Mozartprogram. Friday, December14,2018 at7:30pm Cathedral Brass(includingmusiciansfrom Seattle ST. JAMES Symphony) performmusicforthe Advent season with traditionalreadingsheralding Christ’s birth. PACIFIC MUSICWORKS IN ROME CHRISTMAS St. James adultandyouthchoirs,organists, pacificmusicworks.org For tickets more and Information: GRAMMY Stephen Stubbs,ArtisticDirector visit www.stjames-cathedral.org/music CATHEDRAL EPIPHANY PARISH OFSEATTLE Ring in2019 with the Cathedral Cantorei & NEW YEAR’S ASERVICE OF 804 9TH AVENUE • SEATTLE READINGS EVE GALA & CAROLS TRINITY PARISH CHURCH MUSIC AT DEC 9|2:30PM DEC 7|7:30PM ®
winner SEATTLE 7
■ FEATURED COMMUNITY PARTNER Joint Base Lewis-McChord
The Seattle Symphony has partnered with Joint Base Lewis-McChord (JBLM) since 2012. JBLM’s installation priorities are to train the joint force, sustain the base infrastructure, protect the installation and take care of service members and their families. JBLM’s mission is to provide mission essential support to their units, service members, families, civilian employees and retirees to enable their commanders to build and maintain an operationally ready and resilient force.
Joint Base Lewis-McChord is one of nearly 80 Community Connections partners and receives regular complimentary tickets to Seattle Symphony performances.
“I loved all of it, but the conductor really surprised me. He reminded me of Jimi Hendrix in the zone on his guitar, but instead it was Vivaldi on a violin.”
U.S. Army photo by Sgt. Kyle Larsen Sgt. Kyle U.S. Army photo by – Sara, Joint Base Lewis-McChord 2018 Corps Best Warrior Competition at Joint Base Lewis-McChord.
■ 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, Seattle Robert Collett James Raisbeck 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 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 Brian Grant Viren Kamdar Rick White Michael Slonski Treasurer
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Fred Podesta 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
SENIOR MANAGEMENT TEAM Jérémy Jolley DEVELOPMENT Krishna Thiagarajan Artistic Collaborations Manager Aaron Sumpter President & CEO Katie Hovde Development Officer, Assistant to VP of Leslie Jackson Chihuly Chair Program Associate Development Charlie Wade Renee Duprel Senior Vice President of Marketing COMMUNICATIONS Associate Vice President of Development & Business Operations Shiva Shafii (Campaign) Jennifer Adair Public Relations Manager Paul Gjording Vice President & General Manager Heidi Staub Senior Major Gift Officer (Foundations & Government Relations) Rosalie Contreras Managing Editor Betsy Groat Vice President of Communications James Holt Campaign Operations Manager Elena Dubinets Digital Content Manager Kent Anderson Vice President of Artistic Planning Andrew Stiefel & Creative Projects Discovery Officer (Campaign) Social Media & Content Manager Jane Hargraft Becky Kowals Vice President of Development MARKETING Director of Major Gifts & Planned Giving Laura Reynolds Christy Wood Marsha Wolf Vice President of Education & Community Senior Director of Marketing & Sales Senior Major Gift Officer Engagement Rachel Spain Amy Bokanev Kristen NyQuist Marketing Manager Major Gift Officer Director of Board Relations Alexa Bayouk, Carson Rennekamp & Strategic Initiatives Kyle Painter Marketing Operations Coordinator Development Coordinators (Major Gifts) Megan Hall EXECUTIVE OFFICE Amanda DiCesare Director of Development Operations Margaret Holsinger Marketing Assistant Executive Assistant to the President & CEO/ Barry Lalonde Martin K. Johansson Office Manager Director of Digital Products Communications & Grants Manager Jason Huynh Jacob Roy ARTISTIC PLANNING Digital Marketing Manager Data Operations Manager Paige Gilbert Herb Burke Maery Simmons Manager of Artistic Planning & Popular Tessitura Manager Data Operations Coordinator Programming Gerry Kunkel Kathleen Shin Michael Gandlmayr Corporate & Concierge Accounts Manager Annual Fund Coordinator Assistant Artistic Administrator Jadzia Parker, Stephanie Tucker Peter Gammell Stephanie Torok Graphic Designers Director of Corporate Development & Senior Manager of Creative Projects & Special Events Forrest Schofield Community Engagement Jessica Kittams Group Services Manager Dmitriy Lipay Stewardship Events Officer Joe Brock Director of Audio & Recording Ryan Hicks Retail Manager Rose Gear Corporate Development Manager Personal Assistant to the Music Director & Christina Hajdu Sales Associate Artistic Coordinator FINANCE & FACILITIES Nina Cesaratto Alexandra Perwin Ticket Office Sales Manager ORCHESTRA & OPERATIONS Controller Molly Gillette, Brian Goodwin Kelly Woodhouse Boston Megan Spielbusch Ticket Office Coordinators Director of Operations Accounting Manager Asma Ahmed, Mary Austin, Ana Hinz Olivia Fowler Production Manager James Bean, Jennifer Boyer, Danela Butler, Mike Obermeyer, Payroll/AP Accountant Liz Kane Gabrielle Turner, Emerson Wahl, Jordan Bromley Assistant to VP & GM Tobie Wheeler Staff Accountant Scott Wilson Ticket Services Associates Tristan Saario Personnel Manager Staff Revenue Accountant VENUE ADMINISTRATION Keith Higgins Bernel Goldberg Assistant Personnel Manager Matt Laughlin General Counsel Director of Facility Sales Robert Olivia Grant Cagle Associate Librarian James Frounfelter, Adam Moomey Facilities Manager Event & Operations Managers Jeanne Case Aaron Burns, Rodney Kretzer, Librarian Nick Cates Damien De Witte Joseph E. Cook Concert & Event Production Manager Building Engineers Technical Director Sophia El-Wakil Willa McAllister Mark Anderson, Jeff Lincoln Facilities Sales & Operations Coordinator Facilities Coordinator Assistant Technical Directors Keith Godfrey Johnny Baca, Chris Dinon, House Manager HUMAN RESOURCES Aaron Gorseth, John Roberson, Tanya Wanchena Kathryn Osburn Michael Schienbein, Ira Seigel Assistant House Manager & Usher Scheduler Human Resources Manager Stage Technicians Milicent Savage, Patrick Weigel Assistant House Managers EDUCATION & COMMUNITY ENGAGEMENT Dawn Hathaway, Lynn Lambie, Amy Heald Mel Longley, Ryan Marsh, Markus Rook Collaborative Learning Manager Head Ushers Laura Banks, Everett Bowling, Veronica Boyer Assistant Head Ushers
CONTACT US
TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]
encoremediagroup.com/programs 9 NEWS FROM: ■ JOIN OUR HOLIDAY KRISHNA THIAGARAJAN, PRESIDENT & CEO TRADITION Welcome, This season marks the 20th anniversary of Benaroya Hall. Last month we celebrated this milestone with many of the donors and city officials who helped make the dream of this concert hall a reality, and Seattle Mayor Jenny Durkan proclaimed October 10, 2018 as Benaroya Hall Day in recognition of the Hall’s contributions to Seattle arts and culture.
Photo: Brandon Patoc Brandon Photo: The opening of Benaroya Hall was a pivotal moment in the Seattle Symphony’s history. It was the launching pad to today’s success, from having a home to bring our community together through the power of music to the stunning acoustics that create the perfect studio for our award-winning live recordings. As we celebrate what was put in motion 20 years ago, it’s exciting to think of what’s to come. Construction is underway for Octave 9: Raisbeck Music Center, a third performance space in the Hall scheduled to open in early 2019. Octave 9 will be an intimate venue with cutting edge technology that can transform the room physically and sonically, making the possibilities of experiences there limitless. The past few months have been a thrilling time to start my tenure as President & CEO. In addition to what I’ve already mentioned, the Seattle Symphony won Orchestra of the Year at the Gramophone Awards. As the only American ensemble nominated for this international award, this speaks to how the rest of the world sees our city and orchestra. It recognizes the bold artistic vision of Music Director Ludovic Morlot, the orchestra’s incredible musicianship and the striking repertoire choices on Seattle Symphony Media recordings — be sure to pick one up for your holiday shopping.
In response to the Gramophone Award, the Seattle City Council and Mayor Patoc Brandon Photos: Jenny Durkan proclaimed September 24, 2018 as Seattle Symphony Day. It’s an honor to receive this sort of recognition not only internationally, but locally. At Kick off the holiday season with the the end of the day, we’re here to share music with you, our community. Seattle Symphony at Holiday Musical on December 4. You’ll get a jump It’s been such a pleasure to celebrate Benaroya Hall’s 20th and to hear stories Salute on your holiday shopping with Holiday of what a special place this is to so many people. We would love to hear what Lane pop-up shops, then enjoy a musical Benaroya Hall means to you. Tag @seattlesymphony on your social posts so luncheon. Conductor Stuart Chafetz leads we can see them. Thanks to each of you for being a part of our history — we the orchestra and Northwest Boychoir wouldn’t be where we are today without your enthusiasm and support. Apprentices in a concert of your favorite With sincerest gratitude, holiday songs, featuring Young Artist Julin Krishna Thiagarajan Cheung, flute. Proceeds from Holiday President & CEO Musical Salute support the Seattle Seattle Symphony | Benaroya Hall Symphony’s contribution to the Symphony Players’ Pension Plan. Join your Symphony for music, shopping and a festive start to the holiday season NOTA BENE — all in support of the orchestra musicians you cherish. BEYOND BENAROYA HALL Our musicians share music in many ways — from school Reserve your place today! programs to Sensory Friendly Concerts. Congratulations to Associate Principal Flute seattlesymphony.org/hms Jeffrey Barker for receiving the Ford Musician Award for Excellence in Community 206.215.4721 Service from the League of American Orchestras in recognition of his contributions to our community.
FESTIVE FAMILY FUN Get your tickets now to bring the whole family to Benaroya Hall for the holidays! Start a new family tradition by coming to one of our annual performances of Holiday Pops, The Snowman Family Concert, Handel’s Messiah or Festival of Lessons & Carols with the Northwest Boychoir. See the calendar on page 4 for these concerts and more.
10 SEATTLESYMPHONY.ORG November 2018 Volume 32, No. 3 TURTLE ISLAND QUARTET Dec 8 | 7:30 p.m. WINTER’S EVE Music from wintertime festivities around the globe
Paul Heppner President
Mike Hathaway Vice President
Kajsa Puckett Vice President, Marketing & Business Development
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Production Susan Peterson Design & Production Director
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Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers
Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives TICKETS: Brieanna Hansen, Ann Manning, MEANYCENTER.ORG Wendy Pedersen 206-543-4880 Seattle Area Account Executives
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Marketing Shaun Swick Senior Designer & Digital Lead Ciara Caya TAX-WISE WAYS Marketing Coordinator TO SUPPORT THE Encore Media Group Corporate Office SYMPHONIC MUSIC YOU LOVE 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 Donating to the Seattle Symphony through stock or via a direct f 206.443.1246 transfer from your IRA is both generous and tax-efficient! [email protected] Great ways to give: www.encoremediagroup.com ■ Gifts of appreciated stock you’ve held over one year can result in a charitable deduction and save on capital gains tax. Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events ■ The IRA Charitable Rollover is here to stay, so if you’re 70 ½ in the Puget Sound and San Francisco Bay Areas. All rights years or older, you can donate through a tax-free transfer and reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. count it as your required minimum distribution. Thank you for your support of the Seattle Symphony!
To learn more about tax-wise giving, contact Becky Kowals at 206.215.4852 or [email protected].
encoremediagroup.com/programs 11 THE STORY OF BENAROYA HALL
Twenty years ago, a heroic effort led to the construction of Benaroya Hall, transforming the Seattle Symphony and revitalizing downtown Seattle.
By Andrew Stiefel and James Holt
When Benaroya Hall opened its Construction & History Broadway, for opera, and the symphony, by doors to the world 20 years ago, it definition it won’t be as good acoustically.” was the crowning achievement of In the early 1990s, Seattle was one of a decades-long effort to move the only six cities nationwide to have a major When local music critic Melinda Bargreen Seattle Symphony into a permanent symphony, opera company and ballet — published an article in The Seattle Times home of its own. Constrained by and the only city where all three shared the about the need for a new concert hall, an abbreviated schedule and less same facility. it caught the eye of local philanthropists than ideal acoustics in its former Becky and Jack Benaroya. home, the old Seattle Center By the time Benaroya Hall opened in 1998, “Jack and I both felt, without even Opera House, the orchestra was in the city was locked into a cultural gridlock discussing it, we just knew it was the desperate need of space to expand. without adequate space for its performing arts organizations. The Symphony’s right thing to do — giving back to the The construction of Benaroya previous home, the old Seattle Center community,” recalls Becky Benaroya. Hall was a heroic effort for an Opera House, was booked 360 days a Ultimately, Jack Benaroya called Schwarz organization that at that time was year, making it impossible for the orchestra to arrange a meeting over lunch. The two struggling to balance its finances — to expand beyond the a 12-week season. discussed what it would take to move the and a bold step into its future. “Besides the scheduling problems, the big Seattle Symphony into a new home and issue for me was the acoustics,” recalls Benaroya made a $15 million contribution former Seattle Symphony Music Director to launch the project. and Conductor Laureate Gerard Schwarz. With the Benaroya’s lead gift in place, the “I felt that for the ultimate growth of this Symphony went on to raise a total of $118.1 orchestra, and for the artistic health of our million for the capital project — at the time, city, we needed a hall that was made for the largest cultural capital campaign in the the symphony — not a multipurpose hall Pacific Northwest. in other words, if a hall is for ballet, for
12 SEATTLESYMPHONY.ORG It was an ambitious effort for an “We actually came in on schedule and organization that was struggling to make on budget, which I think is phenomenal ends meet, says Ron Woodard, the Seattle when you think about the challenges we Symphony’s Board Chair at the time. But the had,” says Woodard. “I think that was the project ultimately motivated the community best thing Boeing did, and we had outside and organization to grow. companies that wanted to do it for a couple million dollars, but Bob and Andrew did a Photos, clockwise from left: “It gave us a focus and dream of the future, superb job.” Seattle Symphony Conductor Laureate Gerard and during that five years or so that we Schwarz, City Councilmember Sue Donaldson, were raising funds and building the hall On September 12, 1998, the Seattle and Becky Benaroya and Jack Benaroya breaking ground for the construction of we just didn’t have conflicts, we had the Symphony celebrated its first Opening Benaroya Hall. Photo: Lara Swimmer maestro and we had the board and we had Night Concert and Gala at Benaroya Hall. our donors and we had the administration From the moment the orchestra began The construction of Benaroya Hall in October 1997 as the exterior skin begins to enclose the all focused on the same goal, and that was playing The Star-Spangled Banner, it was framework. Photo: Lara Swimmer the goal of getting this beautiful facility apparent to everyone present that the hall Hard hats in hand, Jack and Beck Benaroya together,” says Woodard. was the perfect home for the orchestra. stand in the Grand Lobby of their namesake building during a site visit in 1998. Local architects Judsen Marquardt and “That first opening night was indescribable,” Photo: Lara Swimmer Mark Reddington of LMN Architects recalls Becky Benaroya. “And Jack had Symphony Board President Dorothy Fluke, were engaged to design the hall with the tears in his eyes, he was a wreck that whole Jack and Becky Benaroya and Board Chair assistance of acoustical consultant Cyril first week. Ron Woodard preside at the tape cutting at M. Harris. Through a special executive the official opening of Benaroya Hall with Pam program at the time, Boeing provided two “As a businessman, Jack would be very Schell and Mayor Paul Schell looking on. Photo: Lara Swimmer project managers to oversee construction: pleased with what he sees today. But most Bob Wicklein and Andrew Clapham. of all I think he’d be very happy sitting in the The Opening Night Concert at Benaroya Hall concert hall listening to the beautiful music, shortly before the orchestra took the stage for the first time.Photo: Mel Curtis and probably thinking, ‘I did a good thing.’”
encoremediagroup.com/programs 13 “This is a A Transfigured privilege really, “This is a privilege really, a gift to be able Orchestra to grow as musicians in such a beautiful a gift to be environment,” says Morlot. “Without With its new home in downtown the recording legacy and heritage that able to grow as Seattle, the Seattle Symphony Gerard Schwarz left the orchestra, and the rapidly transformed its sound visionaries like the Benaroya family, the and reputation, expanding from a orchestra would not be in the place it musicians in regional orchestra to a world-class is today.” ensemble. The first season after the such a beautiful hall opened the orchestra saw a 50% increase in subscribers, sold- Cultural Gem for environment.” out performances and the Emerald City increased revenue. Today Benaroya Hall is the most visited The Symphony launched an performing arts venue in Seattle, in-house record label, Seattle welcoming more than 430,000 visitors to Symphony Media, in 2014. With an over 400 public and private events each ideal recording environment and year. In addition to the Seattle Symphony, control of their releases, Seattle it has welcomed civic leaders, scientists, Symphony Music Director Ludovic artists and comedians from around Morlot and the orchestra won their the world. first Grammy Award in 2015 for John Luther Adams’ Become Desert Nelson Mandela, then-Senator Barack and another the following year for Obama, former Vice President Joe Biden, their recording of French composer Ellen DeGeneres, Mike McCready, Chris Henri Dutilleux’s violin concerto, Cornell and Sir Mix-a-Lot have all appeared L’arbre des songes, with violinist on the Arlene A. Wright Stage in the S. Augustin Hadelich. Most recently Mark Taper Foundation Auditorium. And the Seattle Symphony was named so too have some of the greatest artists Gramophone’s 2018 Orchestra of the in classical music, including Van Cliburn, Nelson Mandela conducting the Seattle Symphony at Year in recognition of the orchestra’s Hilary Hahn, Yo-Yo Ma, Itzhak Perlman and Benaroya Hall during his visit to Seattle in December 1999. exceptional recording legacy. orchestras from around the world.
“I think Benaroya Hall has become the cultural center of downtown,” says Ned Laird, Board Chair of Benaroya Hall. “With the Seattle Art Museum next door, I think it will continue to play a key role in the quality of life that people who work downtown and people who live downtown enjoy.”
In addition to the Seattle Symphony, the hall is the permanent home for dozens of Seattle cultural organizations, including National Geographic Live, Seattle Arts & Lectures, Seattle Men’s Chorus, Seattle Chamber Music Society, Seattle Philharmonic Orchestra, Seattle Youth Symphony Orchestra, Seattle Jazz Repertory Orchestra and the Seattle Classic Guitar Society, to name only a few.
Woodard reflects, “As I look back at it now from 25 years later — 20 years after the opening — I think it’s one of the best things I’ve ever done in my life. It’s the most important thing in my life other than Photo: Brandon Patoc Brandon Photo: my family, and I marvel that I was fortunate Seattle Symphony Music Director Ludovic Morlot conducting Berlioz’s Requiem with the Seattle Symphony enough to be involved with it.” Chorale, Seattle Pro Musica and the Seattle Symphony at Benaroya Hall in November 2017.
14 SEATTLESYMPHONY.ORG For two decades, generations of audience members have experienced the magic, wonder and inspiration of live performances from their seats inside Benaroya Hall.
THANK YOU TO THE VISIONARIES WHO MADE THE DREAM OF BENAROYA HALL A REALITY, AND TO ALL THOSE WHO ARE HELPING TODAY TO PRESERVE THIS CULTURAL LANDMARK FOR THE NEXT GENERATION.
BE A PART OF HISTORY 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. Join us today for this once-in-a-lifetime opportunity to be a part of Benaroya Hall history.
SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 11/1–3 THURSDAY, NOVEMBER 1, 2018, AT 7:30PM FRIDAY, NOVEMBER 2, 2018, AT 12 NOON OVERVIEW SATURDAY, NOVEMBER 3, 2018, AT 8PM
SHOSTAKOVICH VIOLIN Modernity and Tradition The first quarter of the 20th century saw CONCERTO NO. 2 an epochal change in Western music. In Europe and America, composers turned from the familiar and well-established tonal HONORING THE LEGACY OF BUSTER & NANCY ALVORD idiom that had served their counterparts for three centuries. In its place, they explored rhythms, melodic shapes, Ludovic Morlot, conductor harmonies and instrumental colors that Alina Ibragimova, violin had no place in the old order. In doing so, Seattle Symphony they shared with painters and writers of their time the exhilaration of imagining the BÉLA BARTÓK Suite from The Miraculous Mandarin, 21’ world anew. Op. 19, BB. 82 Our concert begins with a landmark of DMITRI SHOSTAKOVICH Violin Concerto No. 2 in C-sharp minor, Op. 129 29’ early modernist composition, music from Béla Bartók’s ballet The Miraculous Moderato Mandarin. Though written half a century Adagio— later, Dmitri Shostakovich’s Second Adagio—Allegro Violin Concerto adheres more closely to ALINA IBRAGIMOVA, VIOLIN convention in upholding familiar concerto INTERMISSION design and comportment. Following intermission, Brahms’ First Symphony JOHANNES BRAHMS Symphony No. 1 in C minor, Op. 68 43’ gives us the great symphonic tradition Un poco sostenuto—Allegro descended from Beethoven. Andante sostenuto Un poco allegretto e grazioso It’s thrilling to explore the ballet Adagio—Più andante—Allegro non troppo, music of Bartók after having ma con brio completed our cycle of the composer’s piano concertos last season. The Pre-concert Talk one hour prior to performance. Miraculous Mandarin is one of my favorites Speaker: Claudia Jensen, Affiliate Instructor at the University of Washington’s Slavic by Bartók — I especially love the clarinet Languages Department solos (the “seduction games”), which will feature our Principal Clarinet Benjamin Lulich. Alina Ibragimova’s performances are generously underwritten by Stephen Whyte through the Seattle Symphony’s Guest Artists Circle. It’s a joy to welcome back violinist Alina Ibragimova to play repertoire that fits Please note that the timings provided for this concert are approximate. her like a glove. Alina has the wonderful Please turn off all electronic devices and refrain from taking photos or video. ability to bring out both the darkness and Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording the incredible colors of Shostakovich’s equipment, and any other use of such copying devices during a performance is prohibited. concerto.
I’ve always felt that Bartók and Brahms work well together, because of their mutual fascination with the idea of variations. And the strength of Brahms’ First Symphony works well alongside Shostakovich, because both have a certain raw quality which can be traced back to Beethoven.
– Ludovic Morlot
See Ludovic Morlot’s biography on page 6.
16 SEATTLESYMPHONY.ORG My legacy. My partner.
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EAP full-page template.indd 1 7/25/18 1:30 PM PROGRAM NOTES
BÉLA BARTÓK A frantic chase ensues. Just as the DMITRI SHOSTAKOVICH stranger seizes her, the thieves jump out Suite from The Miraculous Mandarin, of hiding. Astonishingly, the violence they Violin Concerto No. 2 in C-sharp Op. 19 BB. 82 wreak on the Mandarin has no effect: he minor, Op. 129 BORN: March 25, 1881, in Nagyszentmiklós, just continues to stare passionately at BORN: September 25, 1906, in Saint Petersburg the woman. At last she takes him in her Hungary DIED: August 9, 1975, in Moscow arms and kisses him. Only then do the DIED: WORK COMPOSED: September 26, 1945, in New York Mandarin’s wounds begin to bleed, and he 1967 WORK COMPOSED: 1918–26 perishes in an ecstatic love-death. WORLD PREMIERE: September 26, 1967, in WORLD PREMIERE: October 15, 1928, in Budapest. Moscow. David Oistrakh was the soloist; Ernő Dohnányi conducted the Budapest The sordid character of this plot derailed Kirill Kondrashin conducted the Moscow the premiere of The Miraculous Mandarin Philharmonic Orchestra. Philharmonic Orchestra. in Bartók’s native Hungary. When a production finally was mounted in Cologne, in 1926, the ballet received such scathing What to Listen For What to Listen For notices that it was withdrawn after a single Driving rhythms and hard-edged While the solo violin occupies performance. A subsequent performance harmonies establish an atmosphere the spotlight for nearly all of this in Prague fared no better. of violence and gritty urban energy. The composition, Shostakovich’s scoring gives climax comes with a lust-fueled chase, We know from his correspondence prominence at times to several orchestral where the music takes on the character of that Bartók was extremely proud of his instruments: piccolo, flute, clarinets, a wild Balkan folk dance. Miraculous Mandarin music, and in 1927 bassoons and especially horns, individually he extracted a concert suite from the full and in pairs. ballet, hoping thereby to gain a wider hearing for the composition. Aside from Many compositions now ranked among omitting the music for the final scene, the important achievements of 20th- Dmitri Shostakovich, for many years the beginning with the thieves’ attack on the century music endured scathing receptions Soviet Union’s preeminent composer, wrote Mandarin, this suite differs but slightly from when they first appeared. Few suffered two concertos featuring violin, both for the the original score. such resounding condemnation as did great violinist David Oistrakh. Shostakovich Bartók’s pantomime-ballet The Miraculous Bartók’s music for The Miraculous had known Oistrakh since the mid-1930s Mandarin. Mandarin follows the outline of the and often accompanied him in recital story closely. Following an atmospheric programs and performances of chamber Bartók wrote this work during the winter introduction, the composer portrays the music. (Shostakovich was an excellent of 1918–19, though he revised the score woman’s game of seduction in a series of pianist.) Written in 1967, the Second Violin intermittently over the next seven years. rhapsodic clarinet solos. A lush melody Concerto moves between introspection, Like many dramatic compositions that introduced by English horn captures desperate outcry and, in the finale, emerged from central Europe during the the wantonness of the old libertine. The sardonic humor. dark period surrounding World War I, shyness of the young student brings a wan The Miraculous Mandarin employed a The concerto’s first movement begins oboe solo and, soon, an awkward waltz in kind of lurid Expressionism in which sex, with the presentation of three themes: a which Bartók combines the bassoon in its violence and the macabre contributed long melody, introduced by the solo violin high register with harp tones, an unusual to an air of decadence and mystery. Its at the start of the movement; a second mix of aural timbres. story takes place in a shabby room in a subject given out in duets between the slum of some nameless city and centers Finally, the Mandarin enters to brass soloist and several of the orchestral on a trio of thieves and a young woman figures that suggest his Asian provenance. winds; and a third idea, rather martial in in their keeping. Finding themselves short The woman’s dance for him evolves from tone. Shostakovich then launches into an of money, the thieves force the woman slinky languor to energetic eroticism, almost frenetic fantasia based on these to sit provocatively in a window and lure and the Mandarin pursues her to running materials, concluding with a cadenza, a passersby inside, where the trio can passagework over a heavy foundation of quasi-rhapsodic solo passage, based on rob them. percussion. The suite ends at the moment the opening melody. The music gradually in the ballet when the Mandarin catches fades to silence, the featured instrument Her first victim is an old libertine who the woman, their struggle occasioning a trading figures with the orchestral strings has seen more prosperous days. He veritable paroxysm of orchestral sound. and drums at the end. comes in and flirts with the woman, but when he indicates that he has no Scored for 3 flutes (the 2nd and 3rd flutes Shostakovich’s intense lyricism informs the money, the thieves roughly throw him doubling piccolo); 3 oboes (the 3rd oboe slow second movement, which features out. Next comes a student who proves doubling English horn); 3 clarinets (the 2nd brooding melodic lines sung by the violin equally impoverished. The third catch is clarinet doubling E-flat clarinet, the 3rd clarinet over discreet accompanying ideas in the doubling bass clarinet); 3 bassoons (the 3rd a strange-looking man in Eastern dress, bassoon doubling contrabassoon); 4 horns; orchestra. In the concluding measures, the a Mandarin, who stares with piercing 3 trumpets; 3 trombones; tuba; timpani and pervading somberness at last gives way to eyes as the woman entices him with an percussion; harp; celeste and piano; strings. a more hopeful tone as the first theme is erotic dance. His lust finally aroused, the taken up by the horn and resolved in bright Mandarin reaches for his temptress. chorale harmonies.
18 SEATTLESYMPHONY.ORG PROGRAM NOTES
But Shostakovich immediately undercuts decades. The composer replaced much Brahms, in his own way, takes this theme, this optimism. In a transition passage of his original material, including all of the and others introduced earlier, to heights leading into the third movement, horns first movement, and continued to revise of exultant expression in the symphony’s assume a sarcastic voice, apparently the symphony, ignoring pleas by his friends concluding minutes. mocking the soloist’s two- and three- that he bring it before the public. His Scored for 2 flutes; 2 oboes; 2 clarinets; 2 note figures. The first subject of the finale hesitation was due in no small part to his bassoons and contrabassoon; 4 horns; 2 proper grows out of their exchange and awareness of the imposing standard set trumpets; 3 trombones; timpani; strings. conveys antic humor. A lyrical second by Beethoven, which he likened to “the theme attempts to restore decorum but footsteps of a giant.” Not until 1876 was he is quickly pushed aside by the initial idea, sufficiently satisfied that he allowed the © 2018 Paul Schiavo which runs roughshod through most of the work to be published. movement. As the music became known, similarities Scored for solo violin; flute and piccolo; to Beethoven’s Ninth Symphony were 2 oboes; 2 clarinets; 2 bassoons and noted by many critics. The stormy opening contrabassoon; 4 horns; timpani and percussion; strings. movement, the broad folk-hymn theme of the finale and the dramatic progression ALINA IBRAGIMOVA over the course of the work from struggle Violin JOHANNES BRAHMS to joy all have obvious precedents in Beethoven’s last symphony. But as a Performing music from Symphony No. 1 in C minor, Op. 68 close friend wrote to Brahms, while “the Baroque to new BORN: May 7, 1833, in Hamburg whole symphony has a somewhat similar commissions on both emotional groundwork as the Ninth of DIED: April 3, 1897, in Vienna modern and period Beethoven ... your own artistic individuality instruments, Alina WORK COMPOSED: 1854–76 stands out clearly.” Ibragimova has WORLD PREMIERE: November 4, 1876, in established a The first movement opens with a dramatic the German city of Karlsruhe. Otto Dessoff reputation as one of conducted. introduction in slow tempo. In its initial Vermandel Photo: Eva measures two melodic lines — one rising, the most accomplished the other descending — pull roughly and intriguing violinists of her generation. at each other while timpani and bass Over the next season, Ibragimova will have What to Listen For a strong focus on Shostakovich Concertos The last of the symphony’s four instruments toll somberly. A plaintive Nos. 1 and 2, which she will record with movements brings a resolution melody introduced by the oboe then Allegro Vladimir Jurowski for Hyperion Records. of the tense drama established at the leads to the main portion of the She looks forward to debut engagements outset. A slow introduction preceding the movement. “This is rather strong,” wrote main section of this finale introduces two Clara Schumann, widow of composer with the Royal Concertgebouw Orchestra striking ideas: a horn call, which Brahms Robert Schumann and one of Brahms' (Gardiner), the Toronto Symphony and may have derived from a Swiss alp horn, closest friends, after seeing an early Minnesota Orchestras, and will return to and a stirring chorale featuring trombones. draft, “but I’ve grown used to it. The the London Symphony Orchestra, These materials prepare the movement’s movement is full of beauties, the themes Chamber Orchestra of Europe (Haitink), main theme, which has the character of a are treated masterfully.” And had she seen Swedish Radio Symphony (Harding) and folk-hymn, and return later to confirm the the complete symphony at the time, Frau Orchestra of the Age of Enlightenment attainment of triumph and joy. Schumann might have added that the (Jurowski). Born in Russia in 1985, sense of turmoil and conflict that fills this Ibragimova studied at the Moscow Gnesin movement serves to prepare the School before moving with her family to exultant finale. the UK in 1995 where she studied at the Brahms was one of the great composers Yehudi Menuhin School and Royal College active during the second half of the A religious serenity pervades the second of Music. She was also a member of the 19th century, and his music is very much movement, while the third is breezy and Kronberg Academy Masters program. of his time. Yet he also had a highly melodious. With the onset of the finale, informed sense of music’s history, and his Brahms returns to the drama established Ibragimova records for Hyperion Records deep understanding of the symphonic in the first movement. An introductory and performs on a c. 1775 Anselmo achievement of an earlier composer, passage is shrouded in dark harmonies Bellosio violin kindly provided by Georg Beethoven, weighed heavily on the until a clarion horn call dispels the shadows von Opel. creation of his own First Symphony. and leads to the movement’s broad principal theme. The triumphal character In 1854, around the time he turned and folk-song-like simplicity of this subject 21, Brahms heard for the first time a inevitably brought comparisons with the performance of Beethoven’s Ninth “Ode to Joy” melody in Beethoven’s Ninth. Symphony. Almost immediately he began Brahms dismissed the resemblance as sketching a symphony of his own in much incidental and obvious. “Any ass can see the same spirit as Beethoven’s great that,” he retorted when it was pointed out. work. Completing it took more than two Clearly of greater consequence is how
encoremediagroup.com/programs 19 11/6 TUESDAY, NOVEMBER 6, 2018, AT 7:30PM CONGRATULATIONS JORDI SAVALL THE ROUTES OF SLAVERY MEMORIES OF SLAVERY 1444–(1865 USA) 1888 SPECIAL PERFORMANCES
Narrator Guadeloupe Stephen Michael Newby Yannis François, bass-baritone United States La Capella Reial de Catalunya René Marie, voice Arianna Savall, soprano Mali David Sagastume, countertenor Mohammed Diaby, voice Víctor Sordo, tenor Ballaké Sissoko, kora & voice Petter Udland Johansen, tenor Mamani Keita, Nana Kouyaté, Pieter Stas, bass-baritone Tanti Kouyaté, chorus & dance Hespèrion XXI TEMBEMBE ENSAMBLE CONTINUO Pierre Hamon, flutes Colombia Béatrice Delpierre, flute & shawm Leopoldo Novoa, marimbol, marimba de Daniel Lassalle, sackbut chonta, tiple colombiano & voice ORCHESTRA Jordi Savall, treble viol OF THE YEAR Mexico Xavier Puertas, violone Ada Coronel, vihuela, wasá, Xavier Díaz-Latorre, guitar dance & voice Andrew Lawrence-King, Enrique Barona, vihuela, leona, jarana, Spanish Baroque harp quijada de caballo, dance & voice David Mayoral, percussion Ulises Martínez, violin, vihuela, Direction leona & voice Jordi Savall Brazil Your extraordinary In memoriam: contribution to Maria Juliana Linhares, soprano Kassé Mady Diabaté (1949–2018) Zé Luis Nascimiento, percussion recorded music has captivated the Selection of Mali music: Mohamed Diaby, Violet Diallo & 3MA Selection of Mexican and Colombian music: Leopoldo Novoa imagination of not Selection of Brasilian music: Maria Juliana Linhares only Seattle, but the Selection of slave’s songs & early gospel: Jordi Savall
world at large. Historical and literary research: Sergi Grau, Manuel Forcano & Jordi Savall Texts translated by Jacqueline Minett
Program concept and final musical & text selection: Jordi Savall
With the support of the Departament de Cultura of the Generalitat de Catalunya, the Institut Ramon Llull and the Unesco
Presented by Early Music Seattle and the Seattle Symphony
20 SEATTLESYMPHONY.ORG TUESDAY, NOVEMBER 6, 2018, AT 7:30PM PROGRAM JORDI SAVALL PART I Music Slow drums THE ROUTES Music Percussion Narration 1661: The punishment of slaves in the Narration “Humanity is divided into two: Masters and Slaves” “Slave Code of Barbados.” OF SLAVERY Aristotle, Politics, 4th century BC Hans Sloane, A Voyage to the islands, London, 1706, vol. 1, p. lvii. MEMORIES OF SLAVERY Music Kora Jean-Baptiste Labat, Nouveau Voyage aux Îles Narration 1444: Chronicle of the Discovery and de l’Amérique, Paris 1722, p. 248 1444–(1865 USA) 1888 Conquest of Guinea SLAVE SONG Follow the Drinking Gourd SPECIAL PERFORMANCES The voyage of Captain Lançarote de Freitas, for the service FRAY FILIPE DA Antonya, Flaciquia, Gasipà (Negro a 5) of the Infante Prince Henry, was the first major commercial MADRE DE DEUS venture of the Portuguese in West Africa.
ANONYMOUS (MALI) Djonya (Introduction) – Improvisations by Music Harp Mohamed Diaby Narration 1685: The “Black Code” promulgated by Louis XIV. Lamentation: The African view of slavery. SLAVE SONG Another Man Done Gone MATEO FLECHA, La Negrina: San Sabeya gugurumbé THE ELDER JAROCHO SON Los Negritos / Gurumbé Music Malimba (TRADITIONAL) Narration 1748: Montesquieu, On the Slavery of Negroes. TRADITIONAL Vida ao Jongo (Jongo da Serrinha) Montesquieu, The Spirit of the Laws, Paris 1748 (BRAZIL)/LAZIR SINVAL Arr. Mohamed Diaby Simbo (Griot song) The mytical hunter Mandé Mory, clear-sighted as the kingsfisher (Kulandjan) is compared to the Music Guitar (Romanesca) great hunter Soundiata and other hunter heroes. Narration 1505: On 15th September from Segovia, King Ferdinand the Catholic wrote a INTERMISSION letter to Nicolas de Ovando. PART II
JUAN GUTIERREZ Tambalagumbá (Negrilla) DE PADILLA ANONYMOUS Awal & IMPROVISATIONS ANONYMOUS (MALI) Manden Mandinkadenou (Griot song) – (MALI/MADAGASCAR) Musical version and improvisations by Mohamed Diaby & Ballaké Sissoko The pleasures of youth are destined Music Guitar to be forgotten, but the great deeds of Narration 1772: Guillaume Raynal, A philosophical and heroes of the past are remembered political history of the settlements and trade of the long after them, especially when they Europeans in the East and West Indies: brought peace to their homeland. “Wretched condition of the slaves in America.” Guillaume-Thomas Raynal, Histoire philosophique et Music Malimba politique des établissements et du commerce des Européens dans les deux Indes, chap. X, Genève, 1772. Narration 1620: The first African slaves arrive in the English colonies. TRADITIONAL Son de la Tirana: Mariquita, María António Vieira, Sermons, 1661. (COSTA CHICA DE GUERRERO, MEXICO) TRADITIONAL Velo que bonito (San Antonio) SPIRITUAL SONG (PACIFIC, COLOMBIA) Music Kora Narration 1781: Thomas Jefferson, Notes of the State Music Percussion of Virginia. Narration 1657: Richard Ligon publishes A True and Exact ANONYMOUS, Tonada de El Chimo: Jaya llûnch, Jaya llôch History of the Island of Barbadoes at London, in CODEX (Indian ritual song in Mochica language) which he describes the music of the slaves. TRUJILLO Baltazar [Baltasar] Martínez Compañón. Peru, Richard Ligon, A True and Exact History Bolivia, ca. 1780. of Barbadoes, 1657 TRADITIONAL/ Saí da casa (Ciranda) ESCURINHO (BRAZIL)
encoremediagroup.com/programs 21 PROGRAM PROGRAM ESSAY
Music Harp Slavery remembered Narration 1782: Abandoned by her master, the slave Belinda, aged 70 years, petitions the legislature 1444 – 1888 of Massachusetts for a pension as reparations By Jordi Savall after a lifetime of labour. Humanity is divided into two: masters and slaves. Tonada El Congo: A la mar me llevan ANONYMOUS, Aristotle (385-322 B. C), Politics CODEX TRUJILLO Homo homini lupus est. Music Guitar Plautus (c. 195 B. C) Asinaria Narration 1855: Abraham Lincoln wrote to Joshua Speed, a Man is a wolf to his fellow man. personal friend and slave owner in Kentucky. Thomas Hobbes (1651), De Cive SLAVE SONG I'm Packing Up Despite the fact that for more than four centuries, from 1444 (the year of the first mass slaving expedition, described in a text from Music Harp the period) to 1888 (the year slavery was abolished in Brazil), over Narration 1865: The 13th Amendment to the United States 25 million Africans were shipped by European countries to be Constitution abolished slavery and involuntary bound in slavery. This period of history — one of the most painful servitude. and shameful in the history of mankind — is still largely unknown by the general public. The women, men and children who were brutally JOHN NEWTON, Amazing Grace (Spiritual song) deported from their villages in Africa to the European colonies in the WILLIAM WALKER New World had only their culture of origin to accompany them on the journey: religious beliefs, traditional medicine, dietary customs, Narration 1963: “Why we can’t wait” by and music — songs and dances that they kept alive in their new Martin Luther King (New York, 1963) destinations, known as habitations or plantations. This evening, we Martin Luther King, Nobel Peace Prize (1964), New York. shall try to evoke those shameful moments in the history of humanity Assassinated in Memphis on 4th April, 1968. through a series of eloquent texts and accounts, accompanied by ANONYMOUS (MALI) Touramakan (Griot song) the emotion and vitality of the music to which the slaves sang and Touramakan was Soundiata’s half-brother danced. was a ferocious warrior who became the general of the Emperor’s troops and the And yet, how could they think of singing and dancing when they ancestor of the Diabatés. were reduced to the condition of slaves? The answer is simple: song and dance, rhythmically structured by music, were the only context Narration No place in the world can any longer put up with in which they could feel free to express themselves — something the slightest forgetting of a crime, the slightest that nobody could take away from them. Singing was, therefore, shade cast over the mater. We ask that the parts of their chief means of expressing their sorrows and their joys, their our history that have not been spoken be conjured suffering and their hopes, as well as being a reminder of their origins up, so that – together, and liberated – we can and their loved ones. It was this that enabled all those people with enter into the Tout-Monde. And together, les us their diverse origins and languages to create a common world and withstand the negation of their humanity. name the slave trade and the slavery perpetrated in the Americas and the Indian Ocean: Crime First documented 5,000 years ago, slavery is the most monstrous of Against Humanity. all the man-made institutions created throughout history. In fact, its Extract from a petition sent by Edouard Glissant, Patrick existence only began to be objectively documented when “history” Chamoiseau and Wole Soyinka to the Secretary General (as opposed to prehistory) began; in other words, with the invention of the United Nations in 1998. of the earliest writing systems. Its organization is closely linked to This presentation is approximately 2 hours and 15 minutes, the invention of the State in the modern sense of the term, that is, an organ of centralized coercion, supported by an army and a civil including one 20-minute intermission. service. Indeed both, as pointed out by Christian Delacampagne in his Histoire de l’esclavage (Paris, 2002), “came about five thousand The Seattle Symphony and Early Music Seattle would like to thank years ago, in the region that historians call the ‘fertile crescent’ Monica Rojas-Stewart, Ph.D., for consulting on the local presentation [...] There is a simple explanation for this apparently surprising of Routes of Slavery. Dr. Rojas is the Assistant Director of the African connection between the emergence of writing, slavery and the Studies & Latin American and Caribbean Studies Programs, Henry M. State: all three became possible when the forces of production of Jackson School of International Studies, University of Washington. a given social group, in a given time and place, became sufficiently developed to enable them to produce a greater quantity of food than was required for the survival of the community.” 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 ©2018 Seattle Symphony. Copying of any performance by camera, audio As Paul Cartledge explains in his interesting text, in Ancient Greece or video recording equipment, and any other use of such copying devices during a there were a thousand or so separate political entities, and the performance is prohibited. principal cities based their social, political and economic relations on slave labor. “Aristotle’s definition of a citizen — that of a man who actively participates in public affairs and sits as a magistrate — corresponds to the perfect citizen of a democratic Athens [...]
22 SEATTLESYMPHONY.ORG PROGRAM ESSAY
Thus it appears that there was a mutually was the first time that Blacks had set foot For the first time, they come together strengthened circle or loop between as slaves on the soil of the future United in a triangular relationship, linking the slavery in the mines and democracy — States. It was also the beginning of a three continents of Europe, Africa and a virtuous circle for free citizens, but a particularly painful history: the history of Latin America, and the heritage of Africa vicious circle for the exploited and harshly today’s Afro-Americans. and America with borrowings from the treated slaves.” European Renaissance and the Baroque, Paradoxically, it was during the “Age of resulting in a disturbing and at the same In Antiquity and the Middle Ages, black Enlightenment” (1685–1777) that the Black time deeply hope-inspiring record of a slaves were a rare, exotic and very costly slave trade reached its apogee. Like musical heritage which is the positive, merchandise for their owners. For more Christian Delacampagne, we ask ourselves reverse side of a culture of conquest and than two thousand years, the majority of the questions: “Are light and shadow forced conversion. slaves were white, originating in Northern truly inseparable? Was the progress of Europe and the regions around the reason incapable from heralding the age There could be no starker contrast than Mediterranean Sea. All this changed when of justice? Are reason and evil inextricably that which exists between the striking a sizeable commercial trade, instigated linked? Such would appear to be the beauty and mysterious power of this by the Crowns of Portugal and Spain from lessons of European history. But it was to music and the brutal accounts and the middle to the late 15th century was be another two hundred years, dozens detailed descriptions that our selection established between Europe, Africa and of wars and several attempts at genocide of chroniclers and religious figures of America. later, in the aftermath of 1945, before this the period (texts recited in the book/CD/ bitter lesson was explicitly expressed DVD by Bakary Sangaré) and this evening Slavery already existed in Africa before by the philosophers Max Horkheimer by Montreal actor Jean Fayolle gave the massive Portuguese and Spanish and Theodor W. Adorno (Dialektik der concerning the expeditions to capture men slaving expeditions began. It was the Aufklärung, 1947).” and women in their African villages. We need to replace the feeble workforce are given an insight into those accounts of native Indians, especially when it was With the presentation of the concert The through the studies, historical research and recognized that Indians had a soul and Routes of Slavery and the accompanying reflections on the subject contained in the had to be converted to Christianity, that CD/DVD book from ALIA VOX, featuring excellent articles in the book The Routes the modern trade in black African slaves the live audio and video recordings of the of Slavery contributed by our formidable to the New World began. We know that concert at the Festival of Fontfroide Abbey team of experts: Paul Cartledge, José there were black slaves on board the in France on July 19, 2015, we aim to Antonio Piqueras, José Antonio Martínez ships of Christopher Columbus, and also present the essential facts surrounding that Torres, Gustau Nerin and Sergi Grau. that in the years immediately after 1500, terrible history, thanks to the extraordinary King Ferdinand I sent instructions for the vitality and profound emotion of this Through the music of the descendants purchase and transfer of black slaves music, preserved in the ancient traditions of slaves, we also wish to pay a moving to the island of Hispaniola, where they of the descendants of slaves. The music tribute as we remember that dark period, were sent to work in the gold mines. lives on, etched into the memory of the and appeal to each one of us to recognize Alonso de Zuazo, appointed judge in peoples concerned, from the coast of West the extreme inhumanity and the terrible residence on the island by Cardinal Africa and Brazil (Jongos, Caboclinhos suffering inflicted on all the victims of that Cisneros, recommended in a letter dated paraibanos, Ciranda, Maracatu and heinous trade. It was an ignoble enterprise January 22, 1518: “Dar licencia general Samba), Mexico, the islands of the perpetrated by the majority of the great que se traigan negros, gente recia para Caribbean, Colombia and Bolivia (songs European nations against millions of el trabajo, al revés de los indios naturales, and dances from the African traditions), African men, women and children, who tan débiles que solo pueden servir en together with the traditional Griot music still for more than four hundred years were labores de poca resistencia.” (To issue a found in Mali. The music is performed by systematically deported and brutally general authorisation to import Blacks, who musicians from Brazil, Colombia, Mexico, exploited to cement the great wealth are strong and can withstand hard work, Mali, Morocco and Madagascar in dialogue of 18th and 19th century Europe. Those unlike the native Indians, the latter being with Hispanic musical forms inspired in civilized nations have not yet deemed it so weak that they are only useful for tasks the songs and dances of slaves, native necessary to make an unreserved apology, that do not require much stamina.) It was Indians and racial mixes of all kinds based or even to offer any kind of compensations on this same island that the first revolt of on African, Mestizo and Indian traditions. (symbolic or real) for the forced labour black slaves took place in the New World The contribution of the more or less forced carried out by the slaves who were in 1522. collaboration of slaves in the Church liturgy regarded as chattels (nothing more than of the New World is represented in this “tools” without a soul). On the contrary, the The French began to trade in black African recording by the Villancicos de Negros, four-century-long slave trade, during which slaves in the 1530s at the mouths of the Indios, and Negrillas, Christian songs they became established on the coasts Senegal and Gambia Rivers. From the by Mateu Flecha the Elder (La Negrina), of Africa, paved the way for the principal beginning of the 17th century, the English Juan Gutiérrez de Padilla (Puebla mss.), European countries’ “colonisation” of arrived in the Caribbean, first in the Roque Jacinto de Chavarría, Fr. Filipe da Africa. In other words, it confirmed them Bermudas (1609) and then in Barbados, Madre de Deus, etc., performed by the in the belief that the continent was their while the Dutch were the first to unload vocalists and soloists of La Capella Reial property. It is as if from the end of the twenty African slaves (August 20, 1619) de Catalunya and Hespèrion XXI, together Middle Ages to the end of the 19th century, in the port of Jamestown in the English with musicians from Brazil, Venezuela, Europe had relentlessly pursued one colony of Virginia, which became the Argentina, Mexico, Spain and Catalonia. common goal: to subjugate, one after the center of the tobacco-growing industry. It
encoremediagroup.com/programs 23 JORDI SAVALL PROGRAM ESSAY For more than 50 years, Jordi Savall, one of the most versatile other, all the lands stretching south of the to speak out in indignation and say that musical personalities of Mediterranean. humanity is not doing what it should to his generation, has put an end to slavery and other related rescued musical gems In view of the extremely serious situation forms of exploitation. Although absolutely from the obscurity of of large numbers of people risking their illegal in the vast majority of countries neglect and oblivion lives to reach Europe from Africa (so far, in the world, and despite also being Ignaszewski David Photo: and given them back more than 3,000 have died since the officially condemned by the international for all to enjoy. A tireless researcher into beginning of 2016) by crossing the sea authorities, slavery still exists today, once known as the MARE NOSTRUM even in the supposedly democratic early music, he interprets and performs the and now a sad MARE MORTIS, why is it developed countries. Again, as Christian repertory both as a gambist and a that today, in the 21st century, none of Delacampagne writes, “In the face of conductor. His activities as a concert the those responsible for immigration slavery, as in the face of racism, there performer, teacher, researcher and creator in European countries remember our is no possible compromise. There is no of new musical and cultural projects have enormous moral and economic debt to possible tolerance. There is only one made him a leading figure in the the Africans who are now forced to flee response: zero tolerance.” Against the reappraisal of historical music. Together their homelands, currently mired in abject absolute outrage of the exploitation of with Montserrat Figueras, he founded the poverty or ravaged by tribal or territorial child labour and the prostitution of minors, ensembles Hespèrion XXI (1974), La wars, and frequently abandoned to against these endemic ills in human Capella Reial de Catalunya (1987) and Le corrupt dictators (propped up by our own society, which continue to breed new Concert des Nations (1989), with whom he governments) or insatiable multinational forms of slavery, and against that hatred explores and creates a world of emotion companies? of the other, which is the inhuman force of and beauty shared with millions of early racism, the struggle is not over. The period which saw an official end music enthusiasts around the world. to slavery (1800–1880) saw the rise – Through this evening’s concert and the particularly strong in those countries where texts and music of our CD/DVD book, we Savall has recorded and released more it had lasted the longest – of another hope to contribute to that struggle. We than 230 discs covering the Medieval, aberrant, inhuman kind of relationship, firmly believe that the advantage of being Renaissance, Baroque and Classical characterised by a visceral hatred of the aware of the past enables us to be more music repertories, with a special focus on other, the foreigner and, above all, of the responsible and therefore morally obliges the Hispanic and Mediterranean musical former slave: racism. Slavery was built on us to take a stand against these inhuman heritage, receiving many awards and contempt for the other – whether Black, practices. The music in this programme distinctions such as the Midem Classical Mestizo, or the native Indian – while racism represents the true living history of that Award, the International Classical Music feeds on hatred of people who are no long and painful past. Let us listen to the Award and Grammy Award. His concert longer slaves, but different. As Christian emotion and hope expressed in these programs have made music an instrument “The history of Delacampagne writes: songs of survival and resistance, this of mediation to achieve understanding and slavery preceded and paved the way for music of the memory of a long history peace between different and sometimes that of racism. Historically, slavery came of unmitigated suffering, in which music warring peoples and cultures. Accordingly, first. Racism was merely the consequence became a mainspring of survival and, of a civilisation’s long habituation to the guest artists appearing with his ensembles fortunately for us all, has survived as an include Arab, Israeli, Turkish, Greek, institution of slavery, whose victims have eternal refuge of peace, consolation and Armenian, Afghan, Mexican and North always been foreigners.” hope. American musicians. In 2008 Jordi We also want to draw attention this JORDI SAVALL Savall was appointed European Union evening to the fact that, at the beginning Sarajevo/Bellaterra Ambassador for intercultural dialogue of the third millennium, this tragedy is still 21/23 October, 2016 and, together with Montserrat Figueras, ongoing for more than 30 million human was named “Artist for Peace” under the beings, of whom many are children or Translated by Jacqueline Minett UNESCO “Good Will Ambassadors” young girls subjected to new forms of program. slavery brought about by the demands of production and prostitution. We need Jordi Savall’s prolific musical career has brought him honorary doctorates from the Universities of Evora (Portugal), Barcelona Roads to Reconciliation (Catalonia), Louvain (Belgium) and Basel (Switzerland), the order of Chevalier de la Early Music Seattle invites you to attend Roads to Reconciliation on November 15 from Légion d’Honneur (France), the Praetorius 6–9 pm on the Seattle Pacific University campus. This event will explore reconciliation Music Prize awarded by the Ministry of through community dialogue and performances in a multiplicity of genres from within Culture and Science of Lower Saxony, the the African, African American, Latin American and Caribbean communities. Roads to Gold Medal of the Generalitat of Catalonia Reconciliation is co-curated by tonight’s narrator, Dr. Stephen Newby, composer and and the prestigious Léonie Sonning Prize. Seattle Pacific University Professor of Music, and Dr. Monica Rojas-Stewart, University “Jordi Savall testifies to a common cultural of Washington affiliated scholar, artist and community activist. For more information, inheritance of infinite variety. He is a man visit spu.edu/roadstoreconciliation. for our time” (The Guardian, 2011).
24 SEATTLESYMPHONY.ORG STEPHEN MICHAEL NEWBY MOHAMED DIABY TEMBEMBE ENSAMBLE Narrator Voice CONTINUO Stephen Michael Malian-born Mohamed Newby is a composer, Diaby is the son of the conductor, gospel/jazz Ivoirian griot Coumba vocalist, pianist, and Kouyate. He arrived in professor of music at Paris in 2008 from Seattle Pacific Bamako, after winning a University. He is a TV talent show native of Detroit, sponsored by Oumou Michigan, and received Sangare. Diaby is a his Bachelor of Arts in Vocal Music charismatic Griot and lead vocalist of the Ensamble Continuo is dedicated to Education and Flute Performance from group, Debademba. Diaby’s rhythmic exploring, recreating, and promoting the Madonna College in Livonia, Michigan. He influences are an intoxicating mix of African musical connections between the received a Master of Music in Jazz styles rooted in the Mandingo culture and Hispanic baroque period and traditional Composition and Arranging from the informed by the cultural crossroads of music from Mexico and Latin America. University of Massachusetts in Amherst. Paris, Wassoulou and Ivoirian rhythms and This overlapping breaks the imaginary There, his studies in composition were harmonies meeting Arabic-Andalusian musical wall dividing them by opening under the supervision of Robert Sutton, sounds, Afro-funk, rock, African salsa, new possibilities for enjoying, expanding, Frederick Tillis, Jeff Holmes, and Robert high-life and the universal blues. and understanding music. Continuo Stern. He returned to Michigan to complete blends baroque guitar music pieces his Doctor of Musical Arts in Composition gathered from Spanish and Mexican at the University of Michigan in Ann Arbor. tablatures, and links them with BALLAKÉ SISSOKO contemporary Mexican and Latin There, he studied with William Albright, Kora & voice Michael Daugherty, George Wilson, Fred American sones. By exploring Lerdahl, and Pulitzer Prize winners William Master of the kora, commonalities in terms of musical Bolcom and Leslie Bassett. improviser and practices and instruments, it puts together composer, Ballaké a music, singing, and dancing show which In addition to directing the Center for Sissoko continues a revives the festive spirit of 17th century Worship, Newby serves as director for the family legacy of and contemporary fandango gatherings SPU Gospel Choir and the Worship Arts masterful kora players. (popular festivities with live song and Ensemble. For more than nine years, he Accepted to the dance). was the national anthem conductor for the National Instrumental Seattle Sounders FC. He has served as a Ensemble of Mali at the Their show is a fandango-concert worship pastor for more than 25 years in age of 13, he studied alongside the great exploring subtlety and contrast in music, Michigan, Massachusetts, Washington, and masters. One of his album’s, Chamber dancing, and singing. The program California. Music, received the Victoire du Jazz for includes Spanish and Mexican baroque best foreign album. music for guitar and tiorba linked together with sones from Mexico and Latin America. These include sones from RENÉ MARIE Veracruz, Tixtla (Guerrero), the Huasteca Voice ADA CORONEL region, Michoacan and Jalisco, as well Vihuela, wasá, dance & voice In a span of two decades, 11 recordings as Bambuco and Joropo music from the and countless stage performances, Ada Coronel is a founding member of plains of Colombia and Venezuela. This vocalist René Marie has cemented her the ensemble Yolotecuani, exclusively musical interweaving aims at showing how reputation not only as a singer but also as dedicated to the sound of “tarima” (the 17th century baroque music and traditional a composer, arranger, theatrical performer boards) of Tixtla, Mexico. She performs in contemporary Mexican and Latin and teacher. Guided and tempered by Mexico and abroad and has collaborated American music are two faces of the same powerful life lessons and rooted in jazz on five recordings for Mexican labels. coin, distant in time and close in spirit. traditions laid down by Ella Fitzgerald, They can be blended together in one Sarah Vaughan and other leading ladies single festivity and one single fandango. of past generations, this two-time Grammy nominee borrows various elements of Ensamble members are Enrique Barona, spirituals, folk, R&B, classical and even Eloy Cruz and Leopoldo Novoa. They country to create a captivating hybrid style. studied music at the National School of Music in Mexico City, as well as in many other music institutions in Mexico, Colombia, the U.S.A., and France. They currently teach at UNAM, Morelos Center for the Arts, and Ollin Yolistli Center. They also organize and direct workshops on building and playing traditional instruments in the state of Morelos (Mexico).
encoremediagroup.com/programs 25 MARIA JULIANA LINHARES LA CAPELLA REIAL DE HESPÈRION XXI Soprano CATALUNYA Ancient music’s most important value Maria Juliana Linhares, stems from its ability as a universal artistic vocalist and professor, Following the model of the famous language to transmit feelings, emotions has a master’s degree Medieval “royal chapels” for which the and ancestral ideas that even today in ethnomusicology great masterpieces of both religious and can enthrall the contemporary listener. from the Federal secular music were composed on the With a repertoire that encompasses University of Paraíba in Iberian Peninsula, in 1987 Montserrat the period between the 10th and 18th Brazil. She won a new Figueras and Jordi Savall founded La centuries, Hespèrion XXI searches artist prize at a Brazilian Capella Reial, one of the first vocal groups continuously for new points of union popular music festival devoted to the performance of Golden between the East and West, with a clear in 2006. Besides her solo career, she Age music on historical principles and desire for integration and for the recovery performs in many performance groups on consisting exclusively of Hispanic and of international musical heritage, especially Brazilian popular music, Latin music and Latin voices. In 1990, when the ensemble that of the Mediterranean basin and with flamenco music. received the regular patronage of the links to the New World. Generalitat of Catalonia, it changed its name to La Capella Reial de Catalunya. In 1974 Jordi Savall and Montserrat Figueras, together with Lorenzo Alpert The ensemble specializes in the recovery ZÉ LUIS NASCIMENTO and Hopkinson Smith, founded the ancient and performance on historical principles Percussion music ensemble Hespèrion XX in Basel of the polyphonic and vocal musice of as a way of recovering and disseminating Percussionist Zé Luis Spain and Europe from the Middle Ages the rich and fascinating musical repertoire Nascimento, born in and Golden Age up to the 19th century. prior to the 19th century on the basis of Salvador de Bahia, La Capella Reial de Catalunya shares historical criteria and the use of original Brazil, was a dancer with Hespèrion XXI the same artistic instruments. The name Hespèrion means before training as a outlook and goals, rooted in respect “an inhabitant of Hesperia,” which in musician and becoming for the profoundly spiritual and artistic ancient Greek referred to the two most music director of the dimension of each work, combining quality westerly peninsulas in Europe: the Bahian Folk Ballet. and authenticity regarding the style of Iberian and the Italian. It was also the Upon arriving in France the period with a careful attention to the name given to the planet Venus as it in 1996, Nascimento discovered new types declamation and expressive projection of appeared in the west. At the turn of the of oriental and occidental percussions. It the poetic text. 21st century Hespèrion XX became known was then that he offered the world a as Hespèrion XXI. different, very personal voice, developing The ensemble’s extensive repertory a profoundly original rhythmic vocabulary ranges from the Medieval music of the Today Hespèrion XXI is central to the of his own. He can be heard on more than various cultures of the Mediterranean understanding of the music of the period 100 international albums. to the great masters of the Renaissance between the Middle Ages and the and the Baroque. The group has Baroque. Their labors to recover works, distinguished itself in various Baroque and scores, instruments and unpublished Classical opera repertories, as well as in documents have a double and incalculable contemporary works by Arvo Pärt. The value. On one hand, their rigorous Capella Reial de Catalunya played on de research provides new information Jacques Rivette’s soundtrack of the film and understanding about the historical Jeanne La Pucelle (1993) on the life of knowledge of the period, and on the other Joan of Arc. hand, the exquisite performances enable people to freely enjoy the aesthetic and In 1992, La Capella Reial de Catalunya spiritual delicacy of the works of this made their opera debut accompanying period. all the performances of Le Concert des Nations. They have received various awards and distinctions in recognition of their more than 40 CDs.
26 SEATTLESYMPHONY.ORG 11/8–10 THURSDAY, NOVEMBER 8, 2018, AT 7:30PM SATURDAY, NOVEMBER 10, 2018, AT 8PM OVERVIEW
TCHAIKOVSKY Three Pieces, Four Eras SYMPHONY NO. 4 Our concert presents three pieces written by composers active principally during the 19th, 20th and 21st centuries respectively. HONORING THE LEGACY OF BUSTER & NANCY ALVORD Piotr Tchaikovsky’s Fourth Symphony embodies the epitome of Russian Ludovic Morlot, conductor Romanticism, not only in its familiar harmonic language but in its unfettered Viktoria Mullova, violin expression of emotion. Few symphonies Matthew Barley, cello exceed this one’s fervent outpouring of feeling. Seattle Symphony Tchaikovsky’s composition is a staple CLAUDE DEBUSSY Petite suite 14’ of orchestral programs everywhere. /orch. Henri Büsser En bateau (“In the Boat”) By contrast, Pascal Dusapin’s At Swim- Cortège Two-Birds receives its first American Menuet performances here this week. Created for Ballet the soloists who perform it this evening, this double-concerto for violin and cello PASCAL DUSAPIN At Swim-Two-Birds for Violin, Cello 30’ encompasses a wide range of sounds and and Orchestra musical ideas, reflecting something of the =72 eclecticism that characterizes composition =66 today. VIKTORIA MULLOVA, VIOLIN We begin, however, with a relatively MATTHEW BARLEY, CELLO little-known piece by Claude Debussy. INTERMISSION Embodying neither the Romantic ardor of Tchaikovsky nor the challenging PIOTR ILYICH TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 44’ innovations of Dusapin, this piece presages Andante sostenuto—Moderato con anima the neo-classical impulse that would Andantino in modo di canzona prove an important strain of 20th-century Scherzo: Pizzicato ostinato music. It belongs to two eras, capturing the Finale: Allegro con fuoco spirit of 18th-century music but updating it with harmonies and orchestral colors that composers of that earlier time could Pre-concert Talk one hour prior to performance. scarcely have imagined. Speaker: Dr. Charles Corey, University of Washington Affiliate Assistant Professor of Composition and Director of the Harry Partch Instrumentarium This week we continue our celebration of Debussy with the composer’s Petite suite. I feel a very special Ask the Artist following the concert on Thursday, November 8 in the Samuel & Althea connection to this work because it is one of Stroum Grand Lobby. the first pieces by Debussy that I had the chance to play in an orchestra. The Seattle Symphony’s presentation of Pascal Dusapin’s At Swim-Two-Birds featuring Viktoria Mullova and Matthew Barley is generously underwritten by the Judith A. Fong Music Directors It’s a gift to welcome violinist Viktoria Fund. Mullova and cellist Matthew Barley to give Viktoria Mullova’s performance is generously supported by Sheila Noonan and Peter Hartley the U.S. premiere of Pascal Dusapin’s At through the Seattle Symphony’s Guest Artists Circle. Swim-Two-Birds. You might remember that we gave the U.S. premiere of Dusapin’s violin concerto with violinist Renaud Please note that the timings provided for this concert are approximate. Capuçon several years ago. Debussy was Please turn off all electronic devices and refrain from taking photos or video. one of Dusapin’s inspirations, so it’s fitting Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording that we perform the music of these two equipment, and any other use of such copying devices during a performance is prohibited. composers alongside one another.
It’s wonderful to revisit major repertoire together with the orchestra after a few years break. In the case of Tchaikovsky’s Fourth Symphony, I know we’ll start off where we left it at the last performance of this fateful masterpiece.
– Ludovic Morlot See Ludovic Morlot’s biography on page 6.
encoremediagroup.com/programs 27 PROGRAM NOTES
CLAUDE DEBUSSY by no means insubstantial. Each of the music is extremely difficult and took a long four movements entails contrasting time to learn, but we are now familiar with it Petite suite thematic ideas heard in sequence and and absolutely adore playing it — there is a BORN: August 22, 1862, in Saint Germaine-en- then together, or in close proximity, during passage that opens the second movement En bateau Laye, near Paris its closing moments. (“In the for violin and cello alone that is so Boat”) suggests a barcarolle, the type of incredibly beautiful. The writing is highly DIED: March 25, 1918, in Paris Venetian gondolier’s song so successfully unusual in the sounds that he finds from WORK COMPOSED: 1886–89 appropriated by Chopin, Fauré and other the two instruments and creates an ORCHESTRATED BY HENRI BÜSSER: 1907 composers throughout the 19th century. exquisite blend of two voices. I haven’t WORLD PREMIERE: November 4, 1907, in Paris. Cortège enjoys handsome melodies, been to Seattle since 1995, but, as a coffee Camille Chevillard conducted. while the ensuing Menuet conveys an lover, I’m excited to be visiting again. antique charm. The closing movement, Ballet, is vivacious and, like the rest of the – Matthew Barley suite, finely polished in its compositional What to Listen For The tradition of French modernism in Petite suite craftsmanship and its orchestration. “ is not the lightweight music has remained fruitful for more effusion it is sometimes taken to be, Scored for 2 flutes (the 2nd flute doubling than a century. From Debussy it evolved but a delicate homage to early eighteenth- piccolo); 2 oboes (the 2nd oboe doubling to produce the work of, among others, century taste and elegance.” English horn); 2 clarinets; 2 bassoons; 2 horns; Maurice Ravel, Françis Poulenc, Olivier 2 trumpets; timpani and percussion; harp; – pianist and writer Paul Roberts, in Messiaen, Pierre Boulez, Henri Dutilleux Images: The Piano Music of Claude strings. and many composers active today. Debussy Among the latter is Pascal Dusapin, whose PASCAL DUSAPIN double-concerto for violin and cello, At Swim-Two-Birds, receives its first American At Swim-Two-Birds for Violin, Cello performances here this week. In music, as in painting and literature, and Orchestra modernism found its cradle in Paris, and Dusapin wrote this work for this evening’s during the years around 1900 French BORN: May 29, 1955, in Nancy, France soloists, the husband-wife duo Viktoria composers explored new musical ideas WORK COMPOSED: 2016 Mullova and Matthew Barley, fulfilling a that would prove important to the whole WORLD PREMIERE: September 30, 2017, in commission jointly tendered by Seattle course of 20th-century music. They Amsterdam. Viktoria Mullova and Matthew Symphony and a consortium of five expanded harmony, imparting to it a new Barley were the soloists, and Markus Stenz European orchestras. The composer complexity and allusiveness. They raised initially hesitated to write a concerto conducted the Netherlands Radio Philharmonic instrumental color and aural texture to featuring violin and cello. Much of his work Orchestra. a level of near-parity with harmony and over the preceding several years had melody as elements of composition. involved those instruments — a concerto Finally, and not least importantly, French for each one separately, as well as a piece composers of the early modern period What to Listen For for solo violin and a cello sonata — and he demonstrated an appealing alternative This concerto reveals the broad feared he might have exhausted his ideas to the heated Romanticism of the 19th expressive range composers avail suitable for them. But when he expressed century. Music, the French seemed to say, themselves of today. Dusapin’s writing this concern to Ms. Mullova and Mr. Barley, need not be only a vehicle for expressing contrasts rhythmically complicated, they “responded that a violin and cello high drama and passion. Rather, it could intricately layered passages with spare together are another instrument entirely,” convey charm, gaiety and exoticism; it moments of intense lyricism, as well as Dusapin noted. “That,” he added, “changed could strike a pose of classical dignity dissonances with a poignant hymn in everything.” and equilibrium; it could even be pleasing traditional harmonies. While much of the simply as a play of tonal shapes and colors. work uses a late-modern tonal idiom, each But something beyond a new way of of its two movements concludes in more thinking about the two solo instruments Claude Debussy was the first of the great familiar musical territory. gave impetus to the work. There also was French modernist composers and one of a fortuitous literary inspiration. Dusapin the most original and influential musicians explains: “While I was composing, I of any nationality during the decades discovered Flann O’Brien’s 1939 book Petite suite around 1900. His , which opens with the very strange title, untranslatable One of the most special things you our concert, is an early work; the composer in French, of At Swim-Two-Birds. When can do as a performer is to play completed it in 1889 as a piano duet in four I decided to borrow this title for my music written especially for you. At short movements. Subsequently his friend composition, I didn’t try to establish a Swim-Two-Birds by Pascal Dusapin is not Henri Büsser orchestrated the music, parallel between the book and my music, only a work of rare beauty and brilliance, and Debussy’s “Little Suite” is today best but I was struck by the formal and narrative but was written for Viktoria Mullova and known in Büsser’s arrangement. extravagance of this Irish writer. Then I myself; Pascal was very aware that he was realized that I was trying to find a form The work is light in character, considerably writing for a married couple and much of and a conduit for musical events that was more so than we find in Debussy’s other the music seems to describe that somewhat similar, where the story written orchestral compositions, especially his relationship in ways that can be moving, by the imaginary protagonist is intertwined well-known seascape La mer. Yet it is funny and many things in between. The with the true story of the author.”
28 SEATTLESYMPHONY.ORG PROGRAM NOTES
The composer further observes that Tchaikovsky completed his Fourth Is knowledge or acceptance of the he felt a need to “keep each [solo] Symphony late in 1877 following the most program a prerequisite for appreciating instrument distinct but then, at the same harrowing emotional crisis of his life. Earlier the composition? Tchaikovsky himself time, combine them with the orchestra.” that year, in what was surely a desperate was ambivalent on this point. “Most Accordingly, the featured duo alternately attempt to quell his homosexuality and find assuredly my symphony has a program,” emerges from the general texture in solo some measure of the domestic tranquility he told the critic and composer Sergei passages and melds with the orchestra in a for which he longed, he had entered into a Taneyev, referring to the work that closes series of bracingly complex episodes. The hasty marriage with a young woman who our concert, “but a program that cannot former range in expression from poetic had once been a student at the Moscow be expressed in words; the very attempt singing in which the soloists seem to bare Conservatory, where Tchaikovsky taught. would be ludicrous.” their souls — we hear this, for example, in Their union was brief and disastrous. the opening minute of the composition — Within weeks Tchaikovsky suffered an Perhaps the essential thing is that this to a driving moto-perpetuo toccata for solo almost complete nervous collapse and symphony partakes of Tchaikovsky’s violin in second movement. attempted suicide. The marriage was unique sense of melody, rhythm and dissolved and the composer eventually orchestral color, not that it relates any Pascal Dusapin is among the leading recovered enough composure to resume specific details of his biography. But European composers of the present day. working. But he emerged from the ordeal one can ponder such issues indefinitely. His early interests focused on physics convinced that he was destined to a life of Ultimately, the choice of how to hear this and engineering in addition to music, a personal torment. symphony, and what to hear in it, is up to combination that drew him to the Greek each listener. mathematician-engineer-composer Iannis This background is keenly relevant to Scored for 2 flutes and piccolo; 2 oboes; 2 Xenakis, with whom he studied in Paris. His the Fourth Symphony. We know from clarinets; 2 bassoons; 4 horns; 2 trumpets; large body of music has brought numerous his correspondence and diary that 3 trombones; tuba; timpani and percussion; awards, and he has held composer- Tchaikovsky conceived the work as a strings. in-residence posts with the Orchestre musical narrative of predestined suffering National de Lyon and the Holland and a search for solace. In a letter, he went © 2018 Paul Schiavo Festival. The composer has dedicated on to describe this narrative as a struggle At Swim-Two-Birds “with much kindness against “Fate, which prevents our hopes and admiration” to Viktoria Mullova and of happiness from being realized, ... a Matthew Barley, “my two birds who swim.” constant, relentless spiritual torment.” That struggle results sometimes in agitation Scored for solo violin and solo cello; 3 flutes and despair, sometimes in attempts to (the 3rd flute doubling piccolo); 2 oboes; 2 clarinets and bass clarinet; 2 bassoons (the escape into fantasies. “So life swings,” 2nd bassoon doubling contrabassoon; 4 Tchaikovsky wrote, “between cruel reality horns; 2 trumpets; 2 trombones; tuba; timpani and ephemeral dreams of happiness.” The and percussion; harp; piano and celeste; music of the symphony’s first movement strings. mirrors the abrupt alternation of these contrasting emotional states. (Tchaikovsky identified the fanfare that opens the PIOTR ILYICH TCHAIKOVSKY symphony as signifying the sternness of Symphony No. 4 in F minor, Op. 36 fate.) BORN: May 7, 1840, in Kamsko-Votkins, Russia The second movement represents further DIED: November 6, 1893, in Saint Petersburg effort to evade “cruel reality” through WORK COMPOSED: 1877 indulgence in pleasant memories. The WORLD PREMIERE: February 22, 1878, in Moscow. third movement, Tchaikovsky stated, “expresses nothing so definite. Rather, it Nikolai Rubinstein conducted the orchestra of is a succession of capricious arabesques the Russian Music Society. that pass through the mind when one has had a little wine and feels the first glow of intoxication.” In the finale, temporary What to Listen For release is gained through revelry and Tchaikovsky identified the fanfare pleasure. “But no sooner do you abandon that opens the symphony as yourself to merriment,” the composer signifying the sternness of fate. This idea observed, “than Fate reappears, reminding returns late in the first movement, and in you of your suffering. Others pay no the finale as well. The principal melody of attention to your sorrow. ... Join them, and the second movement is one of the great life will yet be bearable.” oboe solos in the orchestral literature. An ingratiating scherzo and imperious finale All this raises questions that have round out the composition. persistently surrounded narrative, or “program,” music: How concretely can any program be embodied in music?
encoremediagroup.com/programs 29 11/9 MATTHEW BARLEY FRIDAY, NOVEMBER 9, 2018, AT 7PM Cello
Matthew Barley has created a unique TCHAIKOVSKY international career full of improvisation, new SYMPHONY NO. 4 music, cutting-edge computer technology, UNTUXED collaboration with jazz UNTUXED SERIES and Indian musicians, Photo: Nick White Photo: Nick education, and Ludovic Morlot, conductor arranging — but always with cello playing Jonathan Green, host at the heart. He has played with some of the finest orchestras (Frankfurt Radio Seattle Symphony Symphony, BBC Philharmonic/Scottish, Czech Philharmonic, Melbourne PIOTR ILYICH TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 44’ Symphony), in some of the greatest Andante sostenuto—Moderato con anima concert halls, given premieres by major Andantino in modo di canzona composers (MacMillan, Dusapin, Larcher, Scherzo: Pizzicato ostinato Panufnik) and appeared on TV and radio Finale: Allegro con fuoco worldwide, and records for Signum See program notes on page 29. Classics, his next disc being Tavener’s The Protecting Veil. Barley studied at the Please note that the timings provided for this concert are approximate. London Guildhall School and the Moscow Please turn off all electronic devices and refrain from taking photos or video. Conservatoire. He counts himself blessed Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording to be able to dream up unusual projects equipment, and any other use of such copying devices during a performance is prohibited. and (usually) make them happen, and also pursue his own personal dreams of spending lots of time with family and in nature, especially in the mountains of North Wales. He lives in London with his wife, violinist Viktoria Mullova.
VIKTORIA MULLOVA Violin
“To hear Mullova play Bach is, simply, one of the greatest things you can experience,” wrote The Guardian. One of the world’s greatest violin virtuosos, Viktoria Mullova’s musical Photo: Henry Fair Fair Henry Photo: horizons continue to expand. She has journeyed into the world of jazz and world music, she works regularly with the period ensembles such as Orchestra of the Age of Enlightenment, Il Giardino Armonico, Accademia Bizantina and Venice Baroque, as well as appearing each season with top international orchestras and conductors. Her most recent project, Stradivarius in Rio, sees her exploring the music of Brazil. A CD of the same name has been enthusiastically received and she is presenting the project in concerts throughout Europe. As well as her own projects, she has also commissioned works from composers such as Pascal Dusapin, Fraser Trainer, Thomas Larcher and Dai Fujikura. Mullova either plays on her “Jules Falk” 1723 Stradivarius or a Guadagnini violin.
30 SEATTLESYMPHONY.ORG 11/12 MONDAY, NOVEMBER 12, 2018, AT 7:30PM PROGRAM JOSEPH ADAM NOTES IN RECITAL FLUKE/GABELEIN ORGAN RECITAL SERIES The German-born Wilhelm Middelschulte immigrated to America in 1891 and settled Joseph Adam, organ in Chicago, where he taught at the American Conservatory, and was organist WILHELM MIDDELSCHULTE Passacaglia in D minor 14’ of both Holy Name Cathedral and St. James Cathedral as well as Theodore JOHANN SEBASTIAN BACH Schmücke dich, o liebe Seele 7’ Thomas’ Orchestra, later the Chicago (“Adorn yourself, O dear soul”), BWV 654 Symphony Orchestra. His compositions reflected two overwhelming influences NAJI HAKIM Hommage à Igor Stravinsky – Johann Sebastian Bach and Ferruccio Prélude Busoni. Nearly all his organ works are Danse either based on themes by Bach, or Final utilize Bach’s works as a starting point; he was also highly influenced by Busoni’s INTERMISSION late 19th-century vision of baroque counterpoint. In the post-war years, his CHARLES-MARIE WIDOR Symphony No. 5 in F minor, Op. 42, No. 1 39’ music was nearly forgotten, kept alive Allegro vivace through occasional performances by a Allegro cantabile small circle of his students, including Virgil Andantino quasi allegretto Fox. Middelschulte’s Passacaglia in D
Adagio minor is one of his earliest completed works for the organ, consisting of 62 Toccata variations on a brief four-bar pedal phrase, presented and developed in an Please note that the timings provided for this concert are approximate. extraordinarily wide range of invention. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording The great Lutheran chorale “A Mighty equipment, and any other use of such copying devices during a performance is prohibited. Fortress” dominates the final third of the work which takes on the character of a great toccata, capped by three final statements of a particular four note theme, B-flat, A-natural, C-natural, and B-natural; or simply B-A-C-H.
After an initial burst of compositional activity once becoming the Kantor (or music director) at the Thomaskirche in Leipzig, one of the important activities that occupied the great Johann Sebastian Bach was ensuring his compositional legacy. When publishing music was both rare and expensive, Bach undertook several large-scale projects that organized and consolidated many of his keyboard works, with seven major collections appearing in print. Following the completion in 1739 of the third part of the Clavierübung (keyboard practice), a large collection of chorale-based organ works, Bach assembled 18 large-scale chorale settings that dated to his years in Weimar, revising and refining them, quite possibly with the intent to publish them. The “Leipzig Eighteen,” as this group of chorales has become known, represents the zenith in the history of chorale composition in the 18th century. Schmücke dich, o liebe Seele (“Adorn yourself, O dear soul”) is one of the most expressive works that Bach ever wrote for the organ, a “rapturous meditation” with a “mystical charm that can move even the most obstinate listener.”
encoremediagroup.com/programs 31 JOSEPH ADAM PROGRAM NOTES Organ Joseph Adam was appointed Cathedral One of the most distinguished organist- composition. It was also Widor’s favorite Organist at St. James composer-improvisers today in France amongst his ten symphonies; he Cathedral in Seattle in is Naji Hakim. His improvisations and performed it often, and recorded selected 1993; he assumed composed music reflect his profound movements in 1930 (still vigorous at the additional duties as knowledge and love of various musical age of 86!). Director of Music this influences: great 20th-century masters past year. A noted Photo: James Holt James Photo: such as Debussy, Stravinsky and Gershwin; The symphony opens with a set of pedagogue, he was a Gregorian chant; and folk music of many variations based on an extended march- faculty member at the University of Puget like theme. Though Widor always lands, in particular his native country of Sound in Tacoma for 20 years. His playing abhorred frequent changes of registration, Lebanon and the Basque music of his received international attention when he this movement requires the most variety wife’s homeland. The Hommage à Igor was awarded the First Prize in the St. in tonal color of any of his works. The Stravinsky is a triptych which presents Albans International Organ Competition in contrasted colors and dynamic with short second movement is a charming “song 1991, one of the most prestigious organ cyclical melodic and rhythmic motives without words” in ternary form, the competitions in the world. His primarily inspired by chant. The Prélude main theme presented on the oboe, performances have included recitals in is a varied song form in a rather harmonic and displays Widor’s mastery of writing idiom. The following Danse is both extended melodies. The third movement notable venues throughout Europe and rhythmical and contrapuntical (fugato), is built on an initial pedal solo and an America. Last season, he performed the with a large harmonic coda based on the unusual chorale-like melody, presented complete works of Maurice Duruflé both in pedal ostinato on the move. The brilliant on the full foundation stops of the organ. Seattle, and as part of the annual East Final adopts a very contrasted and free The texture builds up twice before a Texas Pipe Organ Festival. As Resident symphonic variations structure of a short reprise of the initial introductory material. Organist of the Seattle Symphony for 15 melodic motif that is developed throughout The following Adagio is one of the most years, Adam performs regularly with the the movement. sumptuous movements in Widor’s entire orchestra, and can be heard on numerous œuvre; the initial motif is presented on the recent recordings by the Seattle Born in Lyon in 1844, Charles-Marie Voix célestes; one measure later, the motif Symphony in works by Dutilleux, Flûte Widor was descended from a family which is heard in canon in the pedal on the Stravinsky, Debussy, John Luther Adams, included several generations of organists 4’. Throughout the movement, Widor’s Charles Ives and Saint-Saëns' “Organ” and organ builders. His development as an writing reflects the complete mastery of Symphony. organist was rapid, and at the age of 19 he contrapuntal writing, composition always journeyed to Brussels, where he studied at the service of the musical ideas being organ with Jacques-Nicolas Lemmens and developed. The ending does not fade I love exploring the relatively composition with Joseph Fétis. Both found into silence, but becomes fuller and more unknown corners of the organ in Widor a limitless talent, an insatiable complex, increasing to six independent repertoire. Middelschulte had a giant appetite for long hours of study and voices and double-pedal writing. The presence in his day in Chicago, and his practice, and an appreciation for the highly concluding Toccata is built on a driving Passacaglia in D minor is as rewarding to disciplined approach that characterized rhythmic motif of staccato sixteenth notes hear as it is challenging to play. No organ their teaching. at the top of the keyboard; after the recital is fully complete without something initial exposition, the pedal enters with by Bach, who wrote more for the organ of In 1870, the coveted position of Organist a thundering but simple melody derived the highest quality than any other titulaire became vacant at the Church of from the opening notes of the preceding composer. Throughout my career, I’ve Saint-Sulpice, the home of Cavaillé-Coll’s Adagio. The texture retreats to a been honored to play and commission magnum opus, an opulent five-manual developmental section with the perpetuum works from Naji Hakim, who has since organ of 98 stops. Through Cavaillé-Coll’s mobile continuing at pianissimo; the mighty become a treasured friend. His early recommendation, the 25-year-old Widor crescendo which follows leads to a reprise Hommage à Igor Stravinsky is one of his was appointed to the position — though on full organ. first masterpieces, and a particular favorite as a temporary appointment, as there of mine. Finally, for the past 30 years, had not been the usual competition to © 2018 Joseph Adam select Lefébure-Wely’s successor. (He music by the great French organists have remained the “temporary” organist for been an essential part of my recital 64 years; when the clergy failed to bring repertoire. As a student, I fell in love with up the subject after the first provisional Widor’s Symphony No. 5, and performed year, Widor thought it prudent to leave parts of it on my very first organ recital. It’s the question unasked, and it remained remained a treasured part of my repertoire unasked until his retirement in 1934.) ever since.
Widor’s Symphony No. 5 was written in 1878, and was inspired by the new – Joseph Adam Cavaillé-Coll organ for the Palais du Trocadéro in Paris; Widor gave the first performance on October 19, 1879. Since that performance, it has remained Widor’s mostly widely known and performed
32 SEATTLESYMPHONY.ORG Photos: Brandon Patoc Photos: Brandon THANK YOU!
During this season of thanksgiving, the Seattle Symphony extends its deepest gratitude to our Musical Legacy Society members. Each year the Symphony’s artistic, education and community programs receive critical funding through the estates of these generous individuals. We salute our Musical Legacy Society members for their dedication to the Seattle Symphony’s future. Please let us know if you have already included a gift to the Seattle Symphony in your estate plan. We would love to thank you personally and welcome you to the Musical Legacy Society. For more information about the Musical Legacy Society, please contact Becky Kowals at [email protected] or 206.215.4852.
YOUR SYMPHONY. YOUR LEGACY. 11/13 TUESDAY, NOVEMBER 13, 2018, AT 7:30PM VIENNA BOYS CHOIR SPECIAL PERFORMANCES
Oliver Stech, choirmaster Vienna Boys Choir “New York – Medley” GREGORIAN CHANT “Veni Sancte Spiritus” (“Come, JOHN KANDER Theme from New York, New York Holy Spirit”) /text Fred Ebb/arr. Frank Metis
JACOBUS GALLUS “Confirma hoc Deus” ANGELA HUNTE, “Empire State of Mind (Part II) /text Psalm 68(67):29 (“Confirm this, oh God”) JANE’T SEWELL-ULEPIC Broken Down” SYLVIA ROBINSON, GEORG FRIEDRICH HANDEL “De torrente in via bibet” BERT KEYES, SHAWN CARTER, /text Psalm 110:8 (“From the stream by the ALICIA AUGELLO-COOK /arr. Oliver Stech path he will drink”) & AL SHUCKBURGH from Dixit Dominus, HWV 232 /arr. Ben Parry
JOSEPH HAYDN “Die Himmel erzählen die Ehre BILLY JOEL “Vienna” /text Gottfried Van Swieten Gottes” (“The Heavens /arr. Bomi Kim /arr. Oliver Stech tell the glory of God”), from The Creation, Hob. XXII:2 Arr. Gerald Wirth “Es gibt schene Wasserl” (“There are beautiful waters”) FELIX MENDELSSOHN “Ich harrete des Herrn” /text Psalm 40 (“I waited for the Lord”) Arr. Gerald Wirth “Wia schean is, wann i siag die from Lobgesang (“Song of Sunn aufgehn” (“How beautiful it Praise”), Op. 52 (MWV A 18) is to see the sun rise”)
FRANZ SCHUBERT “Goldner Schein deckt den Hain” FLORIAN MAIERL “Da Ådler” (“The Eagle”) /text Friedrich Von Matthison (“A golden sheen covers the bosk”), D. 357 HERMANN LEOPOLDI “Schön ist so ein Ringelspiel” /text Peter Herz/arr. Bomi Kim (“Such a merry-go-round is FRANZ SCHUBERT “Widerspruch” (“Contradiction”), wonderful”) /text Johann Gabriel Seidl Op. 105, No. 1, D. 865 RUDOLF SIECZYŃSKI “Wien, du Stadt meiner Träume” /arr. Gerald Wirth (“Vienna, City of My Dreams”), FRANZ SCHUBERT “Der 23. Psalm” (“Psalm 23”), Op. 1 Op. 132, D. 706 JOSEF STRAUSS “Feuerfest!” (“Fireproof”), JOHN MOCHNICK “Ave Maria” (“Hail Mary”) /text Rudolf Effenberger Op. 269 & Elke Wirth/arr. Gerald Wirth Arr. Rollo Dilworth “Joshua fit the battle of Jericho” JOSEF STRAUSS “For Ever!” /text Tina Breckwoldt INTERMISSION /arr. Gerald Wirth
JOHANN STRAUSS II “Wiener Blut” (“Viennese Spirits”) Waltz, Op. 354
Hotel Residenz Palais Coburg is the Vienna Boys Choir general sponsor
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 ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
34 SEATTLESYMPHONY.ORG Bischofberger Violins est. 1955 Professional Home of Kaleidoscope Dance Company Repairs Appraisals Early Childhood • Children & Sales Teens • Adults Parent-Child 1314 E. John St. CREATIVE DANCE • BRAINDANCE Seattle, WA MODERN • BALLET • HIP HOP Photo: Lukas Beck Lukas Photo: 206-324-3119 CARDIO DANCE • YOGA bviolinsltd.com • VIENNA BOYS CHOIR www.bviolins.com 206.363.7281 creativedance.org Boys have been singing at Vienna’s Imperial Chapel since 1296. In 1498, Emperor Maximilian I moved his court to BV 071811 repair 1_12.pdf Vienna, thus founding the Chapel Imperial, and the Boys Choir. Over the centuries, the court attracted musicians like Christoph Willibald Gluck, Antonio Salieri, Wolfgang Amadeus Mozart and Anton Bruckner; Joseph Haydn, Michael Haydn and Franz Schubert were themselves choir boys. Until 1918, the boys sang exclusively for the imperial court — at masses, celebrations and on state occasions. Today, there are 100 choristers between the ages of 10 and 14, divided into four groups. Between them, the choirs give around 300 concerts each year, attended by half a million spectators around the world. HOLIDAY Since 1924, 2,502 choristers have sung over 1,000 tours in 98 different countries. On Sundays, the Choir performs with the Vienna Philharmonic and the State Opera Chorus in the Imperial Chapel, as it has MUSICAL done for the last 520 years.
OLIVER STECH Choirmaster SALUTE Oliver Stech became choirmaster of the Vienna Boys Choir in January of 2011. He TUESDAY, DECEMBER 4, AT 10AM has led the choir in numerous concerts, and on tours of Europe, Asia, South America and the U.S. Stech is responsible Join the Seattle Symphony for a festive start to the for concert and tour repertoire, he holiday season. Conductor Stuart Chafetz leads the conducts choir and solo rehearsals, and orchestra in a concert of seasonal favorites featuring prepares the boys for sung services at Young Artists and Northwest Boychoir Apprentices. Vienna’s Imperial Chapel. In addition, he trains the boys for productions at You’ll also enjoy fabulous pop-up shops, hot cider, the Vienna State Opera, at the Vienna mimosas and a delightful luncheon. Volksoper, and for performances of large symphonic and choral works. In this KICK OFF THE HOLIDAYS WITH YOUR SYMPHONY! capacity he has worked with conductors such as Christian Aming, Mariss Jansons, Fabio Luisi and Franz Welser-Möst. TICKETS FROM $125 Appearances on radio and television, 206.215.4868 | SEATTLESYMPHONY.ORG/HMS sound recordings and film shoots are part of the choir’s routine, and Stech has Holiday Musical Salute benefits the Seattle Symphony Players’ Pension Plan. conducted the boys in their performances Event Sponsors: Kathy Savitt and Adam Diamond as part of multiple films by Curt Faudon.
encoremediagroup.com/programs 35 11/14 WEDNESDAY, NOVEMBER 14, 2018, AT 7:30PM PROGRAM NOTES INON BARNATAN As a performer and listener I’ve IN RECITAL always been fascinated by the IN RECITAL SERIES conversations that music has across different eras. For this program I’m using Inon Barnatan, piano the Baroque suite, one of the earliest forms of instrumental music, as template to JOHANN SEBASTIAN BACH Toccata in E minor, BWV 914 8’ explore how deeply connected music can be over a span of more than 300 years, GEORGE FRIDERIC HANDEL Allemande from Suite in E major, HWV 430 4’ and how each of these composers were able to simultaneously be inspired by the JEAN-PHILIPPE RAMEAU Courante from Suite in A minor, RCT 5 5’ past and break free from it. The first half is a variation on a suite — a piece I assembled FRANÇOIS COUPERIN L’Atalante from Pièces de clavecin 2’ together in the form of a Baroque suite but Douzième ordre in which each of the movements is by a different composer, each following the MAURICE RAVEL Rigaudon from Le tombeau de Couperin 3’ other without break. The second is Brahms’ set of variations exploring a theme from a THOMAS ADÈS Blanca Variations 5’ Handel keyboard suite. Having come to Seattle frequently in the past years and GYÖRGY LIGETI Musica ricercata 7’ having had so many wonderful musical No. 11 Andante misurato e tranquillo experiences at Benaroya Hall, both with the No. 10 Vivace: Capriccioso Seattle Symphony and with the Seattle Chamber Music Society, I’m excited to be SAMUEL BARBER Fugue from Sonata in E-flat minor, Op. 26 5’ back for a solo journey. I hope you enjoy INTERMISSION this time-traveling adventure!
JOHANNES BRAHMS Variations and Fugue on a Theme 26’ – Inon Barnatan by Handel, Op. 24
Please note that the timings provided for this concert are approximate. Johann Sebastian Bach (1685–1750) took Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording up a new position as court organist for the equipment, and any other use of such copying devices during a performance is prohibited. Duke of Weimar in 1708, at the age of 23. It was during this period that he wrote much of his vast catalogue of organ music, as well as many compositions for harpsichord, including the Toccata in E minor, BWV 914. The title, derived from the Italian verb “to touch” (toccare), indicates fleet- fingered keyboard music, exemplified by the fast fugues within this free-flowing showpiece.
George Frideric Handel (1685–1759), born in Germany within a month and a hundred miles of Bach, first worked in Hamburg, playing harpsichord and violin for the opera house. A stint in Italy earned him a chance to write the first new Italian opera for London in 1711, and he ended up settling there permanently. When Handel published eight suites for solo keyboard in 1720, he drew from his back catalogue dating back to his Hamburg years. As he wrote in a preface to the score, he felt “obliged to publish some of the following Lessons because surreptitious and incorrect copies of them had got abroad.” The Allemande from the Suite in E major, HWV 430, shows what this cosmopolitan composer could do with the established French idiom of the dance suite.
36 SEATTLESYMPHONY.ORG PROGRAM NOTES
Before Jean-Philippe Rameau (1683–1764) Spain and beyond), Lavaba la blanca niña. material and the contrapuntal technique moved to Paris in 1722, he worked as a may have been antiquated, but within church organist in various small towns, After studying at Budapest’s Academy of those confines Brahms delivered some and his only notable compositions were Music from 1945 to 1949, György Ligeti of his most vibrant and forward-thinking assorted vocal works and a book of (1923–2006) began his career writing piano music. harpsichord pieces. He soon published a in a folk-influenced style indebted to groundbreaking harmony treatise and two his Hungarian predecessors Bartók and © 2018 Aaron Grad more books of keyboard suites, paving Kodály. During that period of repressive the way for his greatest ambition, finally politics in Hungary, there was no tolerance achieved at the age of 50: to compose for experimental works like the Musica grand operas. First appearing around 1727, ricercata that Ligeti composed between INON BARNATAN the Courante from the Suite in A minor, 1951 and 1953, in eleven short movements Piano RCT 5, honors the older French tradition for solo piano. Its premise was to use of the dance suite, at a time when peers only two pitches in the first section, three “One of the most like Couperin were moving on to a more in the second, and so on until the final admired pianists of his contemporary style. section employed all twelve chromatic generation” (New York pitches. With its fugal construction, No. 11 Times), Inon Barnatan is Born into a famous family of musicians, (Andante misurato e tranquillo) honors the recipient of both a François Couperin (1668–1733) the Baroque inspiration of the ricercare, a prestigious 2009 Avery distinguished himself as “Couperin the form of contrapuntal composition. No. 10 Fisher Career Grant Great” through his decades of innovative (Vivace: Capriccioso) is a quick, rowdy and Lincoln Center’s Photo: Marco Borggreve Marco Photo: compositions, especially the four books romp; when Ligeti arranged portions of 2015 Martin E. Segal Musica ricercata of harpsichord music containing over 200 into Six Bagatelles for Award, which recognizes “young artists of pieces. His second book, published in 1716 woodwind quintet, this served as the lively exceptional accomplishment.” He was or 1717, moved away from the established finale. The complete piano piece was not recently named the new Music Director of format of the dance suite in favor of performed until 1969, long after Ligeti left the La Jolla Music Society Summerfest, diverse “orders,” each filled with short, his homeland. beginning in 2019. A regular soloist with characteristic pieces. L’Atalante, the final selection from the 12th order, is named for The beloved American composer Samuel many of the world’s foremost orchestras a fierce huntress from Greek mythology. Barber (1910–81) wrote his Piano Sonata and conductors, the Israeli pianist recently in E-flat minor in 1949 to honor the 25th served three seasons as the inaugural At the start of World War I, the 39-year-old anniversary of the League of Composers, Artist-in-Association of the New York Maurice Ravel (1875–1937) volunteered as an advocacy group and concert presenter Philharmonic. His passion for a truck and ambulance driver, forcing him founded to champion new American contemporary music has seen him to set aside Le tombeau de Couperin, a music. The commission was bankrolled commission and perform many works by work-in-progress for solo piano honoring by two titans of songwriting, Irving Berlin living composers. “A born Schubertian” François Couperin. By the time Ravel and Richard Rogers (of Rogers and (Gramophone), Barnatan’s critically finished the suite in 1917, it had acquired a Hammerstein fame), and the League acclaimed discography includes Avie and more personal meaning, with each of the recruited superstar pianist Vladimir Bridge recordings of the Austrian six movements dedicated to friends killed Horowitz to perform the premiere. With its composer’s solo piano works, as well as in the war. The Rigaudon remembers culminating fugue, the sonata showcases Darknesse Visible, which was on the New Ravel’s family friends Pierre and Pascal both the composer’s technical prowess York Times’ Best of 2012. His most recent Gaudin, brothers killed by the same shell and the pianist’s agility. on their first day at the front in 1914. When release is Messiaen’s 90-minute faced with criticism that this memorial To mark the birthday of his dear friend masterpiece Des canyons aux étoiles. music was too cheerful, Ravel purportedly Clara Schumann in 1861, Johannes responded, “The dead are sad enough, in Brahms (1833–97) presented her with the their eternal silence.” Variations and Fugue on a Theme of Handel, Op. 24. He had trouble getting England’s Thomas Adès (b. 1971) wrote his the work published, and in a letter to first serious compositions at age 19, a year his publisher he pleaded that it was his after earning second place in the BBC’s “favorite work” and “much better than my Young Musician of the Year competition earlier ones.” Always a keen student of as a pianist. He has since become one of music from the past, Brahms began his the world’s most buzzworthy composers, score with a direct transcription of an aria most recently for his 2016 opera The from one of Handel’s keyboard suites, Exterminating Angel. After writing the complete with the telltale Baroque trills. Blanca Variations for a piano competition After 25 diverse variations in major and in 2015, Adès incorporated the music into minor keys and all manner of textures that opera, played by a pianist character and moods, the work closes with a tour named Blanca. The variations are based de force fugue, with a subject that distills on a mournful folksong in Ladino (the Handel’s theme down to an alternating historic language of Sephardic Jews in gesture on adjacent notes. The source
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11/15–18 THURSDAY, NOVEMBER 15, 2018, AT 7:30PM SATURDAY, NOVEMBER 17, 2018, AT 8PM OVERVIEW SUNDAY, NOVEMBER 18, 2018, AT 2PM BEETHOVEN Color, Virtuosity, Drama The large body of orchestral music that has accumulated over the past three SYMPHONY NO. 5 centuries might be compared to a river with various tributaries. Compositions from HONORING THE LEGACY OF BUSTER & NANCY ALVORD different periods, nations and cultures, reflecting diverse musical outlooks and concerns, flow together in the repertories Kirill Karabits, conductor and concert programs of nearly all Boris Giltburg, piano symphonic ensembles. Seattle Symphony But while useful, this comparison is imperfect. For unlike water from a stream, HECTOR BERLIOZ Roman Carnival Overture 9’ which loses any individual identity once it enters a river’s main channel, the SERGEY PROKOFIEV Piano Concerto No. 5 in G major, Op. 55 23’ sources that form the orchestral literature Allegro con brio retain their distinguishing characteristics. Moderato ben accentuato Many of those traits are linked to Toccata: Allegro con fuoco nationality. Speaking in broad terms, and Larghetto acknowledging that there are exceptions, Vivo German and Austrian symphonies tend BORIS GILTBURG, PIANO toward dramatic conceptions, with contrasting kinds of expression and INTERMISSION powerful harmonic tensions that build LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 32’ up and resolve during the course of a Allegro con brio movement or even an entire composition. Andante con moto Returning to our original metaphor, this Scherzo: Allegro— is one of the major currents within the river of orchestral music. Others, flowing Allegro mainly from France and Russia, emphasize brilliant aural colors and textures, as well as instrumental virtuosity, more than long- Pre-concert Talk one hour prior to performance. range harmonic tension and drama. Speaker: Sarah Pyle, writer and musicologist The program for our concert draws from Ask the Artist following the concert on Saturday, November 17 in the Samuel & Althea each of these streams of orchestral music. Stroum Grand Lobby. No symphony is more overtly dramatic than Beethoven’s Fifth, which progresses from minor-key strife to radiant major- key triumph over its four movements. Please note that the timings provided for this concert are approximate. The music of Hector Berlioz exemplifies Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording the French predilection for striking equipment, and any other use of such copying devices during a performance is prohibited. instrumental colors, a conspicuous feature of his Roman Carnival Overture, which opens our concert. And Sergei Prokofiev’s Fifth Piano Concerto gives us a display of keyboard virtuosity, something much favored by the great Russian pianist- composers.
This program is a mixture of different styles and in some ways is based around Beethoven. Berlioz was Beethoven’s younger colleague and their music has very strong stylistic connections. Prokofiev was also a composer who grew from the classical tradition and pushed it further into the 20th century. Although Prokofiev’s music sometimes sounds very complex, it is always based on a very clear structure and form. Beethoven’s Fifth Symphony is probably the most well- known orchestral composition in music
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history but it always remains a huge opera’s second act. But before he had Prokofiev composed his Fifth and final challenge for a conductor and an orchestra an opportunity to use the piece in this Piano Concerto in the spring of 1932. He to make it work and sound convincing. way, the composer began to present intended originally to write a relatively it as a concert overture under the title modest and undemanding piece, which I like performing because it is magical when Roman Carnival. He conducted it in Paris he considered calling simply “Music orchestra and conductor create an energy in February 1844, and later with great for Piano and Orchestra,” but the work that can have an impact on hundreds and success in Vienna, Prague and London. quickly outgrew this initial conception. thousands of people listening and watching “Unfortunately,” the composer wrote in it. This is my first visit and debut in Seattle. I The piece unfolds in an original design April to a friend, the critic Boris Asafyev, have heard from my colleagues that Seattle bearing little resemblance to the classical “the solo part of my ‘Music for Piano and is a beautiful and powerful city, it has a great overture format of a short prelude in slow Orchestra’ is turning out to be rather orchestra, very strong community and some tempo followed by a more substantial difficult, although I really had hoped to get famous people chose to live there. section based on two or three clearly by with something light but effective.” defined themes. It begins with a flurry of scales, trills and fanfares that outline Indeed, the Fifth is the most technically – Kirill Karabits only a fragment of melody. This passage challenging of Prokofiev’s piano concertos. gives way almost at once to a broad It is also the most unusual in terms of HECTOR BERLIOZ theme taken from a love duet in the form. The piece unfolds in five concise opera. Sung first by the English horn, the movements, the first beginning and ending Roman Carnival Overture melody is taken up by the strings before vigorously but interrupted by a flowing BORN: December 11, 1803, at La Côte-Saint-André, a series of glittering scale figures bring us central section in somewhat slower tempo. allegro near Grenoble, France to a scherzo-like section. As the The second movement plays out over a music grows more dramatic, the melodic sardonic march-like figure first heard in the DIED: March 8, 1869, in Paris fragment of the opening measures returns brass, while a brief but energetic central WORK COMPOSED: 1844 to claim its full and proper development. movement calls for brilliant displays from WORLD PREMIERE: February 3, 1844, in Paris, We also hear the love theme, recalled in a both soloist and orchestra. conducted by the composer. brief contrapuntal episode and combined with material belonging to the allegro in The Larghetto fourth movement provides the overture’s closing moments. a lyrical contrast to the nervous energy What to Listen For of what has preceded it. This portion of In his Memoirs, Berlioz described Scored for 2 flutes (the 2nd flute doubling the concerto begins as a quiet aria for the piccolo); 2 oboes (the 2nd oboe doubling piano over a murmuring accompaniment the best performance of his Roman English horn); 2 clarinets; 2 bassoons; 4 Carnival Overture he ever experienced. horns; 2 trumpets and 2 cornets; 3 trombones; in the strings but grows increasingly The orchestra played, he wrote, with timpani and percussion; strings. impassioned in its utterance and ever “fire, precision, vivacity and controlled more full in sonority. The finale is all gaiety, vehemence; ... it went off like a firework its music lively and sparkling, and contains display.” SERGEY PROKOFIEV fleeting references to themes from the earlier movements. Piano Concerto No. 5 in G major, Op. 55 This concerto was one of the last works More than any composer, Hector Berlioz Prokofiev wrote before returning to the BORN: April 23, 1891, in Sontsovka, Ukraine embodied the spirit of 19th-century Soviet Union after some 15 years of living DIED: March 5, 1953, in Moscow Romanticism. Daring, idealistic and and working in the West. While most passionate in his approach to music and life, WORK COMPOSED: 1932 of the composer’s music was lauded in Berlioz led an eventful existence marked WORLD PREMIERE: October 31, 1932, in Berlin. his homeland, the Fifth Piano Concerto by more than a usual share of travails The composer was the piano soloist, and was denounced for its “formalist” and triumphs. In view of this, it is hardly Wilhelm Furtwängler conducted the Berlin (read “modernist”) tendencies. One surprising that he felt a kind of spiritual Philharmonic Orchestra. of the composer’s Soviet biographers kinship with the 16th-century Florentine complained that it “revealed a rejection sculptor and adventurer Benvenuto Cellini, of realism in favor of sheer virtuosity.” As often happens, the passage of time has whose autobiography made a great What to Listen For rendered this judgment quaint. impression on Berlioz when he read it as a This composition reveals the wit young man. Not content merely to admire and angular modernism that were Scored for solo piano; 2 flutes (the 2nd flute Cellini, Berlioz set out to write an opera a hallmark of Prokofiev’s music prior to doubling piccolo); 2 oboes; 2 clarinets; 2 based on incidents from the sculptor’s life. the mid-1930s. Though they struck some bassoons; 2 horns; 2 trumpets; 2 trombones; tuba; timpani and percussion; strings. Benvenuto Cellini occupied Berlioz through early listeners as shocking, the concerto’s four years of drafts and revisions before dissonances and brittle textures appear its initial performance in 1838. After the quite tame now, and its handsome premiere, Berlioz made further changes melodies distinguish this as one of but still was not entirely satisfied. In 1844 Prokofiev’s most attractive compositions. he wrote a new overture, based on themes from Benvenuto Cellini, which he originally conceived as a prelude to the
40 SEATTLESYMPHONY.ORG KIRILL KARABITS PROGRAM NOTES Conductor The 2018–2019 season marks Kirill Karabits LUDWIG VAN BEETHOVEN the figure Beethoven associated with fate, 10th anniversary as dominates the first movement, its rhythmic Chief Conductor of the Symphony No. 5 in C minor, Op. 67 vigor accounting in no small way for the Bournemouth BORN: December 16, 1770, in Bonn sense of agitation and momentum that Symphony Orchestra. prevails here. The pace relaxes only briefly DIED: March 26, 1827, in Vienna Together they have for the lyrical second theme, and for the made many critically WORK COMPOSED: 1802–08 Cwik Konrad Photo: unusual oboe cadenza that embellishes acclaimed recordings WORLD PREMIERE: December 22, 1808, in the recapitulation. and appeared regularly at the BBC Proms. Vienna, conducted by the composer. In September 2016 Karabits assumed the The Andante con moto that follows is position of General Music Director and constructed as a fluid set of variations on Principal Conductor of the Deutsches What to Listen For not one but two themes whose alternation Nationaltheater and Staatskapelle Weimar. Beethoven’s great innovation in lends the music variety and spaciousness. Working with the next generation of bright this symphony was to use a vivid It is a supremely lovely movement which, melodic motif — the famous “da-da-da- despite a few strong outbursts, provides a musicians is of great importance to daaah” figure heard at the outset — as timely contrast to the turbulent spirit of the Karabits and he does so as Artistic Director a dramatic as well as a musical element. opening movement. of I, CULTURE Orchestra. He conducted It forms the subject for what seems them on their European tour in August Scherzo tumultuous struggle throughout most of The is another matter. Here, the 2015 with Lisa Batiashvili as soloist and a the first movement, and it returns in the theme softly stated by the low strings in summer festival tour in 2018, including third and fourth movements to cast the the opening measures seems ghostly concerts at the Concertgebouw in work’s triumphant conclusion into sharp and ominous, and its menacing aspect is Amsterdam and the Montpellier Festival. In relief. confirmed moments later by a disturbing 2012 and 2014 he conducted the televised reappearance of the “fate” motif from finals of the BBC Young Musician of the the first movement. Following a central Year Award (working with the Royal section, in which the orchestra chases Northern Sinfonia and BBC Scottish No orchestral composition has gripped the rumbling basses and cellos in echoic the popular imagination quite like counterpoint, the spectral dance resumes. Symphony Orchestra). He was named Beethoven’s Fifth Symphony. Through Conductor of the Year at the 2013 Royal countless performances, recordings and And then, Beethoven creates a moment of Philharmonic Society Music Awards. even parodies, the famous four-note motif extraordinary drama. The dancing ghost that opens this work has become familiar freezes in mid-step as time and motion are suspended. Slowly, its theme is taken and BORIS GILTBURG to millions of people. The piece has Piano acquired a heavy gloss of extra-musical transformed fragment by fragment until, interpretation. It has been proposed as with a thrilling crescendo, the music bursts Born in 1984 in a mirror of one of Beethoven’s romantic into the radiant C-major finale. Trombones, Moscow, Boris Giltburg relationships, as an allegory of Olympian making their first appearance in any moved to Tel Aviv at an strife and more. familiar symphony, join the orchestra in a early age, studying with blaze of light and victory. his mother and then Such descriptions generally say more with Arie Vardi. In 2013 about the imaginations of commentators The drama is not yet over, however. In he won First Prize at than about the work itself. Still, this the middle of this fourth movement, we the Queen Elisabeth symphony demands to be heard as more suddenly return to the “fate” motif and the Gusov Sasha Photo: than “pure music,” and not only because ghostly atmosphere of the Scherzo. That Competition, of the composer’s tantalizing description stroke, so widely admired and imitated by catapulting his career to a new level. In of its initial figure as “Fate knocking at the subsequent generations of composers, 2015 he began a long-term recording plan door.” Beethoven has come to represent prepares a recapitulation not only of with Naxos Records, and has since to us the Romantic ideal of the artist- the movement’s themes but also of the released solo discs of Beethoven, hero, that solitary and suffering individual dramatic passage from darkness to light, Schumann and Rachmaninov, who transcends trying circumstances by from despair to joy, which is the meaning Shostakovich concertos with Petrenko and dint of genius and struggle. And it is the of the finale and the goal of the entire Royal Liverpool Philharmonic (Diapason Fifth Symphony, with its strife-torn first symphony. d’Or), and Rachmaninov with Prieto and movement and triumphant finale, that Scored for 2 flutes and piccolo; 2 oboes; 2 Royal Scottish National (Opus Klassik gives this view its most convincing musical clarinets; 2 bassoons and contrabassoon; instrumental award). Giltburg has appeared expression. As such, it is important not only 2 horns; 2 trumpets; 3 trombones; timpani; with many leading conductors, and with as a key to understanding the composer strings. orchestras such as Philharmonia but as an embodiment of one our culture’s Orchestra, Israel Philharmonic, Deutsche enduring concepts of what art can be. © 2018 Paul Schiavo Kammerphilharmonie, London Beethoven began work on the Fifth Philharmonic Orchestra, Oslo Philharmonic, Symphony in 1802 but did not complete St. Petersburg Philharmonic and Baltimore it until 1808. Significantly, the celebrated Symphony. He made his BBC Proms debut four-note motif that opens the work was in 2010 and has toured frequently to South present in the earliest sketches. This motif, America and China.
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“Going to the Symphony is always a special event for us. We love the music and the conversations we get to share after each performance. We give back so others can enjoy these special experiences too.” – Matt and Claire
JOIN MATT AND CLAIRE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Concerts like the one you are about to enjoy are only possible through the support of generous music lovers like you. SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 11/29–12/1 THURSDAY, NOVEMBER 29, 2018, AT 7:30PM SATURDAY, DECEMBER 1, 2018, AT 8PM OVERVIEW
RACHMANINOV PIANO Russian Romanticism CONCERTO NO. 2 Music by Russian composers figures prominently on the concert programs of Seattle Symphony, as it does on those of HONORING THE LEGACY OF BUSTER & NANCY ALVORD nearly all other major orchestra. Already this season, the Symphony has performed works of Shostakovich and Prokofiev, Gustavo Gimeno, conductor and we will hear again from them, as well Khatia Buniatishvili, piano as from the profoundly expressive Sofia Seattle Symphony Gubaidulina, during the coming months. All three composers represent Russian music SERGEY RACHMANINOV Piano Concerto No. 2 in C minor, Op. 18 32’ in the modern age. This week, however, Moderato we present a pair of compositions that Adagio sostenuto embody the full flowering of Russian Allegro scherzando Romanticism in music. KHATIA BUNIATISHVILI, PIANO The Romantic hallmarks of Sergey INTERMISSION Rachmaninov’s Second Piano Concerto take the form of lush melodies, sumptuous NIKOLAI RIMSKY-KORSAKOV Scheherazade, Op. 35 44’ harmonies and orchestral textures, and The Sea and Sinbad’s Ship brilliant piano virtuosity. Richly expressive The Legend of Prince Kalendar melodies and harmonic shading also The Young Prince and The Young Princess play important roles in Rimsky-Korsakov’s The Festival at Baghdad; The Sea; tone poem Scheherazade. This work has The Ship Breaks to Pieces on a Rock another virtue, however. Rimsky-Korsakov was a masterful orchestrator (he wrote an important book on the subject), and Pre-concert Talk one hour prior to performance. his skill and imaginative handling of this Speaker: Megan Francisco, Doctoral Candidate in musicology at the University of aspect of composition is everywhere Washington evident in Scheherazade. With its colorful scoring and solos featuring nearly all Ask the Artist following the concert on Thursday November 29, in the Samuel & Althea the principal players, Scheherazade is a Stroum Grand Lobby superb orchestral showpiece.
Khatia Buniatishvili’s performances are generously underwritten by Charles and Maria Schweizer through the Seattle Symphony’s Guest Artists Circle.
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 ©2018 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.
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SERGEY RACHMANINOV was performed in Saint Petersburg. The A march-like introduction in the orchestra reception of this work was disastrous. and glistening figuration in the piano Piano Concerto No. 2 in C minor, César Cui, a respected composer and precede the statement of the energetic Op. 18 critic, likened it to the product of “a first theme of the finale. But Rachmaninov BORN: April 1, 1873, in Novgorod, Russia conservatory in Hell.” Other commentators has saved his trump card for later in the were not much kinder. movement, a sensuous and soaring melody DIED: March 28, 1943, in Beverly Hills, California introduced by the orchestra. This idea WORK COMPOSED: 1901 Rachmaninov was crushed. He retreated returns after an extensive development of WORLD PREMIERE: November 9, 1901, in Moscow. from the Russian capital, staying with the first subject to bring the concerto to an The composer was the soloist, and Alexander friends and relatives in the countryside, but ecstatic close. Siloti conducted the Moscow Philharmonic was unable to overcome his depression or resume composing. Eventually he Scored for solo piano; pairs of woodwinds; 4 Society Orchestra. managed to secure a conducting post horns; 2 trumpets; 3 trombones; tuba; timpani and percussion; strings. and performed some piano recitals. But despite his promise to produce a new What to Listen For piano concerto for a concert tour to This concerto appeals on two England, Rachmaninov composed nothing points: its dazzling keyboard NIKOLAI RIMSKY-KORSAKOV during the next three years and became virtuosity and its great melodiousness. On so despondent that his friends worried for Scheherazade, Op. 35 the latter count, the main attraction comes his health. during the final movement, in the form of BORN: March 18, 1844, in Tikhvin, near one of Rachmaninov’s most famous and Finally, in 1900, Rachmaninov was Novgorod, Russia effusive melodies. This theme became persuaded to visit Nicolai Dahl, a doctor DIED: June 21, 1908, in Lyubensk, Russia familiar to millions in the 1940s as the specializing in treatment by hypnosis. WORK COMPOSED: 1888 melody of the hit song “Full Moon and In a memoir, the composer recalled the FIRST PERFORMANCE: October 28, 1888, in Empty Arms.” treatment this way: “Day after day I heard Saint Petersburg. Rimsky-Korsakov conducted the same hypnotic formula while I lay half the orchestra of the Russian Symphony asleep in Dahl’s armchair: ‘You will begin Concerts. Sergey Rachmaninov’s Second Piano to write your concerto. You will work with Concerto has long been a favorite of great ease. The music will be excellent.’ concert audiences everywhere — not Incredible as it may sound, this cure really helped me.” What to Listen For only among this composer’s works but Scheherazade purports to convey within the entire body of music for piano Dahl’s work must be counted the greatest a series of stories of princes, and orchestra. It is easy to see why. The psychiatric success in the history of music. princesses, genies, exotic locales and concerto is supremely melodious, so In a short time Rachmaninov was again fantastic events. But behind these tales much so that several of its themes have composing, completing his long-delayed is another, the struggle between the been used for popular songs. And the Second Piano Concerto. This work cruel Sultan Shakriar and the wily Sultana composition as a whole has served as the was enthusiastically received when the Scheherazade. Each is represented soundtrack to several motion pictures. composer gave its debut performance, musically and introduced in the opening minutes of the piece. Music of forbidding Remarkably, Rachmaninov created this in Moscow, in 1901, and he dedicated it character, harsh and threatening, forms work at the low point of his career. A child gratefully to Dr. Dahl. a stark emblem for Shakriar. A melodic prodigy, the future composer had entered The first of Rachmaninov’s captivating arabesque for solo violin represents the Saint Petersburg Conservatory at melodies is heard in the strings following Scheherazade. Both themes will undergo age 9 and wrote his first orchestral piece a brief introduction of pensive chords in many transformations, and therefore take when he was 14. The years that followed the piano. It is marked by a unmistakably on varied characters, over the course of the saw him progress quickly and steadily in Russian soulfulness that is both contrasted composition. his creative endeavors. By the time he and complemented by the romantic was 20, Rachmaninov had completed tenderness of the second theme, first a piano concerto; an opera, Aleko, that presented by the soloist. Each of these was triumphantly produced at the Bolshoi melodies is varied and transformed during “The Sultan Shakriar, convinced of Theater; several tone poems and chamber the first movement. the falsehood and infidelity of all pieces; and a number of keyboard works, women, had sworn an oath to put to including the famous Prelude in C-sharp The ensuing Adagio opens on a note of death each of his wives after the first minor. The stage seemed set for a lifetime almost religious tranquility, after which the night. But the Sultana Scheherazade of rich musical accomplishment. piano provides a delicate accompaniment saved her life by arousing his interest to the dream-like melody sung by flute and in the wonderful tales she told for a Perhaps the brilliance of Rachmaninov’s clarinet. Toward the end of the movement thousand and one nights. She spun early career made the effect of his initial there is a flurry of keyboard activity, miraculous stories, borrowing verses public failure the devastating event it culminating in a brief cadenza, a rhapsodic from the poets and words from folk proved to be. In 1897 his First Symphony, solo, for the pianist. The music then returns songs, fairy-tales and accounts with which the composer hoped to to the gentle reverie of the opening. of strange adventures. Driven by cement his standing as a major artist, curiosity, the Sultan postponed her
44 SEATTLESYMPHONY.ORG KHATIA BUNIATISHVILI PROGRAM NOTES Piano Born in 1987 in Batumi, Georgia, French- execution from day to day and finally Scheherazade I meant these hints to Georgian Khatia abandoned his wicked plan.” direct but slightly the hearer’s fancy on Buniatishvili discovered the path that my own fancy had traveled the piano at the age of The rich compendium of folk tales known as and to leave more minute and particular 3 and gave her first Tales of Arabian Nights is one of the great conceptions to the will and mood of each. concert with Tbilisi collective art works of Islamic culture, and All I had desired was that the hearer ... Chamber Orchestra Photo: Gavin Evans Gavin Photo: one of the world’s literary treasures. It has should carry away the impression that it is when she was 6. Since inspired a number of musical treatments, beyond doubt an Oriental narrative of some then, she has established herself as one the most famous being the symphonic suite numerous and varied fairy-tale wonders." of today’s most prominent classical music Scheherazade by the Russian composer artists, at home on the world’s great Nikolai Rimsky-Korsakov. In other words, it is a general impression stages and universally celebrated for her of the mood and tenor of the Arabian tales The idea of basing an orchestral work on that the composer hoped to convey in this “authenticity, charisma, and various episodes from Tales of Arabian music, along with occasional suggestions persuasiveness” (NZZ) and “playing Nights came to Rimsky-Korsakov early in of certain narrative details experienced straight from the heart” (The Guardian). 1888. Significantly, he had recently been as “a kaleidoscope of fairy-tale images.” engaged as conductor of the Russian Rimsky-Korsakov did admit one detail: the Following her belief that humanity is at the Symphony Concerts, an important series sinuous melody of the solo violin heard in center of all art, Buniatishvili is involved of orchestral presentations in Saint each of the four movements “delineates in numerous social rights projects, such Petersburg, and his close contact with the Scheherazade herself as telling her as the DLDwomen13 Conference (2013) orchestra must have prompted at least wondrous tales to her stern Sultan.” some of the colorful instrumentation for in Munich; To Russia with Love (2013), which Scheherazade is justly famous. Scored for 2 flutes (the 2nd flute doubling a concert in Berlin to speak out against piccolo) and piccolo; 2 oboes (the 2nd oboe the violation of human rights in Russia; The work’s four movements approximate doubling English horn); 2 clarinets; 2 bassoons; Charity Concert in Kiev (2015) for wounded the traditional outline of a symphony, with 4 horns; 2 trumpets; 3 trombones; tuba; timpani and percussion; harp; strings. persons in the Anti-Terrorist Operation a lively opening Allegro prefaced by an Zone; United Nations Climate Change introduction in moderate tempo; a slow © 2018 Paul Schiavo Conference - Marrakech Climate Show; second movement, followed by a third in and the United Nation’s 70th Anniversary the spirit of a scherzo; and an energetic Humanitarian Concert (2015) in Geneva finale. Although Rimsky-Korsakov had to benefit Syrian refugees. She is an certain scenes from the tales in mind as GUSTAVO GIMENO ambassador of Plan International, a UK- he wrote the suite, the music does not Conductor present a linear narrative of any of the based organization for children’s rights Gustavo Gimeno is stories. As the composer explained in his and equality for girls and the Paris-based Music Director of the autobiography: “Fondation Cœur et Recherche” for Orchestre cardiovascular research. "The program I had been guided by in Philharmonique du composing Scheherazade consisted of Luxembourg and An exclusive SONY classical artist, separate, unconnected episodes from the incoming Music Director Buniatishvili’s discography includes Franz Tales of Arabian Nights scattered through of the Toronto Liszt (2011), Chopin (2012), Motherland all four movements of my suite: the sea Symphony Orchestra,
Photo: Marco Borggreve Marco Photo: (2014) and Kaleidoscope (2016), as well and Sinbad’s ship, the fantastic narrative of starting in the 2020– as piano trios with Gidon Kremer and Prince Kalender, the Prince and Princess, 2021 season. Gimeno and the Orchestre Giedrė Dirvanauskaitė (2011) and violin the Baghdad festival, the ship dashing itself Philharmonique du Luxembourg launched a sonatas (2014) with violinist Renaud against the rock ... yet presenting, as it series of recordings with the PENTATONE Capuçon. She also collaborated with were, a kaleidoscope of fairy-tale images." label in 2017. So far, they have released the rock group Coldplay on their album A first symphonies of Shostakovich and Indeed, Rimsky-Korsakov was so dismayed Head Full of Dreams. Buniatishvili’s most Daphnis et Chloé by the insistence of early listeners to try Bruckner, Ravel’s , and recent recordings unite her with two to identify each passage with a specific Mahler’s Fourth Symphony. Besides guest close musical partners: Zubin Mehta and character or event in the tales that he conducting leading symphony orchestras the Israel Philharmonic in concertos by deleted all written references to these around the world, Gimeno will also appear Beethoven and Liszt (2016) and Paavo from the final score (though he retained at the Zurich Opera for the first time this Järvi and the Czech Philharmonic in the evocative preface, quoted at the top season with Verdi’s Rigoletto. Born in Rachmaninov Piano Concertos Nos. 2 & 3 of this note). In explaining his deletions of Valencia, Gimeno began his international (2017). programmatic clues from the score, the conducting career in 2012 as assistant to composer stated: Mariss Jansons, while he was a member of Buniatishvili studied in Tbilisi with Tengiz the Royal Concertgebouw Orchestra in Amiredjibi and in Vienna with Oleg "My aversion to seeking too definite Amsterdam. He also gained invaluable a program in my composition led me Maisenberg. experience as assistant to Bernard Haitink subsequently to do away with even those and Claudio Abbado, who strongly hints of it that had lain in the headings supported and influenced him in many of each movement. ... In composing respects as a mentor.
encoremediagroup.com/programs 45 11/30 FRIDAY, NOVEMBER 30, 2018, AT 7PM RACHMANINOV UNTUXED UNTUXED SERIES I GIVE BECAUSE ... Gustavo Gimeno, conductor Khatia Buniatishvili, piano Jonathan Green, host Seattle Symphony
SERGEY RACHMANINOV Piano Concerto No. 2 in C minor, Op. 18 32’ Moderato Adagio sostenuto Allegro scherzando KHATIA BUNIATISHVILI, PIANO I love the See program notes and bios on pages 43–45. Symphony. Khatia Buniatishvili’s performance is generously underwritten by Nader and Oraib Kabbani through the Seattle Symphony’s Guest Artists Circle. The concerts
Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. I have been Performance ©2018 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. to this year have been spectacular. I want to help — in my small way — to share classical music with everyone.
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Hayward David Neagle Dr. and Mrs. Gordon Starkebaum 5 Charitable Trust 5 Mary Heckman Paul Neal and Steven Hamilton ∞ Susan Yates Stephens Barbara Carr Joshua Hemphill Robert and Claudia Nelson Steve and Sandy Hill Family Fund 5 15 Patrick Cazeau Ralph and Gail Hendrickson Kirsten Nesholm at the Seattle Foundation ^ 5 5 Anand Chakraborty Terrill and Jennifer Hendrickson Robert Ness Diane Stevens 5 10 Kent and Barbara Chaplin 15 F. Randall and Barbara Hieronymus Marilyn Newland Michelle Strauss Mr. James Chesnutt 5 Alice and Paul Hill Olin Nichols Mike and Mary Lynn Sutherlin Heinke Clark Marvin and Elizabeth Hoekstra Mark Nickerson Ton Swan and Kayley Runstad Swan 5 Ms. Constance Clarke Toni and Rod Hoffman Linda Nordberg Priscilla and Theodore Tanase 5 Michelle Codd Norm Hollingshead Ken and Pearl Noreen Chee Wei Tang 5 5 Robert and Janet Coe Bob Holtz and Cricket Morgan Leslie and Kenneth Oja Margaret Taylor and Robert Elliott Hannah Hoose Douglas and Alida Oles Bob and Mimi Terwilliger 10 Sam and Karen Coe ∞ 5 10 5 Ida Cole Mr. Roy Hughes ∞ Thomas and Cynthia Ostermann Robert Shawn Thesman 5 Ellen and Phil Collins 15 Jo Anne Iaciofano Richard and Peggy Ostrander Kirsten and Bayan Towfiq 15 5 Susan and Laurence Commerce 15 Ralph E. Jackson Gerald and Melissa Overbeck Peter Chuang and Elaine Tsai 5 Mr. and Mrs. Frank Conlon 5 Kimberly Jankelson Meg Owen Kenneth Tschritter 5 Dr. Loveday Conquest 5 Aimee and Wil Johnson ° Jae Hyun Paek ∞ Warren and Nancy Tucker 10 15 Herb and Kathe Cook 5 Clyde and Sandra Johnson John Palo Dolores Uhlman 5 Jeffrey and Susan Cook 5 Shirley Kah David and Gina Pankowski Sami Uotila and Tuula Rytila 5 Patricia Cooke Kane Environmental, Inc Richard and Sally Parks* Janice and Neill Urano 5 Danica Coonan Dibra and Kent Kildow PAS Financial Planning Jan van Horn ∞ 15 15 T. W. Currie Family 15 Mike and Mary Killien Jacqueline Louise Patek Gretchen Van Meter 5 15 5 Richard Cuthbert and Karol King David F. Peck Donald J. Verfurth 5 15 Cheryl Redd-Cuthbert Virginia King Nancy and Christopher Perks Ryan Waite 10 10 Robert Darling 5 Frank and Diana Kirkbride Mary and Kerry Person Doug* and Maggie Walker
encoremediagroup.com/programs 49 SEATTLE SYMPHONY DONORS
Silvia Waltner Dale and Leslie Chihuly, by Arie Schäcter, by Charles Crane, by Connie Wang and Zachary Pollack April and René Ancinas Elle Simon Muriel Martin Lois Waplington Brookshire Green Foundation Debra Ward ∞ Susan Brotman Seattle Symphony Horns, by Jane Davis, by Judith F. Warshal and Wade Sowers Liz Chambers and Jim Johnson Carl de Marcken and Marina Meila Clodagh and Robert Ash Eugene and Marilyn Webb 5 Highland Street Foundation Laurel and John Nesholm Jonathan Weintraub Marks Family Foundation T.E. and Peggy Spencer, by Llewelyn G. and Joan Ashby Pritchard Greg Wetzel 5 Linda and Gerald Nordberg John and Nancy McConnell Amy and Jeff Wilcox Jane and Joel Scott Shirley Fleischmann, by Mitch Wilk 5 Linda Stevens Rachel Swerdlow, Walter Gray, Ellen and Arthur Rubinfeld Rosalind Horder Williams Barbara and Donald Tober and Paul Rafanelli, by Shannon Wilson and Mitchell Johnson Mark Linsey and Janis Traven Ruthe Ginn, by Marsha Wolf and Ken Linkhart + David Cross, by Janice and Neill Urano Margaret Grubaugh Peggy Wolff Feng Hua and Bin Zhao Jeff Wood and Diane Summerhays Pat Takahashi, by Waldo Henning, by Elizabeth and Troy Wormsbecker Thomas Dausgaard, by Gary Morse and Ellen Bowman Maria Durham and Viva la Música Club Carol Wright 5 Matthew Voorsanger William Forsythe Michael and Gail Yanney Donald Thulean, by Somrak Jaion Mindy Yardy David Davis, by Gerard Fischer Nancy Knudsen Lee and Barbara Yates 15 Carissa Hussong Toshio Uno, by Milicent Savage Mr. Rocky Yeh Anthony Uno Anonymous Rebecca and Joseph Zalke Samantha DeLuna and Mr. and Mrs. George* Zonoff 5 Jesse Bearden, by Ralph Wedgwood, by Hubert Locke, by Anonymous (22) Jennifer Lee Mary and Alan Morgan Llewelyn G. and Joan Ashby Pritchard Jordan Louie 5 5 years of consecutive giving Brandon Patoc Simon Woods, by Richard Lundquist, by 10 10 years of consecutive giving Leslie and Dale Chihuly Jinja Yutzy 15 15 years or more of consecutive giving Geoffrey Deschenes and Senator and Mrs. Daniel J. Evans ∞ Monthly Sustaining Donor Meredith Broderick, by Dana and Ned Laird Kenneth Martin, by Musician Kathleen Deschenes Laurel and John Nesholm Boy Scout Troop 80 ° Board Member Llewelyn and Jonie Pritchard Leslie and Dale Chihuly ^ Lifetime Director Kathy and Steve Dewalt, by Pat and Jon Rosen Glen and Ann Hiner + Staff Nancy MacPherson Mr. Anthony Uno Llewelyn G. and Joan Ashby Pritchard * In Memoriam Francis Szatanek Maria Durham, by MEMORIAL GIFTS Penny Zaleta To our entire donor family, thank you for Angela Henrick Gifts were made to the Seattle , by your support. You make our mission and Norm Hollingshead Symphony to remember those listed Kenneth A. Moore Jr. Renate and David Stage music a reality. Gloria Ortiz and Pedro Trujillo below between October 1, 2017 and Jorge E. Restrepo September 24, 2018. For information , by Did you see an error? Help us Nicolle Durham Rey on remembering a friend or loved one Melvyn Poll Friends of Abbott Construction update our records by contacting through a memorial gift, please contact Janet Abrams [email protected] or Nancy Paige Griffin, by Donor Relations at 206.215.4832 or Asma Ahmed 206.215.4832. Thank you! Michael Schick and Katherine Hanson [email protected]. Ash Family Foundation Larry and Sherry Benaroya HONORARIUM GIFTS Patty Hall, by Nancy Alvord, by Michael Hershey Maureen and Joel Benoliel Gifts to the Seattle Symphony are a Dr. Diana Behler Lisa Bergman wonderful way to celebrate a birthday, Laurel and John Nesholm , by Carolyn Burnett honor a friend or note an anniversary. James Hanson Llewelyn G. and Joan Ashby Pritchard Jeanette Hanson Everyone at Cactus Restaurant In addition to recognition in the Encore Barbara Calvo and Al Benoliel program, your honoree will receive a card Dwight Baker, by , by Dale and Leslie Chihuly from the Symphony acknowledging your Jean and Roger Leed Madred Slaker John Burg Joan and Frank Conlon thoughtful gift. Maryann Crissey Rose and Richard Bender, by , by Sandra and Gary Etlinger Gifts were made to the Seattle Diena Lukawski Alan Cordova Russ Mann Timotha and Charles Freedenberg Symphony in recognition of those listed Sharon Friel below between October 1, 2017 and Bob Bradbury, by , by Marlene and Jon Fuson September 24, 2018. Please contact Marcia Mason Jane Ann Bradbury Kathleen and Eric Ottum Laurie Griffith Donor Relations at 206.215.4832 or LouAnne Shelton Jane Hargraft and Elly Winer [email protected] if you David and Sharron Hartman would like to recognize someone in a Reid and Marilyn Morgan, by Richard M. Campbell, by Ilene and Elwood Hertzog Delney and Andrew Hilen future edition of Encore. Alison Andrews Ned and Kristen Lumpkin Joyce Franich , by Carolee and Tom Mathers Renée Brisbois, by Ludovic Morlot Eugene and Sue John Marilyn McManus Chap and Eve Alvord Martine and Dan Drackett Edna Kelso Stewart Miller Jay Hereford and Margaret Winsor Janet W. Ketcham Linda Nordberg Steve Bryant, by Mary Langholz Jack Norman Elle Simon Llewelyn Pritchard, by Debra and Gary Larson Patricia Oye Carol and Thomas Olson Erika Lim Pat and Jon Rosen William Poll Steve Bush and Christine Chang, by John Marshall Ann Pryde Clarius Group Llewelyn G. and Joan Ashby Pritchard Pat and Jon Rosen Jon Rosen, by Randy Robinson and Jane Hadley Susan and Rich Ahearn Milicent Savage T.J. Callahan, by Fred Simons Brenda Barnes SRG Partnership, Inc Tim Callahan Carole Tingstad Keridan Cole Carlyn Steiner Steve and Kay Frank Leena and Mel Sturman Nathan Chan, Danielle Kuhlmann, John Kathryn G. Cavin, by Sally and Kit Narodick Diane and Dennis Warshal Turman and Shaina Shepherd, by James Cavin John and Laurel Nesholm Wyman Youth Trust Mark Linsey and Janis Traven Vivian and Jim Schwab Barbara and Jonathan Zweig Cynthia and Daniel Weiner Marcia and Mike Wiviott
50 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY ENDOWMENT FUND
The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to Frank Powers, by Richard Andler and Carole Rush the Endowment Fund since its inception. The following list is current as of September 24, 2018. For information Dr. Kennan H. Hollingsworth on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or Isa Nelson [email protected]. Jane Powers $5 Million + Frances O. Delaney* Ruth Ann and Jim Powers The Benaroya Family John and Carmen* Delo Shawn Powers Charles Simonyi Fund for Arts and Sciences Estate of Lenore Ward Forbes Seattle Symphony Volunteers Anonymous Estate of George A. Franz Virginia Senear Jean Gardner Nancy Tracy $1,000,000 - $4,999,999 Estate of Mr. and Mrs. Irvin Gattiker Leslie and Dale Chihuly Anne Gould Hauberg* Alex Raines, by The Clowes Fund, Inc. Richard and Elizabeth Hedreen Charles Alpers and Ingrid Peterson Priscilla Bullitt Collins* Estate of William K. and Edith A. Holmes Judith A. Fong Estate of Susanne F. Hubbach Elaine Raines, by The Ford Foundation John Graham Foundation Cindy Chang Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Linda and Randy Ebberson Kreielsheimer Foundation Estate of Betty L. Kupersmith Laurel Kalina Marks Family Foundation John and Cookie* Laughlin Sheila Lukehart Estate of Gladys and Sam Rubinstein E. Thomas McFarlan Karen and Randall Nelson Samuel* and Althea* Stroum Estate of Alice M. Muench Sheri Sharp Dr. Robert Wallace Nesholm Family Foundation Katherine and Douglas Sprugel Estate of Opal J. Orr Carole Wilson $500,000 - $999,999 M. C. Pigott Family Alex Walker III Charitable Lead Trust PONCHO Donald Thulean, by Mrs. John M. Fluke, Sr.* Estate of Mrs. Marietta Priebe Gerard Fischer Douglas F. King Mr. and Mrs. Paul R. Smith Estate of Ann W. Lawrence Estate of Frankie L. Wakefield Lois Timlin, by The Norcliffe Foundation Estate of Marion J. Waller Margaret and Mark Van Gasken Estate of Mark Charles Paben Washington Mutual James D. and Sherry L. Raisbeck Foundation Anonymous Kathleen Trier, by Joan S. Watjen, in memory of Craig M. Watjen Horizon House Supported Living $25,000 - $49,999 $100,000 - $499,999 Edward and Pam Avedisian Ralph Wedgewood, by Estate of Glenn H. Anderson Estate of Bernice Baker Thomas Chatriand and Cindy Gustafson Andrew W. Mellon Foundation The Boeing Company Horizon House Supported Living Bob and Clodagh Ash Estate of Ruth E. Burgess Jane Kippenhan Drs. Janet P. and George* Beckmann Estate of Barbara and Lucile Calef Michael Vargas Alan Benaroya Mrs. Maxwell Carlson Anonymous Estate of C. Keith Birkenfeld 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 Anonymous (2) Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Estate of Mrs. Louis Brechemin * In Memoriam Estate of Edward S. Brignall
encoremediagroup.com/programs 51 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 September 24, 2018.
Charles M. and Barbara Clanton William E. Franklin Ted and Joan Lundberg Valerie Newman Sils Ackerman Cynthia L. Gallagher Judsen Marquardt and Constance Niva Evelyn Simpson John and Andrea Adams Jane and Richard Gallagher Ian and Cilla Marriott Betty J. Smith Peter Aiau and Susan Ormbrek Jean Gardner Doug and Joyce McCallum Jo-Ellen and Gregory Smith Harriet and Dan Alexander Cheryl and Billy Geffon Tom McQuaid Katherine K. Sodergren Joan P. Algarin Natalie Gendler William C. Messecar Sonia Spear Kathleen Amberg Carol B. Goddard Jerry Meyer and Nina Zingale Mary and Gordon Starkebaum Richard Andler and Carole Rush Frances M. Golding Charles N. Miller Karen J. Stay Ron Armstrong Jeffrey Norman Golub Elizabeth J. Miller Diane Stevens Elma Arndt Dr. and Mrs. Ulf and Inger Goranson Mrs. Roger N. Miller Victoria Sutter Bob and Clodagh Ash Betty Graham Murl G. Barker and Ronald E. Miller Patricia Tall-Takacs and Gary Takacs Susan A. Austin Catherine B. Green Reid and Marilyn Morgan Gayle and Jack Thompson Dr. and Mrs. Terrence J. Ball Dr. Martin L. Greene George Muldrow Art and Louise Torgerson Rosalee Ball James and Darlene Halverson Marr and Nancy Mullen Betty Lou and Irwin* Treiger David W. Barker Barbara Hannah Isa Nelson Muriel Van Housen Donna M. Barnes Martha W. Hanscom Carolyn Niva Sharon Van Valin Carol Batchelder Harriet Harburn John and Joyce O’Connell Jean Baur Viereck Drs. Janet P. and George* Beckmann Ken* and Cathi Hatch Gina W. Olson Dr. Robert Wallace Madeline Beery Michele and Dan Heidt Miles Olson Nicholas A. Walls Alan Benaroya Ralph and Gail Hendrickson Sarah M. Ovens Jeffrey Ward and Charles Crain Rebecca Benaroya Deena J. Henkins John Palo Judith Warshal and Wade Sowers Donald/Sharon Bidwell Living Trust Charles E. Higbee, MD* Donald and Joyce Paradine Douglas Weisfield Dona Biermann Harold* and Mary Frances Hill Dick and Joyce Paul James and Janet Weisman Karen Bonnevie Bob Hoelzen and Marlene Botter Jane and Allan Paulson John and Fran Weiss Bob* and Jane Ann Bradbury Frank and Katie Holland Lisa Peters and James Hattori Robert T. Weltzien Rosemary and Kent Brauninger Dr. Kennan H. Hollingsworth Stuart N. Plumb Dorothy E. Wendler Sylvia and Steve Burges Chuck* and Pat Holmes Roger Presley and Leonard Pezzano Gerald W. and Elaine* Millard West Dr. Simpson* and Dr. Margaret Burke David and Shelley Hovind Mrs. Eileen Pratt Pringle Hollis R. and Katherine B. Williams Dr. Mark and Laure Carlson Richard and Roberta Hyman Mr. and Mrs. W. H. Purdy Selena and Steve Wilson Dr. William and Mrs. Mary Ann Champion Janet Aldrich Jacobs John and Suzanne Rahn Ronald and Carolyn Woodard Sue and Robert Collett Jennifer James, MD James and Sherry Raisbeck Arlene A. Wright Patricia Cooke Robert C. Jenkins Mary C. Ransdell and Keith B. Wong Janet E. Wright Dr. Marshall Corson and Mrs. Lauren Riker Clyde and Sandra Johnson Dana Reid and Larry Hitchon Rick and Debbie Zajicek Betsey Curran and Jonathan King Dr. Barbara Johnston J. Stephen and Alice Reid Anonymous (56) Frank and Dolores Dean Norman J. Johnston* and Bernice Mossafer Rind Robin Dearling and Gary Ackerman L. Jane Hastings Johnston Richard and Bonnie Robbins * In Memoriam Lorraine Del Prado and Thomas Donohue Atul R. Kanagat Bill* and Charlene Roberts John Delo Don and Joyce Kindred Junius Rochester Dr. Susan Detweiler and Dell King Jan Rogers Dr. Alexander Clowes* Douglas F. King Patricia and Jon Rosen Fred and Adele Drummond Stephen and Barbara Kratz James T. and Barbara Russell Mildred King Dunn Tom Kuebler Mary Ann Sage Renee Duprel Drs. Kotoku and Sumiko Kurachi Thomas H. Schacht Sandra W. Dyer Frances J. Kwapil Judith Schoenecker and Ann R. Eddy M. LaHaise Christopher L. Myers David and Dorothy Fluke Ned Laird Linda and Bruce Scott Gerald B. Folland Paul Leach and Susan Winokur Annie and Leroy Searle Judith A. Fong Kathleen Leahy Virginia and Allen* Senear Jack and Jan Forrest Lu Leslan Leonard* and Patricia Shapiro Russell and Nancy Fosmire Marjorie J. Levar Jan and Peter Shapiro Jon Fourre Mel Longley and John F. and Julia P.* Shaw Jim Fox and Rodney Reagor Tanya Wanchena-Longley Barbara and Richard Shikiar Ernest and Elizabeth Scott Frankenberg Thomas and Virginia Hunt Luce Seymour Silberstein and Julie Grosnick
■ 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].
52 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 September 24, 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 Weill Music Institute † Tulalip Tribes Charitable Fund Alaska Airlines Encore Media Group † Wells Fargo Foundation Yamaha Google Inc. † KCTS 9 † Anonymous John Graham Foundation Peach Foundation $1,000 – $2,999 Laird Norton Wealth Management Rosanna, Inc. † $5,000 – $9,999 Alfred and Tillie Shemanski Trust Fund Microsoft Corporation Sheri and Les Biller Family Foundation Apex Foundation Bank of America Foundation Microsoft Matching Gifts Virginia Mason Listen for Life Center Citi Community Capital Matching Gifts Program Nesholm Family Foundation Wild Ginger Restaurant ◊ Creelman Foundation Butler Valet † Precept Wine ◊ Finlandia Foundation National Ebay Matching Gifts Scan|Design Foundation $10,000 – $14,999 Four Seasons Hotel † Educational Legacy Fund by Inger and Jens Bruun Aaron Copland Fund For Music GE Foundation Eli Lilly & Company Foundation Seattle Foundation AETNA Casualty and Surety Google Matching Gifts Genworth Foundation Amazon Heartwood Provisions † Grousemont Foundation $25,000 – $49,999 The Benaroya Company IntuitiveX JTM Construction Bank of America Bill & Melinda Gates Foundation Jean K. Lafromboise Foundation MG2 Foundation Boeing Matching Gifts Program Matching Gifts The Lark Ascends † Mitsubishi Corporation (Americas) Chihuly Studio † BNY Mellon League of American Orchestras/ Northwest Security Services Classic Pianos ◊ Classical KING FM 98.1 † Ford Musicians Award PONCHO Foundation DSquared † Expedia Martin Selig Real Estate The Ruth and Robert Satter Charitable Trust J.P. Morgan Chase & Co. Foster Pepper PLLC Music 4 Life † Tolo Events † Nordstrom Fran’s Chocolates † Peg and Rick Young Foundation UBS Employee Giving Programs Seattle Cancer Care Alliance Garvey Schubert Barer † Skanska USA Vital Mechanical Atsuhiko & Ina Goodwin Tateuchi Holland America Line ◊ S. L. Pitts PC Wilson Sonsini Goodrich & Rosati Foundation Lakeside Industries Starbucks Coffee Company ◊ Foundation Virginia B. Toulmin Foundation Perkins Coie LLP The Westin Hotel, Seattle † Wright Runstad Wells Fargo Private Bank Port Blakely Wheels Up Wyman Youth Trust Robert Chinn Foundation $15,000 – $24,999 T.E.W. Foundation $3,000 – $4,999 † In-Kind Support AegisLiving Thompson Seattle † The Capital Grille † ◊ Financial and In-Kind Support Chihuly Garden + Glass Treeline Foundation Clark Nuber Davis Wright Tremaine U.S. Bank 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 53 SEATTLE SYMPHONY BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS & COMMITTEES
SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available 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. personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Nordstrom
ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head CO-CHAIRS 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or Rosalind Benaroya Poll except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. Terry Hecker
EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are 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 seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Sherry Benaroya Hisayo Nakajima your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Rosanna Bowles Paul Rafanelli the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Linda Cole Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Dr. Susan Detweiler Elizabeth Sandler Hall, 206.215.4776. for more information. Kathy Fahlman Dewalt Jim Schwab Parul Houlahan Mel and Leena Sturman
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 COMMITTEE to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid Bridget Aumell Diena Lukawski waiting in line at intermission. 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 Co-Founder and Executive Director DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab COMMITTEE a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Rosanna Bowles Fawn Spady weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Cheri Brennan Saul Spady Stephen Dewalt Stephanie White HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Tom Horsley David Woolley-Wilson Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Ben Klinger Jessie Woolley-Wilson performances in the S. Mark Taper Foundation Auditorium. Carla Nichols Barbara Wortley Ryan Matthew Porter DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open YOUNG PATRON'S COUNCIL weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. CHAIR Molly Gabel
COMMITTEE Brittany Boulding Bryan Lung CONTACT US Breeden Tiffany Moss Matthew Brannock Jae Paek Nathan Chan Jason Perkizas Joycelyn Eby Jacob Roy Jackie Ernst Shiva Shafii TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays Megan Francisco Shaina Shepherd 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. Pete Gammell Saul Spady seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | PO Box 2108, Seattle, WA 98111-2108 Jane Hargraft Rachel Spain Ryan Hicks Andrew Stiefel GROUP SALES: [email protected] | 206.215.4818 Nyssa Houzenga Claire Taylor Eric Jacobs Christy Wood SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music 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.
54 SEATTLESYMPHONY.ORG Photos: Brandon Patoc 5 6 / 5 / 4 / VicePresidentofEducation&Community 3 / 2 /BenaroyaHallBoardChairNedLaird 1 /Octave9willprovideanimmersiveenvironment
Sherry andJamesRaisbeck withBoardChair Facilities DirectorDavid Lingsharesdesign concepts withH.S.Wright III for Octave9 Emerita LeslieJacksonChihuly Engagement LauraReynolds withRebecca Benaroya for newandinventiveperformances Music DirectorLudovicMorlotsharesthevision SEEN THE & HEARDAT THE
LIS SEATTLE SYMPHONY ( Z ) T 4 6 3 OF LIVEMUSIC TRANSFORMING THEEXPERIENCE or becomeadonor atseattlesymphony.org/octave9. Learn moreaboutOctave9, followtheconstructionprogress project partnerswhoarehelping make Octave 9areality. of Seattle, KingCounty, individualcontributorsandthemany $2 millionmatchingchallenge. Additional thanks totheCity for spearheadingthisgroundbreaking projectthrougha The SeattleSymphony thanksJamesand SherryRaisbeck experience orseamlesslydisappearintothebackground. the technologyinOctave9cancreateashared360°virtual of-the-art MeyerSoundConstellation® Acoustic System, short-throw projectors,motion-capturecameras,andastate- Combining amodularsurroundprojectionsurface, ultra- impact inthecommunity. programs, providingaplatformthatwilldeepenlearningand be ahomefortheSymphony’s communityandeducation of musicalexperiences.Octave9willalsocontinueto in Octave9, leveragingtechnologytopioneerthefuture broad rangeofcreativeresidenciesandperformances Opening inearly2019, theSeattleSymphony willhosta through thefusionofmusicandtechnology. creative possibilityandimmersevisitorsinnewworlds at BenaroyaHall.Octave9willstretchtheboundariesof Soundbridge Octave 9:Raisbeck MusicCenter, locatedintheformer new, innovativelearningandperformancevenuecalled On June20theSeattleSymphony unveiledplansfora seattlesymphony .org/liszt
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