Valor & Remembrance Saturday, November 3, 2018 • 7:30 p.m. First Free Methodist Church

Orchestra Seattle Seattle Chamber Singers William White, conductor

LILI BOULANGER (1893 –1918) Pour les fun´eraillesd’un soldat

Charles Robert Stephens, baritone

PAUL HINDEMITH (1895 –1963) String Quartet No. 2 in F minor, Op. 10 I. Sehr lebhaft, straff im Rhythmus

Stephen Provine, violin • Fritz Klein, violin • Katherine McWilliams, viola • Matthew Wyant,

MAURICE RAVEL (1875 –1937) Concerto for the Left Hand

Dana Brown, piano

— intermission —

GUSTAV HOLST (1874 –1934) Ode to Death, Op. 38

HUBERT PARRY (1848 –1918) “There Is an Old Belief” from Songs of Farewell

MAURICE RAVEL La Valse (Poeme` choregraphique´ pour orchestre)

Please silence cell phones and other electronics, and refrain from the use of cameras and recording devices during the performance. OSSCS musicians will perform the Hindemith String Quartet No. 2 in its entirety at MOHAI on Tuesday, December 4. Please visit www.mohai.org/dissent-patriotism-or-treason for details. Special thanks to First Free Methodist Church and Ron Haight for all of their assistance in making OSSCS’s 49th season possible. Refreshments will be available in the Fine Center during intermission.

Orchestra Seattle • Seattle Chamber Singers William White, music director • George Shangrow, founder 1916 Pike Pl. Ste 12 #112, Seattle WA 98101 • 206-682-5208 • www.osscs.org Maestro’s Prelude Solo Artists

This evening we reflect on World War I, a conflict that ended Pianist Dana Brown has been heard at the Tanglewood Fes- 100 years ago but continues to shape and define our modern tival, the Ravinia Festival, world. We begin with music written by two members of the and many times on WFMT young generation, Lili Boulanger and Paul Hindemith. Radio as a soloist collab- For Lili Boulanger, the war offered her certain pro- orator, in addition to per- fessional opportunities she otherwise might have lacked. formances with WTTW’s Composer Vincent d’Indy, a major gatekeeper in early-20th- Chicago Tonight, Light century , had criticized her music for being too “fem- Opera Works of Evanston, inine” before the war, but was all too eager to embrace it L’Opera Piccola, the Chicago for being truly “French” during the conflict. Hindemith, Cultural Center and the having been conscripted into the Prussian army, used his Chicago Humanities Festival. talents to keep him away from the battlefield until the war’s As a coach, he has served on final weeks, allowing him to compose one of his earliest the faculty of Northwestern University, the Intermezzo masterpieces, the second string quartet. Young Artists Program, the Opera and Music Festival of Maurice Ravel and were aged 40 and 41, Lucca, Italy, and most recently the Taos Opera Institute in respectively, when the war broke out. Both wished des- Taos Ski Valley, New Mexico. As a solo pianist, he is a past perately to serve their countries, but were initially rejected. national winner of the National Federation of Music Clubs Ravel eventually found his way into the war as an ambu- Young Artist Competition, and has been the featured soloist lance and supply-truck driver, even working as an auto in concerti of Beethoven, Mozart, Mendelssohn, Brahms and mechanic (his father, a Swiss engineer, had done impor- Gershwin across the Midwest. A graduate of the University tant work that paved the way for the invention of the gas- of Michigan, where he studied with renowned accompanist powered motor). Holst would compose his magnum opus, Martin Katz, he is currently associate professor of Opera and , during the war, but in 1918 finally found an op- Vocal Coaching at the Chicago College of Performing Arts portunity to volunteer, directing a music therapy program at Roosevelt University, where he has taught and coached for the English branch of the YMCA in Thessaloniki, Greece. since 2001. At CCPA he musically directs opera, coaches Holst composed his Ode to Death as a memorial to graduate and undergraduates in the vocal performance friends he had lost during the war. Many of them had been programs, and teaches singer-specific classes in diction, art students of the eldest composer on our program, Sir Charles song literature and business practices. He is also co-artistic Hubert Hastings Parry, one of the foremost figures in the director of a new summer program for emerging singers, “Second English Renaissance.” Parry enjoyed a dual career the Up North Vocal Institute, held in Boyne, Michigan, as a composer and educator, serving for decades as head of and a staff pianist for the Ryan Opera Center at the Lyric the Royal College of Music, where he taught students such Opera of Chicago, where he has played in the lessons and as Ralph Vaughan Williams, Frank Bridge — and Gustav masterclasses of Marilyn Horne, Renata Scotto and Renee´ Holst. Alas, few of the youngest generation of Parry’s stu- Fleming. In 2013 he had the great honor of playing at the dents survived the war: their loss helped inspire his Songs 80th birthday celebration of Supreme Court Justice Ruth of Farewell, the fourth of which we will hear this evening. Bader Ginsburg at the Supreme Court Building. There is one more musician whose presence looms large over tonight’s concert. Although not a composer himself, Baritone Charles Robert Stephens has been hailed by The Paul Wittgenstein was a Viennese pianist who lost his right New York Times as “a bari- arm in combat near the Ukrainian border. He later used tone of smooth distinction.” his family’s considerable industrial fortune to commission In his two decades in New some of the finest contemporary composers to write him York City, he sang several concerti and chamber music to be played by the left hand roles with the New York alone, Ravel’s masterpiece being the outstanding example. City Opera and on numer- This concerto was far from Ravel’s only work influ- ous occasions at Carnegie enced in some way by the war. In La Valse, the elegant Hall. Now based in Seattle, Straussian waltz may be seen as a metaphor for the pre-war Mr. Stephens has frequently opulence that came crashing down between 1914 and 1918. appeared as a soloist with The work is a potent mix of nostalgia and foreboding, an the Seattle Symphony and appropriate symbol for a war that juxtaposed officers on is very active with ensem- horseback with soldiers in tanks. bles throughout the Pacific Northwest, including the orchestras of Tacoma, Spokane, Bellingham, Walla Walla and Yakima. He currently serves on the voice faculty at Pacific Lutheran University and teaches privately in Seattle. OSSCS 2018–2019 Season Focus: The Music of Lili Boulanger by Mary Moran Lili Boulanger composed predominantly for voice or This season, OSSCS examines the works of Lili Boulanger, a choir, either with piano accompaniment or full orchestra, French composer whose music has received little attention in the and she preferred the combination of vocal and instrumen- 100 years since her death at age 24. One of Boulanger’s works will tal forces over writing for orchestra alone. In much the same appear on each of five concerts, paired with music of composers way that Mozart’s music is frequently described as “oper- who influenced her, were influenced by her, or who wrote upon atic,” Boulanger’s music has a decidedly vocal quality to similar themes. it, even the instrumental pieces. Boulanger was devoutly During the course of her short but prominent career, Catholic, but notably interested in other religions and spir- the composer Lili Boulanger (1893–1918) was an icon of the itualism in general. She frequently chose to set biblical or entrance of women into French professional society in the religiously oriented texts, as well as texts by French sym- early part of the 20th century. The Boulanger family was bolist writers that reflect themes of sadness and loss, and something like musical aristocracy in 19th-century Paris. the inexpressible mysteries of the universe and of the hu- Lili Boulanger’s grandfather taught at the famed Paris Con- man soul. Her music is thus both intimate and immense, servatory, and her father Ernest was a well-known opera centered in the physical world but also transcendent of it. composer in his time, as well as a winner of the prestigious Boulanger deftly employed avant-garde techniques to Prix de Rome for composition — a competition also won by capture the ineffable qualities of religious rites through numerous other luminar- music in a way that few ies of the French classical- of her contemporaries did. music world, including Hec- Grounded in Catholic choral tor Berlioz, Georges Bizet and traditions, Boulanger often . set text in a style similar to Lili Boulanger and her Gregorian chant, and her mu- older sister Nadia both stud- sic always upholds the clar- ied composition at the Paris ity of the words. Her mu- Conservatory, a rare and no- sical language is comparable table undertaking for women to Claude Debussy’s, through at the time. In their careers, her preference for traditional both sisters struggled against church modes over major or the constraints of gender ex- minor scale tones, voices mov- pectations of the era. Na- ing in parallel motion, unre- dia competed unsuccessfully solved chords, and frequently for the Prix de Rome sev- repeated melodic and rhyth- eral times, but favoritism and Boulanger’s official portrait as winner of the 1913 Prix de Rome mic motives. Boulanger was noted misogyny of the judges thwarted her efforts. Lili later a masterful orchestrator, combining vocal and instrumental won the competition in 1913, the first woman to do so in lines to create ethereal and otherworldly tone colors. Her the category of music composition. During the month-long music never sounds atonal. Instead, she elicited a deeply felt competition and in subsequent press coverage, she took religious sentiment, timeless and tinged with mysticism, a pains to present herself in a specifically feminine and non- spiritual contrast to — and enhancement of — the symbolist threatening, even childlike, manner. This image, cultivated aesthetic of her era. from the archetype of the femme fragile popular in art and The appeal of Boulanger’s music, 100 years after her literature of the time, would follow Boulanger through her death, is still manifest. Her compositions hint at different short career, and be reinforced by music critics after her possibilities for the future of classical music, beyond the death in 1918 from complications of Crohn’s Disease. coldly rational rigors of serialism and atonality that reigned The legacy of Lili Boulanger is intertwined deeply with for much of the 20th century. Her musical evocations of her sister’s. Nadia herself gave up composing in 1922, spiritual anxiety and uncertainty speak to the disconnection but through her long career of teaching composition she and dissonance of our modern world as much as they res- arguably shaped the future of classical music more than onated in the decade of the First World War. The scope of any single person during the 20th century. Nadia was di- her compositions is remarkable, demonstrating substantial rectly responsible for the performance and publication of her skill and insight beyond the 24 years she lived. younger sister’s compositions. She edited and occasionally transcribed manuscripts, and oversaw recordings of Lili’s Mary Moran is author of The Choral Psalm Settings of Lili Boulanger: music, sharing her sister’s work with the hundreds of com- A Cultural and Historical Perspective of Psaumes 24, 129 and 130. position students she taught until her death in 1979 — and with the larger public through annual concerts she orga- For more information about the life and music of Lili Boulanger, nized in remembrance of Lili. please visit: www.osscs.org/lili Program Notes efiting from an assignment to a military band, where he played bass drum. (“I am told that never before has this in- Lili Boulanger strument been handled here with such rhythmic precision.”) Pour les funerailles´ d’un soldat In January 1918 he began composing a quartet for his Marie-Juliette Olga (“Lili”) Boulanger was born August 21, dear friends Emmy and Hans Ronnefeldt on the occasion 1893, in Paris, and died at M´ezy-sur-Seineon March 15, 1918. of their silver wedding anniversary. “I wish I could send She composed this work from August through October of 1912, you a really nice present,” he wrote to Emmy, “but out here completing the orchestration just before its premiere at the Paris I’m as poor as a church mouse.” A note accompanying the Conservatoire on February 11, 1913. In addition to chorus and score read: “My dearest wish is to give you . . . real pleasure solo baritone, the score calls for pairs of woodwinds (plus English with it. Not just with the dedication — which is after all just horn, bass clarinet and contrabassoon), 4 horns, 4 trumpets, 3 something one writes on the title page. You can rest assured trombones, tuba, timpani, percussion, 2 harps and strings. that the very first note of it was written for you, and every- In a 1921 biographical essay about Lili Boulanger for La thing that is in it now is yours entirely. If you enjoy listening Revue Musicale, Camille Mauclair deemed Pour les fun´erailles to it, as I hope, the work will have fulfilled its purpose.” d’un soldat “the noblest inspiration that has been revealed As the armistice approached, Hindemith served as a to us since the Funeral March of [Beethoven’s] Eroica Sym- sentry near the front at Flanders. “You have no idea how phony.” High praise indeed for a composition that began sick I am of this life,” he wrote to Emmy Ronnefeldt. “Will life as a mere homework assignment to set a text from Al- these stupid idiots of men never put an end to this fiendish fred de Musset’s five-act 1831 dramatic poem La coupe et war?” During the last week of the conflict, he survived a les l`evres, with Boulanger adjusting lines from their original grenade attack “by a miracle.” context to meet musical requirements. Giselher Schubert describes the first movement of Hin- Although Boulanger composed Pour les fun´erailles prior demith’s F-minor quartet as “a concise sonata [form] with to the Great War, it “remains her only composition that thematic material that is pithy and which never gets out of dealt unambiguously with the wartime suffering of sol- control or is too insistent.” A fugato episode in the devel- diers,” notes Anya Holland-Barry. Her “frequent use of text- opment (marked “completely listlessly, numb”) “maintains painting depicts a battle scene, the death of a soldier, and the identity of the fugal subject which is derived from the his ascent to heaven.” It was also her only choral-orchestral main theme, not just breaking it up or fragmenting it.” work she would hear performed during her lifetime. After a student reading at the Paris Conservatoire, the Societ´ e´ Maurice Ravel des Concerts Colonne-Lamoureux performed it on benefit Piano Concerto for the Left Hand concerts in November 1914 and November 1915. When the Joseph Maurice Ravel was born born March 7, 1875, in Ci- New York Philharmonic presented the first American per- boure, Basses-Pyr´en´ees,France, and died in Paris on December formance in October 1918, a New York Times review praised 28, 1937. He composed this concerto during 1929 and 1930. Paul Boulanger’s “effective use of antique ecclesiastical modes.” Wittgenstein gave the premiere in Vienna on January 5, 1932, ac- The work opens with the trappings of a funeral march, companied by the Vienna Symphony under the direction of Robert with percussion dropping out at the opening line, “Qu’on Heger. The accompaniment requires 3 flutes (one doubling pic- voile les tambours”; the word-painting continues at ‘Qu’on colo), 2 oboes, English horn, 2 clarinets, E[ clarinet, bass clarinet, dise devant nous la priere` des morts” when Boulanger 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, quotes the opening phrase of the Dies Irae, the Gregorian timpani, percussion, harp and strings. plainchant for the dead. Had Paul Wittgenstein not been shot in the elbow dur- ing the opening months of World War I, necessitating the Paul Hindemith amputation of his right arm, history would likely remem- String Quartet No. 2 in F minor, Op. 10 ber him as the older brother of famed philosopher Ludwig Hindemith was born November 16, 1895, near Frankfurt, Wittgenstein. But after time in a Siberian POW camp, Paul where he died on December 28, 1963. He composed this quartet in Wittgenstein returned home to Austria in 1916 and began Alsace, France, during the first four months of 1918. The Rebner rebuilding his career as a solo pianist. Quartet gave the first performance on June 6, 1919, in Frankfurt. To supplement a meager supply of existing left-hand By the time he turned 20, Paul Hindemith had become exercises and some arrangements of his own, Wittgenstein second violinist in the Rebner Quartet and been hired by commissioned music from several composers, among them: the Frankfurt Opera Orchestra (where he soon became con- Josef Labor (a family friend), Paul Hindemith, Richard certmaster). In 1916 he won a substantial prize for his Op. 2 Strauss, Franz Schmidt, Erich Wolfgang Korngold, Sergei string quartet (unpublished during his lifetime). Prokofiev and Benjamin Britten. But the resulting works Hindemith was conscripted into the German army in were often at odds with the pianist’s conservative musical August 1917, undergoing basic training near his home in tastes (or their technical demands proved insurmountable), Frankfurt. Ordered to France in early 1918, he steered clear so he never ended up performing many of them. of combat duty by ingratiating himself to music-loving com- Maurice Ravel first encountered Wittgenstein during manding officers, organizing quartet performances and ben- a “stay in Vienna, which was occupied by rehearsals at the Opera of L’enfant et les sortil`eges and by Mme. Ida Ru- War,” finishing it shortly before Britain’s declaration of war binstein’s performances in which I conducted La Valse and on Germany in August. By early 1916, six other movements Bol´ero.” He heard the pianist perform “a concerto for the left had joined “Mars” to form The Planets; orchestration took hand alone by Richard Strauss. another year, followed by an oratorio, The Hymn of Jesus. “A severe limitation of this sort poses a rather arduous Mere weeks before the end of World War I, Holst problem for the composer. The attempts at resolving this departed for Greece and Turkey, where he worked as a problem, moreover, are extremely rare, and the best known YMCA volunteer organizing musical presentations at mil- among them are the Six Etudes for the Left Hand by Saint- itary camps. After returning to England in June 1919, the Saens.¨ Because of their brevity and sectionalization, they composer began work on Ode to Death, another setting of avoid the most formidable aspect of the problem, which poetry drawn from Whitman’s , this time is to maintain interest in a work of extended scope while “Memories of President Lincoln” (Paul Hindemith would utilizing such limited means. make use of the same text in his 1946 Requiem, When “The fear of difficulty, however, is never as keen as the Last in the ’d). No formal dedication appears pleasure of contending with it, and, if possible, of overcom- in the score, but Holst’s daughter, Imogen, later reported ing it. That is why I acceded to Wittgenstein’s request to that he had written names of young musician friends lost in compose a concerto for him. I carried out my task with en- the war in his sketches (among them composer Cecil Coles). thusiasm, and it was completed in a year, which represents By the time Ode to Death premiered at the Leeds Festival a minimum delay for me.” Ravel took on the commission in October 1922, Holst had been catapulted from relative ob- even though he was already at work on a (two-handed) scurity to widespread fame by the popularity of The Planets. piano concerto for his own use. He “was astonished to find that he was now regarded as a The left-hand concerto, wrote Ravel, “is divided into celebrity, and after the concert had to be escorted to the po- two parts which are played without pause. It begins with a lice station until mobs of admirers and autograph-hunters slow introduction, which stands in contrast to the powerful had dispersed.” Holst casts the opening and closing pages 7 entrance of theme one; this theme will later be off set by a of his compact setting of Whitman’s text largely in 4 time, 5 second idea, marked espressivo, which is treated pianistically with a faster central episode in 4 (calling to mind “Mars”). as though written for two hands, with an accompaniment figure weaving about the melodic line. Hubert Parry “The second part is a scherzo based upon two rhythmic “There Is an Old Belief” from Songs of Farewell figures. A new element suddenly appears in the middle, Sir Charles Hubert Hastings Parry was born February 27, a sort of ostinato figure extending over several measures 1848, in Bournemouth, and died October 7, 1918, in Rustington, which are indefinitely repeated but constantly varied in England. He composed the first version of this motet for a 1907 their underlying harmony, and over which innumerable memorial service. Hugh Allen conducted the premiere of the final rhythmic patterns are introduced which become increas- version at the Royal College of Music on May 22, 1916. ingly compact. This pulsation increases in intensity and A prolific composer as well as an influential writer and frequency, and following a return of the scherzo, it leads to teacher, Hubert Parry served for 35 years as a professor at an expanded reprise of the initial theme of the work and (and then director of) the Royal College of Music, where finally to a long cadenza, in which the theme of the introduc- his students included Holst and Vaughan Williams. He tion and the various elements noted in the beginning of the composed the first version of the motet on this evening’s concerto contend with one another until they are brusquely program for the sixth anniversary of the death of Queen Vic- interrupted by a brutal conclusion.” toria, revising it extensively in 1913, and adding five more motets over the next two years to form his Songs of Farewell. Gustav Holst The Bach Choir, in which Parry had sung bass for many Ode to Death, Op. 38 years, premiered five of the six movements in May 1916, Gustavus Theodore von Holst was born September 21, 1874, encoring “There Is an Old Belief.” in Cheltenham, England, and died in London on May 25, 1934. At this time Parry was suffering the effects of a heart Composed during 1919, this work received its first performance ailment that would take his life. By February 1918, his mind at the Leeds Festival on October 6, 1922, under the direction of (according to Herbert Howells) “was more than ever on Albert Coates. The choral accompaniment requires pairs of wood- the Songs of Farewell for he knew then that this magnificent winds (plus English horn), 4 horns, 3 trumpets, 3 trombones, codicil was his spiritually unorthodox farewell to a world timpani, harp and strings. in turmoil and distress.” Due to frail health, Holst could not serve in the military during the Great War, so he remained at his teaching job at Maurice Ravel St. Paul’s Girls’ School (dropping ”von” from his Germanic- La Valse (Po`emechor´egraphiquepour orchestre) sounding surname), with weekends and holidays devoted Ravel composed this work from December 1919 through to composition. After completing A Dirge for Two Veterans March 1920. Camille Chevillard led the Lamoureux Orchestra in (setting poetry from ’s Leaves of Grass) in the the premiere of the orchestra version on December 12, 1920, in spring of 1914, he began sketching “Mars, the Bringer of Paris. The score calls for triple woodwinds (including piccolo, En- glish horn, bass clarinet and contrabassoon), 4 horns, 3 trumpets, with Ravel, who premiered La Valse as an orchestral work 3 trombones, tuba, timpani, percussion, 2 harps and strings. (although Ida Rubinstein would choreograph it in 1926). The beginnings of La valse date from 1906, when Ravel In 2009 musicologist David Lamaze proposed that the began sketching Wien, a tribute to to the music of Johann motivic figure E–B–A (omnipresent in La Valse, but found Strauss Jr. He set the work aside for some time, returning to in many other Ravel compositions), or mi–si–la in French, it at the request of ballet impresario Sergei Diaghilev. Ravel represented Misia Sert, a close friend of Ravel’s and the intended to create “a kind of apotheosis of the Viennese woman to whom he dedicated La Valse. waltz, with which is mingled in my mind the idea of the “Some people have discovered in it an intention of par- fantastic whirl of destiny” and devised his own scenario, set ody, even of caricature, while others plainly have seen a in “an imperial court” around 1855: tragic allusion — end of the Second Empire, state of Vienna “Swirling clouds afford glimpses, through rifts, of after the war, etc.,” Ravel wrote to a friend. “Tragic, yes, waltzing couples. The clouds scatter little by little; one it can be that like any expression — pleasure, happiness — can distinguish an immense hall with a whirling crowd. which is pushed to extremes. You should see in it only what The scene grows progressively brighter. The light of the comes from the music: a mounting volume of sound.” Nev- chandeliers bursts forth at the fortissimo.” ertheless, it is difficult to imagine La Valse would have been Diaghilev found the result undanceable. “It’s a master- the same had Ravel written it prior to World War I rather piece, but it’s not a ballet,” he said. “It’s the portrait of a than during its immediate aftermath. ballet, a painting of a ballet.” This caused a permanent rift — Jeff Eldridge

Vocal Texts and Translations

Pour les fun´eraillesd’un soldat For the Funeral of a Soldier Qu’on voile les tambours, que le pretreˆ s’avance. Let the drums be enshrouded, let the priest step forth. A genoux, compagnons, teteˆ nue et silence. Upon your knees, comrades, bare your heads and keep silence. Qu’on dise devant nous la priere` des morts. Let the prayer of the dead be said before us. Nous voulons au tombeau porter le capitaine. We wish to the tomb to take the captain. Il est mort en soldat, sur la terre chretienne.´ He has died a soldier, upon Christian ground. L’ameˆ appartient a` Dieu; l’armee´ aura le corps. The soul belongs to God; the army shall have the body. Si ces rideaux de pourpre et ces ardents nuages, If these purple drapes and these menacing clouds, Que chasse dans l’ether´ le souffle des orages, Which hunt in the ether the breath of storms, Sont des guerriers couches´ dans leurs armures d’or, Are warriors laid out in their golden armor, Penche-toi, noble cœur, sur ces vertes collines, Inclinest thou, noble heart, upon these green hills, Et vois tes compagnons briser leurs javelines And see your companions break their javelins Sur cette froide terre, ou` ton corps est reste!´ Upon this cold earth, where your body now rests! — (1810–1857) Translation: William White

Ode to Death The night in silence under many a star, Come lovely and soothing death, The ocean shore and the husky whispering wave whose voice I know, Undulate round the world, serenely arriving, arriving, And the soul turning to thee O vast and well-veil’d death, In the day, in the night, to all, to each, And the body gratefully nestling close to thee. Sooner or later delicate death. Over the tree-tops I float thee a song, Prais’d be the fathomless universe, Over the rising and sinking waves, over the myriad fields For life and joy, and for objects and knowledge curious, and the prairies wide, And for love, sweet love — but praise! praise! praise! Over the dense-pack’d cities all and the teeming wharves and ways, For the sure-enwinding arms of cool-enfolding death. I float this carol with joy, with joy to thee O death. Dark mother always gliding near with soft feet, — Walt Whitman (1819–1892) Have none chanted for thee a chant of fullest welcome? Then I chant it for thee, I glorify thee above all, There Is an Old Belief I bring thee a song that when thou must indeed come, There is an old belief, come unfalteringly. That on some solemn shore, Beyond the sphere of grief Approach strong deliveress, Dear friends shall meet once more. When it is so, when thou hast taken them I joyously sing the dead, Beyond the sphere of Time and Sin Lost in the loving floating ocean of thee, And Fate’s control, Laved in the flood of thy bliss O death. Serene in changeless prime From me to thee glad serenades, Of body and of soul. Dances for thee I propose saluting thee, . . . That creed I fain would keep And the sights of the open landscape That hope I’ll ne’er forgo, and the high-spread sky are fitting, Eternal be the sleep, And life and the fields, and the huge and thoughtful night. If not to waken so. — John Gibson Lockhart (1794–1854) Violin E[ Clarinet Soprano Tenor Susan Beals Chris Peterson Barb Anderson Juan Pablo Bustos Azzurra Cox Lindsey Arrington Ralph Cobb Lauren Daugherty Bass Clarinet Ann Bridges Fabian´ D´ıaz Dean Drescher Cynthia Ely Sue Cobb Tyler Freeman Carlos Garcia Abigail Owens Cooper Aaron Keyt Stephen Hegg Bassoon Cinda Freece Jon Lange § Maria Hunt Aaron Chang Rachel Johnson German Mendoza Jr. Fritz Klein* Jeff Eldridge* Peggy Kurtz § Tom Nesbitt Mark Lutz Kathleen Sankey Scott Shawcroft Gregor Nitsche Contrabassoon Nancy Shasteen Susan Ovens Michel Jolivet Gloria Tzuang Bass Stephen Provine** Cassie Van Pay Timothy Braun Theo Schaad French Horn Andrew Danilchik Janet Showalter Barney Blough Alto Stephen Keeler Nicole Tsong Don Crevie Sharon Agnew Kevin Lam Laurie Heidt* Cheryl Blackburn Byron Olivier Viola Jim Hendrickson Deanna Fryhle Glenn Ramsdell Grant Hanner Ivan Gonzalez Steven Tachell Katherine McWilliams Trumpet Susan Harmon Skip Viau Lauren Lamont Mark Anstadt Pamela Ivezic´ William Willaford Hakan˚ Olsson Ian Newhall Ellen Kaisse Richard Wyckoff § Stephanie Read Delsin Thomas Jan Kinney Sam Williams* Janet Young* Lorelette Knowles Ianna Lee Cello Trombone Theodora Letz Peter Ellis Cuauhtemoc Escobedo* Lila Woodruff May Karen Helseth Chad Kirby Laurie Medill § Christy Johnson Jim Hattori Audrey Morin Katie Sauter Messick Annie Roberts Tuba Matthew Wyant* David Brewer

Bass Timpani Jo Hansen Daniel Oie Kevin McCarthy Steven Messick* Percussion Chris Simison Ginny Bear Kathie Flood Flute Jackson Miller Virginia Knight Milo Paperman Shari Muller-Ho* Phillip Radtke

Piccolo Harp Melissa Underhill Catherine Case Bethany Man Oboe Kristine Kiner ** concertmaster Rebecca Salmon* ** principal *§ section leader English Horn John Dimond

Clarinet Steven Noffsinger* Kristin Schneider OSSCS Supporters Paula Rimmer Chris Peterson Gloria Tzuang Murl Allen Sanders Lesley Petty Cassie Van Pay Conductor’s Circle Theo & Barbara Schaad Stephen Poteet Karoline Vass [$10,000+] Christopher & Jana Simison Stephanie Read Jack & Adele Walimaki Allen & Christine Rickert Sheila Smith & Don Ferguson Carol Robeck Petra Walker Composer’s Circle Ann Thompson Valerie Ross Robert Weltzien [$5,000–$9,999] John & Ruth Rugh Alastair Willis Anonymous Presto [$250–$499] David & Barbara Sachi Rick Wyckoff & Carol Judge Barbara & Eugene Kidder Anonymous Geralyn Shreve Mark Wysocki Pamela McPeek & Bill Halligan David & Julia Brewer Ellen M. Smith David Zapolsky Colleen Childs Eugene & Marcia Smith Piano [$25–$49] & Lynn Hubbard Carolyn Daoust Kenna Smith-Shangrow Timothy & Andrea Braun Gerard Fischer & Robert Shangrow Marshall Brown Concerto Circle [$2,500–$4,999] Jason Hershey Steven Tachell & Kathryn Weld Cynthia Ely Seattle Office of Arts & Culture Mike Hopkins David & Reba Utevsky Tyler Freeman Pam Kummert Skip Viau Jean Hall Cadenza Circle [$1,000–$2,499] Peggy & David Kurtz Anthony Warren Rachel Johnson Karen Abbey Max Lieblich & June Spector James Whitson Aaron Keyt Sharon & Andre´ Agnew Steven & Theresa Quig Sam Williams Kevin Lam Anonymous Glen Ramsdell Janet Young Carey LaMothe Susan & Hal Beals Annie Roberts Lindsey Long Ben & Nancy Brodie Randy & Willa Rowher Andante [$50–$99] Pavle Mgeladze Crissa Cugini James van Zee Anonymous Steven Noffsinger 4Culture Jay V. White Hilary Anderson Rebecca Salmon Deanna & Craig Fryhle Matthew Wyant Virginia Bear Gerald Sams Ted & Carol Hegg & Bonnie Light Kathleen Blanchard Margaret Siple Ellen Kaisse & Gary Roberts Abigail Owens Cooper Julia Akoury Thiel Stephen & Mary Keeler Allegro [$100–$249] Ivan Gonzalez Emmy Wiesinger-Hoech Mark Lutz Barb & Tom Anderson Jean Hall William Willaford Lila Woodruff May Anonymous (2) Dennis & Ingrid Hansen Gary & Barbara Messick Tom Bird Patricia Hayes In Memoriam Steven & Katie Messick Cheryl Blackburn Ron & Virginia Hebron Sam Fain Dennis & Jean Moore Ann Bridges Karen Helseth Karen Fant Stephen Provine & Jennifer Caine Deborah Daoust Irmgard Hunt Julianna Hansen Janet & Michael Showalter Kyla DeRemer & David Weidner Pamela & Zeljkoˇ Ivezic´ Gloria Hodges Liesel van Cleeff Mary Virginia Dombrowski Laurie Heidt & Joe Jimenez Richard Lofstedt Kathleen Flood Kenneth Johnson George Shangrow (3) Vivace [$500–$999] Cinda Freece Jan Kinney Irene White Jane Blackwell Deborah Fulton-Kehoe Chad Kirby Ralph & Sue Cobb Phillip Gladfelter Nancy Lawton In Honor of Moc Escobedo Gunnar Goerlitz Jeffrey Lieblich Jo Hansen & Maria Hunt-Escobedo N. Michael & Morreen Hansen Kathleen Lofstedt Stephen Hegg Jo Hansen Susan Herring Patricia Lyon Kathy Johnson Hougardy Susan Harmon & Richard Brenda Hogarth Anne Mack Christy Johnson Meyer Bill & Nan Hough Karen McCahill Eugene Kidder Jim Hattori Peggy Hudson Laurie Medill & David Savage Clinton Smith (3) Stephen Hegg & David Reyes Christy Johnson Audrey Morin & Olivier Mercier Matching Gifts Jim & Joanne Hendrickson Sinan Karasu Christine Moss The Boeing Co. Rosemary & Dick James Virginia Knight Thomas J. Nesbitt Microsoft Fritz Klein Lorelette & Walter Knowles Whitney Neufeld-Kaiser Jon & Elizabeth Lange Rabi Lahiri Betsy Robertson In-Kind Support Daniel Lee David Martin Michael & Edith Ruby Seattle Foundation Theodora Letz & Paul Blinzer Matthew Mirarchi Kathleen Sankey Woodhouse Wine Estates Eileen Lusk Howard Morrill Nancy Shasteen Joseph Marceau Gregor & Kathy Nitsche Ron Shiley Corporate Underwriting Katherine McWilliams & Curt Feig Karen & Daniel Oie Nicole Tsong Coldwell Banker Bain Northwest Chopin Festival Susan & David Ovens Thurbon Tukey Construction Dispute Resolution

OSSCS, a non-profit 501(c)3 arts organization, wishes to thank all of the supporters who have made our first 49 seasons possible. The above list includes tax-deductible gifts received from August 1, 2017, through October 28, 2018. Please e-mail [email protected] if you notice omissions or inaccuracies. Contributions are fully tax-deductible. To make a donation, please visit www.osscs.org/support, see a volunteer in the lobby during intermission or after the concert, or call 206-682-5208.