JANUARY 2019 GRAMOPHONE’S ORCHESTRA OF THE YEAR

LUDOVIC MORLOT, MUSIC DIRECTOR

SHIYEON SUNG CONDUCTS CELEBRATE ASIA

LUDOVIC MORLOT CONDUCTS BEETHOVEN & SHOSTAKOVICH ITZHAK PERLMAN PLAYS BRUCH'S VIOLIN CONCERTO CAROLINE SHAW NEW PIANO CONCERTO: WATERMARK B:8.625” T:8.375” S:7.375”

BELLEVUE SQUARE T:10.875” S:9.875” B:11.125”

FEEL THE MAGIC | HOLIDAY 2018

Untitled-1 1 11/15/18 3:23 PM

STANDARD NOTES PUBLICATION SEATTLE SYMPHONY UNIT/SIZE PAGE INSERTION DATE 12/07, 01.04 — All images are FOR PLACEMENT ONLY. DOCUMENT NAME: BRSP18DE_PDM_PRINT_SEATTLESYMPHONY.INDD — Replace images with most updated version. PRODUCTION ARTIST: PIERXE LUONG FILE PATH: ...G:BRSP18HO_PDM_PRINT_LRA_ADS:MECHANICALS:DECEMBER LRA ADS:BRSP18DE_PDM_PRINT_SEATTLESYMPHONY.INDD DESIGNER: SARASVATI MUNOZ BLEED: 8.625” X 11.125” LASER SCALE: NONE ADDITIONAL NOTES COPY/PROOF READ: NONE TRIM: 8.375” X 10.875” LAST MODIFED: 10-8-2018 10:55 AM ACCOUNT MANAGER: DAVID PRETZOLD LIVE: 7.375” X 9.875” MODIFED BY: PIERXE LUONG ENCORE PRINT PRODUCTION: MARY AGRESTA GUTTER: NONE DUE TO PUB: NONE PROJECT MANAGER: SEATTLE SYMPHONY NICOLE SKAFF SCALE: 100% IMAGE CODE: 18HO536_BRS_08_0470_V3.TIFF, BRSP_TP_RM_JON- FONTS: EUCLID CIRCULAR B (MEDIUM) COLORS: CYAN GUSTAFSSON_070_V7.TIFF MAGENTA YELLOW BLACK

44157 Banana Republic Oris CH M44157_Seattle_Symphony_12_07.01_04 10/08/18 PMSxxxx PMSxxxx PMSxxxx PMSxxxx 8:57 PM CONTENTS JANUARY 2019

4 / CALENDAR

6 / MEET THE MUSICIANS

8 / THE SYMPHONY

10 / NEWS

FEATURES

12 / Caroline Shaw

CONCERTS

14 / January 4, 5 & 6 Storm Large Love, Lust & Rock ‘n’ Roll 16 / January 8 JANE with the Seattle Symphony 18 / January 11 & 12 The Bach Family Tree 21 / January 17 & 18 Brahms Symphony No. 3 26 / January 22 Itzhak Perlman Bruch Violin Concerto

STORM LARGE 28 / January 27

Photo: Laura Domela Photo: Celebrate Asia 14 30 / January 29 Leonidas Kavakos & Enrico Pace 33 / January 31, February 1 & 2 Beethoven Piano Concerto No. 3

46 / BENAROYA HALL GUIDE

MAHAN ESFAHANI ITZHAK PERLMAN 47 / THE LIS(Z)T Photo: Kaja Smith Photo: 18 Mazzucco Lisa-Marie Photo: 26

ON THE COVER: Shiyeon Sung (page 28) by Yongbin Park COVER DESIGN: Kate Hourihan EDITOR: Heidi Staub

© 2019 Seattle Symphony All rights reserved. No portion of this work may be reproduced in any form or by any electronic or mechanical means without written permission from the Seattle Symphony. All programs and artists are subject to change.

encoremediagroup.com/programs 3 PERFORMANCE SPACE: LOOKING AHEAD: ON THE DIAL: Tune in to Classical ■ S. MARK TAPER FOUNDATION AUDITORIUM KING FM 98.1 every Wednesday at 8pm ■ ILLSLEY BALL NORDSTROM RECITAL HALL for a Seattle Symphony spotlight and FEBRUARY ■ SAMUEL & ALTHEA STROUM GRAND LOBBY the first Friday of every month at 9pm ■ NORCLIFFE FOUNDERS ROOM for concert broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

12pm 1 2pm 2 Beethoven Piano “The Play of Sounds” Concerto No. 3 Tchaikovsky’s Suite SEATTLE SYMPHONY No. 2 SEATTLE 7:30pm PHILHARMONIC Masters of Scottish ORCHESTRA Arts CELTIC ARTS 8pm FOUNDATION Beethoven Piano Concerto No. 3 SEATTLE SYMPHONY

3 4 5 6 7 8 9 7:30pm 10:30am 9:30, 10:30 & 11:30am Silkroad Ensemble Tiny Tots: The Brass: Tiny Tots: The Brass: SEATTLE SYMPHONY Ferdinand the Bull Ferdinand The Bull SEATTLE SYMPHONY SEATTLE SYMPHONY

8pm 8pm E.T. The Extra- E.T. The Extra- Terrestrial In Concert Terrestrial in Concert SEATTLE SYMPHONY SEATTLE SYMPHONY

10 11 12 13 14 15 16 1pm 7pm 7:30pm 7:30pm 7:30pm MONC Auditions – Catholic Choir Prokofiev Symphony A Bowie Celebration I Got a Right to NW Region Finals Festival No. 7 LIVE @ BENAROYA HALL Sing the Blues METROPOLITAN OPERA ARCHDIOCESE OF SEATTLE SYMPHONY SEATTLE REPERTORY NATIONAL COUNCIL SEATTLE 7:30pm JAZZ ORCHESTRA Side-by-Side 2pm with Ballard Civic 8pm E.T. The Extra- Orchestra Prokofiev Symphony Terrestrial in Concert SEATTLE SYMPHONY No. 7 SEATTLE SYMPHONY SEATTLE SYMPHONY 8pm Andre Feriante Day of Love Concert ANDRE FERIANTE

2pm 17 7:30pm 18 7:30pm 19 20 21 8pm 22 11am 23 Lawrence Brownlee Songplay: Featuring The Chieftains Amadeus Live Family Concerts: & Eric Owens in Joyce DiDonato LIVE @ BENAROYA with the Seattle Peter and the Wolf Recital SEATTLE SYMPHONY HALL Symphony SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY 7:30pm 8pm 7pm Debussy String Amadeus Live Schubert & Britten Quartet with the Seattle BYRON SCHENKMAN & SEATTLE SYMPHONY Symphony FRIENDS SEATTLE SYMPHONY

2pm 24 7:30pm 25 7:30pm 26 7:30pm 27 7:30pm 28 Untamed Untamed Untamed Zadie Smith Sir András Schiff NATIONAL NATIONAL NATIONAL SEATTLE ARTS & Conducts & Plays GEOGRAPHIC LIVE GEOGRAPHIC LIVE GEOGRAPHIC LIVE LECTURES SEATTLE SYMPHONY

seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832

4 SEATTLESYMPHONY.ORG PERFORMANCE SPACE: ■ LOOKING AHEAD: ON THE DIAL: Tune in to Classical ON THE BEAT ■ S. MARK TAPER FOUNDATION AUDITORIUM KING FM 98.1 every Wednesday at 8pm ■ ILLSLEY BALL NORDSTROM RECITAL HALL for a Seattle Symphony spotlight and Who’s Here FEBRUARY ■ SAMUEL & ALTHEA STROUM GRAND LOBBY the first Friday of every month at 9pm ■ NORCLIFFE FOUNDERS ROOM for concert broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL to Hear

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

12pm 1 2pm 2 Beethoven Piano “The Play of Sounds” Concerto No. 3 Tchaikovsky’s Suite SEATTLE SYMPHONY No. 2 SEATTLE 7:30pm PHILHARMONIC Masters of Scottish ORCHESTRA Arts CELTIC ARTS 8pm FOUNDATION Beethoven Piano Concerto No. 3 SEATTLE SYMPHONY

3 4 5 6 7 8 9 7:30pm 10:30am 9:30, 10:30 & 11:30am Silkroad Ensemble Tiny Tots: The Brass: Tiny Tots: The Brass: SEATTLE SYMPHONY Ferdinand the Bull Ferdinand The Bull SEATTLE SYMPHONY SEATTLE SYMPHONY

8pm 8pm E.T. The Extra- E.T. The Extra- Terrestrial In Concert Terrestrial in Concert SEATTLE SYMPHONY SEATTLE SYMPHONY Photo: James Holt James Photo:

I played a little bit in middle school band but I don’t really 10 11 12 13 14 15 16 1pm 7pm 7:30pm 7:30pm 7:30pm have any musical talent so I chose to MONC Auditions – Catholic Choir Prokofiev Symphony A Bowie Celebration I Got a Right to just appreciate music. I’ve lived in NW Region Finals Festival No. 7 LIVE @ BENAROYA HALL Sing the Blues METROPOLITAN OPERA ARCHDIOCESE OF SEATTLE SYMPHONY SEATTLE REPERTORY Seattle for two years and I’ve been to NATIONAL COUNCIL SEATTLE 7:30pm JAZZ ORCHESTRA Side-by-Side Benaroya Hall but this is my first time 2pm with Ballard Civic 8pm going to the Symphony. I like that E.T. The Extra- Orchestra Prokofiev Symphony THE (R)EVOLUTION Terrestrial in Concert SEATTLE SYMPHONY No. 7 there’s a ton to do in Seattle. It’s pretty SEATTLE SYMPHONY SEATTLE SYMPHONY 8pm easy to keep a busy social calendar. Andre Feriante Day of Love Concert Most weekends I go out on Capitol Hill OF STEVE JOBS ANDRE FERIANTE or go to the movies or go out for a cocktail with my friends.

2pm 17 7:30pm 18 7:30pm 19 20 21 8pm 22 11am 23 FEB. 23–MAR. 9 Lawrence Brownlee Songplay: Featuring The Chieftains Amadeus Live Family Concerts: I’m here tonight because my co-worker Opera, 2017 Fe Santa For Howard Ken © Photo & Eric Owens in Joyce DiDonato LIVE @ BENAROYA with the Seattle Peter and the Wolf gave me his tickets and I decided to Recital SEATTLE SYMPHONY HALL Symphony SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY check it out. I’m not quite sure what to 7:30pm 8pm 7pm Debussy String Amadeus Live expect this evening, but I’m sure it will Schubert & Britten Quartet with the Seattle be a great concert. I’m just excited to “TOTALLY USER-FRIENDLY!” West Coast Premiere! BYRON SCHENKMAN & SEATTLE SYMPHONY Symphony –The Los Angeles Times In English with English subtitles. FRIENDS SEATTLE SYMPHONY see what’s in store! Evenings 7:30 PM This innovative and crowd-pleasing Sunday 2:00 PM portrait of Apple’s visionary co-founder – Celine dazzles with “visually stunning” (ABQ Featuring the Seattle Opera Chorus Journal) staging and lyrical, cutting-edge and members of Seattle Symphony Orchestra. 2pm 24 7:30pm 25 7:30pm 26 7:30pm 27 7:30pm 28 music mixing traditional and electronic Untamed Untamed Untamed Zadie Smith Sir András Schiff instrumentation. Compelling, funny, and NATIONAL NATIONAL NATIONAL SEATTLE ARTS & Conducts & Plays MCCAW HALL GEOGRAPHIC LIVE GEOGRAPHIC LIVE GEOGRAPHIC LIVE LECTURES SEATTLE SYMPHONY CONNECT WITH US: touching, the unique production “does 206.389.7676 what opera does best: giving audiences a Share your photos using #ListenBoldly and SEATTLEOPERA.ORG/STEVEJOBS follow @seattlesymphony on Facebook, glimpse into the inner life of its title 2018/19 SEASON SPONSOR: character” (Marin Independent Journal). LENORE M. HANAUER Instagram, Twitter and Snapchat. Download PRODUCTION SPONSORS: the Listen Boldly app to easily purchase Don’t miss this remarkable example of ARTSFUND, C.E. STUART CHARITABLE TRUST, TAGNEY JONES FAMILY FUND AT tickets, skip the Ticket Office lines and receive theatrical imagination. SEATTLE FOUNDATION exclusive offers.

Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832

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

French conductor Ludovic Morlot was Chief Conductor of La Monnaie for three years Morlot has been Music (2012–14). During this time he conducted several new Director of the Seattle productions including La Clemenza di Tito, Jenu°fa and Pelléas Symphony since 2011. et Mélisande as well as concert performances in both Brussels During the 2018–2019 and at the Aix-en-Provence Easter Festival. season they will continue in their incredible Trained as a violinist, Morlot studied conducting at the Pierre musical journey, focusing Monteux School (U.S.) with Charles Bruck and Michael Jinbo. particularly on the music He continued his education in London at the Royal Academy of Debussy, and works by of Music and then at the Royal College of Music as recipient composers he influenced of the Norman del Mar Conducting Fellowship. Morlot was or that influenced him. elected a Fellow of the Royal Academy of Music in 2014 in Among others, newly recognition of his significant contribution to music. He is commissioned works this Chair of Orchestral Conducting Studies at the University of season are Caroline Shaw’s Washington School of Music. Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: Piano Concerto and the U.S. premiere of Pascal Dusapin’s At Swim-Two-Birds. The orchestra has many successful recordings on their label which have won three Grammy Awards.

SEATTLE SYMPHONY ORCHESTRA ROSTER

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

FIRST VIOLIN Wes Dyring OBOE Jonathan Karschney KEYBOARD Noah Geller Allison Farkas * Mary Lynch Assistant Principal Joseph Adam Sayaka Kokubo David & Amy Fulton Concertmaster Principal Jenna Breen Organ + Daniel Stone Supported by anonymous donors John Turman Open Position, Rachel Swerdlow Danielle Kuhlmann Clowes Family Associate Concertmaster Julie Whitton Ben Hausmann PERSONNEL MANAGER Associate Principal Open Position TRUMPET Scott Wilson CELLO Chengwen Winnie Lai Assistant Concertmaster David Gordon Efe Baltacıgil Stefan Farkas ASSISTANT PERSONNEL Simon James Boeing Company Principal Trumpet MANAGER Marks Family Foundation Principal Cello Second Assistant Concertmaster ENGLISH HORN Alexander White Keith Higgins Meeka Quan DiLorenzo Jennifer Bai Stefan Farkas Assistant Principal Mariel Bailey Assistant Principal LIBRARY Christopher Stingle Cecilia Poellein Buss Nathan Chan CLARINET Michael Myers Robert Olivia Timothy Garland Eric Han Benjamin Lulich Associate Librarian Leonid Keylin Bruce Bailey TROMBONE Mae Lin Roberta Hansen Downey Mr. & Mrs. Paul R. Smith Principal Jeanne Case Mikhail Shmidt Walter Gray Clarinet Ko-ichiro Yamamoto Librarian Clark Story Vivian Gu Emil Khudyev Principal Rachel Swerdlow John Weller Joy Payton-Stevens Associate Principal David Lawrence Ritt Assistant Librarian Jeannie Wells Yablonsky David Sabee Laura DeLuca Stephen Fissel Arthur Zadinsky Dr. Robert Wallace Clarinet TECHNICAL DIRECTOR BASS BASS TROMBONE Eric Jacobs Joseph E. Cook SECOND VIOLIN Jordan Anderson Stephen Fissel Elisa Barston Mr. & Mrs. Harold H. Heath Principal E-FLAT CLARINET ARTIST IN ASSOCIATION Principal String Bass TUBA Laura DeLuca Dale Chihuly Michael Miropolsky Joseph Kaufman John DiCesare John & Carmen Delo Assistant Principal BASS CLARINET Principal 2018–2019 SEASON Assistant Principal Second Violin COMPOSER IN RESIDENCE Jonathan Burnstein Eric Jacobs Kathleen Boyer Brendan Fitzgerald * TIMPANI Derek Bermel Gennady Filimonov Jennifer Godfrey BASSOON James Benoit HONORARY MEMBER Evan Anderson Travis Gore Seth Krimsky Principal Natasha Bazhanov Jonathan Green Cyril M. Harris Principal Matthew Decker † Brittany Breeden Stephen Bryant FLUTE Paul Rafanelli Assistant Principal Mike Gamburg ** + Resident Linda Cole Demarre McGill Dana Jackson * PERCUSSION Xiao-po Fei Principal † In Memoriam Artur Girsky Michael A. Werner Supported by David and Shelley Hovind CONTRABASSOON ** On Leave Andy Liang Principal Andrew Yeung Jeffrey Barker Mike Gamburg ** * Temporary Musician for 2018–2019 Michael Clark Associate Principal Dana Jackson * season Matthew Decker VIOLA Judy Washburn Kriewall HORN Susan Gulkis Assadi Zartouhi Dombourian-Eby HARP Jeffrey Fair PONCHO Principal Viola Valerie Muzzolini PICCOLO Charles Simonyi Principal Horn Arie Schächter ** Principal Zartouhi Dombourian-Eby Assistant Principal Mark Robbins Supported by Eliza and Brian Shelden Robert & Clodagh Ash Piccolo Mara Gearman Associate Principal Timothy Hale Supported by Stephen Whyte Penelope Crane

6 SEATTLESYMPHONY.ORG ■ 

“It hasthelifestyle Iwant, it’s abeautiful place, andIcanbewithmy family.” close to herextended family, includinghersister. “Ilove livinginSeattle,” sheexplains. She says sheisthankfulthat herjobwiththeSeattle Symphony hashelpedherstay Norway. held thepositionofAssistant Concertmaster bothinBarcelona, SpainandinBergen, Jeannie hasbeenamemberoftheSeattle Symphony for 21years. Shepreviously instrument was what really attracted meto playing theviolin,andto musicingeneral.” approach to performance; buttheraw emotionthat onecanconvey through their of classical music,there canbepressure to take amore technical, less expressive Through herviolinplaying, Jeanniefound away to express her voice. “Intheworld or wanted to give up." Jeannie. “I’msothankfulto herfor seeing methrough thetimeswhenIdoubted myself gifted musicianherself, andnever hadthat opportunityto pursuethepiano,” explains her to pursueviolin.“Sherecognized that Iwas talented, andshewas suchanatural, Growing upastheyoungest offive children, shecredits hermotherfor encouraging about speakingout,andknowing how to balance both.” the violin,explaining that “playing inanorchestra isalotaboutblending,butit'salso When timeallows, Jeannieloves to craft mosaics.Shealsobringshercreativity to designs custom sneakers. Northwest Ballet.Herchildren are equallycreative: herdaughter isachefandherson her father was anartist, hermotherapianist, andher sister isaviolinist withthePacific cooking, gardening, orworking oncraft projects. Herfamily isexceptionally artistic: Jeannie Wells Yablonsky loves to spendtimewithhergrandchildren, takingbike rides, Photo: James Holt First Violin Jeannie Wells Yablonsky MEET THEMUSICIANS

encoremediagroup.com/programs Artist art. of works classic with practices inclusive the Asian-American theatrical community New between effort acooperative is production This critically-acclaimed 7:30 |$39–$69 pm Saturday, Apr. 13 MIKADO THE label. soul Memphis South famed the music Jones helped This band. big organist Booker famed and Famer of Hall Rock Records, Stax on emphasis astrong With 7:30 |$34–$69 pm Mar. 16Saturday, THRU BLUES, SOUL, &R&B &AJOURNEY STAX REVUE BOOKER T. PRESENTS: A Artist freedom. and dreams new to embrace friends and family, home, production exam This captivating multi-cultural 7:30 |$34–$59 pm 23 Feb. Saturday, “A COMPANY & DANCE CHEN NAI-NI JANUARY 18-27,2019 WINTER FESTIVAL BOX OFFICE SOCIETY MUSIC CHAMBER SEATTLE ILLSLEY BALLILLSLEY NORDSTROM RECITAL HALL 206.283.8808 // seattlechambermusic.org 206.283.8808 Artistic Director Artistic EHNES JAMES

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■ FEATURED COMMUNITY PARTNER VA Puget Sound Health Care System

The Seattle Symphony has partnered with VA Puget Sound Health Care System since 2014. With a reputation for excellence, innovation and extraordinary care of our nation’s heroes, VA Puget Sound strives to lead the nation in terms of quality, efficiency and public service through its proven record of innovation and extraordinary care of veterans. VA Puget Sound provides comprehensive care to more than 105,000 veterans across its nine facilities in the Pacific Northwest. It has the fifth largest research program within the national VA system and seven Centers of Excellence (in areas from limb-loss prevention and prosthetic engineering to primary care education and substance abuse treatment). More than 2,000 individuals participate in its undergraduate and graduate training programs each year. VA Puget Sound is one of nearly 80 partners in the Seattle Symphony’s Community Connections program which provides complimentary tickets to diverse communities in the Puget Sound region.

“[A veteran] said ‘This is really wonderful,’ ‘Beethoven is my favorite,’ ‘We should do this more often.’ He enjoyed educating us about ‘movements’ and particulars of the symphony. He couldn’t say enough about how much he appreciated it. Thanks again!” At VA Puget Sound Health Care System, their mission is to – VA Puget Sound employee ensure the physical and mental health care of Veterans — our nation’s heroes — and their families.

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

RENÉ ANCINAS, Chair* Molly Gabel, Secretary* Paula Boggs, Vice Chair, Audiences & Communities* Dana Reid, Vice Chair, Governance* Michael Slonski, Treasurer* Woody Hertzog, Vice Chair, Development* Stephen Whyte, Vice Chair, Finance*

DIRECTORS Ronald Koo DESIGNEES Sherry Benaroya Yoshi Minegishi Rosanna Bowles Stephen Kutz Zartouhi Dombourian-Eby, Alexandra Brookshire Marilyn Morgan Renée Brisbois Ned Laird* Musician Representative Phyllis Byrdwell Isa Nelson Leslie Jackson Chihuly Paul Leach* Carla Gifford, President, Phyllis Campbell Marlys Palumbo

Isiaah Crawford Scott McCammant Seattle Symphony Chorale Mary Ann Champion Sally Phinny Susan Detweiler Michael Mitrovich Stephen Guild, President, Robert Collett James Raisbeck Seattle Symphony Volunteers Rebecca Ebsworth Hisayo Nakajima David Davis Sue Raschella Nancy Neraas Jonathan Karschney, Nancy Evans Bernice Rind † Larry Estrada Musician Representative Laurel Nesholm* Dorothy Fluke Jill Ruckelshaus Jerry Farley Krishna Thiagarajan, Judith Fong Sheila Noonan President & CEO David Fulton Jon Runstad Mauricio Gonzalez de la Dick Paul Jean Gardner Martin Selig Fuente Jay Picard CHAIR EMERITA Ruth Gerberding John F. Shaw Brian Grant Peter Russo Leslie Jackson Chihuly James Gillick Linda Stevens Jeremy Griffin Elisabeth Beers Sandler Jerry Grinstein Patricia Tall-Takacs LIFETIME DIRECTORS Michael Hatch Kathy Savitt Patty Hall Marcus Tsutakawa Terry Hecker Jim Schwab* Llewelyn Pritchard Cathi Hatch Cyrus Vance, Jr. Chair Jean-François Heitz* Robert Wallace Steven Hill Karla Waterman Richard Albrecht Parul Houlahan* Ken Hollingsworth Ronald Woodard * Executive Committee Susan Armstrong Douglas Jackson Patricia Holmes Arlene Wright Robert Ash Susan Johannsen David Hovind William Bain † In Memoriam Aimee Johnson* Henry James Bruce Baker Nader Kabbani J. Pierre Loebel Cynthia Bayley Viren Kamdar

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair René Ancinas Joaquin Hernandez David Tan Chair Muriel Van Housen Secretary Nancy Evans Viren Kamdar Rick White Michael Slonski Treasurer Brian Grant

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan 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 Bischofberger SENIOR MANAGEMENT TEAM Jérémy Jolley DEVELOPMENT Violins est. 1955 Krishna Thiagarajan Artistic Collaborations Manager Aaron Sumpter President & CEO Katie Hovde Development Officer, Assistant to VP of Leslie Jackson Chihuly Chair Program Associate Development Professional Charlie Wade Renee Duprel Senior Vice President of Marketing COMMUNICATIONS Associate Vice President of Development Repairs & Business Operations Shiva Shafii (Campaign) Jennifer Adair Public Relations Manager Paul Gjording Appraisals Vice President & General Manager Heidi Staub Senior Major Gift Officer (Foundations & Government Relations) & Sales Rosalie Contreras Managing Editor Betsy Groat Vice President of Communications James Holt Campaign Operations Manager Elena Dubinets Digital Content Manager 1314 E. John St. Kent Anderson Vice President of Artistic Planning Andrew Stiefel & Creative Projects Discovery Officer (Campaign) Seattle, WA Social Media & Content Manager Jane Hargraft Dinah Lu 206-324-3119 Vice President of Development Campaign Coordinator MARKETING www.bviolins.combviolinsltd.com Laura Reynolds Christy Wood Becky Kowals Vice President of Education & Community Senior Director of Marketing & Sales Director of Major Gifts & Planned Giving Engagement Rachel Spain Marsha Wolf Cheronne Wong Marketing Manager Senior Major Gift Officer Vice President & CFO BVTHE 071811 ARTS ATrepair SAINT 1_12.pdf MARK’S Kyle Painter Amy Bokanev Major Gift Officer EXECUTIVE OFFICE Marketing Operations Coordinator 2018-2019 Alexa Bayouk Margaret Holsinger Amanda DiCesare Development Coordinator (Major Gifts) Executive Assistant to the President & CEO/ Marketing Assistant Office Manager Barry Lalonde Megan Hall MUSIC SERIES Director of Digital Products Director of Development Operations ARTISTIC PLANNING Jason Huynh Martin K. Johansson Paige Gilbert Digital Marketing Manager Communications & Grants Manager Manager of Artistic Planning & Popular Herb Burke Jacob Roy Programming Tessitura Manager Data Operations Manager Boston Michael Gandlmayr Gerry Kunkel Maery Simmons Assistant Artistic Administrator Corporate & Concierge Accounts Manager Data Operations Coordinator Brass Stephanie Torok Stephanie Tucker Kathleen Shin Senior Manager of Creative Projects & Senior Graphic Designer Annual Fund Coordinator FRIDAY, Community Engagement Jadzia Parker Peter Gammell Dmitriy Lipay Graphic Designer Director of Corporate Development & MARCH 1, Director of Audio & Recording Special Events Forrest Schofield 7:30 P.M. Rose Gear Group Services Manager Molly Gillette Personal Assistant to the Music Director & Special Events Officer Artistic Coordinator Joe Brock Retail Manager Jessica Kittams Stewardship Events Officer Through their unique blend of ORCHESTRA & OPERATIONS Christina Hajdu Sales Associate Ryan Hicks classical arrangements and jazz Kelly Woodhouse Boston Corporate Development Manager Director of Operations Nina Cesaratto standards, Boston Brass delights Ticket Office Sales Manager Ana Hinz FINANCE & FACILITIES audiences of all ages. Michael Brian Goodwin Production Manager Alexandra Perwin Ticket Office Coordinator Kleinschmidt, organist, will Liz Kane Controller Assistant to VP & GM Asma Ahmed, Mary Austin, accompany. This promises to be James Bean, Jennifer Boyer, Megan Spielbusch Scott Wilson Danela Butler, Hannah Hirano, Accounting Manager a lively evening! Personnel Manager Mike Obermeyer, Gabrielle Turner, Olivia Fowler Keith Higgins Emerson Wahl, Tobie Wheeler Payroll/AP Accountant Ticket Services Associates Assistant Personnel Manager Jordan Bromley Robert Olivia Staff Accountant VENUE ADMINISTRATION Associate Librarian Tristan Saario Jeanne Case Matt Laughlin Staff Revenue Accountant Director of Facility Sales Librarian Bernel Goldberg 1245 Tenth Ave. East, Seattle, WA 98102 Joseph E. Cook James Frounfelter, Adam Moomey General Counsel 206-323-0300 Event & Operations Managers saintmarks.org/concerts Technical Director Tyler Ciena Mark Anderson, Jeff Lincoln Nick Cates Facilities Director Concert & Event Production Manager Assistant Technical Directors Grant Cagle Johnny Baca, Chris Dinon, Sophia El-Wakil Facilities Manager K-8 Event Operations Associate Inspiring Gifted Students Aaron Gorseth, John Roberson, Damien DeWitte Michael Schienbein, Ira Seigel Keith Godfrey Senior Building Engineer Stage Technicians House Manager Aaron Burns, Rodney Kretzer Tanya Wanchena EDUCATION & Building Engineers Assistant House Manager & Usher Scheduler COMMUNITY ENGAGEMENT Willa McAllister Amy Heald Milicent Savage, Patrick Weigel Facilities Coordinator Collaborative Learning Manager Assistant House Managers Dawn Hathaway, Lynn Lambie, HUMAN RESOURCES Mel Longley, Ryan Marsh, Kathryn Osburn Markus Rook Human Resources Manager Head Ushers Laura Banks, Everett Bowling, Veronica Boyer Assistant Head Ushers CONTACT US

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encoremediagroup.com/programs 9 ■ CONGRATS! NEWS FROM: Three Grammy KRISHNA THIAGARAJAN, PRESIDENT & CEO Nominations I’ve been told by many that Benaroya Hall is a refuge — a place for inspiration — amid the everyday. I know it is for me. I look forward to the concerts each week and there are so many coming up that I’m especially excited about. Music Director Ludovic Morlot, the orchestra and pianist Jonathan Biss are premiering a new concerto by Caroline Shaw the end of the month — read all about her on page 12 and see a list of other exciting premieres coming up. Get your Photo: Brandon Patoc Brandon Photo: tickets now to see Ludovic Morlot conducting Bach’s B-minor Mass in March. It’s an incredible work of art and a not-to-be- missed experience. We’re looking forward to having Music Director Designate Thomas Dausgaard with us again in April. Some highlights on his programs are works by Scandinavian composers Langgaard and Nielsen along with Brahms’ First Piano Concerto and Dvorˇák’s “New World” Symphony. In March Octave 9: Raisbeck Music Center — a bold new performance space in Benaroya Hall — will open, offering an entirely new way to experience The Seattle Symphony received three music. Octave 9 was designed to live and breathe today’s art and support nominations in the classical category for the contemporary composers with a dedicated medium for their work. Designed 2019 Grammy Awards! for a new millennium, it will also be a gathering place for our community to Music Director Ludovic Morlot and the connect through musical experiences. We invite you to join us this spring to Seattle Symphony were nominated in the see it for yourself. categories of Best Classical Instrumental We are thrilled to unveil the latest Seattle Symphony Media album on January Solo and Best Contemporary Classical 25. Tenor Ian Bostridge joins Ludovic Morlot and the Seattle Symphony in Composition for their work on violinist music of iconic French composers renowned for their inventive spirit: Berlioz, James Ehnes’ Ravel and Debussy. The Seattle Times praised Bostridge’s “warm tone recording of Aaron quality and beautiful expression” during the performance of Berlioz’s Les Jay Kernis’ Violin nuits d’été last season, and it was captured beautifully on the recording. The Concerto, which was live-in-concert track is paired with studio recordings of Ravel’s imaginative commissioned and Shéhérazade and Debussy’s colorfully rich Le livre de Baudelaire, orchestrated premiered by the by John Adams. For the audiophiles out there, an immaculate 5.1 digital Seattle Symphony. surround version engineered by Grammy winner for Best Surround Sound, Music Director Designate Thomas Dmitriy Lipay, will also be available. Pre-order your copy today through all Dausgaard and the Seattle Symphony major music retailers or get ready to stream it on January 25! were nominated in the category of Best As always, thank you for joining us and please enjoy the music. Orchestral Performance for their live Krishna Thiagarajan recording of Carl Nielsen’s Symphonies President & CEO Nos. 3 and 4, on the Seattle Symphony Media label. Seattle Symphony | Benaroya Hall Writing for the Los Angeles Times, music critic Richard S. Ginell noted that the Seattle Symphony leads all orchestras with three nominations this season. The winners will be announced on February 10, 2019 at a ceremony in Los Angeles. NOTA BENE Please join us in congratulating Ludovic Morlot, Thomas Dausgaard, violinist OCTAVE 9 OPENING IN MARCH Get your tickets now to Octave 9: Raisbeck Music James Ehnes, composer Aaron Jay Kernis, Center’s inaugural season! Check out the 24-hour Contemporary Music Marathon Recording Engineer Dmitriy Lipay and the on March 23–24 for a showcase of Octave 9’s versatility. Each hour brings unique musicians of the Seattle Symphony for the experiences co-curated by musicians and composers. recognition of their beautiful recordings! Learn more at seattlesymphony.org/octave-9. You can listen to the Seattle Symphony’s Grammy-nominated albums at FREE SIDE-BY-SIDE CONCERT Join us for a free performance featuring the University of seattlesymphony.org/recordings. Washington Orchestra performing side-by-side with the Seattle Symphony at Benaroya Hall on January 25. The orchestras will perform Haydn’s Symphony No. 100, “Military” and Bernstein’s Symphonic Dances from West Side Story. seattlesymphony.org/inthecommunity.

10 SEATTLESYMPHONY.ORG January 2019 Volume 32, No. 5 VISIT

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encoremediagroup.com/programs 11 CAROLINE SHAW A PULITZER PRIZE IS JUST THE BEGINNING Shaw responds to Beethoven’s Third Piano Concerto with Watermark By Paul Schiavo

Caroline Shaw, whose new piano also salient qualities of her compositions, While remaining busy as a performer, Shaw concerto receives its first performances along with a wonderful aural imagination has emerged as an especially skilled and with the Seattle Symphony concerts on and manifest joy in making music. inventive composer, a status confirmed January 31 and February 1 and 2, is a when her Partita for 8 Voices received the musician through and through. Still in her Shaw’s achievements in any of the three 2013 Pulitzer Prize. At age 30, she was the 30s, she has established herself as an spheres of musical activity to which she has youngest musician ever to have received instrumentalist and singer of professional applied herself are enough to constitute that prestigious award. caliber and as one of the most engaging a successful career. An accomplished composers working today. Refuting the violinist, she has performed with ensembles Though well-schooled — she wrote her romantic cliché of the tortured artist, devoted to both new and old music and prize-winning Partita while studying for a she also is an exceptionally pleasant has played the solo part of her own violin PhD in composition at Princeton — Shaw person. This last observation is based concerto with several major orchestras. is far from academic in her approach to on very slight acquaintance — just a She also is active as a singer with the music. She tends to describe her works not pair of phone conversations and a brilliantly innovative vocal ensemble in terms of compositional techniques but brief in-person encounter — but it is Roomful of Teeth. You can hear them on as colors and flavors. Her violin concerto, made confidently, so readily do Shaw’s the Seattle Symphony’s live recording for example, is “citrus, chocolate, blue.” Her thoughtfulness, generosity, gentle humor of Berio’s Sinfonia, released on Seattle compositional idiom is eclectic in the best and lack of pretension reveal themselves. Symphony Media last summer. sense, and she says that she writes for Thoughtfulness and lack of pretension are performers who share her love of music, not to satisfy scholastic norms.

12 SEATTLESYMPHONY.ORG UPCOMING PREMIERES

It testifies to Shaw’s disinterest The Seattle Symphony will in musical boundaries that she perform several premieres in is composing a song cycle for the coming months. Mark your Renée Fleming — the stellar A particularly fascinating calendar and join the orchestra soprano has already performed aspect of Shaw’s work is its to be a part of history in the part of that work — and has engagement with music of making. collaborated on recordings the past. Older music and its January 27 at Celebrate Asia with several pop artists, most composers are her “teachers,” Chia-Ying Lin: Ascolsia notably rapper Kanye West. To Shaw says, and a number of (World Premiere) hear what post-modern choral her compositions refract the music meets hip-hop sounds forms and sound of older music January 31, February 1 & 2 like, listen to the Shaw/West through a post-modern lens: Say You Will with Beethoven Piano version of on Baroque dance forms in Partita, soundcloud.com. Concerto No. 3 Classical-period string quartet Caroline Shaw: Watermark writing in her quartet Entr’acte, The broad range of Shaw’s (World Premiere) * Renaissance vocal polyphony compositional palette allows in her arrangement of Kanye her to write for orchestra, string February 6 with Silkroad West’s Coldest Winter. Her quartet and other traditional Ensemble new piano concerto, jointly ensembles and use electronic Kinan Azmeh: Clarinet commissioned by Seattle sound processing with evident Concerto (World Premiere) * Symphony and the Saint ease. Partita employs an array Chen Yi: Introduction, Andante Paul Chamber Orchestra, is of unusual vocal sounds, yet and Allegro (World Premiere) * a “response” to Beethoven’s Shaw has written music for a Piano Concerto No. 3. March 21 & 23 with children’s story, including a Shostakovich Symphony tune so simple and catchy that When I reached her by phone No. 15 the audience can pick it up and in November, Shaw was just John Harbison: What Do We sing it during the performance. completing the piece and Make of Bach? for Orchestra And while most of her music anticipating the premiere and Obbligato Organ * is precisely notated, Shaw is with pianist Jonathan Biss comfortable with improvisation and the Seattle Symphony. April 4, 6 & 7 with Brahms as a musical option. Indeed, the “The different reactions that Piano Concerto No. 1 solo part of her violin concerto players give to a composer Rued Langgaard: Prelude to remains unwritten; Shaw plays … goes so deep into what Antichrist (U.S. Premiere) it extemporaneously in each musical community is,” she performance. shared. “The idea that you April 11 & 13 with Dvořák New write for a standard ensemble World Symphony Shaw likens the notion of that executes [the music] in a George Walker: Sinfonia No. 5, freedom in music-making to robotic way — I hate it, that’s “Visions” (World Premiere) stove-top cooking. “If you write not a world I want to live in.” a piece where you notate April 18 & 20 with Mozart Intrigued, I told her that I looked everything and you can’t touch Symphony No. 40 forward to hearing what the it anymore, it’s like baking,” she Joël-François Durand: Tropes new concerto sounded like. “So observes. “You hope you’ve de : Bussy (World Premiere) * do I,” she laughed. followed the recipe exactly, and the chemistry is exactly right. April 25 & 27 in I do like the idea of [following] Get your tickets now to Surrogate Cities the recipe … but you can also witness the world premiere of Heiner Goebbels: Under make it a little more what you Caroline Shaw’s new piano Construction, new movement want, you can change the concerto, Watermark, on the in Surrogate Cities (World sauce a little bit, you trust the same program as the piece Premiere) * ingredients.” it’s responding to, Beethoven’s Piano Concerto No. 3, June 6, 8 & 9 with

on January 31 and February 1 Holst The Planets Hannah Kendall: The Spark and 2. Catchers (U.S. Premiere)

* Seattle Symphony commission

encoremediagroup.com/programs 13 1/4–6 FRIDAY, JANUARY 4, 2019, AT 8PM SATURDAY, JANUARY 5, 2019, AT 8PM SUNDAY, JANUARY 6, 2019, AT 2PM STORM LARGE LOVE, LUST & ROCK ‘N’ ROLL SEATTLE POPS SERIES

Michael Krajewski, conductor Storm Large, vocals James Beaton, piano Scott Weddle, guitar Matt Brown, bass Greg Eklund, drums Seattle Symphony

Program will be announced from the stage and is approximately one hour and 45 minutes including one 20-minute intermission.

Friday performance sponsored by Holland America Line.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

14 SEATTLESYMPHONY.ORG MICHAEL KRAJEWSKI STORM LARGE Conductor Vocals

“…his wry wit, as Storm Large: musician, spontaneous as a actor, playwright, stand-up comedian’s, author, awesome. She emerged to amuse the shot to national audience. Krajewski prominence as a turned to the orchestra contestant on the CBS to lead a bright, sassy show Rock Star: account. It showed that Supernova, where Photo: Laura Domela Photo: Photo: Photo: Tammaro Michael he is as effective and despite having been entertaining a communicator in music as eliminated in the semifinals, Storm built a he is in words.” fan base that continues to follow her – Charles Ward, Houston Chronicle around the world. Career highlights include performances with the San Known for his entertaining programs and Francisco, Pittsburgh, Houston, Toronto, clever humor, Michael Krajewski is a much Baltimore, BBC, Phoenix, and Vancouver sought-after conductor of symphonic symphonies, and her Carnegie Hall debut pops. He is Music Director of The Philly singing Weill’s Seven Deadly Sins with the Pops and Principal Pops Conductor of the Detroit Symphony. Storm debuted with the Jacksonville Symphony. Previously, he was band Pink Martini in 2011, singing four Principal Pops Conductor of the Atlanta sold-out concerts with the National and Houston symphonies. With degrees Symphony Orchestra at the Kennedy from Wayne State University in Detroit Center. She continues to tour and the University of Cincinnati College- internationally with the band and was Conservatory of Music, Krajewski furthered featured on their album Get Happy. YOU ARE GSBA. his training at the Pierre Monteux Domaine Storm’s musical memoir, Crazy Enough, School for Conductors. Krajewski lives in played to packed houses during its Orlando, Florida with his wife Darcy. unprecedented 21-week sold-out run. Her memoir, Crazy Enough, was named Oprah’s Book of the Week and awarded the 2013 Oregon Book Award for Creative Nonfiction.

Growing up I was told, over and over again, that I was a loser… until I believed it. So really, I started singing in bands because, I found, most musicians can relate to that feeling. We’re lonely weirdos trying to make a family out of huge rooms full of strangers and our fellow stage mates. We fill up the dark and quiet with our amplified insides until everyone feels a part of it all. The audience feels like a part of us and we are a part of the audience. Understanding. Vibrational congruence. Family.

– Storm Large

Join or renew today to support equality in 2019! theGSBA.org

encoremediagroup.com/programs 15 1/8 TUESDAY, JANUARY 8, 2019, AT 7:30PM WILLIAM ROSS Conductor

William Ross’ work JANE WITH THE spans motion pictures, television and the SEATTLE SYMPHONY recording industry. His SPECIAL PERFORMANCES scoring credits include The Tale of William Ross, conductor Despereaux, Ladder 49, Tuck Everlasting Seattle Symphony LarryPhoto: Mah and My Dog Skip, as JANE: well as having adapted and conducted the score to Harry Potter and the Chamber of A film by BRETT MORGEN Secrets. He has arranged music for a remarkable list of artists including Barbra Original score by PHILLIP GLASS Streisand, Celine Dion, Aretha Franklin, Josh Groban, Andrea Bocelli, Michael NATIONAL GEOGRAPHIC DOCUMENTARY FILMS presents a Buble, Kenny G., Sting, Quincy Jones, NATIONAL GEOGRAPHIC STUDIOS PRODUCTION David Foster, Mariah Carey and Whitney Houston. His arrangements have been a In association with PUBLIC ROAD PRODUCTIONS part of the opening and closing ceremonies of several Super Bowls and Edited by JOE BESHENKOVSKY, ACE Olympic Games. He is the recipient of four Emmy Awards and two BMI Film Music Animation by STEFAN NADELMAN Awards, and has been nominated for an Annie Award and two Grammy Awards. Archival photography HUGO VAN LAWICK

Director of photography ELLEN KURAS, ASC

Executive producers TIM PASTORE and JEFF HASLER

Produced by BRETT MORGEN, BRYAN BURK, JAMES SMITH, and TONY GERBER

Written and directed by BRETT MORGEN

PRODUCTION CREDITS JANE: In Concert is produced by Producers: National Geographic Live and IMG Artists, LLC Production Manager: Alex Levy Worldwide Representation: IMG Artists, LLC Technical Director: Alex Levy Music Composed by Phillip Glass Music and Film Preparation for Concert Performance: Jo Ann Kane Music Service

The score for JANE has been adapted for live concert performance. With special thanks to: Matthew Voogt, Alex Weston, Ashley Winton, Drew Smith, Chris Albert, Kristin Montalbano, James Smith, Hannah Grace VanCleave, The Jane Goodall Institute, and the musicians and staff of the Seattle Symphony.

This performance is approximately two hours including one 20-minute intermission.

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

16 SEATTLESYMPHONY.ORG Photo: Brandon Patoc Brandon Photo:

“It is a rare privilege to hear a world-class symphony orchestra perform live in a facility such as Benaroya Hall. It’s an experience that simply cannot be captured by any recording process. We give because we know that the ticket prices don’t begin to cover the costs of the Symphony’s performances.” – Parul and Gary

JOIN PARUL AND GARY 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 1/11–12 FRIDAY, JANUARY 11, 2019, AT 8PM SATURDAY, JANUARY 12, 2019, AT 8PM PROUD SPONSOR OF THE SEATTLE THE BACH FAMILY SYMPHONY TREE BAROQUE & WINE SERIES

Mahan Esfahani, conductor & harpsichord Demarre McGill, flute Elisa Barston, violin Seattle Symphony

WILHELM FRIEDEMANN BACH Adagio and Fugue in D minor 9’

JOHANN CHRISTIAN BACH Symphony in C major, Op. 3, No. 2, W. C2 10’ Allegro Andante Allegro assai

CARL PHILIPP EMANUEL BACH Harpsichord Concerto in D minor, 23’ H. 427 (Wq. 23) Allegro Poco andante Allegro assai INTERMISSION JOHANN SEBASTIAN BACH Concerto for Harpsichord Solo in F major, 12’ “In the Italian Style” Allegro Andante Presto

Attributed to J.S. Bach Flute, Violin and Harpsichord Concerto 22’ in A minor, BWV 1044 Allegro Adagio ma non tanto e dolce Tempo di alla breve DEMARRE MCGILL, FLUTE ELISA BARSTON, VIOLIN

FROM ALL OF US AT Principal Flute Demarre McGill’s position is generously supported by David J. and FOUR SEASONS HOTEL SEATTLE, Shelley Hovind. ENJOY BAROQUE & WINE AT THE Baroque & Wine Series Sponsor: Four Seasons Seattle SEATTLE SYMPHONY!

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.

18 SEATTLESYMPHONY.ORG PROGRAM NOTES

J.S. Bach fathered seven children in his structure of an opera overture (sinfonia Bach prepared the Concerto for Flute, first marriage to Maria Barbara, four of in Italian), the lively outer movements in Violin and Harpsichord in A minor whom survived to adulthood; after his C major surround a patient and profound around 1741, incorporating music from wife’s death in 1720, Bach married Anna Andante in the parallel key of C minor. earlier works for organ and harpsichord. Magdalena, who brought thirteen more It was one of many works he adapted for children into the Bach family, with six Carl Philipp Emanuel Bach (1714–88) was the weekly performances by Leipzig’s reaching maturity. Three of Bach’s sons the second oldest son in the family, and Collegium Musicum, the amateur developed into exceptional composers ultimately the most successful member ensemble he found time to direct (a path, alas, denied to his daughters), of his generation. His keyboard prowess around his myriad responsibilities as and their advances in various directions earned him a position in Berlin as the Thomaskantor (which required providing proved pivotal as the waning Baroque main harpsichordist for Prussia’s King music for Leipzig’s main churches while style gave way to the rising Classical Frederick II, with whom Emanuel worked also supervising the education of the choir sensibility. closely and tirelessly from 1740 until 1768. boys). Taking advantage of the abundant (He finally left to accept the prestigious talent of his sons, Bach converted older Wilhelm Friedemann Bach (1710–84), post directing church music in Hamburg, concertos and other works into vehicles the family’s oldest son, was already an succeeding his godfather, Telemann.) for harpsichord virtuosity, more or less accomplished keyboard player and “Frederick the Great” was as musical as inventing the genre of the keyboard a budding composer by the age of any king in history, and when he wasn’t concerto. ten, as demonstrated by a notebook composing or playing flute with his court where his father modeled and taught musicians, he had an insatiable appetite In this triple concerto, the configuration of compositional techniques. When J.S. Bach for their performances, prompting featured instruments matches the earlier began directing an amateur orchestra Emanuel to write and play numerous “Brandenburg” Concerto No. 5, but in in Leipzig as a side job, Friedemann harpsichord concertos modeled after the intervening 20 years Bach’s concerto often played harpsichord, performing his father’s pioneering examples. This approach had evolved significantly, as works by his father that amounted to Harpsichord Concerto in D minor, had the harpsichord itself. The nature the first concertos for the instrument. composed in 1748, shows how Emanuel of its plucking action still meant that the He landed his first job playing organ at was nudging the northern Italian concerto performer could not play softer or louder, a church in Dresden, but in his free time tradition forged half a century earlier but the instruments had become bigger he continued to write secular orchestral toward the transparent and uncluttered and more resonant, making it possible, music, including harpsichord concertos aesthetic that soon flowered into the in the right circumstances, to be heard and sinfonias. A typical sinfonia would Classical style. His personal approach over the accompaniment of a full string have three sections, organized fast-slow- is especially evident in the central slow orchestra. The key to occupying the fast, but this example from the early 1740s, movement, characterized by its arcing musical foreground was simply to play known as the Adagio and Fugue in D melodies that yearn upward and sigh more notes — and so in this concerto minor, uses a two-part structure found in downward with unvarnished emotion. the harpsichord plays circles around many of the elder Bach’s compositions. the flute, violin and accompanying The slow first section teases out long, Much of the surviving keyboard music ensemble throughout the opening Allegro singing lines played by two flutes over of Johann Sebastian Bach (1685–1750) movement, especially in the thrilling solo a sparing and muted accompaniment of originated from his private tutelage of his passage that builds to the last tutti return. strings and basso continuo, while the fast sons, and it was only available through The string sections sit out the sweet continuation demonstrates Friedemann’s personal copies made by hand. He slow movement, and the violinist spends mastery of his father’s contrapuntal craft. finally entered the burgeoning market several long passages plucking instead for published sheet music in 1731 with his of bowing, clearing more sonic space for The youngest son of the family, Johann collection titled Clavier-Übung (Keyboard the delicate interchange between the Christian Bach (1735–82) was only 14 Practice), consisting of six Partitas for solo flute and the harpsichordist’s right hand. when his father died, so he left Leipzig keyboard. He followed with a second The finale, constructed as a fugue, again to continue his musical education in volume of Clavier-Übung in 1735, this one concentrates the bulk of the excitement Berlin with his half-brother, Carl Philipp containing a pair of works: a Concerto in the keyboard part. More plucked Emanuel. (Older by 21 years, Emanuel “after the Italian style” and an Overture passages help the accompanying string was already an influential composer “after the French manner.” In the Italian ensemble support the harpsichord without and keyboard player in the court of King Concerto, the principles that Vivaldi overpowering it as it races toward the Frederick II of Prussia.) Johann Christian and other northern Italians fleshed out finish. spent his last 20 years living in London in works for soloist and orchestra are as “John” Bach, composing music that rendered by a single keyboard player. © 2019 Aaron Grad united his family legacy with the buoyant To mimic the contrast between solo and influence of Italian opera. He directed an tutti textures in an orchestral concerto, influential concert series in London where Bach wrote for a harpsichord with the Symphony in C major, Op. 3, No. 2 two keyboards that plucked different probably first reached the public, and he configurations of strings, and he marked included this stellar example of the form in the score with forte and piano dynamics his first set of published symphonies from to delineate the shifts in color. 1765. Following the established three-part

encoremediagroup.com/programs 19 MAHAN ESFAHANI Conductor & harpsichord

Mahan Esfahani has made it his life’s mission to rehabilitate the harpsichord in the mainstream of concert instruments. He was BEYOND CLASSICAL born in Tehran in 1984 and raised in the Photo: Marco Borggreve Marco Photo: United States. He BEYOND TRADITIONAL studied Musicology and History at Stanford University, eventually taking up residence in Prague where he studied harpsichord BEYOND ANYTHING with the legendary Zuzana Růžičková. He YOU’VE HEARD BEFORE was the first and only harpsichordist to be a BBC New Generation Artist (2008–10), a Borletti-Buitoni prize winner (2009), and a BEYOND MEASURE nominee for Gramophone’s Artist of the Year (2014, 2015 and 2017). His discography includes three critically TICKETS AND SUBSCRIPTIONS ON SALE NOW AT TOWNHALLSEATTLE.ORG. acclaimed recordings for Hyperion with his latest release The Passinge Mesures, and two albums for Deutsche Grammophon, Time Present and Time Past, and Bach’s Goldberg Variations which won the BBC Music Magazine 2017 Instrumental Award. JOIN US IN 2019 FOR THESE CONCERTS (AND MORE) IN OUR NEWLY RENOVATED BUILDING! Kristin Lee, Violinist

DEMARRE MCGILL Flute

A native of Chicago, Demarre McGill is Seattle Symphony’s Principal Flute, having Restaurant-style previously held the cuisine. At your position from 2011–14. During the time away, doorstep. he was Principal Flute at the Dallas Symphony At Mirabella Seattle, our three Orchestra and Acting Principal Flute at the on-site, delightfully diverse dining Metropolitan Opera Orchestra. Winner of venues ensure delectable cuisine the prestigious Avery Fisher Career Grant, McGill is acclaimed for his “richly saturated is only an elevator ride away. Live tone, spirited technique and expressive deliciously. Retire at Mirabella. warmth” and has quickly become one of the most sought-after flutists of his Call for a tour today. generation. He enjoys an active career as 206-254-1441 a leading soloist, recitalist, artistic director mirabellaliving.com/seattle and chamber musician throughout the United States and abroad. He is a founding member of The Myriad Trio and has participated in many national and international chamber music festivals. McGill received his bachelor’s degree in Flute Performance from The Curtis Institute of Music where he studied with Julius Baker and Jeffrey Khaner. He Mirabella Seattle is a Pacific Retirement Services community and an equal housing opportunity. continued his studies with Julius Baker at The Juilliard School, where he received a Master of Music degree.

20 SEATTLESYMPHONY.ORG 1/17–18 ELISA BARSTON THURSDAY, JANUARY 17, 2019, AT 7:30PM Violin FRIDAY, JANUARY 18, 2019, AT 8PM Praised for her “glowing sound” and “technical aplomb” (The BRAHMS Strad Magazine), violinist Elisa Barston SYMPHONY NO. 3 served as Associate Concertmaster of the Saint Louis Symphony HONORING THE LEGACY OF BUSTER & NANCY ALVORD Photo: Larey McDaniel Larey Photo: Orchestra for nine seasons and was a first violin section Andrey Boreyko, conductor member of the Cleveland Orchestra. She Vadim Gluzman, violin is currently Principal Second Violin of the Seattle Symphony Seattle Symphony. SOFIA GUBAIDULINA Offertorium 40’ Among her awards, Barston garnered top VADIM GLUZMAN, VIOLIN prizes at the Yehudi Menuhin International Competition including The Audience Prize, INTERMISSION First Prize at the Julius Stulberg Auditions, JOHANN SEBASTIAN BACH Wachet auf, ruft uns die Stimme 4’ Grand Prize at the International Kingsville /arr. Sir Granville Bantock (“Sleepers Awake”) Young Performers’ Competition, and First Chorale Variations for Orchestra from Prize in the Seventeen Magazine-General Cantata No. 140— Motors National Music Competition. JOHANNES BRAHMS Symphony No. 3 in F major, Op. 90 33’ As a soloist, Barston has performed Allegro con brio extensively throughout the United States, Andante Europe and Asia, with the major symphony Poco allegretto orchestras of London, Chicago, Los Allegro Angeles, Saint Louis, Seattle and Taipei, among numerous others. Pre-concert Talk one hour prior to performance. Speaker: Claudia Jensen, Affiliate Instructor at the University of Washington’s Slavic I am thrilled to be performing Bach’s Languages Department Concerto for Flute, Violin, and Harpsichord with my stellar colleague Demarre McGill and harpsichordist Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. extraordinaire Mahan Esfahani! It is always Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording such a treat to get to be a soloist with my equipment, and any other use of such copying devices during a performance is prohibited. very own Seattle Symphony family; it is a joy and a privilege to make music with them on a daily basis, of course, but there is nothing quite like the feelings of love and support coming from your “home team” when you take center stage! Plus, getting to share the spotlight with two of the finest musicians imaginable? Pure heaven.

– Elisa Barston

encoremediagroup.com/programs 21 OVERVIEW PROGRAM NOTES

Bach and Beyond SOFIA GUBAIDULINA The emergence of new creative voices from the former Soviet Union and its Johann Sebastian Bach appears once Offertorium satellite nations was among the most on our concert program, and this only as consequential developments in music co-author of the briefest piece we hear. BORN: October 24, 1931, in Tschistopol, Tartar during the last years of the 20th century. Yet he stands behind everything played Soviet Republic Beginning around 1980, works by Russia’s this evening as a kind of overseeing NOW RESIDES: Hamburg Alfred Schnittke, Estonia’s Arvo Pärt, presence. Most concretely, The Musical WORK COMPOSED: 1979–80, revised 1986 Georgia’s Giya Kancheli and other Eastern Offering, which Bach composed late in WORLD PREMIERE: May 30,1981, in Vienna. European composers began to be heard his life as a summation of the knowledge Gidon Kremer was the violin soloist, and Leif in the West. They showed a degree of he had gained through years of creative innovation and, in many instances, of musicianship, serves as a foil for Sofia Segerstam conducted the ORF Symphony spiritual expression largely unsuspected Gubaidulina’s violin concerto Offertorium. Orchestra outside the Soviet bloc. The title of this work obviously alludes Perhaps the most remarkable composer to Bach’s opus, but it carries religious What to Listen For to gain attention at this time was Sofia implications also, Offertorium being a This unusual violin concerto, which Gubaidulina. Born in Tschistopol, a small section of the Latin mass, the central liturgy unfolds in a single movement, is in city in southwest Russia, Gubaidulina of the Catholic Church. Gubaidulina’s part a meditation on a theme taken from worked in relative obscurity during concerto is a concert piece, with no clear J.S. Bach. But whereas Bach, in The the 1960s and ’70s, when her creative ecclesiastic connotations. But this Russian Musical Offering, explores the possibilities instincts placed her at odds with the composer asserts that all her music has for echoic counterpoint inherent in the cultural politics of the Soviet government. a spiritual dimension, which is its most theme, Gubaidulina uses it as the premise Instead of conforming to the prescribed important attribute. “I am a religious for wide-ranging invention that spans manner of “socialist” music (uplifting pieces person,”she has said, “and by ‘religion’ delicate soliloquies, volcanic outbursts, in an accessible vein), Gubaidulina’s I mean re-ligio, the re-tying of a bond. ... ethereal harmonies, intimations of celestial compositions revealed an eclectic There is no weightier occupation than dancing, chorale singing and Eastern contemporary idiom employed in a quite the re-composition of spiritual integrity Orthodox chanting, spare instrumental personal way. Many of her works reflect through the composition of music.” J.S. dialogues, explosions of percussion sound her spiritual preoccupation. The composer Bach, one suspects, would have agreed, and more. is a devout Russian Orthodox Christian, as would even the avowedly agnostic though exposure to Islam, Judaism and Johannes Brahms, whose magisterial Third mystic traditions also have shaped her Symphony concludes our concert. metaphysical life. The music of Bach and older composers also constitutes an Returning to perform with the Seattle important influence. Her innovative style, Symphony is always a very exciting together with the overtly religious nature of moment for me. I have loved the orchestra, much of her music, denied her much in the its energy and its sound since my first way of performances and recognition until visit in 1998. Back then, we played one of her 50th year. That changed as a result the first concerts in the newly built of her violin concerto Offertorium, which Benaroya Hall and I have been in love with opens our program. it ever since! We owe this work, and its author’s resulting This season we are performing Sofia renown, to the outstanding Latvian violinist Gubaidulina’s incredible Offertorium. Gidon Kremer. Kremer met Gubaidulina Based on the theme from the Musical in 1979, at which time he suggested Offering of Bach, it is one of the most that she write a concerto for him. The important works written for violin and composer worked on the piece for most orchestra in the 20th century. It is a true of the next year, completing it in March spiritual journey which elevates the spirit, 1980. Because Kremer had run afoul of inspires and unites us. I am very much Soviet authorities by overstaying a two- looking forward to collaborating with the year period of permission to perform in Seattle Symphony on this very special the West, Offertorium was first heard in piece under the baton one of my favorite Vienna, in 1981. The work attracted much conductors, Andrey Boreyko! attention and praise. Kremer continued to Can’t wait to be back in Seattle, drink perform the piece and eventually recorded coffee, enjoy again some of my favorite it, thereby establishing Gubaidulina’s restaurants and to share with audiences international reputation. the gift of Offertorium.

– Vadim Gluzman

22 SEATTLESYMPHONY.ORG PROGRAM NOTES

Although it shares its title with a section JOHANN SEBASTIAN BACH which the cantata takes its title, a hymn well of the Latin mass, Offertorium is not an known to Bach’s contemporary listeners. ecclesiastic composition, nor even an Wachet auf, ruft uns die Stimme explicitly religious one. The title can be (“Sleepers Awake”) Chorale We hear this work in an arrangement for understood largely as acknowledging a Variations from Cantata No. 140 modern orchestra by the English composer connection to The Musical Offering, the Sir Granville Bantock. It belongs to a long BORN: March 21, 1685, in Eisenach, Thuringia famous collection of pieces by J.S. Bach, tradition of recasting Bach’s music into (presently central Germany) all based on a single theme. Gubaidulina different formats, a tradition that began quotes that theme in the opening moments DIED: July 28, 1750, in Leipzig with Bach himself. (Indeed, the composer of Offertoriumbut assigns each note to refashioned this very cantata movement ARRANGED BY SIR GRANVILLE BANTOCK a different instrument, so the melodic into a piece for solo organ.) In Bantock’s BORN: August 7, 1868, in London line seems to change color as it unfurls. orchestration, the flowing melodic line The theme never reaches its final note, DIED: October 16, 1946, in London remains with the strings; the chorale however. Instead, the solo violin takes up WORK COMPOSED/ARRANGED: 1731/1945 melody sounds in stentorian horn tones. the cadential trill, the fluttering alternation WORLD PREMIERE: March 19, 1946, in Bantock adds original touches in the of the two penultimate tones, initially Birmingham, England. George Weldon form of further counterpoint, asides sounded by a horn, and expands this in conducted the City of Birmingham Symphony from clarinets that now and then flow a rhapsodic passage, the orchestra soon Orchestra. between the lines of Bach’s music. Several joining in. decades ago, when “historically informed Gubaidulina then repeats all this in varied performance” of 18th-century works was a form. The theme from The Musical Offering What to Listen For rallying cry among early-music enthusiasts, sounds again, now differently scored, Bach builds this work upon an old such alterations of Bach’s text, along with and again it provides a springboard for Lutheran hymn tune, here sung by a Bantock’s generally lush instrumentation, elaboration led by the featured instrument. pair of horns. Around this, the orchestra’s would have provoked indignation among Several further variations of this process string instruments wrap a garland of supple some listeners. Today we can accept them follow. In each, the Bach theme is less melody that runs continually from the first for what they are: embellishments by a distinct, more disintegrated, the ensuing moment of the piece to the last. latter-day English musician reflecting an responses more fantastical and far-flung. approach to Bach that is Romantic, to be Eventually, the generative theme is all but sure, but in no way disrespectful.

lost entirely, except as a kind of subliminal Scored for 2 clarinets; 2 bassoons; 2 horns; presence, as violin and orchestra journey Johann Sebastian Bach is known today strings. together through a remarkable and utterly primarily for his instrumental compositions original sonic landscape. — his concertos and suites for orchestra, his sonatas and partitas for flute, for violin JOHANNES BRAHMS The richness of Gubaidulina’s invention and for cello, and his copious music for is breathtaking, not only in its variety but solo keyboard. But in many ways the Symphony No. 3 in F major, Op. 90 for its depth of expression and skillful core of Bach’s output lies in works far BORN: May 7, 1833, in Hamburg execution. The music whispers, roars, less familiar to present-day listeners. DIED: April 3, 1897, in Vienna sings, floats, dances, prays, remaining These are his church cantatas, music for always astonishing and dramatic. At length, voices and orchestra written as adjuncts WORK COMPOSED: 1882–83 a passage that transports us within a to Lutheran church services. Bach wrote WORLD PREMIERE: December 2, 1883, in Vienna. Russian Orthodox church leads to a final nearly 300 such works, some 200 of which The Vienna Philharmonic Orchestra performed soliloquy for the soloist. The Bach theme are extant. The loss of a third of these under the direction of Hans Richter. that began the work is recalled obliquely; cantatas is beyond regrettable, but those then, from a crystalline cascade of piccolo, that survive constitute a compendium of celeste, flute and string tones, the featured Bach’s creative ideas and one of the great What to Listen For instrument emerges serenely perched on monuments of Western music. The symphony’s first moments bring a sustained note at the top of its register, three broad chords, the last Dating from 1731, Wachet auf, ruft uns bringing this late-modern masterpiece to coinciding with the start of a heroic theme. die Stimme, BWV 140, is among the most a close. That three-chord motif recurs at important famous of Bach’s church cantatas. Its junctures in this movement and in the Scored for solo violin; 2 flutes and piccolo; renown rests largely on the fourth of its finale, notably at the very end of the 2 oboes; 2 clarinets and E-flat clarinet; 2 seven movements. This takes the form bassoons; 3 horns; 3 trumpets; 3 trombones; symphony, and in the second movement of a chorale prelude. Briefly, a chorale tuba; timpani and percussion; 2 harps; piano also. and celeste; strings. prelude begins with a Lutheran hymn, or “chorale,” which a composer weaves into a larger musical fabric. In Wachet auf,

Bach bestows on his string orchestra a Brahms composed his Third Symphony handsome melody that runs unbroken from in 1883, completing the score during a beginning to end of the movement. Against summer sojourn in the Rhineland spa this, tenor voices sing in unison, phrase by town of Wiesbaden. These few details, separate phrase, the Lutheran hymn from

encoremediagroup.com/programs 23 ANDREY BOREYKO PROGRAM NOTES Conductor Now in his fifth season as Music Director of Artis— practically all that are known concerning Brahms abandoned the tradition of using Naples, Andrey Boreyko’s the genesis of this composition, obviously a scherzo as the third movement of his inspiring leadership has shed no light on any “meaning” or symphonies. Instead, he substituted an raised the artistic “content” its music may embody. In this intermezzo form essentially of his own standard and brought a we must rest content. Brahms was not an invention. That of the Third Symphony new intensity to the autobiographical composer in the way is tinged with bittersweet autumnal Naples Philharmonic. The Photo: Courtesy of Artis-Naples, CourtesyPhoto: of Artis-Naples, Philharmonic Naples that Tchaikovsky or Mahler were, and harmonies resulting from quick shifts driving force behind the no correlations stand out between his between major and minor modes. continued artistic growth of this mature works and the details of his life. multidisciplinary organization, Boreyko has The subjects of his great instrumental The finale provides both climax and commissioned several new works including compositions, if we can use that term, are summation. It begins with a running melody orchestral pieces by Fazil Say and Giya that gives way to a chorale-like theme purely musical — the transformation of Kancheli, as well as a fantasy for violin and based on the mysterious subject of the melodic figures, the build-up and resolution orchestra by Gabriel Prokofiev. From the second movement. The music builds of harmonic tensions — and it is for purely 2019–2020 season, Boreyko will become the through a series of energetic climaxes to a musical reasons that the Third Symphony is new Music and Artistic Director of Warsaw enthralling. broad coda that ends with an echo of the symphony’s opening moments, bringing Philharmonic Orchestra. From 2012, Boreyko More than one commentator has described the music full circle to its point of origin. was Music Director of the Orchestre National this work as “Olympian,” a sobriquet is de Belgique — a post he held for five years, Scored for 2 flutes; 2 oboes; 2 clarinets; 2 that not inappropriate to its scope and expanding the orchestra’s activities nationally bassoons and contrabassoon; 4 horns; 2 and internationally. Boreyko also received the character. But though written along trumpets; 3 trombones; timpani; strings. broad lines and encompassing great Best Concert Program of the Season Award emotional range, the Third Symphony — given for the most innovative concert is in no way sprawling. On the contrary, © 2019 Paul Schiavo programming — from the Deutscher Brahms achieves here a sense of classical Musikverleger-Verband in three consecutive balance through his careful attention to seasons. Boreyko is also a popular guest formal proportions within and between the conductor with major orchestras across the symphony’s four movements. Moreover, he globe. unifies his varied melodic ideas by means of ingenious cross-references and thematic VADIM GLUZMAN threads running through the work. Violin

The most notable of those threads is the Universally recognized ascending, richly harmonized three-note among today’s top motif that opens the symphony. This idea performing artists, Israeli recurs at once in a lower register of the violinist Vadim Gluzman orchestra, serving as a bass line for the appears with the world’s cascading melody played by the violins, leading orchestras and and it reappears at crucial junctures conductors. Gluzman throughout the composition. The second leads the ProMusica subject of the opening movement begins Borggreve Marco Photo: as a quiet, lilting melody with a rising Chamber Orchestra in contour, heard first in the clarinets and Ohio as its creative partner and principal bassoon. Many composers would have guest artist and tours in a trio with pianist been satisfied with such a tune, but Brahms Yevgeny Sudbin and cellist Johannes Moser. appends a complimentary phrase: three He is artistic director of the North Shore sharp notes followed by a descending line Chamber Music Festival in Chicago, which in the oboe. Both parts of this theme play he co-founded in 2011. This season Gluzman important roles as the movement unfolds. celebrates the 100th anniversary of the birth of violinist Henryk Szeryng with the Andante The ensuing begins with a Deutsche Radio Philharmonie, Hamburg tranquil melody whose every phrase NDR Elbphilharmonie Orchestra, Jerusalem ends with the upward-arching three-note Symphony and Warsaw Philharmonic. motif that began the symphony. This is Accolades for his striking catalogue of no mere coincidence, of course, and the immediate echo of this figure in the award-winning recordings for the BIS label strings, providing a brief hiatus between include the Diapason d’Or of the Year, phrases, underscores the association. A Gramophone’s Editor’s Choice, Classica second theme, hushed and mysterious, is magazine’s Choc de Classica award, and introduced by the low woodwinds, but its Disc of the Month by The Strad, BBC Music full significance will be realized only in the Magazine and Classic FM. Gluzman plays finale. the legendary 1690 “ex-Leopold Auer” Stradivari on extended loan to him through the Stradivari Society of Chicago.

24 SEATTLESYMPHONY.ORG NAME A SEAT IN BENAROYA HALL As we celebrate the 20th anniversary of Benaroya Hall — home of the Seattle Symphony — we need your support to remain one of the finest concert halls in the world. Seats are available throughout the S. Mark Taper Foundation Auditorium and the Illsley Ball Nordstrom Recital Hall. Your gift is an opportunity to join in the legacy and preservation of Benaroya Hall. Join us today for this once-in-a-lifetime opportunity to be a part of Benaroya Hall history. CREATE A LASTING LEGACY

SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 1/22 TUESDAY, JANUARY 22, 2019, AT 7:30PM PROGRAM NOTES ITZHAK PERLMAN Ludwig van Beethoven endures as BRUCH VIOLIN one of the greatest composers of western classical music, though his later CONCERTO symphonies often take precedence SPECIAL PERFORMANCES over his early works, such as Symphony No. 2 in D major, Op. 36. Known as the Pablo Rus Broseta, conductor composer that bridges Classical and Romantic music, Beethoven’s innovative Itzhak Perlman, violin orchestrations and daring symphonic Seattle Symphony structures of his “Heroic” and “Late” periods depart from his early style that LUDWIG VAN BEETHOVEN Symphony No. 2 in D major, Op. 36 34’ epitomizes the Viennese Classical Adagio molto—Allegro con brio tradition. Larghetto Beethoven inherited this style from his Scherzo: Allegro renowned composition teacher, Joseph Allegro molto Haydn. Often referred to as the “father of INTERMISSION the symphony,” Haydn taught Beethoven in Vienna from 1792–95, which prompted MAX BRUCH Violin Concerto No. 1 in G minor, Op. 26 24’ a telling prophecy of Beethoven’s future Prelude: Allegro moderato— from his friend and patron Count von Adagio Waldstein: “Dear Beethoven: You are Finale: Allegro energico going to Vienna in fulfillment of your long- ITZHAK PERLMAN, VIOLIN frustrated wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge Itzhak Perlman’s performance is generously underwritten by James and Sherry Raisbeck but no occupation with the inexhaustible through the Seattle Symphony’s Guest Artists Circle. Haydn; through him she wishes once more to form a union with another. With Please note that the timings provided for this concert are approximate. the help of assiduous labour you shall Please turn off all electronic devices and refrain from taking photos or video. receive Mozart’s spirit from Haydn’s hands. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording Your true friend, Waldstein.” equipment, and any other use of such copying devices during a performance is prohibited. Though Beethoven later remarked that he learned nothing important from his time with Haydn, the great symphonist’s influence shows in Beethoven’s early period works. The Viennese Classical style emphasized the pleasing nature of music; however, Beethoven’s works became increasingly experimental as he transitioned towards his “Heroic” period. His Symphony No. 2 serves as a transition between these two periods, showcasing the Viennese Classical style while simultaneously displaying hints of innovation. The first movement includes an enormous slow introduction before transitioning to vibrant, uplifting melodies. The second, marked Larghetto (fairly slow tempo), hints at the pastoral through its simple, lyrical melody and focus on wind instrumentation. Replacing the typical third movement minuet with a scherzo, Beethoven reveals his experimental tendencies in this humorous, dancing movement featuring a double-reed quartet during the trio. His fast-paced finale hints at the fully matured Beethoven, full of explosive passages and unbridled energy.

Beethoven composed his Symphony No. 2 during a period of immense worry and frustration. Accepting that he was going

26 SEATTLESYMPHONY.ORG PABLO RUS BROSETA PROGRAM NOTES Conductor Pablo Rus Broseta is Associate Conductor of deaf, Beethoven left the city and spent Bruch had long desired to write a the Seattle Symphony the summer in the Viennese countryside violin concerto and finally received the and Music Director of in hopes to slow the process. During opportunity during his years (1865–67) the Jove Orquestra de his time in country, Beethoven wrote his as music director to the court of Koblenz, la Generalitat now famous Heiligenstadt Testament, in a province in the Kingdom of Prussia. Valenciana. During the which he described his suffering: “what a Noted for his distaste for the New German 2018–2019 season he Photo: Yuen Lui Studio Chuck Moses Studio Lui Yuen Photo: humiliation when one stood beside me and School — a group of progressive musicians leads the Seattle heard a flute in the distance and I heard spearheaded by Franz Liszt and Richard Symphony in a wide variety of concerts nothing… such incidents brought me to the Wagner — Bruch drew inspiration from including Bruch’s Violin Concerto with verge of despair, but little more and I would early Romantic German composers Itzhak Perlman, Beethoven’s Ninth have put an end to my life — only art it was such as Felix Mendelssohn and Robert Symphony and a festival of Brahms that withheld me, ah it seemed impossible Schumann. Writing to his old music concertos. In the 2017–2018 season he to leave the world until I had produced all instructor, Ferdinand Hiller, in November of conducted a benefit concert featuring that I felt called upon me to produce, and 1865, Bruch expressed frustration with the Macklemore & Ryan Lewis and Ciara, a so I endured this wretched existence.” progress of his work: “My violin concerto festival of Prokofiev concertos, and an Beethoven’s frustration and trauma from is progressing slowly — I do not feel sure all-Russian program with pianist Beatrice his deafness remains one of his defining of my feet on this terrain. Do you not think characteristics. And yet, though he that it is very audacious to write a violin Rana. As guest conductor, Rus Broseta’s suffered through the summer of 1802 in concerto?” Nevertheless, Bruch completed 2018–2019 season includes debuts with the Heiligenstadt, Beethoven produced his his concerto within the year and, after Detroit and Omaha symphonies and the Second Symphony; a work that exemplified receiving notes from Joachim as well as Orlando Philharmonic, and return the Viennese Classical tradition while violinist Ferdinand David, Bruch premiered engagements with the Houston and North simultaneously hinting at the powerful and the work in 1868. Carolina symphonies and, in Europe, the subliminal Beethovian style that would cast Palau de les Arts in Valencia and SWR a shadow over symphonic repertoire for Departing from the conventional concerto Symphonieorchester in Stuttgart. Recent the entirety of the 19th century. form, Bruch’s Violin Concerto No. 1 highlights include performances with opens with a slow, meditative melody Orquesta de Valencia, WDR Köln, The concerto also endured as an essential that gradually rises from the depths of Orquestra Sinfónica do Porto Casa da genre throughout the Romantic era. When the violin’s range. Marked “Vorspiel” Música and the Kitchener-Waterloo embarking upon his first attempt to write (Prelude), this movement showcases the Symphony. a violin concerto, German composer singing, soulful qualities of the violin before Max Bruch remarked that “the violin can transitioning to a stormy and virtuosic sing a melody better than a piano, and development and cadenza-filled ending. melody is the soul of music.” Published in The second movement — perhaps the ITZHAK PERLMAN 1868, Bruch’s Violin Concerto No. 1 in G most famous piece of Bruch’s oeuvre Violin minor, Op. 26 gained wide recognition — features an emotional, nostalgic and stood as the undisputed successor to melody that leaves listeners yearning Undeniably the reigning Mendelssohn’s Violin Concerto until the for the beauty of simplicity. Bruch’s third virtuoso of the violin, publication of Brahms’ concerto ten years movement answers the slow musings of Itzhak Perlman is later. Bruch’s concerto embodies Romantic the second, providing a buoyant, folk-like beloved by audiences ideals of virtuosity and sublimity: the three- finale. Together, these movements create throughout the world. movement form offered space for dramatic a stunning concerto full of romance and Having performed with bravura, soaring melodies, and memorable virtuosity. every major orchestra passages for both soloist and orchestra. and at concert halls

© 2019 Megan Francisco Mazzucco Lisa-Marie Photo: Both Bruch and Brahms dedicated their around the globe, works to legendary violinist Joseph Perlman was granted a Presidential Medal Joachim, a Hungarian musician who of Freedom by President Obama in 2015, a notably collaborated with each composer Kennedy Center Honor in 2003, a National during the composition process. Bruch’s Medal of Arts by President Clinton in 2000, and Joachim’s collaboration caused some and a Medal of Liberty by President Reagan headache for Bruch, who found himself in 1986. Perlman has received 16 Grammy defending his concerto as an original work Awards, four Emmy Awards, a Kennedy rather than a partnership with Joachim. The Center Honor, a Grammy Lifetime need for Bruch’s defense emerged from Achievement Award and a Genesis Prize. letters between him and Joachim, in which The 60th anniversary of Itzhak Perlman’s Joachim gave detailed suggestions for the U.S. debut and appearance on The Ed concerto, that publishers later wanted to Sullivan Show in 1958 was celebrated with a make public. Bruch argued against this, return to the Ed Sullivan Theater in a special noting that he only took some of Joachim’s guest appearance on The Late Show with suggestions and that the work was solely Stephen Colbert his own. on November 2, 2018. An award-winning documentary on Perlman, titled Itzhak, premiered in 2017.

encoremediagroup.com/programs 27 1/27 SUNDAY, JANUARY 27, 2019, AT 4PM PROGRAM NOTES CELEBRATE ASIA SPECIAL PERFORMANCES This year’s Celebrate Asia concert is a star- studded event focusing on South Korea, Shiyeon Sung, conductor with detours to Taiwan and Thailand. It Kathleen Kim, soprano features young performers and composers who stand either on the edge or at the Seong-Jin Cho, piano pinnacle of world renown in Western Seattle Symphony classical music. Nixon in China JOHN ADAMS The Chairman Dances: Foxtrot for 12’ , a three-act opera Orchestra from Nixon in China composed by the eminent American composer John Adams, concerns the momentous event in 1972 that changed the CHIA-YING LIN Ascolsia (World Premiere) 6’ global geo-politics forever. The Chairman Dances was originally part of its Act 3, SERGEY RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 23’ but later published as an independent SEONG-JIN CHO, PIANO orchestral piece, known as Foxtrot for INTERMISSION Orchestra. In the opera it depicts Madam Mao gate-crashing a presidential UNSUK CHIN snagS&Snarls (Scenes from 16’ banquet and performing a seductive Alice in Wonderland) dance; Chairman Mao descends from his Alice—Acrostic— portrait, and the two dance a foxtrot. Who in the world am I? from “The Pool of Tears” The Tale-Tail of the Mouse from Since being published as an independent “A Caucus-Race and a Long Tale” piece in 1985, The Chairman Dances Twinkle, twinkle, little Star from “A Mad Tea-Party” enjoys wide acceptance among disparate Speak roughly to your little Boy from musical demographics after its having been “Pig and Pepper” used by the New York City Ballet for a work KATHLEEN KIM, SOPRANO with the same name, in the mainstream full-length film I am Love, and in the video game Civilization IV. Even though Adams NARONG PRANGCHAROEN Pubbanimitta for Orchestra 8’ is sometimes labeled as a “minimalist”, this piece is far from it, particularly in its Orch. Phil Young “Arirang” 4’ use of so-called “additive meter”, sudden KATHLEEN KIM, SOPRANO meter shifts, and overlapping layers of different meters. This rhythmic complexity YOUNG-SUP CHOI “I Miss Mount Keumkang” 4’ is further elaborated by a large number /arr. Robert Neumair KATHLEEN KIM, SOPRANO of percussion instruments that produce yet other layers of accents and counter- The Celebrate Asia Composition Competition is generously underwritten by Yoshi and accents. While fascinating for the listener, Naomi Minegishi. it is challenging to any musician but a Additional support for Celebrate Asia is provided by the Atsuhiko and Ina Goodwin showcase of the superb Seattle Symphony Tateuchi Foundation. and its guest conductor Sung. Please note that the timings provided for this concert are approximate. An admirable and meaningful initiative Please turn off all electronic devices and refrain from taking photos or video. by the Seattle Symphony is the annual Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording Celebrate Asia Composition Competition equipment, and any other use of such copying devices during a performance is prohibited. for young composers. The 2019 winner is 28-year-old Taiwanese Chia-Ying Lin, who was trained in Taiwan, Manchester UK, and Rome, and a mentorship program in Budapest. Having already won many competitions and with works performed widely in Asia and Europe, her compositions have been described as having “manifest flair” and “outstanding originality and creativity.” Her winning piece Ascolsia, receiving its world premiere tonight, is inspired by and uses musical elements and instruments of the Beiguan music of Taiwan, a local folk genre that accompanies rituals such as weddings and funerals.

28 SEATTLESYMPHONY.ORG PROGRAM NOTES DESTINATION RETIREMENT... Luxury Living in Sunny Sequim Sergey Rachmaninov’s Rhapsody on a “Live in the Beauty of it all” Theme of Paganini for solo piano and orchestra is a classical repertory standard. It resembles a piano concerto with its three sections, which follow a fast-slow- fast contrast in a usual concerto’s three movements, though in this case played without breaks. The piece is a set of 24 variations on the 24th and last of Niccolò Paganini’s Caprices for solo violin. The first sprightly motif is contrasted with a Dies Irae second, solemn plainchant from Sequim Sequim the medieval Mass of the Dead. These Voted Also Featured in two themes appear throughout the three BEST NORTHWEST WEEKEND sections, giving the Rhapsody a unity and SMALL TOWN ESCAPES coherency lacking in a normal concerto. 2017 May 21, 2017 USA Today Of particular renown is the variation at L.A. Times the end of the second section, which is recognizable as the much beloved theme Designed with you in mind. The Lodge is a full service, independent retirement community. used in many romantic films and ballets. Fine Dining • Spacious Apartments • Individual Cottages Unsuk Chin, born and raised in Seoul, now Month to Month Rental • No Upfront Buy-in Fee based in Berlin, is today one of the world’s most successful living composers; she was honored last year with one of the richest www.thelodgeatsherwood.com awards in contemporary music, the Marie- Josée Kravis Prize for New Music, which 360-681-3100 comes with $200,000 and a commission 660 Evergreen Farm Way, Sequim, WA 98382 to write a new piece for The New York Philharmonic. Whether writing for the piano, voices or large orchestra, her music betrays the most wonderfully vivacious imagination.

Chin’s song cycle snagS&Snarls for soprano and orchestra uses texts from Lewis Carroll’s Alice books, which subsequently formed the basis of her THE TEENTIX celebrated opera Alice in Wonderland. Carroll’s transboundary and philosophical- poetic cosmos is tailor-made for Chin. PRESS CORPS Like Carroll’s Alice, Chin’s music is simultaneously informed by virtuoso artistry, Empowering Teen Voices Through Arts Writing rigorous-logical constructiveness, and at times childlike humor. The cycle consists of five songs: Alice–Acrostic poem, Who Providing training and mentorship by professional critics in the World am I? The Tale-Tail of the Dismantling barriers in arts media Mouse, Speak Roughly to Your Little Boy Amplifying the teen perspective on art and Twinkle, Twinkle, Little Star. The last song parodies the well-known English PRESS CORPS children’s song of the same name; but Chin ARTS CRITICISM 101 THE TEENTIX INTENSIVE has deconstructed it by means of tongue- CLASSES BLOG twisting nonsense verses. The music WORKSHOPS develops from reduced and nearly infantile textures into a highly virtuosic fabric, and, Flexible workshops Multi-week arts- A fully teen-driven in accordance with Carroll’s intentions, with schools and going and arts- publication: transforms simple musical modes of curated, written, expression into a sonic wonderland. TeenTix Community writing intensives Partners and edited by teens Thai composer Narong Prangcharoen’s Pubbanimitta for Orchestra is a dazzling showpiece scored for a full Western orchestra. The composer explains that “Pubbanimitta” here means “foreboding”, Learn more at teentix.org/classes referring to the dread of future calamities

encoremediagroup.com/programs 29 SHIYEON SUNG KATHLEEN KIM PROGRAM NOTES Conductor Soprano When James Levine Since her Metropolitan appointed Shiyeon Sung Opera debut in 2007, caused by climate change. The beginning as his Assistant Kathleen Kim’s section of folk-like material with repetition Conductor at the Boston international profile has of a simple short melody depicts the Symphony Orchestra in continued to rise with calm and peaceful earth. The music then 2007, the winner of the consistent critical transforms to greater complexity to portray Sir Georg Solti and the acclaim reflecting the the alarm and doom of natural disasters. Gustav Mahler excitement she Photo: KBS Photo: Prancharoen today is Thailand’s foremost Conductors’ generates at many of composer of Western classical music, and Competitions already had a reputation as the world’s premier opera houses and has gained global recognition, particularly one of the most exciting emerging talents on concert halls. In the 2017–2018 season Kim in Asia. His music is known for its the international music circuit. She soon also sang Blondchen at Bayerische Staatsoper captivating melodies, effervescent rhythms, began a close collaboration with the Seoul under Ivor Bolton and returned to the brilliant orchestration, ethereal qualities, Philharmonic Orchestra where she became Metropolitan Opera as La Fée and cross-cultural melding, qualities that Associate Conductor in 2009. in Cendrillon under the baton of Bertrand are in vivid display in this work. the Billy. She recently appeared at the The final items are probably the two most As chief conductor of the Gyeonggi Opera Theatre of Saint Louis as Josephine beloved songs by all Koreans, whether Philharmonic Orchestra from 2014 to 2017, in the world premiere of the newly in the South or the North, or in the global she led the young orchestra to international adapted An American Soldier. In 2010 she diaspora; their texts express the Korean’s success, culminating in their appearance as was guest soloist in South Korea at the deep love and longing for their homeland, the first Asian orchestra to be invited at the Independence Day Celebration Concert of and the music of both is poignantly simple renowned Musikfest Berlin. the Seoul Philharmonic Orchestra, but fused with emotion. An excerpt from the conducted by Myung-Wung Chung. She lyrics of “Arirang” is: Born in Pusan, South Korea, Shiyeon Sung has a strong relationship to her homeland studied with Rolf Reuter in Berlin and South Korea and this led to more projects Just as there are many stars in the clear continued her education with Jorma Panula with the Seoul Philharmonic Orchestra sky, in Stockholm. including Mahler’s Symphonies Nos. There are also many dreams in our heart. 2 and 8. and Beethoven’s Symphony No. There, over there, that mountain is Baekdu The music at today’s concert all 9, which was recorded and released by Mountain, comes from Asia or Asia-born Deutsche Grammophon. Where, even in the middle of winter days, composers. As a Korean I have a special flowers bloom. reference to this music. Once I heard Unsuk SEONG-JIN CHO Chin’s opera based on Alice in Wonderland I Piano The Mount Keumkang, or Diamond immediately fell in love. I’m very glad to be Mountain, of “I Miss Mount Keumkang” With an overwhelming performing this music with the wonderful sits just north of the North-South boundary. talent and innate soprano Kathreen Kim. Both of these women Korean poets and artists from the last musicality, Seong-Jin Cho are my mentors and friends. I’ve never been millennium made pilgrimages to this is rapidly embarking on a to Seattle, so I’m really looking forward to mountain and left poems and paintings that world-class career and getting to know the people, the orchestra contributed to its myth and imagination. The considered one of the and Benaroya Hall. I can’t wait. division of the Korean peninsula in 1950 most distinctive artists of resulted in the South Korean people finding his generation. In January themselves unable to visit this beloved icon – Shiyeon Sung Hoffmann Harald Photo: 2016 Cho signed an for nearly 70 years, which makes this song exclusive contract with Deutsche particularly heart-wrenching, and feeds to Grammophon. In November 2018 he the desire for unification. The first verse reads: released a Mozart album with the Chamber Orchestra of Europe and Yannick-Nézet- Whose sovereign work is this? A bright Seguin. In the 2018–2019 season, he plays and beautiful mountain. recitals on the main stages of Carnegie Hall, Though those twelve thousand good old Amsterdam’s Concertgebouw, Berlin peaks speak not, Philharmonie Kammermusiksaal, Frankfurt’s The ten thousand free citizens stand now Alte Oper, Los Angeles’ Disney Concert Hall To call its name in reverence, our Diamond and Zurich’s Tonhalle-Maag, among several Mountain. other venues. Born in Seoul, Cho won the Lasting many, many years, this beautiful coveted Gold Medal at the Chopin mountain, International Competition in Warsaw in 2015. In 2011, at the age of 17, he won third prize at How many years we could not visit! the Tchaikovsky Competition in Moscow. The Finally, today we shall come to reclaim it, following year he moved to Paris to study Diamond Mountain calls! with Michel Béroff at the Paris Conservatoire National Supérieur de Musique where he © 2019 Bell Yung graduated in 2015. He is now based in Berlin.

30 SEATTLESYMPHONY.ORG 1/29 TUESDAY, JANUARY 29, 2019, AT 7:30PM PROGRAM LEONIDAS KAVAKOS & NOTES ENRICO PACE IN RECITAL SERIES The year 1800 marked a major uptick in the public visibility of Ludwig van Beethoven (1770–1827). Between the Leonidas Kavakos, violin successful premiere of his First Symphony, Enrico Pace, piano some well-received publications and news of a major commission for a ballet, LUDWIG VAN BEETHOVEN Violin Sonata No. 4 in A minor, Op. 23 21’ publishers began competing for new Presto works by the 29-year-old rising star. The Andante scherzoso, più Allegretto Viennese publisher Mollo won the right to Allegro molto print the two sonatas for violin and piano that Beethoven began in late 1800, and SERGEY PROKOFIEV Violin Sonata No. 1 in F minor, Op. 80 26’ the scores came out the next year as his Andante assai Opus 23 and Opus 24. Allegro brusco The opening measures of Beethoven’s Andante Violin Sonata No. 4 in A minor, Op. 23, Allegrissimo—Andante assai, come prima in which the violin sustains backgrounds INTERMISSION chords behind the piano, might seem to be a throwback to an older formula BÉLA BARTÓK Rhapsody No. 1, Sz. 87 10’ for such a sonata, which placed all the Lassú: Moderato— important music in the piano and included Friss: Allegretto moderato the violin part as an optional add-on suitable for amateurs. But following the GEORGES ENESCU Violin Sonata No. 3 in A minor dans le 25’ example of Mozart, who led the way in caractère populaire roumain sonata equality, Beethoven elevated the (“in Romanian Folk Style”), Op. 25 violinist in this sonata to a level of full Moderato malinconico partnership, especially in the fortissimo Andante sostenuto e misterioso exchanges and long-lined phrases of the Allegro con brio, ma non troppo mosso exploratory development section. The middle movement, marked Andante scherzoso, più allegretto (“Walking, Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. jokingly, slightly quick”), is quite perky Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording compared to the slow movements that equipment, and any other use of such copying devices during a performance is prohibited. usually come second in sonatas. The music is full of playful repartee, from elaborate fugal constructions to two-note motives tossed back and forth, as if in a children’s game.

The rondo finale again lets the piano take the first stab at the thematic material, with the violin following in response. As the movement builds, the violin delivers its fair share of foreground music, as does the pianist’s left hand, such that the texture at times sounds more like an interwoven trio than a head-to-head duet.

Sergey Prokofiev (1891–1953) settled in Moscow in 1936, nearly twenty years after he left Russia in the wake of the October Revolution of 1917. As an expatriate in Europe, he had found himself increasingly at odds with strident, modern tastes; meanwhile, Soviet audiences and authorities proved receptive to the composer’s “new simplicity,” as he dubbed his developing style. A string of successful film scores and ballet commissions enticed Prokofiev back to his homeland

encoremediagroup.com/programs 31 LEONIDAS KAVAKOS PROGRAM NOTES Violin Leonidas Kavakos is recognized as an artist on a permanent basis, and he entered the training in Vienna and Paris gave him of rare quality, known stream of Soviet music firmly established a cosmopolitan perspective, and he for his musical integrity. as a star. developed a compositional voice steeped By age 21, he had won in the traditions of his French teachers three major The Violin Sonata No. 1 in F minor, Op. Massenet and Fauré. He maintained a competitions: the 80 demonstrates how Prokofiev applied presence in Romania (at least until the Sibelius (1985), Paganini his clear and forthright style in music of Borggreve Marco Photo: Communist takeover in 1946 forced a and Naumburg (1988). the heaviest emotions. He began the permanent exile), and he did much of his This success led to his recording the score in 1938, amid the Great Purge in composing there during summer holidays, original Sibelius Violin Concerto (1903/4), which Stalin killed or displaced millions but the majority of his public life centered the first recording of this work in history, of supposed enemies; having stalled out on his concertizing and conducting in and which won Gramophone Concerto of the after two movements, Prokofiev returned around Paris. He left a small but exquisite to the sonata in 1943, in the midst of World body of music, totaling just 33 works with Year Award in 1991. Kavakos was awarded Gramophone War II, and he finally finished it in 1946. The opus numbers. 2014 Artist of the Year, and four-movement structure, alternating slow the 2017 Léonie Sonning Music Prize, and fast movements, rekindles a tradition Dating from 1926, Enescu’s Violin Sonata Denmark’s highest musical honor. Kavakos from early in the history of violin sonatas, as No. 3, Op. 25 was composed “In the is the 2018–2019 Artist in Residence at the modeled by Corelli and Handel. The slow Romanian Folk Character,” according to Dallas Symphony Orchestra and the first movement dominates the mood of the the subtitle. Rather than using Bartók’s Bavarian Radio Symphony Orchestra. As sonata in a way that it couldn’t as an inner approach of transcribing or imitating an exclusive Sony Classical artist, movement, especially when its material authentic folksongs, Enescu allowed upcoming recordings include the returns to give the finale a slow ending, musical memories from his Romanian Beethoven Violin Concerto, which he will conveying a sound that Prokofiev likened upbringing to inform his own original play-conduct with the Bavarian Radio to “wind in a graveyard.” After Prokofiev themes. The first movement has a free- Symphony Orchestra, and the complete died in 1953 (on the very same day as floating and melancholic quality that Bach Solo Sonatas and Partitas. Joseph Stalin), the violinist for whom the evokes the musings of a country fiddler; to sonata was written, David Oistrakh, played make it sound so loose and improvisatory, the first movement at the composer’s Enescu actually notated the violin part funeral. with incredible precision in its inflections and articulations. The tempo marking After a slowdown in the early 1920s, of the middle movement emphasizes Hungary’s Béla Bartók (1881–1945) was its mysterious quality, starting with the back in the international limelight as a violin’s pale harmonics and the insistent composer and pianist in 1928, when he repetitions from the piano that recall the took a sabbatical from teaching so he hammered tone of the cimbalom, a local could go on concert tours (including a folk instrument related to the zither and two-month, coast-to-coast swing through dulcimer. The energetic finale reinterprets the United States, with a stop in Seattle the vigorous dance music that is so to offer a lecture and solo recital at the essential to Romania’s folk culture. Olympic Hotel). He often performed with the Hungarian violinist Joseph Szigeti, © 2019 Aaron Grad and to supplement two earlier violin sonatas, Bartók took the occasion to add two new rhapsodies for violin and piano to his concert repertoire. These shorter works, modeled on the beloved Hungarian Rhapsodies by Liszt, took advantage of Bartók’s encyclopedic knowledge of local folk styles accumulated through decades of field research and analysis.

The structure of the Rhapsody No. 1, with a slow introduction leading to a fast conclusion, mirrors the Hungarian tradition of the Verbunkos, a style of dancing associated with military recruiting. The melodies exhibit a Romanian character akin to the folksong transcriptions that Bartók included in his popular set of Romanian Folk Dances from 1915.

The Romanian composer Georges Enescu (1881–1955) was a child prodigy who began playing violin at age four. His conservatory

32 SEATTLESYMPHONY.ORG 1/31–2/2 ENRICO PACE THURSDAY, JANUARY 31, 2019, AT 7:30PM Piano FRIDAY, FEBRUARY 1, 2019, AT 12PM SATURDAY, FEBRUARY 2, 2019, AT 8PM Enrico Pace was born in Rimini, Italy. He studied piano with Franco Scala both at BEETHOVEN PIANO the Rossini Conservatory, Pesaro, CONCERTO NO. 3 where he graduated in Conducting and Photo: Marco Borggreve Marco Photo: Composition, and at HONORING THE LEGACY OF BUSTER & NANCY ALVORD the Accademia Pianistica Incontri col Maestro, Imola. Jacques De Tiège was a Ludovic Morlot, conductor valued mentor. Winning the Utrecht Jonathan Biss, piano International Franz Liszt Piano Competition Seattle Symphony in 1989 marked the beginning of his international career. He has toured DMITRI SHOSTAKOVICH Symphony No. 1 in F minor, Op. 10 28’ extensively, performing with major Allegretto—Allegro non troppo orchestras in numerous major musical Allegro centres and festivals across Europe, Asia Lento— and the USA. Enrico Pace enjoys on-going Allegro molto partnerships with Leonidas Kavakos, Frank Peter Zimmermann, Liza Ferschtman, CAROLINE SHAW Watermark (World Premiere and 20’ Sung-Won Yang and Sharon Kam. With Mr. Seattle Symphony commission) Kavakos he recorded Beethoven Sonatas I.— and a disc of Encores and piano trios by II.— Mendelssohn. With Mr. Zimmermann he III. recorded sonatas by J.S. Bach and Busoni. JONATHAN BISS, PIANO Also available is his solo recording of the Années de pèlerinage “Suisse” and “Italie” INTERMISSION of Franz Liszt. LUDWIG VAN BEETHOVEN Piano Concerto No. 3 in C minor, Op. 37 34’ Allegro con brio I feel that when conditions are Largo favorable (good piano, nice Rondo: Allegro acoustics, silent and attentive public), one JONATHAN BISS, PIANO can “melt” in the music making, experiencing that special mental condition Pre-concert Talk one hour prior to performance. where there is no me, you or it, but just a Speaker: Dave Beck, Afternoon Host Classical KING FM 98.1 common flow of consciousness focused On Thursday, Dave Beck will interview composer Caroline Shaw. on vibrations. I believe this inner state is rather close to meditation. Ask the Artist following the Saturday concert. Moderator: Krishna Thiagarajan I very much like connections between music and different art forms, as well as Jonathan Biss’ performances are generously underwritten by Betty Graham through the Seattle with popular tunes: in this repertoire one Symphony’s Guest Artists Circle. can fully fantasize on Russian and other Eastern European tales and moods: the Please note that the timings provided for this concert are approximate. performer is quite challenged in order Please turn off all electronic devices and refrain from taking photos or video. to find very diverse soundscapes and to Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited. render properly the distinctive nuances of quasi-improvised popular music.

On April 6, 2009 as I was strolling in the colorful and vibrant Pike Place Market area I phoned to Italy and found out about the terrible earthquake in Central Italy that had just happened, making me, by emotional association, retain a very vivid image of the place. I really hope this time I can have an uneventful walk there and just care about finding some nice object to bring back home!

– Enrico Pace

encoremediagroup.com/programs 33 OVERVIEW PROGRAM NOTES

Modern audiences revere Beethoven wonderful artistic partner for me for many then. Working with what was already as a singular genius, a musician whose years, and I am especially fond of his characteristic speed, he completed the deep originality sets him apart from interpretation of the 18th and 19th century composition, his First Symphony, in a nearly all others. There is some reason repertoire. matter of weeks. for this view of the composer, who indeed fashioned important innovations It’s an honor to lead the world premiere Professor Steinberg doubtless was startled and opened up new musical vistas. Still, of Caroline Shaw’s Watermark. You’ve at the thesis submitted by his precocious Beethoven did not create his work sui already met Caroline when she sang student. Not only did its harmonic generis. Much of his music extended, and Berio’s Sinfonia with us as a member of language far surpass his own rather therefore was influenced by, that of his the vocal ensemble Roomful of Teeth. conservative habits but the composition predecessors among the great Austro- I’ve been curious about her music since was astonishingly polished in all respects. German composers. Mozart was especially hearing her stunning Partita for 8 Voices, So impressed were the Conservatory important to Beethoven, particularly during for which she won the Pulitzer Prize. faculty with the symphony that they the early part of his career, and inspired recommended it to Nicolai Malko, the conductor of the Leningrad Philharmonic. a number of the latter composer’s works. – Ludovic Morlot Among them is the Piano Concerto No. The premiere, on May 12, 1926, launched 3 in C minor, Op. 37, which Beethoven See Ludovic Morlot’s biography on page 6. Shostakovich’s career as a composer. wrote after hearing Mozart’s great Piano The work follows the traditional symphonic Concerto in C minor, K. 491. design of four movements. A brief We can imagine that in writing his Third DMITRI SHOSTAKOVICH introduction precedes the main body Piano Concerto, Beethoven metaphorically Symphony No. 1 in F minor, Op. 10 of the first movement, whose onset is received a certain musical torch from signaled by a wry, march-like melody Mozart. Now that flame has passed to BORN: Saint Petersburg, Russia, September given out by the clarinet. Shostakovich a skilled and imaginative composer of 25, 1906 eventually recalls the music of the our day. Caroline Shaw wrote her Piano DIED: Moscow, August 9, 1975 introduction, and the movement closes with an abbreviated paraphrase of its Concerto as a kind of distant echo of WORK COMPOSED: 1926 opening measures. Beethoven’s Third. Completed last fall, WORLD PREMIERE: May 12, 1926, in Leningrad. this work receives its first performances at Nikolai Malko conducted the Leningrad The ensuing scherzo unfolds in several this week’s Seattle Symphony concerts, sections, the first built on an antic melody followed by the venerable piece it reflects. Philharmonic Orchestra. introduced, once again, by the clarinet Just as Beethoven’s C-minor concerto and featuring a prominent role for the cannot be mistaken for Mozart’s, despite What to Listen For piano. That tune gives way to a more its debt of influence, Shaw’s concerto Although written before its author relaxed chant-like subject presented by sounds superficially nothing like turned 20, and while he was still a pairs of woodwinds. In the third section Beethoven’s, certain procedural similarities student, Shostakovich’s initial symphony Shostakovich uses both these ideas notwithstanding. We should expect as anticipates the style the composer would simultaneously in counterpoint. much. Mozart and Beethoven were born develop as he matured. The long, sinuous The third movement juxtaposes a romantic less than 20 years apart and worked melodies, the nervous march rhythms, the atmosphere with menacing fanfares within the same musical culture; Shaw, brittle textures featuring percussion and introduced by the brass, these contrasting on the other hand, is composing more piano, as well as the juxtaposition of lyrical and martial elements maintaining an than two centuries later, a span of time extreme high and low registers are traits uneasy truce throughout the proceedings. in which music has undergone profound that would become familiar through the A drum roll leads directly into the finale. changes. She is, moreover, a deeply composer’s subsequent symphonic works. original musician, one with her own style This begins with a slow prelude whose and ideas. It is perhaps only in this way disjointed phrases suggest a sense of that she bears comparison to her great anxiety. All at once, the clarinet takes predecessor. Beethoven, in his day, also Dmitri Shostakovich, who would become off on a frantic melody, the rest of the was a highly novel and original musical the most important symphonist of the orchestra following quickly. Following thinker. mid-20th century, made a youthful several other developments, the music and auspicious debut as a symphonic builds to an impressive climax. But the I wanted to present Shostakovich’s composer. In 1925, having just turned 19, movement is not over. A timpani solo first and last symphonies this season Shostakovich was completing a course recalls the fanfare motif of the third to convey the idea of a journey taken from of studies at the Leningrad Conservatory. movement and leads to a final section that beginning to end. In Shostakovich’s His final requirement was to produce an rises from a subdued lament for solo cello Symphony No. 1 we hear the composer as original work for the composition class to a triumphant close. a young and naïve conservatory student, of Maximillian Steinberg, a renowned with a bit of the sarcasm and tension that pedagogue and former pupil of Rimsky- Scored for 3 flutes (flutes 2 & 3 both doubling are so prevalent in his later works. Korsakov. Shostakovich began sketching piccolo); 2 oboes; 2 clarinets; 2 bassoons; We love pianist Jonathan Biss — he’s this assignment in the waning months 4 horns; 2 trumpets and alto trumpet; 3 performed with the Seattle Symphony trombones; tuba; timpani and percussion; of 1925, although he may have used piano; strings. a few times now. Jonathan has been a some material conceived long before

34 SEATTLESYMPHONY.ORG PROGRAM NOTES

CAROLINE SHAW piano concertos, each inspired by one of she noted “the block-like shape of the Beethoven’s five works in the genre. Shaw’s opening theme in the first movement, which Watermark contribution receives its first performances outlines a C-minor chord in a very elemental BORN: 1982, in Greenville, NC at this week’s Seattle Symphony concerts, way. My theme doesn’t do that, but it also paired with the Beethoven concerto that hammers out its statement.” Similarly, she NOW RESIDES: New York provided its impetus. says, “Beethoven’s finale begins with the WORK COMPOSED: 2018 piano coming on very strong, and I start my WORLD PREMIERE: At this week’s Seattle In creating her concerto, Shaw did not seek final movement the same way.” The element Symphony concerts, with Jonathan Biss to paraphrase or imitate Beethoven’s Third of contrast in Beethoven’s concerto also playing the solo piano part and Ludovic Morlot Concerto. Instead, she gleaned certain appealed to Shaw. “I especially enjoyed conducting. ideas from the work that she then used in having the orchestra do something and her own way. Much of the influence was the piano take off in a completely different subliminal. “It was a process of a deep dive,” direction.” she explained, “deep absorption, listening What to Listen For intuitively, some score study, but mostly That delight in contrast accords with Shaw’s This newly minted composition hearing different recordings, becoming penchant for novelty and surprise, which is mirrors Beethoven’s Third Piano aware of certain harmonic shifts and details an important aspect of her concerto. Again Concerto in certain respects, chiefly in its of the orchestration.” The most obvious way referencing Beethoven’s Third, she said: three-movement design and the character in which she deliberately used Beethoven’s “It was fun starting with this piece that I of certain themes. But its music sounds Third as a template is in retaining the classic love and imagining it differently, the music entirely different, speaking, as it does, in a concerto form of three movements in a fast- twisting in new directions. I thought, what if fresh idiom very much of the present day. slow-fast design. instead of going through one door, it went through door number two, or door number Shaw did not use themes or melodic motifs 26.” from Beethoven’s concerto. Instead, the “I imagine many people would say, ‘How details of that work suggested original ideas Scored for solo piano; 2 flutes; 2 oboes; clarinet can you do this, how can anyone engage to her. Speaking of the Third Concerto, and bass clarinet; bassoon and contrabassoon; with Beethoven in their work?’,” mused 2 horns; 2 trumpets; percussion; strings. composer Caroline Shaw when asked how she approached the task of writing a piano concerto in response to Beethoven’s Concerto in C minor, Op. 37. “But I really enjoyed it. I love responding to or thinking about other music, whether by a composer from a previous era or a popular artist of today. And I had a lot of fun playing with certain ideas I got from [Beethoven’s Third Piano Concerto].”

One can readily believe that Shaw, one of the brightest lights among today’s composers, could derive pleasure and inspiration from such of creative interaction. While her music is very much of the present day, reflecting the possibilities for eclectic invention and stylistic freedom that composers now enjoy, much of it addresses compositional procedures, styles and traditions belonging to the rich treasury of Western music that has accumulated over centuries. Most notably, her choral composition Partita, which won the Pulitzer Prize for music in 2013, updates in brilliant and exhilarating fashion the form and YOUR SYMPHONY. YOUR LEGACY. manner of the Baroque dance suite. In other By leaving a gift through your will, trust or beneficiary works, Shaw has appropriated the sound of Haydn, violinist-composer Fritz Kreisler, designation, you are preserving the beauty of American folk hymns and other sources. For symphonic music, and enriching the next generation more about Caroline Shaw, see the feature through the sights and sounds of the orchestra. article on page 12.

All this made Shaw an ideal participant in To notify us of your planned gift or for additional information, contact a project conceived by pianist Jonathan Becky Kowals at 206.215.4852 or [email protected]. Biss to commission five composers to write

encoremediagroup.com/programs 35 JONATHAN BISS PROGRAM NOTES Piano Jonathan Biss is a world-renowned pianist LUDWIG VAN BEETHOVEN of Beethoven’s mature style. who shares his deep curiosity with music Piano Concerto No. 3 in C minor, Op. 37 The long first movement unfolds under the lovers in the concert dark influence of C minor, a key Beethoven BORN: Bonn, December 16, 1770 hall and beyond. He associated with pathos and desperate continues to expand his DIED: Vienna on March 26, 1827 struggle. The composer forges the reputation as a teacher, WORK COMPOSED: 1800 Ealovega Benjamin Photo: work’s initial theme from two dramatically musical thinker and one WORLD PREMIERE: April 5, 1803, in Vienna. opposed ideas: in the first four measures, of the great Beethoven interpreters of our the strings present a rather brusque and Beethoven performed the solo part and time. He was recently named Co-artistic ominous motif, which the winds echo a conducted from the keyboard. Director alongside Mitsuko Uchida at the step higher; there follows at once a more Marlboro Music Festival, where he has lyrical and impassioned phrase. The

coexistence of such diverse and powerful spent twelve summers. In addition, he has What to Listen For elements, which occurs throughout the written extensively about his relationships The formal profile of this concerto is opening movement, accounts for much with the composers with whom he shares classic Beethoven: a stormy, of the energy and tension Beethoven a stage. A member of the faculty of his dramatic opening followed by a peaceful achieves here. Additional thematic material alma mater the Curtis Institute of Music slow movement and an energetic finale. presented by the orchestra and the soloist since 2010, Biss led the first massive open The latter features a recurring main theme enriches the drama. online course (MOOC) offered by a of boisterous character and somewhat classical music conservatory, Exploring Turkish character — stylized imitations of The ensuing Largo unfolds in the key Beethoven’s Piano Sonatas, which has Janissary music, music performed by of E major, a tonality remote from the Turkish military bands, enjoyed a certain reached more than 150,000 people in 185 first movement’s C major and classically countries. vogue with Austrian audiences during the thought of as serene in character. late 18th century. Following the stormy outbursts of the first movement, its almost religious tranquility is all the more effective.

In 1799 Beethoven attended a With the finale, Beethoven returns us to C performance of Mozart’s great C minor minor, but not to the dramatic struggles of Piano Concerto, K. 491, at a concert given the first movement. The opening theme in the ballroom at Vienna’s Augarten park. sounds, rather, lively and somewhat alla His companion that day was another turca. (Its rhythmic and tonal character is pianist and composer, Johann Cramer, not unlike that of Mozart’s famous “Turkish and as the concerto drew to a close, rondo” from the Piano Sonata in A, K. Beethoven was heard to exclaim: “Cramer, 331.) Alternating with episodes of more Cramer! We shall never do anything like sunny music, this melody develops with an that!” inventive flair characteristic of Beethoven’s best music. It forms the subject for a Despite this despairing remark, the striking contrapuntal passage and later, formidable example of Mozart never transformed to bright C major contours deterred Beethoven. Rather, it provided and merry triplet rhythms, launches the a challenge, a standard to be matched rollicking coda section that brings the work and, where possible, surpassed. It is not to a close. surprising, therefore, that just a year later Beethoven produced a concerto in the Scored for solo piano; pairs of woodwinds, same key and expressing much the same horns and trumpets; timpani; strings. turbulent spirit as the one that had so moved him in the Augarten ballroom. © 2019 Paul Schiavo The Piano Concerto No. 3, Op. 37, occupies an intermediate position, in style as well as chronology, among Beethoven’s five works in this genre. Its formal outline resembles the Classical model followed so closely in his first two piano concertos, yet there are unmistakable signs of the bold departures which would mark Beethoven’s succeeding works of this kind. The scale is larger and more symphonic than any 18th-century concerto, distant tonal relationships are skillfully exploited, and the development of the thematic material is accomplished with a thoroughness typical

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PRINCIPAL BENEFACTORS James and Sherry Raisbeck The Seattle Symphony acknowledges with gratitude the Grant and Dorrit Saviers I GIVE BECAUSE ... following donors who have made lifetime commitments Scan|Design Foundation by Inger and Jens Bruun of more than $1 million as of November 20, 2018. Charles and Maria Schweizer Martin Selig and Catherine Mayer 4Culture Yuka Shimizu Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Mel and Leena Sturman Andrew W. Mellon Foundation Atsuhiko and Ina Goodwin Tateuchi Foundation ArtsFund Muriel Van Housen and Tom McQuaid ArtsWA Stephen Whyte Beethoven, A Non Profit Corporation/ Anonymous Classical KING FM 98.1 Alan Benaroya PRINCIPAL MUSICIANS CIRCLE Sherry and Larry Benaroya The following donors have generously underwritten the The Benaroya Family appearances of principal musicians this season. Bill & Melinda Gates Foundation The Boeing Company Sue and Robert Collett C.E. Stuart Charitable Fund John Delo and Elizabeth Stokes The glorious Charles Simonyi Fund for Arts and Sciences David J. and Shelley Hovind Leslie and Dale Chihuly Mika Nakamura and Gary Wood The Clowes Fund, Inc. Patricia and Jon Rosen music, the Priscilla Bullitt Collins* Eliza and Brian Shelden Jane* and David R. Davis Anonymous Delta Air Lines Estate of Marjorie Edris SYMPHONY MUSICIANS CIRCLE Judith A. Fong and Mark Wheeler superb The following donors have generously sponsored a The Ford Foundation section musician this season. Dave and Amy Fulton William and Melinda Gates Dr. Mark and Laure Carlson musicians Lyn and Gerald Grinstein Stephen Elop and Susan Johannsen Lenore Hanauer Jan and Brit Etzold David J. and Shelley Hovind William E. Franklin Illsley Ball Nordstrom Foundation — what a Andrew and Molly Gabel Kreielsheimer Foundation Elizabeth and Laurent Guez The Kresge Foundation Terry Hecker and Dan Savage Marks Family Foundation Nancy Neraas and Michael King wonderful gift Bruce and Jeanne McNae The Nakajima Family Microsoft Corporation Melvyn* and Rosalind Poll Microsoft Matching Gifts Program Dana Reid and Larry Hitchon M.J. Murdock Charitable Trust Norm and Elisabeth Sandler/The Sandler Foundation the Symphony National Endowment for the Arts Selena and Steve Wilson Nesholm Family Foundation Anonymous The Norcliffe Foundation PONCHO gives to our For more information about musician sponsorship, James and Sherry Raisbeck please contact Amy Bokanev at 206.336.6623. Estate of Gladys Rubinstein Gladys* and Sam* Rubinstein city with each S. Mark Taper Foundation Jeff and Lara Sanderson INDIVIDUALS Seattle Office of Arts & Culture The Seattle Symphony gratefully recognizes the performance! Seattle Symphony Foundation following individuals for their generous Annual Fund Seattle Symphony Women’s Association and Special Event gifts through November 20, 2018. If Leonard* and Patricia Shapiro you have any questions or would like information about Estate of Dr. Joseph S. Spinola supporting the Seattle Symphony, please visit us online Samuel* and Althea* Stroum at seattlesymphony.org/give or contact Donor Relations Dr. Robert Wallace at 206.215.4832. The Wallace Foundation Joan S. Watjen, in memory of Craig M. Watjen Supporters fulfill our mission of bringing people – Gretchen Stephen Whyte together and lifting the human spirit through the power Virginia and Bagley* Wright of music. Thank you! Anonymous (5) STRADIVARIUS CIRCLE

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Bell Keith Yedlin Susan and Jeff Lubetkin Molly Blume 5 15 5 Janice Berlin Christian and Joyce Zobel Mr. and Mrs. Louis Lundquist Audrey and David Bolson 5 5 Zane and Celie Brown 15 Robert and Eileen Zube Bryan Lung Marilyn Braarud Cecily Carver Anonymous (5) Gunilla and Vidur Luthra Bob* and Jane Ann Bradbury 10 Mark P. Lutz 15 Joshua D. Closson ∞ Herb Bridge* and Edie Hilliard Conductors Club ($2,000 - $3,499) Cogan Family Foundation 10 Susan Marinello Katharine M. Bullitt Samuel and Helen Colombo 15 John and Andrea Adams 5 Frank and Judith Marshall Foundation Dr. Margaret Burke Donald and Ann Connolly 5 Robert and Ali Alexander Kevin McGuire Lisa Bury and John R. Taylor 15 Rosalie Contreras and David Trenchard + 10 Harriet and Dan Alexander 5 Joy McNichols Cy and Kathleen Butler 5 Beryl and Nick Crossley Daniel Alexander II Christine B. Mead Mary and Patrick Callan 5 James and Barbara Crutcher 5 Susan Allan and Keylor Eng Ronald Miller and Murl Barker Karen Cameron 5 5 John Delo and Elizabeth Stokes 5 Mr. and Mrs. John Amaya Gary Moresky Corinne A. Campbell 5 Marcia Murray Dr. Stella Desyatnikova Drs. Linda and Arthur Anderson ∞ 5 Mary Campbell Jim and Gaylee Duncan 5 Carlton and Grace Anderson 5 Bruce and Jeannie Nordstrom Wally and Sally Campbell 5 Andrew Faulhaber 10 Larry Harris and Betty Azar 15 Isabella and Lev Novik Dr. Lysanne Cape 5 Jane and Richard Gallagher 5 Dr. Larry and DeAnne Baer Kathryn and John O’Brien Nora Capron 15 Doris H. Gaudette 15 Tracy L. Baker 15 Jerald E. Olson Louis Carbonneau and Agnes Mallet George Gilman 5 Charlie Barbour and Diana Lynn Kruis 5 Mary Pat and John Osterhaus Janitta and Bob Carithers Path Forward Leadership Development Erica L. Gomez Jeffrey Barker ♫ Carol and John Austenfeld 15 Michele and Bob Goodmark 5 Michael Barras Allan and Jane Paulson Charitable Trust 5 Ted and Sandy Greenlee 15 Jane and Peter Barrett 5 Susan and Brian Pessolano Barbara Carr 5 William Haines 15 Patty and Jimmy Barrier Marcus Phung Patrick Cazeau Jane Hargraft and Elly Winer + 5 Hal and Anne Bomgardner 5 Louis Poulin Anand Chakraborty 5 Michèle and Dan Heidt 10 William and Beatrice Booth Lucy and Herb Pruzan Liz Chambers and Jim Johnson Gabriel and Raluca Hera Rosemary and Kent Brauninger 5 Harry* and Ann Pryde Kent and Barbara Chaplin 15 Julie Ratner Robert and Eileen Hershberg ∞ 5 Bob and Bobbi Bridge 5 Mr. James Chesnutt 5 5 Moira Holley and Scott Wasner Alexandra Brookshire and Bert Green ^ Jason Reuer Heinke Clark 15 Thomas Horsley and Cheri Brennan 5 Claire and Aaron Burnett Ed and Marjorie Ringness Ms. Constance Clarke Chuck and Annette Robinson 10 Joni, Scott, and Aedan Humphreys ∞ Barbara A. Cahill 10 Michelle Codd 15 Richard and Roberta Hyman 5 April Cameron 10 Nancy M. Robinson Robert and Janet Coe Braxton E. Rowe Robert C. Jenkins Glen Campbell Sam and Karen Coe ∞ James and Sirkku Johnson Sherry and Bruce Carbary Kate and Matthew Scher Ida Cole Ms. Maritta Ko Vicente Cartas Espinel Thomas and Collette Schick Ellen and Phil Collins 15 15 Thomas and Kathleen Koepsell Charlotte Chandler Eckhard Schipull Susan and Laurence Commeree 15 Lisa Ann Mikulencak and Jeffrey Christianson Harry Schneider and Gail Runnfeldt Mr. and Mrs. Frank Conlon 5 Bernhard Kohlmeier Gakyung Chung Dr. John Schneider Dr. Loveday Conquest 5 Jo Ann Scott Drs. Kotoku and Sumiko Kurachi 5 Robert E. Clapp ∞ 5 Herb and Kathe Cook 5 10 Tatyana Kutsy Terese Clark Janet and Thomas Seery Jeffrey and Susan Cook 5 15 Elizabeth Lee John Clawson 5 Barbara and Richard Shikiar Patricia Cooke Steve Lewis 15 Mr. and Mrs. Ross Comer 10 Douglas Smith and Stephanie Ellis-Smith Danica Coonan 5 Richard* and Beverly Luce 15 Peter and Lori Constable Christopher Snow T. W. Currie Family 15 5 Rebecca and Laird Malamed Tiffany and Scott Dale Mr. and Mrs. Lyle Snyder Richard Cuthbert and Michael and Barbara Malone 5 Dr. Kevin Thomas Damour Stella Stamenova Cheryl Redd-Cuthbert Judsen Marquardt and Constance Niva 5 Cami and Ray Davis Paula Stokes and John Sullivan Robert Darling 5 5 Ken* and Robin Martin ^ Frank and Dolores Dean 15 Victoria Sutter Caroline L. Feiss* and Gordon B. Davidson David Mattson 5 Derek Deeter John and Eleanor Toews Tom DeBoer 10 Bill and Colleen McAleer 15 Jeff Dempsey Manijeh Vail Mark Dexter 5 Brooke and Dre McKinney-Ratliff Dr. Geoffrey Deschenes and Mr. Leo van Dorp David and Helen Dichek 15 Justine and John Milberg 5 Dr. Meredith Broderick 5 Johanna P. VanStempvoort ∞ Anthony DiRe 5 Drs. Pamela and Donald Mitchell 15 Matthew Doxey and Tiffany McNees Mary Lou and Dirk van Woerden Dwight and Susan Dively 5 Maia and John Vechey Laina* and Egon Molbak 15 Jeff Eby and Zart Dombourian-Eby ♫ 5 Sue Donaldson and Paul Fletcher 15

40 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Patrice Donohue Afshan Lakha Lori and Bill Price Greg Wetzel 5 Everett and Bernie DuBois 10 Aidan Lang and Linda Kitchen Alexander Prior Amy and Jeff Wilcox Ken Duncan and Tanya Parish 5 Ron and Carolyn Langford 15 Llewelyn G. and Joan Ashby Pritchard ^ 15 Mitch Wilk 5 Renee Duprel + Bryan LaPorte ∞ Judy Quick Rosalind Horder Williams Mr. Scott Eby ∞ 5 Peter M. Lara 15 Tom and Carol Quinsey 15 Shannon Wilson and Mitchell Johnson Dr. Lewis and Susan Edelheit Law Offices of Lisa Saar Ann Ramsay-Jenkins Marsha Wolf and Ken Linkhart + Branndon R. Edwards ∞ Gregory and Mary Leach 15 Wendy and Murray Raskind 10 Peggy Wolff Donna Richman and Mike Ehrenberg 5 Justin Lee Eric Raub 5 Elizabeth and Troy Wormsbecker Bill and Erin Ellis 5 Timothy Lee Christopher and Lila Rayl Carol Wright 5 David Elop Virginia and Brian Lenker ∞ 15 Reverend Kerry and Robin Reese 10 Michael and Gail Yanney Mr. David Epstein Phyllis Leventhal Cecilia Paul and Harry Reinert 10 Mindy Yardy Luis Espinosa Don and Carla Lewis 10 Kristi Rennebohm-Franz ∞ Lee and Barbara Yates 15 Dr. and Mrs. R. Blair Evans 10 Betty Lewis 10 Teresa Revelle Mr. Rocky Yeh Karen and Bill Feldt 5 Mike Lewis Hollace and James Rhodes Rebecca and Joseph Zalke Junko and Glen Ferguson Gina Linden ∞ Jean A. Rhodes 5 Mr. and Mrs. George* Zonoff 5 Lori and Miguel Ferrer* Bobbie Lindsay and Douglas Buck Fred Richard 15 Anonymous (23) Steven Fetter and Bonnie Kellogg Sharon and Marty Lott John Richardson II 5 Helga Filler Lovett-Rolfe Family Trust Jennifer Ridewood 5 5 years of consecutive giving Jerry and Gunilla Finrow 15 Thomas and Virginia Hunt Luce Mr. and Mrs. Charles Riley 5 10 10 years of consecutive giving Marilyn First Sandy Mackie Deborah and Andrew Rimkus 5 15 15 years or more of consecutive giving Shari and Michael Fleming Nancy and Roger MacPherson Melissa and Manuel Rivelo ∞ Monthly Sustaining Donor Jack and Jan Forrest 5 Rhonda Maloney ∞ 10 Dr. Tom Roberts ♫ Musician Jane H. Fox 15 Mark Litt Family DAF of the Jewish Dr. and Mrs. Tom Robertson 5 ° Board Member Steve Francks Federation of Greater Seattle 5 Mary and David Robinson ^ Lifetime Director Judith Frank Corrinne Martin Dina Rohm + Staff Ms. Janet Freeman-Daily 15 Benjamin and Kelly Martz Stan and Michele Rosen * In Memoriam Maureen Frisch Charles T. Massie ∞ 15 Art Schneider and Kim Street 5 Carole Fuller and Evan Schwab Lois Mayers Dr. and Mrs. Jason Schneier 5 To our entire donor family, thank you for Terri and Joseph Gaffney 5 Florence and Charlie Mayne Judith Schoenecker and your support. You make our mission and Rosemary and Byron Gee Malcolm and Diane McCallum 5 Christopher L. Myers 10 music a reality. Martin and Ann Gelfand E. Thomas McFarlan 10 Steve Schroeder and Cheryl Beighle 5 Abraham George and Catharin Maney John McGarry and Michelle Wernli Patrick and Dianne Schultheis Did you see an error? Help us Ruth and Bill* Gerberding ^ 5 Diane and Scott McGee Nancy and James Schultz + 5 update our records by contacting Janice A. and Robert L. Gerth 15 Heather and Mike McKay Janet Sears ∞ 15 [email protected] or Gail Giacomazzi Karen and Rick McMichael ∞ 15 Maria Semple 206.215.4832. Thank you! Bernel Goldberg + 5 Dr. and Mrs. James F. McNab Virginia Senear 15 Bill and Joy Goodenough 15 Gunda and Uwe Meissner Dr. Anita Shaffer 5 Maridee Gregory ∞ 5 Jan and Andy Meyers Julie and Don Shaw HONORARIUM GIFTS 15 Marilyn Gustafson Karen and James Mhyre Yumi and Craig Sherman Gifts to the Seattle Symphony are a 5 15 15 Megan Hall and James Janning + Mary Mikkelsen Charles Shipley wonderful way to celebrate a birthday, Lea and Larry Hamlin Laurie Minsk and Jerry Dunietz Jon and Kim Shirley honor a friend or note an anniversary. Rich and Reggie Hammond Chie Mitsui Todd Shively and Christopher Woods ∞ In addition to recognition in the Encore Deena C. Hanke ∞ Charles Montange and Cindy Shoffner program, your honoree will receive a card 15 15 15 Barbara Hannah and Ellen-Marie Rystrom Kathleen Patterson Evelyn Simpson ∞ from the Symphony acknowledging your 5 15 Dave and Sandy Hanower James Monteith and Marita Caya Dr. Charles Simrell and Deborah Giles thoughtful gift. Linda and Wolfram Hansis 15 Brady Montz 5 Mr. Charles Sitkin 5 Dr. and Mrs. James M. Hanson Melinda Moore Connie Smith Gifts were made to the Seattle Symphony Karin and Frederic Harder Mary and Alan Morgan Garrett Smith in recognition of those listed below 15 5 5 Walter Harley and Anne Sustar Richard Mori Stephen and Susan Smith between December 1, 2017 and November 15 Racha and Wassef Haroun Christine B. Moss Michele Souligny ∞ 20, 2018. Please contact Donor Relations 15 Susan and Tom Harvey Kevin Murphy Michael Spektor at [email protected] 5 15 5 Admiral and Mrs. Thomas B. Hayward Mr. and Mrs. J. P. Naughton Kathleen and Robert Spitzer or 206.215.4832 if you would like to 5 Mary Heckman David Neagle Doug and Katie Sprugel recognize someone in a future edition Nichole Heidrick Paul Neal and Steven Hamilton 5 Dr. and Mrs. Gordon Starkebaum 10 ∞ of Encore. Joshua Hemphill Robert and Claudia Nelson Susan Yates Stephens 5 Ralph and Gail Hendrickson Kirsten Nesholm Steve and Sandy Hill Family Fund at the Renée Brisbois, by 5 15 Terrill and Jennifer Hendrickson Robert Ness Seattle Foundation ^ Chap and Eve Alvord F. Randall and Barbara Hieronymus 5 Marilyn Newland 10 Diane Stevens 5 Alice and Paul Hill Olin Nichols Michelle Strauss Steve Bryant, by Marvin and Elizabeth Hoekstra Mark Nickerson Mike and Mary Lynn Sutherlin Elle Simon Toni and Rod Hoffman 5 Linda Nordberg Ton Swan and Kayley Runstad Swan 5 Norm Hollingshead Ken and Pearl Noreen Priscilla and Theodore Tanase Steve Bush and Christine Chang, by 5 Bob Holtz and Cricket Morgan Leslie and Kenneth Oja Chee Wei Tang Clarius Group Hannah Hoose Douglas and Alida Oles Margaret Taylor and Robert Elliott 5 10 10 10 Gwen and Randy Houser Thomas and Cynthia Ostermann Bob and Mimi Terwilliger T.J. Callahan, by 5 Norman and Carla Hubbard Richard and Peggy Ostrander Robert Shawn Thesman Tim Callahan Mr. Roy Hughes ∞ 5 Gerald and Melissa Overbeck Peter Chuang and Elaine Tsai 5 5 Jo Anne Iaciofano Meg Owen Kenneth Tschritter Nathan Chan, Danielle Kuhlmann, John 15 5 Ralph E. Jackson Jae Hyun Paek ∞ Warren and Nancy Tucker Turman and Shaina Shepherd, by 15 Kimberly Jankelson John Palo Dolores Uhlman Mark Linsey and Janis Traven Clyde and Sandra Johnson 10 David and Gina Pankowski 5 Sami Uotila and Tuula Rytila 5 Shirley Kah Richard and Sally Parks* Janice and Neill Urano Dale and Leslie Chihuly, by 5 Dibra and Kent Kildow PAS Financial Planning Jan van Horn ∞ April and René Ancinas 15 15 Mike and Mary Killien Jacqueline Louise Patek Gretchen Van Meter Brookshire Green Foundation 5 15 5 Karol King David F. Peck Donald J. Verfurth Susan Brotman 5 15 Virginia King Nancy and Christopher Perks Ryan Waite Liz Chambers and Jim Johnson 10 10 Frank and Diana Kirkbride Mary and Kerry Person Doug* and Maggie Walker Highland Street Foundation Carolyn and Robert Kitchell Perspectives of New Music Silvia Waltner Marks Family Foundation 5 Alana Knaster Don and Sue Phillips Connie Wang and Zachary Pollack Linda and Gerald Nordberg Drs. Peter H. and Susan M. Knutson Mary Pigott Lois Waplington Jane and Joel Scott 15 Albert and Elizabeth Kobayashi Tom and Brooke Pigott Debra Ward ∞ Linda Stevens Vera Koch Valerie and Stanley Piha Judith F. Warshal and Wade Sowers Barbara and Donald Tober Becky Kowals and Max Rose + Donald Pogoloff 5 Eugene and Marilyn Webb 5 Norbert and Kimberly Kusters Jane Powers Jonathan Weintraub

encoremediagroup.com/programs 41 SEATTLE SYMPHONY DONORS SEATTLE

David Cross, by Donald Thulean, by Richard Lundquist, by SYMPHONY Feng Hua and Bin Zhao Gerard Fischer Jinja Yutzy Thomas Dausgaard, by Toshio Uno, by Kenneth Martin, by DONORS Matthew Voorsanger Anthony Uno Boy Scout Troop 80 Leslie and Dale Chihuly David Davis, by Ralph Wedgwood, by Glen and Ann Hiner Carissa Hussong Mary and Alan Morgan Llewelyn G. and Joan Ashby Pritchard Francis Szatanek Samantha DeLuna and Jesse Bearden, by Simon Woods, by Penny Zaleta Jennifer Lee Leslie and Dale Chihuly Jordan Louie Senator and Mrs. Daniel J. Evans Kenneth A. Moore Jr., by Brandon Patoc Dana and Ned Laird Renate and David Stage Laurel and John Nesholm Geoffrey Deschenes and Meredith Broderick, by Llewelyn and Jonie Pritchard Melvyn Poll, by Kathleen Deschenes Pat and Jon Rosen Friends of Abbott Construction Mr. Anthony Uno Janet Abrams Kathy and Steve Dewalt, by Asma Ahmed Nancy MacPherson Ash Family Foundation MEMORIAL GIFTS Larry and Sherry Benaroya Maureen and Joel Benoliel Maria Durham, by Gifts were made to the Seattle Symphony to remember Lisa Bergman Angela Henrick those listed below between December 1, 2017 and Carolyn Burnett Norm Hollingshead November 20, 2018. For information on remembering Everyone at Cactus Restaurant Gloria Ortiz and Pedro Trujillo a friend or loved one through a memorial gift, please Barbara Calvo and Al Benoliel Jorge E. Restrepo contact Donor Relations at 206.215.4832 or Dale and Leslie Chihuly Nicolle Durham Rey [email protected]. Joan and Frank Conlon Maryann Crissey Nancy Paige Griffin, by Nancy Alvord, by Sandra and Gary Etlinger Michael Schick and Katherine Hanson Dr. Diana Behler Timotha and Charles Freedenberg Laurel and John Nesholm Sharon Friel Patty Hall, by Llewelyn G. and Joan Ashby Pritchard Michael Hershey Marlene and Jon Fuson Laurie Griffith Dwight Baker, by Jane Hargraft and Elly Winer James Hanson, by Madred Slaker Jeanette Hanson David and Sharron Hartman Delney and Andrew Hilen Rose and Richard Bender, by Ned and Kristen Lumpkin Jean and Roger Leed, by Alan Cordova John Burg Carolee and Tom Mathers Marilyn McManus Bob Bradbury, by Stewart Miller Diena Lukawski, by Jane Ann Bradbury Linda Nordberg Russ Mann LouAnne Shelton Jack Norman Patricia Oye Marcia Mason, by Richard M. Campbell, by William Poll Kathleen and Eric Ottum Alison Andrews Ann Pryde Joyce Franich Pat and Jon Rosen Reid and Marilyn Morgan, by Eugene and Sue John Milicent Savage Ilene and Elwood Hertzog Edna Kelso SRG Partnership, Inc Janet W. Ketcham Carlyn Steiner Ludovic Morlot, by Mary Langholz Leena and Mel Sturman Martine and Dan Drackett Debra and Gary Larson Diane and Dennis Warshal Jay Hereford and Margaret Winsor Erika Lim Wyman Youth Trust John Marshall Barbara and Jonathan Zweig Llewelyn Pritchard, by Llewelyn G. and Joan Ashby Pritchard Carol and Thomas Olson Randy Robinson and Jane Hadley Frank Powers, by Pat and Jon Rosen Fred Simons Richard Andler and Carole Rush Carole Tingstad Jon Rosen, by Dr. Kennan H. Hollingsworth Isa Nelson Susan and Rich Ahearn Kathryn G. Cavin, by Jane Powers Brenda Barnes James Cavin Keridan Cole Ruth Ann and Jim Powers Shawn Powers Steve and Kay Frank Charles Crane, by Seattle Symphony Volunteers Sally and Kit Narodick Muriel Martin John and Laurel Nesholm Virginia Senear Nancy Tracy Vivian and Jim Schwab Jane Davis, by Cynthia and Daniel Weiner Clodagh and Robert Ash Alex Raines, by Marcia and Mike Wiviott Laurel and John Nesholm Charles Alpers and Ingrid Peterson Llewelyn G. and Joan Ashby Pritchard Arie Schäcter, by Elaine Raines, by Elle Simon Shirley Fleischmann, by Cindy Chang Ellen and Arthur Rubinfeld Seattle Symphony Horns, by Linda and Randy Ebberson Laurel Kalina Carl de Marcken and Marina Meila Ruthe Ginn, by Sheila Lukehart Margaret Grubaugh T.E. and Peggy Spencer, by Karen and Randall Nelson Sheri Sharp John and Nancy McConnell Waldo Henning, by Katherine and Douglas Sprugel Maria Durham and Viva la Música Club Carole Wilson Rachel Swerdlow, Walter Gray, and Paul Rafanelli, by William Forsythe Mark Linsey and Janis Traven Somrak Jaion Bernice Mossafer Rind, by Janice and Neill Urano Nancy Knudsen Howie Barokas Milicent Savage Lou and Doris Berg Pat Takahashi, by Anonymous Gary Morse and Ellen Bowman Mr. and Mrs. Andrew Harris Dr. Kennan H. Hollingsworth Hubert Locke, by Charles and Joan Johnson Llewelyn G. and Joan Ashby Pritchard

42 SEATTLESYMPHONY.ORG SEATTLE SEATTLE SYMPHONY SYMPHONY ENDOWMENT FUND The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of November 20, 2018. For information DONORS on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].

Mr. Steve Loeb $5 Million + Frances O. Delaney* Ms. Sandy Lundberg The Benaroya Family John and Carmen* Delo Isa Nelson Charles Simonyi Fund for Arts and Sciences Estate of Lenore Ward Forbes Susan and James Pass Anonymous Estate of George A. Franz Margaret Pearl Jean Gardner Llewelyn G. and Joan Ashby Pritchard $1,000,000 - $4,999,999 Estate of Mr. and Mrs. Irvin Gattiker Jo-Ellen and Gregory Smith Leslie and Dale Chihuly Anne Gould Hauberg* Mr. David Thompson The Clowes Fund, Inc. Richard and Elizabeth Hedreen Priscilla Bullitt Collins* Estate of William K. and Edith A. Holmes Stan Shiebert, by Judith A. Fong Estate of Susanne F. Hubbach Arts, Recreation and Literature Department of The Ford Foundation John Graham Foundation Seattle Public Library Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Kreielsheimer Foundation Estate of Betty L. Kupersmith Ray and Jane Strohm, by Marks Family Foundation John and Cookie* Laughlin Al Ferkovich and Joyce Houser-Ferkovich Estate of Gladys and Sam Rubinstein E. Thomas McFarlan Samuel* and Althea* Stroum Estate of Alice M. Muench Donald Thulean, by Dr. Robert Wallace Nesholm Family Foundation Gerard Fischer Estate of Opal J. Orr $500,000 - $999,999 M. C. Pigott Family Lois Timlin, by Alex Walker III Charitable Lead Trust PONCHO Margaret and Mark Van Gasken Mrs. John M. Fluke, Sr.* Estate of Mrs. Marietta Priebe Douglas F. King Mr. and Mrs. Paul R. Smith Kathleen Trier, by Estate of Ann W. Lawrence Estate of Frankie L. Wakefield Horizon House Supported Living The Norcliffe Foundation Estate of Marion J. Waller Estate of Mark Charles Paben Washington Mutual Joan Weber, by James D. and Sherry L. Raisbeck Foundation Anonymous Dr. Sharon Zerr-Peltner Joan S. Watjen, in memory of Craig M. Watjen $25,000 - $49,999 $100,000 - $499,999 Ralph Wedgewood, by Edward and Pam Avedisian Estate of Glenn H. Anderson Thomas Chatriand and Cindy Gustafson Estate of Bernice Baker Andrew W. Mellon Foundation Horizon House Supported Living The Boeing Company Bob and Clodagh Ash Jane Kippenhan Estate of Ruth E. Burgess Dr. and Mrs. Ronald J. Beck Michael Vargas Estate of Barbara and Lucile Calef Drs. Janet P. and George* Beckmann Anonymous Mrs. Maxwell Carlson Alan Benaroya Alberta Corkery* Estate of C. Keith Birkenfeld Norma Durst* Mrs. Rie Bloomfield* Estate of Margret L. Dutton ESTATE GIFTS The Boeing Company Estate of Floreen Eastman We gratefully remember the following individuals for C.E. Stuart Charitable Fund Hugh S. Ferguson* their generosity and forethought, and for including Sue and Robert Collett Mrs. Paul Friedlander* the Seattle Symphony in their will, trust or beneficiary Richard* and Bridget Cooley Adele Golub designation. These legacy gifts provide vital support Dr. Susan Detweiler and Dr. Alexander Clowes* Patty Hall for the Symphony now and for future generations. Mildred King Dunn Thomas P. Harville (Estate gifts since September 1, 2016.) E. K. and Lillian F. Bishop Foundation Harold Heath* Estate of Clairmont L. and Evelyn Egtvedt George Heidorn and Margaret Rothschild* Dr. William and Mrs. Laura Andrews Estate of Ruth S. Ellerbeck Phyllis and Bob* Henigson Barbara and Lucile Calef Senator and Mrs. Daniel J. Evans Michael and Jeannie Herr Charles Robb Chadwick Fluke Capital Management Charles E. Higbee, MD* and Donald D. Benedict* Phyllis B. Clark Estate of Dr. Eloise R. Giblett Mr. and Mrs. L. R. Hornbeck Frances L. Condie Agnes Gund JNC Fund Trudel Dean Helen* and Max* Gurvich Sonia Johnson* Carmen Delo Estate of Mrs. James F. Hodges The Keith and Kathleen Hallman Fund Nancy Lee Dickerson Estate of Ruth H. Hoffman David and Karen Kratter Muriel Anita Eisen Estate of Virginia Iverson Estate of Marlin Dale Lehrman Sherry Fisher Estate of Peggy Anne Jacobsson Estate of Coe and Dorothy Malone Jane B. Folkrod Robert C. Jenkins Estate of Jack W. McCoy Elizabeth C. Giblin Klorfine Foundation Estate of Robert B. McNett Merle P. Griff and Nadine Griff Mack Estate of Charlotte M. Malone Estate of Jean and Peter J. McTavish Carol Hahn-Oliver Bruce and Jolene McCaw Estate of Shirley Callison Miner Sarah C. Hamilton Bruce and Jeanne McNae PACCAR Foundation Allan and Nenette Harvey Microsoft Corporation Mr. and Mrs. W. H. Purdy Anne Marie Haugen National Endowment for the Arts Estate of Elizabeth Parke Susanne F. Hubbach Northwest Foundation Sue and Tom Raschella Gretchen and Lyman Hull Estate of Helen A. Overton Keith and Patricia Riffle E. Marian Lackovich Peach Foundation Rita* and Herb* Rosen and the Rosen Family Arlyne Loacker Estate of Elsbeth Pfeiffer Seafirst Bank Fred J. Lorenz Estate of Elizabeth Richards Security Pacific Bank Olga M. McEwing Jon and Judy Runstad Jerry and Jody Schwarz Jean and Peter J. McTavish Estate of Joanne M. Schumacher Seattle Symphony Women’s Association Dorothy Faye Scholz Weyerhaeuser Company Patricia Tall-Takacs and Gary Takacs Allen E. Senear The William Randolph Hearst Foundations U S WEST Communications Phillip Soth Estate of Helen L. Yeakel Estate of Dr. and Mrs. Wade Volwiler Dr. Joseph S. Spinola Estate of Victoria Zablocki Estate of Marion G. Weinthal Samuel and Althea Stroum Anonymous (3) Estate of Ethel Wood Anonymous Lee and Barbara Yates $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 43 MUSICAL LEGACY SOCIETY

We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of November 20, 2018.

Charles M. and Ernest and Elizabeth Scott Frankenberg Thomas and Virginia Hunt Luce John F. and Julia P.* Shaw Barbara Clanton Ackerman William E. Franklin Ted and Joan Lundberg Barbara and Richard Shikiar John and Andrea Adams Cynthia L. Gallagher Judsen Marquardt and Constance Niva Seymour Silberstein and Julie Grosnick Peter Aiau and Susan Ormbrek Jane and Richard Gallagher Ian and Cilla Marriott Valerie Newman Sils Harriet and Dan Alexander Jean Gardner Doug and Joyce McCallum Evelyn Simpson Joan P. Algarin Cheryl and Billy Geffon Tom McQuaid Betty J. Smith Kathleen Amberg Natalie Gendler William C. Messecar Jo-Ellen and Gregory Smith Richard Andler and Carole Rush Carol B. Goddard Jerry Meyer and Nina Zingale Katherine K. Sodergren Ron Armstrong Frances M. Golding Charles N. Miller Althea C. and Orin H.* Soest Elma Arndt Jeffrey Norman Golub Elizabeth J. Miller Sonia Spear Bob and Clodagh Ash Dr. and Mrs. Ulf and Inger Goranson Mrs. Roger N. Miller Mary and Gordon Starkebaum Susan A. Austin Betty Graham Murl G. Barker and Ronald E. Miller Karen J. Stay Dr. and Mrs. Terrence J. Ball Catherine B. Green Charles Montange and Diane Stevens Rosalee Ball Dr. Martin L. Greene Kathleen Patterson Victoria Sutter David W. Barker James and Darlene Halverson Reid and Marilyn Morgan Patricia Tall-Takacs and Gary Takacs Donna M. Barnes Barbara Hannah George Muldrow Gayle and Jack Thompson Carol Batchelder Martha W. Hanscom Marr and Nancy Mullen Art and Louise Torgerson Drs. Janet P. and George* Beckmann Harriet Harburn Isa Nelson Betty Lou and Irwin* Treiger Madeline Beery Ken* and Cathi Hatch Carolyn Niva Muriel Van Housen Alan Benaroya Michele and Dan Heidt John and Joyce O’Connell Sharon Van Valin Rebecca Benaroya Ralph and Gail Hendrickson Gina W. Olson Jean Baur Viereck Donald/Sharon Bidwell Living Trust Deena J. Henkins Miles Olson Dr. Robert Wallace Dona Biermann Charles E. Higbee, MD* Sarah M. Ovens Nicholas A. Walls Karen Bonnevie Harold* and Mary Frances Hill John Palo Jeffrey Ward and Charles Crain Bob* and Jane Ann Bradbury Bob Hoelzen and Marlene Botter Donald and Joyce Paradine Judith Warshal and Wade Sowers Rosemary and Kent Brauninger Frank and Katie Holland Dick and Joyce Paul Douglas Weisfield Sylvia and Steve Burges Dr. Kennan H. Hollingsworth Jane and Allan Paulson James and Janet Weisman Dr. Simpson and Dr. Margaret Burke Chuck* and Pat Holmes Lisa Peters and James Hattori John and Fran Weiss Dr. Mark and Laure Carlson David and Shelley Hovind Stuart N. Plumb Robert T. Weltzien Dr. William and Mrs. Mary Ann Champion Richard and Roberta Hyman Roger Presley and Leonard Pezzano Dorothy E. Wendler Sue and Robert Collett Janet Aldrich Jacobs Mrs. Eileen Pratt Pringle Gerald W. and Elaine* Millard West Patricia Cooke Jennifer James, MD Mr. and Mrs. W. H. Purdy Katherine B. and Hollis R. Williams Dr. Marshall Corson and Mrs. Lauren Riker Robert C. Jenkins John and Suzanne Rahn Selena and Steve Wilson Betsey Curran and Jonathan King Clyde and Sandra Johnson James and Sherry Raisbeck Ronald and Carolyn Woodard Frank and Dolores Dean Dr. Barbara Johnston Mary C. Ransdell and Keith B. Wong Arlene A. Wright Robin Dearling and Gary Ackerman Norman J. Johnston* and Dana Reid and Larry Hitchon Janet E. Wright Lorraine Del Prado and Thomas Donohue L. Jane Hastings Johnston J. Stephen and Alice Reid Rick and Debbie Zajicek John Delo Atul R. Kanagat Bernice Mossafer Rind* Anonymous (56) Dr. Susan Detweiler and Don and Joyce Kindred Richard and Bonnie Robbins Dr. Alexander Clowes* Dell King Bill* and Charlene Roberts * In Memoriam Fred and Adele Drummond Douglas F. King Junius Rochester Mildred King Dunn Stephen and Barbara Kratz Jan Rogers Renee Duprel Tom Kuebler Patricia and Jon Rosen Sandra W. Dyer Drs. Kotoku and Sumiko Kurachi James T. and Barbara Russell Ann R. Eddy Frances J. Kwapil Mary Ann Sage David and Dorothy Fluke M. LaHaise Thomas H. Schacht Gerald B. Folland Ned Laird Judith Schoenecker and Judith A. Fong Paul Leach and Susan Winokur Christopher L. Myers Jack and Jan Forrest Kathleen Leahy Linda and Bruce Scott Russell and Nancy Fosmire Lu Leslan Annie and Leroy Searle Jon Fourre Marjorie J. Levar Virginia and Allen* Senear Jane H. Fox Mel Longley and Leonard* and Patricia Shapiro Jim Fox and Rodney Reagor Tanya Wanchena-Longley Jan and Peter Shapiro

■ THANK YOU MUSICAL LEGACY SOCIETY MEMBERS! The Seattle Symphony thanks all the individuals and families who have notified us that they have remembered the Symphony with a legacy gift.

By making a gift through your estate you join people like you who care deeply about the future of the Seattle Symphony and want to ensure that audiences experience the magic of the orchestra for generations to come. Your gift will help the Seattle Symphony unleash the power of music, bring people together, and lift the human spirit.

To notify us of your planned gift or to learn more about the Musical Legacy Society, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected].

44 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT

The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and in-kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of November 20, 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 Davis Wright Tremaine Weill Music Institute † Clark Nuber Alaska Airlines Delta Dental of Washington Wells Fargo Foundation Grand Image Art † Google Inc. † Encore Media Group † Anonymous Tulalip Tribes Charitable Fund John Graham Foundation KCTS 9 † Yamaha Laird Norton Wealth Management Peach Foundation $5,000 – $9,999 Microsoft Corporation Rosanna, Inc. † Apex Foundation $1,000 – $2,999 Microsoft Matching Gifts Sheri and Les Biller Family Foundation Citi Community Capital Alfred and Tillie Shemanski Trust Fund Nesholm Family Foundation Virginia Mason Listen for Life Center Finlandia Foundation National Bank of America Foundation Precept Wine ◊ Wild Ginger Restaurant ◊ GE Foundation Matching Gifts Program † Scan|Design Foundation Glazer's Camera Butler Valet by Inger and Jens Bruun $10,000 – $14,999 Google Matching Gifts Ebay Matching Gifts Seattle Foundation Aaron Copland Fund For Music Heartwood Provisions † Educational Legacy Fund AETNA Casualty and Surety IntuitiveX Eli Lilly & Company Foundation $25,000 – $49,999 Amazon Jean K. Lafromboise Foundation Genworth Foundation Bank of America The Benaroya Company The Lark Ascends † Grousemont Foundation Boeing Matching Gifts Program Bill & Melinda Gates Foundation League of American Orchestras/ JTM Construction Chihuly Studio † Matching Gifts Ford Musicians Award MG2 Foundation Classic Pianos ◊ BNY Mellon Martin Selig Real Estate Mitsubishi Corporation (Americas) Classical KING FM 98.1 ◊ Expedia Muckleshoot Indian Tribe Northwest Security Services DSquared † Foster Pepper PLLC Music 4 Life † PONCHO Foundation J.P. Morgan Chase & Co. Four Seasons Hotel † Peg and Rick Young Foundation The Ruth and Robert Satter † Charitable Trust Nordstrom Fran’s Chocolates Puyallup Tribe of Indians † † Tolo Events Seattle Cancer Care Alliance Garvey Schubert Barer Skanska USA UBS Employee Giving Programs Atsuhiko & Ina Goodwin Tateuchi Holland America Line ◊ Starbucks Coffee Company ◊ Foundation Lakeside Industries The Westin Hotel, Seattle † Vital Mechanical Virginia B. Toulmin Foundation Perkins Coie LLP Wheels Up Wilson Sonsini Goodrich & Rosati Foundation Wells Fargo Private Bank Port Blakely Wright Runstad T.E.W. Foundation $3,000 – $4,999 Wyman Youth Trust $15,000 – $24,999 Thompson Seattle † Amphion Foundation AegisLiving Treeline Foundation Audi USA † In-Kind Support Chihuly Garden + Glass U.S. Bank Foundation The Capital Grille † ◊ Financial and In-Kind Support

GOVERNMENT SUPPORT

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

encoremediagroup.com/programs 45 SEATTLE SYMPHONY BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS &

SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available COMMITTEES Located in The Boeing Company Gallery, Symphonica is from ushers. open weekdays from 11am–2pm and 90 minutes prior to Special Events provide significant funding each season SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. to the Seattle Symphony. We gratefully recognize our Benaroya Hall is barrier-free and meets or exceeds all presenting sponsors and committees who make these PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities events possible. Individuals who support the events online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those below are included among the Individual Donors with disabilities are available. Those with oxygen listings. Likewise, our corporate and foundation COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous partners are recognized for their support in the is located in The Boeing Company Gallery. flow. Requests for accommodations should be Corporate & Foundation Support listings. For more LATE SEATING: Late-arriving patrons will be seated made when purchasing tickets. For a full range of information about Seattle Symphony events, please at appropriate pauses in the performance, and are accommodations, please visit seattlesymphony.org. visit seattlesymphony.org/give/special-events. invited to listen to and watch performances on a monitor SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. OPENING NIGHT GALA, SEPTEMBER 15, 2018 An infrared hearing system is available for patrons Honoring Music Director Ludovic Morlot CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis SUPPORTING SPONSORS is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and JPMorgan Chase & Co. Nordstrom personal electronic devices prior to the performance. at the Head Usher stations in both lobbies.

ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head CO-CHAIRS 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or Rosalind Benaroya Poll Terry Hecker except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715.

EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are COMMITTEE appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark April Ancinas Eric Jacobs Sherry Benaroya Hisayo Nakajima seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Rosanna Bowles Paul Rafanelli your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Linda Cole Jon Rosen the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Dr. Susan Detweiler Elizabeth Sandler Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Kathy Fahlman Dewalt Jim Schwab Hall, 206.215.4776. for more information. Parul Houlahan Mel and Leena Sturman

HOLIDAY MUSICAL SALUTE, DECEMBER 4, 2018

DINING AT BENAROYA HALL CO-CHAIRS Rebecca Ebsworth Michelle Codd

COMMITTEE LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior Bridget Aumell Diena Lukawski to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid Roberta Downey Tiffany Moss waiting in line at intermission. Terry Hecker Alexander White Ron Koo MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and TEN GRANDS, MAY 11, 2019 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 Kathy Fahlman Dewalt opentable.com or call 206.336.6699. Co-Founder and Executive Director

DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled COMMITTEE pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Rosanna Bowles Fawn Spady a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Cheri Brennan Saul Spady weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Stephen Dewalt Stephanie White Tom Horsley David Woolley-Wilson HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Ben Klinger Jessie Woolley-Wilson Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Carla Nichols Barbara Wortley performances in the S. Mark Taper Foundation Auditorium. Ryan Matthew Porter

DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, YOUNG PATRON'S COUNCIL artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open CHAIR weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Molly Gabel

COMMITTEE Brittany Boulding Bryan Lung Breeden Tiffany Moss CONTACT US Matthew Brannock Jae Paek Nathan Chan Jason Perkizas Joycelyn Eby Jacob Roy Jackie Ernst Shiva Shafii Megan Francisco Saul Spady TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays Pete Gammell Rachel Spain 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. Ryan Hicks Andrew Stiefel seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | PO Box 2108, Seattle, WA 98111-2108 Nyssa Houzenga Claire Taylor Eric Jacobs Christy Wood GROUP SALES: [email protected] | 206.215.4818 Andy Liang

SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music lovers like you. Learn more and make your gift for symphonic music at seattlesymphony.org/give. You can also call us at 206.215.4832 or mail your gift to PO Box 21906, Seattle, WA 98111-3906.

46 SEATTLESYMPHONY.ORG Photos: Brandon Patoc 5 3 / 2 /LifetimeDirectorIsaNelsonand 1 /BenaroyaHallBoardChairNedLaird 5 / 4 / 6 /

BenaroyaHallBoardViceChairandarchitect

Benaroya Hallbenefactorandcommunity Kennedy CenterPresident andformerSeattle Mark Reddington ofLMNArchitects withLifetime Rosalind BenaroyaPoll violist SayakaKokubo andPrincipalCello violinist BrittanyBouldingBreeden, philanthropist Rebecca Benaroya Director Dr. Kennan Hollingsworth Symphony Executive DirectorDeborah Rutter Efe Baltacıgil President & CEOKrishnaThiagarajan with Seattle Symphony andBenaroyaHall Symphony musicians:ConcertmasterNoahGeller, SEEN THE

& HEARDAT THE

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SEATTLE SYMPHONY ( Z ) T 4 6 3 WONDERFUL YEARS CELEBRATING TWENTY the lastinglegacy, visitusonlineatseattlesymphony.org/bh20. To learnmoreaboutBenaroyaHallandhow youcanbeapartof a communitycomestogetherwith commonpurpose. the effort—demonstratingwhatcan beaccomplishedwhen donated totheprojectandcityleadersthatralliedbehind Wicklein, tothesupportofcountlessindividualswho Schwarz, DeborahRutter, Ronald B.Woodard andRobert Rebecca Benaroya,tothetirelessleadership ofGerard effort —fromtheinspirationofbenefactorsJackand building ofBenaroyaHallpossiblethroughdecades-long The SeattleSymphony thankseveryonewhomadethe of downtownthatcontinuestothisday. Hall wasthebeginningofaprolongedrenewal ensemble. ForthecityofSeattle, theopeningofBenaroya expanding rapidlyfromaregionalorchestratoworld-class the musicianstotransformtheirsoundandreputation, landscape ofSeattle. Thesuperbacousticsallowed beginning ofanewerafortheSymphony andthecultural When BenaroyaHallopeneditsdoors,itmarked the downtown Seattleareality. who madethedreamofaworld-classconcerthallin anniversary ofBenaroyaHallandhonoredthemanypeople On October10theSymphony celebratedthe20th seattlesymphony .org/liszt

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