Echoes of Old England Saturday, February 3, 2018 • 7:30 p.m. First Free Methodist Church

Orchestra Seattle Seattle Chamber Singers Michael Wheatley, conductor

EDWARD ELGAR (1857–1934) Sospiri, Op. 70

ARNOLD BAX (1883 –1953) November Woods

CAMILLE SAINT-SAENS¨ (1835 –1921) Violin Concerto No. 3 in B minor, Op. 61

III. Molto moderato e maestoso — Allegro non troppo

Shintaro Taneda, violin

— intermission —

RALPH VAUGHAN WILLIAMS (1872 –1958) Five Tudor Portraits

Ballad: The Tunning of Elinor Rumming Intermezzo: Pretty Bess Burlesca: Epitaph on John Jayberd of Diss Romanza: Jane Scroop (Her Lament for Philip Sparrow) Scherzo: Jolly Rutterkin

Kate Tombaugh, soprano Barry Johnson, baritone

Please silence cell phones and other electronics, and refrain from the use of cameras and recording devices during the performance. Special thanks to First Free Methodist Church and Ron Haight for all of their assistance in making OSSCS’s 48th season possible, and to Michael Moore and the Seattle Philharmonic (www.seattlephil.org) for the use of their celesta at this concert. Refreshments will be available in the Fine Center during intermission.

Orchestra Seattle • Seattle Chamber Singers Clinton Smith, music director • George Shangrow, founder PO Box 15825, Seattle WA 98115 • 206-682-5208 • www.osscs.org About the Violin Soloist Richard Strauss’ Don Juan swapped out for Tchaikovsky’s Capriccio Italien on the opening-night program.) Two days Sixteen-year-old violinist Shintaro Taneda, winner of the later, Elgar volunteered as a special constable at the Hamp- 2017–2018 OSSCS Concerto Competition, has also won top stead police station to assist with the war effort. Reviewing honors at the 2016 MTNA Northwest senior string com- the first performance, The Musical Times described Sospiri as petition, WMEA State Solo and Ensemble Contest, SMTA “a sweet melancholy air, laid out and scored with masterly Simon-Fiset Strings Competition and Performing Arts Fes- reticence and perfection of detail.” tival of the Eastside’s concerto division. Shintaro has per- formed concerti with Seattle Festival Orchestra, Bainbridge Symphony and Cascade Symphony, and has also been a November Woods featured artist in Seattle Chamber Music Society’s Winter Arnold Edward Trevor Bax was born in Streatham (a sub- Festival, Port Angeles Musicale and the popular Ten Grands urb of London) on November 8, 1883, and died in Cork, Ireland, Concert at Benaroya Hall. An enthusiastic orchestral mu- on October 3, 1953. He began work on this tone poem in 1914, sician, Shintaro has played in the Aspen Music Festival completing it in November 1917. conducted the Philharmonic Orchestra and the NAfME All-Northwest Or- Hall´eOrchestra of Manchester in the premiere on November 18, chestra. His summer activities have included the Aspen 1920. The score calls for 3 flutes, piccolo, 2 oboes, English horn, Music Festival, Center Stage Strings, Meadowmount School 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 of Music, Dallas Conservatory’s Music in the Mountains, trumpets, 3 trombones, tuba, timpani, cymbals, glockenspiel, 2 the Brian Lewis Young Artist Program and the Domaine For- harps, celesta and strings. get Music Academy. Shintaro currently studies with Simon A prolific composer in virtually every genre save opera, James of the Coleman Violin Studio and with Midori Goto Arnold Bax is known largely for his seven symphonies and at the University of Southern California. He was previously 18 tone poems, including , , The a student of Shizuko Komeya and was a Dorothy Richard Happy Forest and November Woods. Starling Violin Scholarship recipient at the Pressley Violin While on the surface November Woods may seem to be Studio. He has participated in masterclasses with Rachel “an impression of the dank and stormy music of nature in Barton Pine, David Perry, Noah Bendix-Balgley, Paul Kantor the late autumn,” Bax cautioned that “the whole piece and and Stephen Shipps, among others. its origins are connected with certain troublous experiences I was going through myself at the time, and the mood of the Program Notes Buckinghamshire wood where the idea of this work came, seemed to sound a similar chord as it were. If there are Edward Elgar sounds in the music which recall the screaming of the wind Sospiri, Op. 70 and the cracking of strained branches, I hope they may sug- Edward William Elgar was born June 2, 1857, in Broadheath, gest deeper things at the same time. The middle part may Worcestershire, England, and died in Worcester on February 23, be taken as a dream of happier days, such as sometimes 1934. He composed this work for string orchestra (plus harp come in the intervals of stress either physical or mental.” and optional harmonium or organ) during December 1913 and The “certain troublous experiences” that inspired this January 1914. Henry Wood conducted the New Queen’s Hall tone poem related to Bax’s wife learning of his love affair Orchestra in the first performance on August 15, 1914, in London. with pianist Harriet Cohen. (Mrs. Bax refused a divorce and On December 3, 1913, at a lunch with music publisher they remained unhappily married until her death in 1947, at W.W. Elkin, Elgar agreed to compose two short pieces that which point Cohen discovered that Bax had been involved would serve as companion pieces to his 1888 work Salut with yet another woman for over two decades.) d’amour — in exchange for 100 guineas plus a royalty of After leading the well-received world premiere in three pence per copy sold. The contract also included a Manchester, Hamilton Harty (an early proponent of Bax’s provision that amounted to Elgar’s first recording contract: music) presented the tone poem with the Royal Philhar- “Two thirds of the net royalties received in respect of mechan- monic the following month, but London critics were less ical instrument reproduction to be paid to the Composer.” enthusiastic. Nevertheless, Bax biographer Lewis Foreman Elgar composed the first of these pieces, Carissima, in considers it “the best of his nature poems.” short order. His second effort, Soupir d’Amour (later reti- — Jeff Eldridge tled Sospiri, Italian for “sighs”), emerged as something more somber and profound than the “light music” Elkin had Camille Saint-Sa¨ens sought, so he offered it to another publisher in two versions: Violin Concerto No. 3 in B minor, Op. 61 one for violin and piano, the other for string orchestra with Saint-Sa¨enswas born in Paris on October 9, 1835, and died harp and organ. in Algiers on December 16, 1921. He composed this concerto Henry Wood led the premiere of Sospiri at the opening during March 1880 for Pablo de Sarasate, who premiered the work night of his Promenade Concerts in August 1914, barely in Paris on January 2, 1881. In addition to solo violin, the score two weeks after the onset of World War I. (Wood hastily re- requires pairs of woodwinds (with one flute doubling piccolo), vised the Proms schedule to expunge German works, with horns and trumpets, 3 trombones, timpani and strings. Saint-Saens¨ composed his third violin concerto ex- sioned discomposure among some members of the audience pressly for the Spanish virtuoso Pablo de Sarasate, to whom at the premiere. During this rambunctiously racy first move- he had dedicated his Concerto No. 1 and the famous Intro- ment, according to Vaughan Williams’ second wife (and duction and Rondo Capriccioso some two decades earlier. The biographer), Ursula Vaughan Williams, “The elderly Count- finale of Concerto No. 3 opens with the soloist playing a ess of Albermarle sat in the front row getting pinker and brief recitative before launching into an Allegro non troppo pinker in the face and, when the pink turned to purple, As- 2 in B minor and 2 time, which Hubbard William Harris de- tra Desmond (the contralto soloist), thinking she was going scribed (in a 1904 Chicago Symphony program book) as “a to have a heart attack, was about to lean down from the long and elaborate movement of quasi-rhapsodical struc- platform and offer smelling salts. But before this aid could ture, developed from four distinct themes — the first three be given she rose to her feet, said ‘Disgusting!’ loudly and being stated by the solo instrument and the violins and vio- clearly, and marched out of the hall. When Ralph learned las in harmony (muted and pianissimo). In the recapitulation of the event afterward, he said it certainly showed that the this fourth theme reappears in the trumpets and trombones choir’s diction was good, and added reflectively: “A pity fortissimo, embellished by figurations from the strings — to she didn’t read the lines I didn’t set.” be carried on by the solo instrument, expressively accom- The debut of Five Tudor Portraits earned wide critical panied by the strings and woodwinds; following which the acclaim, with a correspondent for The Musical Times noting movement comes to an end with a free coda.” that he had seldom seen an English audience “so relieved of concert-room inhibitions.” Since its highly successful pre- Ralph Vaughan Williams miere, however, performances of this musically excellent Five Tudor Portraits work have been rare due in part to its difficulty (the long Ralph (pronounced “Rafe”) Vaughan Williams was born fourth movement for women’s chorus and female soloist October 12, 1872, in Down Ampney, Gloucestershire, England, makes the suite off-putting to many amateur choirs) and the and died August 26, 1958, in London. He composed this five- bawdy humor of its opening movement is not universally movement choral-orchestral work on a commission from the Nor- appreciated! wich Festival, conducting the first performance at St. Andrew’s The suite begins with a Ballad, an exuberant, rhyth- Hall in Norwich on September 25, 1936, leading the London mically and contrapuntally complex setting of the ribald Philharmonic and the Norwich Festival Chorus. In addition to verses of “The Tunning of Elinor Rumming” that describe mezzo-soprano and baritone soloists and chorus, the score calls Elinor and the goings-on at her hilltop alehouse. Shifting, for 3 flutes (one doubling piccolo), 2 oboes (one doubling English ragged rhythms lead to a ruminative telling of the tale of horn), 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, “drunken Alice” by the solo mezzo-soprano and a variety of 3 trombones, tuba, timpani, percussion, harp and strings. solo instruments. Englishman Ralph Vaughan Williams was a composer In the ardent Intermezzo, “Pretty Bess,” the baritone and conductor; player of violin, viola, piano and organ; soloist expresses yearning for his love, answered by the cho- teacher, writer and lecturer; and mentor to many younger rus. Tenors and basses, using a mixture of Latin and English, musicians. He has been described as “one of the truly out- declare John Skelton’s disdain for a thoroughly abhorrent standing composers of his or any age. One who had all the character in the ensuing raucous Burlesca, “Epitaph on John techniques one could wish for; who could experiment with Jayberd of Diss.” the best of them; who rejuvenated a nation’s musical life; “Jane Scroop (Her Lament for Philip Sparrow),” a who preserved its musical heritage; and who remained mod- poignant Romanza for the mezzo-soprano soloist (Jane) and est and unassuming throughout. This, of course, was part of women’s voices (her friends), is a tender, sensitive, heart- his greatness.” In general, his compositions (including op- rending requiem for a young girl’s pet sparrow, Philip, eras, film scores, ballet and stage music, song cycles, church killed by Gib, her cat. The “Dies Irae” appears in the or- music and nine symphonies) not only exude, somehow, the chestra as the air is filled with the calls of the birds who essence of “Englishness,” but also exhibit timeless, visionary participate in Philip’s corteg´ e´ and funeral. Jane and her qualities that continue to enrapture audiences everywhere. friends pray for the repose of Philip Sparrow’s soul and bid Always deeply interested in the English choral tradi- him “farewell for evermore.” tion, Vaughan Williams conducted choirs at various mu- In total contrast to Jane Scroop’s lengthy lament, the sic festivals and composed works for them. “I think they brief, boisterous Scherzo, “Jolly Rutterkin,” employs ex- thought they’d get ‘O Praise the Lord,’ ” the composer noted hilarating cross-rhythms and spirited exchanges between in the case of the work on tonight’s program, “but I sent baritone soloist (Rutterkin, a dashing vagabond) and cho- them the Five Tudor Portraits,” a work that shocked many of rus. Rutterkin’s arrival in town causes a stir, and his vibrant its first listeners. Vaughan Williams set poems by one John musical portrait concludes an undeservedly little-known Skelton, a tutor to the future King Henry VIII when he was masterpiece overflowing with rhythmic vigor and shimmer- Duke of York, featuring brief, metrically uneven rhyming ing instrumental and vocal color that powerfully conveys lines (“Skeltonic lines”) that, for Vaughan Williams, required the passions of love and loss, and the joy and beauty that the rollicking, “jazzy” treatment exemplified in the work’s make life worth living. opening portrait, including rather risque´ verses that occa- — Lorelette Knowles Vocal Texts

The Tunning of Elinor Rumming With a whim-wham From tide to tide. And all for the good ale. Tell you I will, Knit with a trim-tram Abide, abide! (With Hey! and with Ho! If that ye will Upon her brain-pan; And to you shall be told Sit we down a-row, A-while be still, Like an Egyptian How her ale is sold And drink till we blow.) Of a comely Jill Capped´ about, To Maud and to Mold. Their thirst was so great That dwelt on a hill: When she goeth out. Some have no money They asked never for meat, She is somewhat sage That thither come´ But drink, still drink, And well worn in age: And this comely dame, For their ale to pay. And ‘Let the cat wink, For her visage I understand, her name That is a shrewd array! Let us wash our gummes´ It would assuage Is Elinor Rumming, Elinor sweared, ‘Nay, From the dry crummes!’´ A man’s courage. At home in her wonning; Ye shall not bear away Some brought a wimble, Droopy and drowsy, And as men say Mine ale for nought, Some brought a thimble, Scurvy and lowsy, She dwelt in Surrey By him that me bought!’ Some brought this and that Her face all bowsy, In a certain stead With ‘Hey, dog, hey! Some brought I wot ne’er what. Comely crinkled, Beside Leatherhead. Have these hogs away!’ And all this shift they make Wondrously wrinkled She is a tonnish gib, With ‘Get me a staffe´ For the good ale sake. Like a roast pig’s ear, The devil and she be sib. The swine eat my draffe!´ Bristled with hair. Strike the hogs with a club, ‘With Hey! and with Ho! Her nose some deal hooked,´ But to make up my tale They have drunk up Sit we down a-row, And comously-crooked,´ She breweth nappy ale, my swilling-tub!’ And drink till we blow, Never stopping, And maketh thereof pot-sale And pipe “Tirly Tirlow”’ But ever dropping; To travellers, to tinkers, Then thither came drunken Alice, Her skin loose and slack, To sweaters, to swinkers, And she was full of tales,´ But my fingers itch, Grained like a sack; And all good ale-drinkers, Of tidings in Wales,´ I have written too much With a crooked back. That will nothing spare And of Saint James in Gales,´ Of this mad mumming Jawed like a jetty; But drink till they stare And of the Portingales,´ Of Elinor Rumming! A man would have pity And bring themselves bare, With ‘Lo, Gossip, I wis, Thus endeth the geste To see how she is gummed,´ With ‘Now away the mare! Thus and thus it is: Of this worthy feast. Fingered and thumbed,´ And let us slay care.’ There hath been great war Gently jointed, As wise as an hare! Between Temple Bar Pretty Bess Greased and anointed And the Cross in Cheap, My proper Bess, Up to the knuckles; Come who so will And there came an heap My pretty Bess, Like as they were with buckles To Elinor on the hill Of mill-stones in a rout.’ Turn once again to me! Together made fast. With ‘Fill the cup, fill!’ She speaketh this in her snout, For sleepest thou, Bess, Her youth is far past! And sit there by still, Snivelling in her nose Or wakest thou, Bess, Early and late. As though she had the pose. Mine heart it is with thee. And yet she will jet Thither cometh Kate, ‘Lo, here is an old tippet, Like a jollivet, Cisly, and Sare, An ye will give me a sippet My daisy delectable. In her furred´ flocket, With their legs bare, Of your stale ale, My primrose commendable, And gray russet rocket, They run in all haste, God send you good sale!’ My violet amiable, With simper and cocket. Unbraced and unlaced; ‘This ale,’ said she, ‘is noppy; My joy inexplicable, Her hood of Lincoln green With their heeles´ dagged,´ Let us suppe´ and soppy Now turn again to me. It has been hers, I ween, Their kirtles all jagged,´ And not spill a droppy, More than forty year; Their smocks all to-ragged,´ For, so may I hoppy, Alas! I am disdained, And so doth it appear, With titters and tatters, It cooleth well my croppy’. And as a man half maimed, For the green bare threades´ Bring dishes and platters, Then began she to weep My heart is so sore pained! Look like sere weedes,´ With all their might running And forthwith fell asleep. I pray thee, Bess, unfeigned, Withered like hay, To Elinor Rumming Yet come again to me! The wool worn away. To have of her tunning. (‘With Hey! and with Ho! By love I am constrained And yet, I dare say Sit we down a-row, To be with you retained, She thinketh herself gay She lendeth them on the same, And drink till we blow.’) It will not be refrained: Upon the holiday And thus beginneth the game. I pray you, be reclaimed, When she doth her array Some wenches come unlaced Now in cometh another rabble: And turn again to me. And girdeth on her geets Some housewives come unbraced And there began a fabble, Stitched and pranked with pleats; Some be flybitten, A clattering and babble My proper Bess, Her kirtle, Bristol-red, Some skewed as a kitten; They hold the highway, My pretty Bess, With clothes upon her head Some have no hair-lace, They care not what men say, Turn once again to me! That weigh a sow of lead, Their locks about their face Some, loth to be espied, For sleepest thou, Bess, Writhen in wondrous wise Such a rude sort Start in at the back-side Or wakest thou, Bess, After the Saracen’s guise, To Elinor resort Over the hedge and pale, Mine heart it is with thee. Epitaph on John Jayberd of Diss [Free Translation] Jane Scroop Lauda, anima mea, Dominum! Sequitur trigintale Here follows a trental, Placebo! Who is there, who? To weep with me, look that ye come, Tale quale rationale, More or less reasonable, Dilexi! Dame Margery? All manner of birdes´ in your kind; Licet parum curiale, Hardly fitting for the Church, Fa, re, mi, mi, Wherefore and why? See none be left behind. Tamen satis est formale, But formal enough, For the soul of Philip Sparrow, Joannis Clerc, hominis For John the Clerk, That was, late, slain at Carrow To mourning look that ye fall Cujusdam multinominis, A certain of many names Among the Nuns Black. With dolorous songs funeral, Joannes Jayberd qui vocatur, Who was called John Jayberd. For that sweet soul’s sake, Some to sing, and some to say, Clerc cleribus nuncupatur. He was called clerk by the clergy. And for all sparrows’ souls Some to weep, and some to pray, Obiit sanctus iste pater This holy father died Set in our bead-rolls. Every bird in his lay. Anno Domini Millesimo Quingen- In the year of our Lord 1506. When I remember again The goldfinch, the wagtail; tesimo sexto. In parochia de Diss In the parish of Diss How my Philip was slain, The jangling jay to rail, Non erat sibi similis; There was not his like; Never half the pain The flecked´ pie to chatter In malitia vir insignis, A man renowned for malice, Was between you twain, Of this dolorous matter; Duplex corde et bilinguis; Double-hearted, double-tongued, Pyramus and Thisbe, And Robin Redbreast, Senio confectus, Worn out by old age, As then befell to me: He shall be the priest Omnibus suspectus, Suspected of all, I wept and I wailed, The requiem mass to sing, Nemini dilectus, Loved by none. The tears down hailed, Softly warbling, Sepultus est among the weeds: He is buried But nothing it availed With help of the reed sparrow, God forgive him his misdeeds! To call Philip again, And the chattering swallow, Carmina cum cannis Sing we songs in our cups Whom Gib, our cat, hath slain. This hearse for to hallow; Cantemus festa Joannis: To celebrate John. Vengeance I ask and cry, The lark with his long toe; Clerk obiit vere, The clerk is truly dead By way of exclamation, The spinke, and the martinet also; Jayberd nomenque dedere: and given the name of Jayberd. On all the whole nation The fieldfare, and snite Diss populo natus, Born among the people of Diss Of cattes´ wild and tame: The crow and the kite; Clerk cleribus estque vocatus. And called clerk by the clergy. God send them sorrow and shame! The raven called Rolfe,` Nunquam sincere Never was he wont That cat specially His plain song to sol-fa; Solitus sua crimina flere: Truly to bewail his sins. That slew so cruelly The partridge, the quail; Cui male lingua loquax His evil tongue My little pretty sparrow The plover with us to wail; Que mendax que, fuere Was loquatious and lying. That I brought up at Carrow! The lusty chanting nightingale; Et mores tales Such morals as his O cat of churlish kind, The popinjay to tell her tale, Resident in nemine quales; Were never before in anyone. The fiend was in thy mind That toteth oft in a glass, Carpens vitales When he breathed the vital So traitorously my bird to kill Shall read the Gospel at mass; Auras, turbare sodales Air he disturbed his companions That never owed thee evil will! The mavis with her whistle Et cives socios. And his fellow citizens as if It had a velvet cap, Shall read there the Epistle. Asinus, mulus velut, et bos. He were an ass, a mule or a bull. And would sit upon my lap, Our chanters shall be the cuckoo, Quid petis, hic sit quis? Do you ask who this is? And seek after small wormes, The culver, the stockdoo, John Jayberd, incola de Diss; John Jayberd, inhabitant of Diss And sometime With ‘peewit’ the lapwing, Cui, dum vixerat is, With whom while he lived whitebread-crumbes; The Versicles shall sing. Sociantur jurgia, vis, lis. Were associated quarrels, vio- And many times and oft, Jam jacet hic stark dead, lence and strife. Now here he lie Between my breastes soft The swan of Maeander, Never a tooth in his head. It would lie and rest; The goose and the gander, Adieu, Jayberd, adieu, It was proper and prest! The duck and the drake, In faith, deacon thou crew! Sometimes he would gasp Shall watch at this wake; Fratres, orate Pray brethren When he saw a wasp; The owl that is so foul, For this knavate, A fly, or a gnat, Must help us to howl; By the holy rood, He would fly at that; The heron so gaunt, Did never man good: And prettily he would pant And the cormorant, I pray you all, When he saw an ant! With the pheasant, And pray shall, Lord how he would pry And the gaggling gant, At this trental After a butterfly! The dainty curlew, On knees to fall Lord, how he would hop The turtle most true. To the football, After the grasshop! The peacock so proud, With ‘Fill the black bowl And when I said, ‘Phip, Phip!’ Because his voice is loud, For Jayberd’s soul. Then he would leap and skip, And hath a glorious tail, Bibite multum: Drink your fill. And take me by the lip. He shall sing the Grail. Ecce sepultum See he is buried Alas! it will me slo The bird of Araby Sub pede stultum. Under your feet, That Philip is gone me fro! That potentially Asinum et mulum. A fool, an ass and a mule. For Philip Sparrow’s soul, May never die, With, ‘Hey, ho, rumbelow!’ Set in our bead-roll, A phoenix it is Rumpopulorum Let us now whisper This hearse that must bless Per omnia Secula seculorum! For ever and ever. A Paster noster. Please turn page quietly . . . With aromatic gums Requiem aeternum dona eis, Domine! Jolly Rutterkin My hair brusheth That cost great sums, I pray God, Philip Hoyda, Jolly Rutterkin, hoyda! So pleasantly, The way of thurification to Heaven may fly! Like a rutter hoyda. My robe rusheth To make a fumigation, Domine, exaudi orationem meam! Rutterkin is come unto our town So ruttingly, Sweet of reflare, To Heaven he shall, In a cloak without coat or gown, Meseem I fly, And redolent of air, from Heaven he came! Save a ragged hood to cover his crown, I am so light This corse for to ’cense Dominus vobiscum! Like a rutter hoyda. To dance delight. With great reverence, All good prayers Rutterkin can speak no English, Properly dressed, As patriarch or pope God send him some! His tongue runneth all on buttered fish, All point devise, In a black cope. Oremus, Deus, cui proprium Besmeared with grease about his dish, My person pressed Whiles he ’censeth the hearse, est misereri et parcere, Like a rutter hoyda. Beyond all size He shall sing the verse, On Philip’s soul have pity! Rutterkin shall bring you all good luck, Of the new guise, Libera me, Domine! For he was a pretty cock, A stoup of beer up at a pluck, To rush it out In do, la sol, re, And came of a gentle stock, Till his brain be as wise as a duck, In every rout. Softly Be-mol And wrapt in a maiden’s smock, Like a rutter hoyda. Beyond measure For my sparrow’s soul. And cherished full daintily, Me sleeve is wide, And now the dark cloudy night Till cruel fate made him to die; What now, let see, All of pleasure Chaseth away Phoebus bright, Alas, for doleful destiny! Who looketh on me My hose strait tied, Taking his course Farewell, Philip adieu! Well round about, My buskin wide toward the west, Our Lord, thy soul rescue! How gay and how stout Rich to behold, God send my sparrow’s soul Farewell, without restore, That I can wear Glittering in gold. good rest! Farewell for evermore! Courtly my gear. — John Skelton

Soprano Bass Viola Oboe Trumpet Barb Anderson Timothy Braun Deborah Daoust Lindsay Hogan Rabi Lahiri Ann Bridges Andrew Danilchik Grant Hanner Rebecca Rice* Sarah Weinberger Sue Cobb Stephen Keeler Katherine McWilliams Janet Young* Abigail Owens Cooper Dennis Moore Emily O’Leary English Horn Cinda Freece Byron Olivier Stephanie Read David Barnes Trombone Peggy Kurtz § Glenn Ramsdell Sam Williams* Cuauhtemoc Escobedo* Kathleen Sankey Steven Tachell Clarinet Chad Kirby Nancy Shasteen Skip Viau Cello Steven Noffsinger* Jim Hattori Richard Wyckoff § Peter Ellis Chris Peterson Alto Max Lieblich Kristin Schneider Tuba Sharon Agnew Violin Patricia Lyon David Brewer Cheryl Blackburn Susan Beals Annie Roberts Bass Clarinet Deanna Fryhle Lauren Daugherty Valerie Ross Cynthia Ely Timpani Rose Fujinaka Dean Drescher Matthew Wyant* Dan Oie Pamela Ivezicˇ Whitney Forck Bassoon Ellen Kaisse Alexander Hawker Bass Aaron Chang Percussion Jan Kinney Margaret Hendrickson Jo Hansen* Jeff Eldridge* Ginny Bear Theodora Letz Jason Hershey Ericka Kendall Lacey Brown Lila Woodruff May Manchung Ho Steven Messick Contrabassoon Kathie Flood Laurie Medill § Maria Hunt Chris Simison Michel Jolivet Rebecca Keith Keyboard Tenor Fritz Klein* Flute French Horn Paul Tegels Ralph Cobb Pam Kummert Kate Johnson Barney Blough Jon Lange § Mark Lutz Shari Muller-Ho* Laurie Heidt* Harp Tom Nesbitt Gregor Nitsche Elana Sabovic-Matt Jim Hendrickson Catherine Case David Zapolsky Susan Ovens Matthew Kruse Bethany Man* Stephen Provine** Piccolo ** concertmaster Theo Schaad Melissa Underhill ** principal Janet Showalter *§ section leader Kenna Smith-Shangrow