MARCH 2020 THOMAS DAUSGAARD, MUSIC DIRECTOR
EUN SUN KIM CONDUCTS PROKOFIEV PRICE & TCHAIKOVSKY
DAUSGAARD CONDUCTS STRAUSS’ SALOME ALSO THIS MONTH AUBREY LOGAN COUNT BASIE ORCHESTRA Trim: 8.375” x 10.875” Bleed: 8.625” x 11.125”
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©2020 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. CONTENTS MARCH 2020
4 / Calendar 6 / The Orchestra 54 / Benaroya Hall Guide
FEATURES
5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / In Conversation with Thomas Dausgaard 55 / The Lis(z)t
CONCERTS
14 / March 3 Aubrey Logan with the Seattle Symphony 17 / March 6 & 7 Bach & Telemann 23 / March 8 Celebrate Asia 26 / March 12 & 14 Tchaikovsky Symphony No. 5 AUBREY LOGAN 31 / March 13 14 Tchaikovsky Untuxed 33 / March 19 & 21 R. Strauss Salome 42 / March 20 Beethoven & Shostakovich 45 / March 27, 28 & 29 The Legendary
THE LEGENDARY COUNT Count Basie Orchestra GUN-BRIT BARKMIN BASIE ORCHESTRA Photo: Florian Kalotay Florian Photo: 33 45
ON THE COVER: Eun Sun Kim by Nikolaj Lund COVER DESIGN: Stephanie Tucker EDITOR: Heidi Staub
© 2020 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.
encorespotlight.com 3 19 LOOKING AHEAD: PERFORMANCE SPACE: ON THE DIAL: Tune in to Classical KING ■ S. MARK TAPER FOUNDATION AUDITORIUM FM 98.1 every Wednesday at 8pm for a ■ ILLSLEY BALL NORDSTROM RECITAL HALL Seattle Symphony spotlight and the first APRIL ■ OCTAVE 9: RAISBECK MUSIC CENTER Friday of every month at 9pm for concert ■ SAMUEL & ALTHEA STROUM GRAND LOBBY broadcasts. AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 7:30pm 2 10:30am 3 9:30, 10:30 & 4 Wayne Marshall Tiny Tots: 11:30am Plays & Conducts The Strings: Tiny Tots: The Strings: Gershwin Mother Goose Mother Goose SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY 7:30pm Joshua 8pm Redman with SRJO Stephen Osborne SEATTLE REPERTORY Beethoven Piano JAZZ ORCHESTRA Sonatas 8pm SEATTLE SYMPHONY Wayne Marshall Plays & Conducts Gershwin SEATTLE SYMPHONY
2pm 5 6 7 88 7:30pm 9 8pm 10 2 & 8pm 11 Wayne Marshall Joe Hisaishi Joe Hisaishi Joe Hisaishi Plays & Conducts Symphonic Concert: Symphonic Concert: Symphonic Concert: Gershwin Music from the Music from the Music from the SEATTLE SYMPHONY Studio Ghibli Films Studio Ghibli Films Studio Ghibli Films of Hayao Miyazaki of Hayao Miyazaki of Hayao Miyazaki 7:30pm SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY Lindy West & Samantha Irby – Heavy Flow NWAA, KNKX 88.5FM & THE STRANGER
12 7:30pm 13 14 7:30pm 15 7:30pm 16 8pm 17 2pm 18 Pure Yanni Carol Anderson The Music of Five Beethoven Beethoven’s 250th LIVE @ BENAROYA SEATTLE ARTS & John Adams Cello Sonatas PHILHARMONIA HALL LECTURES SEATTLE SYMPHONY SEATTLE SYMPHONY NORTHWEST & KIRKLAND CHORAL 9pm SOCIETY Jenny Hval 7:30pm NEUMOS PRESENTS Music for Love and War EARLY MUSIC SEATTLE 8pm The Music of John Adams SEATTLE SYMPHONY
2pm The Music of 19 20 21 7:30pm 22 7:30pm 23 7:30pm 24 9:30 & 11am 25 John Adams Elizabeth Kolbert Bernstein Songfest Hannah Lash & First Concerts: SEATTLE SYMPHONY SEATTLE ARTS & SEATTLE SYMPHONY Hub New Music Meet the Percussion LECTURES SEATTLE SYMPHONY SEATTLE SYMPHONY 7pm Beethoven’s Archduke Trio 7:30pm BYRON SCHENKMAN & Bearers of Heavenly FRIENDS GiveBIG 2020 Light Early Giving Begins ENSIGN SYMPHONY & 7:30pm CHORUS An Evening with seattlesymphony.org/ Fran Lebowitz, givebig 8pm Hosted by David Bernstein Songfest Schmader SEATTLE SYMPHONY NWAA, KNKX 88.5FM & THE STRANGER
2pm 26 7pm 27 28 7pm 29 7:30pm 30 Wayward Sisters Musical Soundbites* Haydn The Creation PACIFIC MUSICWORKS Conversations: SEATTLE SYMPHONY SEATTLE SYMPHONY Haydn 7:30pm SEATTLE SYMPHONY Drum Tao 2020 LIVE @ BENAROYA 7pm HALL Merriman Family Young Composers Workshop Concert (FREE!) SEATTLE SYMPHONY
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encorespotlight.com 5 ■ ABOUT THE SEATTLE SYMPHONY
THOMAS DAUSGAARD MUSIC DIRECTOR
Music Director of the Seattle Symphony, Danish conductor Thomas Dausgaard is esteemed for his creativity and innovative programming, the excitement of his live performances and his extensive catalogue of critically acclaimed recordings. A renowned recording artist with over 70 discs to his name, Dausgaard’s releases with the Seattle Symphony have garnered critical acclaim resulting in international honors including a 2017 Gramophone Award nomination for Mahler’s Symphony No. 10 (Deryck Cooke version), Gramophone’s 2018 Orchestra of the Year Award, and a 2019 Best Orchestral Performance Grammy nomination for Nielsen’s Symphonies Nos. 3 and 4. An avid champion of contemporary works and the music of his homeland, Dausgaard and the Seattle Symphony will release a much-anticipated cycle of symphonies by Carl Nielsen. Performing internationally with many of the world’s leading orchestras, Dausgaard is also the Chief Conductor of the BBC Scottish Symphony Orchestra, Conductor Laureate of the Swedish Chamber Orchestra, and Honorary Conductor of the Orchestra della Toscana and the Danish National Symphony Orchestra. Dausgaard has been awarded the Cross of Chivalry by the Queen of Denmark and elected to
Photo: Brandon Patoc Brandon Photo: the Royal Academy of Music in Sweden.
SEATTLE SYMPHONY ROSTER
Joseph Crnko Associate Conductor for Choral Activities Ludovic Morlot Judith Fong Conductor Emeritus THOMAS DAUSGAARD Harriet Overton Stimson Music Director Lee Mills Douglas F. King Associate Conductor Gerard Schwarz Rebecca & Jack Benaroya Conductor Laureate Lina Gonzalez-Granados Conducting Fellow
FIRST VIOLIN Mara Gearman OBOE Jonathan Karschney KEYBOARD Noah Geller Assistant Principal Mary Lynch Assistant Principal Joseph Adam David & Amy Fulton Concertmaster Timothy Hale Principal Jenna Breen Organ + Open Position Wes Dyring Supported by anonymous donors John Turman Clowes Family Associate Concertmaster Sayaka Kokubo Ben Hausmann Danielle Kuhlmann PERSONNEL MANAGER Daniel Stone Associate Principal Scott Wilson Eduardo Rios Rachel Swerdlow TRUMPET First Assistant Concertmaster Chengwen Winnie Lai David Gordon Stefan Farkas ASSISTANT PERSONNEL MANAGER Simon James CELLO Boeing Company Principal Trumpet Keith Higgins Second Assistant Concertmaster** Efe Baltacıgil ENGLISH HORN Alexander White Marks Family Foundation Principal Cello Jennifer Bai Stefan Farkas Associate Principal LIBRARY Mariel Bailey Meeka Quan DiLorenzo Christopher Stingle Jeanne Case Cecilia Poellein Buss Associate Principal CLARINET Michael Myers Associate Librarian Timothy Garland Nathan Chan Leonid Keylin Benjamin Lulich Robert Olivia Assistant Principal TROMBONE Andy Liang Mr. & Mrs. Paul R. Smith Principal Associate Librarian Clarinet Ko-ichiro Yamamoto Mae Lin Eric Han Rachel Swerdlow Principal Mikhail Shmidt Bruce Bailey Emil Khudyev Assistant Librarian Clark Story Roberta Hansen Downey Associate Principal David Lawrence Ritt Walter Gray John Weller Laura DeLuca Stephen Fissel Vivian Gu TECHNICAL DIRECTOR Jeannie Wells Yablonsky Dr. Robert Wallace Clarinet Arthur Zadinsky Joy Payton-Stevens BASS TROMBONE Joseph E. Cook Eric Jacobs David Sabee Stephen Fissel SECOND VIOLIN ARTIST IN ASSOCIATION E-FLAT CLARINET Elisa Barston BASS TUBA Dale Chihuly Laura DeLuca Principal Jordan Anderson John DiCesare Mr. & Mrs. Harold H. Heath Principal 2019–2020 SEASON Michael Miropolsky Principal String Bass BASS CLARINET COMPOSER IN RESIDENCE John & Carmen Delo Eric Jacobs Tyshawn Sorey Associate Principal Second Violin Joseph Kaufman TIMPANI Associate Principal Kathleen Boyer BASSOON James Benoit 2019–2020 SEASON Jonathan Burnstein ARTIST IN RESIDENCE Assistant Principal Seth Krimsky Principal Jennifer Godfrey Gennady Filimonov Principal Seth Parker Woods Travis Gore Matthew Decker Sydney Adedamola * Assistant Principal Jonathan Green Luke Fieweger HONORARY MEMBER Evan Anderson Associate Principal Will Langlie-Miletich Cyril M. Harris Natasha Bazhanov PERCUSSION † Brittany Breeden Paul Rafanelli FLUTE Open Position Michael A. Werner Stephen Bryant + Resident Linda Cole Demarre McGill Principal In Memoriam Xiao-po Fei Principal CONTRABASSOON Michael Clark † Artur Girsky Supported by David and Shelley Hovind Open Position Matthew Decker * Temporary Musician for 2019–2020 Andrew Yeung Jeffrey Barker season Associate Principal HORN HARP VIOLA ** On leave for the 2019–2020 season Judy Washburn Kriewall Jeffrey Fair Valerie Muzzolini Susan Gulkis Assadi Zartouhi Dombourian-Eby Charles Simonyi Principal Horn Principal PONCHO Principal Viola Mark Robbins Arie Schächter PICCOLO Associate Principal Associate Principal Zartouhi Dombourian-Eby Supported by Stephen Whyte Robert & Clodagh Ash Piccolo
6 SEATTLESYMPHONY.ORG ■
from thecrowd versus watchingitonTV.” “Experiencing music inconcertislike goingtoasports game, yougettoenjoythesynergy eyes, theemotion ofthatmomentintheirlife.” teamwork, weallhaveourown roletoplay. AndIseethatmagicinthe audience, intheir playing withhercolleaguesinthe orchestra.“Everynightisdifferent,andIlovethe Now inhereighthseasonwith the SeattleSymphony, Winniestilllovesthesea—and what thatsaysaboutme,” shelaughs. and especiallychoppingthevegetables. “Ithelpsmerelax,releasestress.ButI’mnotsure take trips toherfavoritelocalfarmersmarket. Shealsolovescookingwithher husband, When she’s notonstage, Winnieloves todog-watchattheOlympicSculpturePark and she explains. “Theoceangivesmestrength,helpsfeelcalm.” reminds meofmychildhood.Mygrandparentslivedinavillage neartheTaiwan Strait,” Even duringhertimeatJuilliard,Winniedreamedofreturning totheWest Coast.“Seattle I musthavebeenyoungandbrave,” shelaughs. Arts Academy. “IlandedinLos Angeleswithtwosuitcases,myoboeandCD player. When sheenteredhighschool,traveledtotheUnitedStates tostudyattheIdyllwild recalls. “Somethingwecouldexperiment withtogether.” quite covertheholesofclarinet.“Theoboefeltlike atoyformyfatherandme,” she She recallspickingtheoboeinelementaryschoolpartbecauseherhandscouldn’t music world.” learn musicinhisgeneration,sohewaskindofthereasonthatbroughtmeinto in Kaohsiung, Taiwan. “Myfatherreallylovesmusic.Idon’t thinkhehadachanceto Winnie Lai sayssheinheritedherpassionformusicfromfatherwhilegrowingup Photo courtesy of Winnie Lai Oboe Chengwen WinnieLai MEET THEMUSICIANS
Pike PlaceMarket,Seattle or our nightlyprix Mon-Fri 4-6pm cafecampagne.com our happy hour fixe dinnerand make ittoyour (206) 728-2233 show ontime 1600 Post Alley Come enjoy encorespotlight.com . 7
deliciously
Seattle ABOUT THE SEATTLE SYMPHONY
Led by Music Director Thomas Dausgaard, the Seattle Symphony is recognized as one of the “most vital American orchestras” (NPR). The Seattle Symphony is internationally acclaimed for its inventive programming, community-minded initiatives and superb recordings on the Seattle Symphony Media label. With a strong commitment to new music and a legacy of over 150 recordings, the orchestra has garnered five Grammy Awards, 26 Grammy nominations, two Emmy Awards and was named Gramophone’s 2018 Orchestra of the Year. The Symphony performs in Benaroya Hall in the heart of downtown Seattle from September through July, reaching over 500,000 people annually through live performances and radio broadcasts. The Seattle Symphony acknowledges that we gather on Indigenous land: the traditional territory of Coast Salish peoples, specifically the Duwamish Tribe (Dkhw Duw’Absh).
■ 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* Jon Rosen Vice Chair, Development* Stephen Whyte Vice Chair, Finance*
DIRECTORS Ryo Kubota DESIGNEES Bruce Baker Henry James Marco Argenti Stephen Kutz Zartouhi Dombourian-Eby Cynthia Bayley J. Pierre Loebel Rosanna Bowles Ned Laird* Musician Representative Sherry Benaroya Yoshi Minegishi Isiaah Crawford Paul Leach* Carla GiffordPresident, Alexandra Brookshire Marilyn Morgan Seattle Symphony Chorale Susan Detweiler Cheryl Lee Phyllis Byrdwell Isa Nelson Rebecca Ebsworth Kjristine R. Lund Valerie Muzzolini Phyllis Campbell Marlys Palumbo Musician Representative Larry Estrada Diena Mann Mary Ann Champion Sally Phinny Brian J. Marks Carole E. Rush President, Robert Collett James Raisbeck Jerry Farley Seattle Symphony Volunteers Judith Fong Ben Martz David Davis Sue Raschella Krishna Thiagarajan Mimi Gates Scott McCammant President & CEO Nancy Evans Bernice Rind † Mauricio Gonzalez Marshal McReal Alexander White Dorothy Fluke Jill Ruckelshaus de la Fuente Hisayo Nakajima Musician Representative David Fulton H. Jon Runstad Lt. Gov. Cyrus Habib Nancy Neraas Jean Gardner Martin Selig CHAIR EMERITA Michael Hatch Peter Russo Ruth Gerberding John F. Shaw Leslie Jackson Chihuly Terry Hecker Elisabeth Beers Sandler James Gillick Linda Stevens Jean-François Heitz* Kathy Savitt LIFETIME DIRECTORS Gerald Grinstein Patricia Tall-Takacs Parul Houlahan* Jenny Schultz Patty Hall Marcus Tsutakawa Llewelyn Pritchard Douglas Jackson Jim Schwab* Chair Cathi Hatch Cyrus Vance, Jr. Susan Johannsen* Charles Schweizer Richard Albrecht Steven Hill Karla Waterman Aimee Johnson* Lyle Snyder Susan Armstrong Ken Hollingsworth Ronald Woodard Nader Kabbani * Executive Committee Robert Ash Patricia Holmes Arlene Wright Ronald Koo William Bain † David Hovind † In Memoriam
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair René Ancinas Viren Kamdar David Tan Chair Muriel Van Housen Secretary Nancy B. Evans Kjristine R. Lund Rick White Michael Slonski Treasurer Joaquin Hernandez
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair Yao Bailey Jim Duncan Designees: Nancy B. Evans Secretary Dwight Dively Glen Lee Krishna Thiagarajan President & CEO Michael Slonski Treasurer Leo van Dorp Tom Owens Zartouhi Dombourian-Eby Musician Representative
8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM EDUCATION & Patrick Weigel Krishna Thiagarajan COMMUNITY ENGAGEMENT Assistant House Manager President & CEO Jérémy Jolley Dawn Hathaway, Lynn Lambie, Leslie Jackson Chihuly Chair Associate Director of Artistic Collaboration Mel Longley, Ryan Marsh, Jennifer Adair Sarah Beske Markus Rook Vice President & General Manager Family & Community Program Manager Head Ushers Cheronne Wong Erika Meyer Laura Banks, Bill Coniff, Katrina Vice President & CFO Administrative Assistant, EDCE Swensen, Carole Unger Assistant Head Ushers Maria Yang Vice President of Development COMMUNICATIONS DEVELOPMENT Gregg Gleasner Heidi Staub Interim Vice President of Artistic Planning Director of Content Aaron Sumpter Development Officer, Assistant to VP of Christy Wood James Holt Development Associate Vice President of Marketing & Sales Digital Content Producer Paul Gjording Shiva Shafii Andrew Stiefel Director of Institutional Giving & Director of Communications Senior Digital Communications Manager Government Relations Cathy Capers Dinah Lu Becky Kowals Human Resources Director Publicist Director of Major Gifts & Planned Giving Amy Heald Marsha Wolf Interim Director of Education & MARKETING Community Engagement Senior Major Gift Officer Rachel Spain Marketing Manager Catherine Porciuncula EXECUTIVE OFFICE Major Gift Officer Michelle Cheng Laura Gunn Digital Marketing Manager Rob Wiseman Executive Assistant to the President & CEO, Director of Individual Giving Office & Board Relations Manager Amanda DiCesare Marketing Administrator Betsy Groat Senior Manager of Individual Giving ARTISTIC PLANNING Barry Lalonde Director of Digital Products Martin K. Johansson Paige Gilbert Communications & Grants Manager Manager of Artistic Planning & Popular Herb Burke, Jason Huynh Programming Digital Project Managers Alexa Bayouk, Madyson Ellars Development Coordinators Michael Gandlmayr Brian Goodwin Assistant Artistic Administrator Sales Analyst Kathleen Shin Gift Officer Dmitriy Lipay Gerry Kunkel Director of Audio & Recording Corporate & Concierge Accounts Manager Nick Magruder Data Operations Coordinator Johanna Laney Stephanie Tucker Assistant to the Music Director, Senior Graphic Designer Samantha DeLuna Director of Special Events Chorale Manager & Artistic Liaison Jadzia Parker Graphic Designer Molly Gillette Special Events Officer ORCHESTRA & OPERATIONS Forrest Schofield Kelly Woodhouse Boston Group Services Manager Jessica Kittams Director of Operations Stewardship Events Officer Joe Brock Ana Hinz Retail Manager APRIL 18, 2020 | 2:00PM Production Manager FINANCE & FACILITIES Christina Hajdu BENAROYA HALL Liz Kane Sales Associate Praveena Vadrevu Assistant to VP & GM Controller Nina Cesaratto Scott Wilson Ticket Office Sales Manager Megan Spielbusch ONE Personnel Manager Accounting Manager Asma Ahmed CONCERT Keith Higgins Ticket Office Assistant Sales Manager Jenn Hernandez ONLY Assistant Personnel Manager AP Accountant Mary Austin, James Bean, Jeanne Case, Robert Olivia Jennifer Boyer, Danela Butler, Erika Najarro Associate Librarians Hannah Hirano, Zeapoe Matalda, Payroll & Benefits Administrator Gabrielle Turner, Emerson Wahl, Joseph E. Cook Jordan Bromley Tobie Wheeler Technical Director Staff Revenue Accountant Ticket Services Associates Jeff Lincoln Bernel Goldberg Assistant Technical Director General Counsel VENUE ADMINISTRATION John Roberson Grant Cagle Matt Laughlin Facilities Manager Audio Manager Director of Venue Administration Johnny Baca, Mariah Brougher, Margaret Bellefuil James Frounfelter, Adam Moomey Facilities Coordinator Chris Dinon, Aaron Gorseth, David Event & Operations Managers Kobernuss, Sarah C. Meyers, Ira Seigel Tim Gathers, Gabriel Mungia Stage Technicians Nick Cates Building Engineers II Concert & Event Production Manager Rodney Kretzer Sophia El-Wakil Building Engineer Venue & Events Sales Associate Keith Godfrey HUMAN RESOURCES House Manager Kathryn Osburn Beethovens Tanya Wanchena Human Resources Manager TH Assistant House Manager & Usher Scheduler 250 '
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encorespotlight.com 9 ON A HIGH NOTE THE NEXT NEWS FROM THE SYMPHONY GENERATION OF
I’m so happy you’re here today to enjoy music in COMPOSERS our beautiful Benaroya Hall. This month I lead the orchestra in a selection of works by Richard Strauss, including Part II of his opera, Salome, which I believe to be one of the greatest works of the 20th century. I invite you to read more about this program on pages 35–36 and join us for this exploration of Strauss on March 19 and 21. On April 23 and 25, we’ll present a celebration of
American music with the premiere of two strong Holt James Photo: contemporary voices alongside Bernstein’s By Martin K. Johansson Songfest. The program begins with the U.S. In 2017 Nathan Paek watched as Seattle
Photo: KaryaPhoto: Schanilec Premiere of Daniel Kidane’s “Dream Song,” followed by the World Premiere of Hannah Lash’s Symphony musicians premiered new works double harp concerto, The Peril of Dreams, featuring Lash herself along with our written by teenage composers. It was Nathan’s own Principal Harp, Valerie Muzzolini. first experience with the Merriman Family Young Composers Workshop, a three-month program From its dramatic depiction of chaos at the beginning to the magic creation of light, that provides intensive training and workshops the moon, the sun and of all living creatures — ending in Adam and Eve falling in for young composers. “I was inspired by what I love — Haydn’s Creation is music of the most sublime inspiration, humor and joy. heard,” recalls Nathan, and he applied soon after As a student in London I became the conductor of a very large choral society of for the 2018 workshop. around 400 singers, and in our first concert together we performed The Creation. I have fond memories of rehearsals in a room packed with enthusiastic singers in “It was fun to hear the unique styles and ideas,” love with the music, matching the life-affirming love and gratefulness which shines recalls Nathan about his fellow students, adding through this work, one of Haydn’s last. I’m looking forward to the Seattle Symphony that “sharing music with each other was inspiring.” Chorale, soprano Julia Lezhneva, tenor Kenneth Tarver and baritone Benjamin Appl For Nathan and each of the students, the joining the orchestra and myself for a performance of Hadyn’s Creation on April 30 experience that the workshop provides is and May 2. invaluable. Students learn all aspects of the Last month we announced the 2020–2021 season, full of music to inspire and composition process, from creative brainstorming unite. You can read what I’m most excited about on the next page. and experimentation sessions to scoring parts for individual instruments. The workshop culminates Thank you for joining us and enjoy the music! in a performance and celebration where Thomas Dausgaard Seattle Symphony musicians perform the world Music Director premieres of the young composers’ works. “It was an honor to share my music with my family, friends and the audience,” shares Nathan. “Hearing my music being performed by professional musicians for the first time was super cool — mind-blowing!” For Nathan the workshop “opened up a new world of possibilities by introducing me to writing chamber music. I did not know how incredible it would be! I think creating music will be a part of me for the rest of my life.” Join Nathan (back again for another year learning NOTA BENE and composing!) for the free culminating concert of the 2020 Young Composers Workshop on April 27 at Benaroya Hall. Seattle Symphony HEAR THE STORIES BEHIND THE MUSIC Listen to new episodes each week of Conducting Fellow Lina Gonzalez-Granados will Seattle Symphony Spotlight, a podcast from the Seattle Symphony and Classical KING lead Symphony musicians in the world premieres FM. In each episode, Dave Beck takes you backstage with the performers, conductors of chamber works written by the composers in and composers who make the music possible. Subscribe today on Apple Podcasts and this year’s workshop. Spotify, or wherever you get your podcasts. The Merriman Family Young Composers Workshop is generously underwritten by the Merriman Family. The concert is presented as part of the Seattle Symphony’s New Music HEAR THE MUSIC BEFORE THE CONCERT Follow the Seattle Symphony’s WORKS initiative, which is supported in part by a grant from the National Endowment for the Arts. New Music WORKS This Week / Next Week playlist on Spotify to hear a curated collection of what’s coming features commissions, concerts and educational activities up next at Benaroya Hall. Then get tickets to hear the Grammy Award-winning Seattle that use composition as a catalyst for collaboration and engagement in music. Additional support for The Merriman Symphony perform it live in the stunning acoustics of Benaroya Hall! Family Young Composers Workshop is provided by Michel and Christine Suignard.
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encorespotlight.com 11 IN CONVERSATION WITH THOMAS DAUSGAARD
Interview by Andrew Stiefel
From the suspended Last September marked the beginning of creative collaborations, inviting Conductor a new era at the Seattle Symphony with Emeritus Ludovic Morlot back to the stage silence before the crash of the arrival of Thomas Dausgaard as Music and welcoming the brilliant young composer Director. Since then, Thomas and the Reena Esmail as Composer in Residence. applause at Benaroya Hall, orchestra have embarked on a thrilling first season together, earning standing ovations This will be your second season as at Opening Night with Daniil Trifonov, Music Director of the Seattle it’s clear something special is reaching audiences around the world with Symphony. What’s next for your a live broadcast of Mahler’s First Symphony, collaboration with the orchestra? happening in Seattle. and performing to sold-out crowds for I have been tremendously inspired by the Stravinsky’s The Rite of Spring. fundamental openness and curiosity I’ve As Thomas’ artistic vision takes shape in found in Seattle, which led the Seattle Seattle, one theme stands apart: a deep, Symphony musicians to present the now joyful fascination with creativity and how famous Music Beyond Borders concert some music connects us. His signature roots seasons back. This season we are musically programming, which illuminates connections traveling beyond our borders in an exchange between composers and their contemporary with our neighbors on the other side of musical traditions, continues in 2020–2021 the Pacific Ocean, welcoming orchestras with an exploration of Brahms’ inspiration from Beijing and Taiwan to Benaroya and Tan Dun’s visionary Buddha Passion. Hall and inviting outstanding composers, conductors and soloists from China, India, In addition to major symphonic works by Japan and Korea to make their debuts with Berlioz, Mahler, Dvořák and Stravinsky, the orchestra. Thomas has filled the season with inspiring
12 SEATTLESYMPHONY.ORG Photo: Karya Schanilec is whenthemusic isatitsmostsublime, like the momentswhen thisisfeltthestrongest God ratherthaninreligiousinstitutions, and religious andmusicalbeliefs.He believesin milestone amonghisworks as itsumsuphis Beethoven himselfconsidered this a work sopowerful? solemnis inNovember?Whatmakes this season, startingwithBeethoven’s Missa liturgical works youhaveplannedthis Could youshareabitaboutthetwolarge is goingtosounddifferentusafterthat! grandfather. IthinkBrahms’ FourthSymphony today. We willbeperformingaworkbyhis musical tradition,whichisverymuchalive give usanauthentictake ontheRomani I’ve invitedRoby Lakatos andhisbandto Dance” movementinhisFourthSymphony! inspired himtoevenincludea“Hungarian Romani musicandthosemusicaltraditions Brahms wasalifelongfanofHungarian Stravinsky, Sibelius,Rachmaninov andothers. we haveexplored contexts forthemusicof the works weperform.Intherecentseasons I lovegettinganimpressionofcontext for project? that you’llbetakingaudiencesonwiththis on Brahms.Couldyoudescribethejourney the artisticrootsofinspirationwithafocus This seasoncontinuesyourexploration of I Still Dance. John Adams’ latestorchestral work, from 1894,aswelltheSeattlepremiereof Amy Beach’s wonderful“Gaelic” Symphony probably thefirstgreatAmericansymphony, music ofthiscountry, includingwhatis I’m alsoexcited tocontinueexploring the around the world. welcoming artistsfrommusicaltraditions Esmail asComposerinResidence, and Danish composerHansAbrahamsen,Reena by Mexican composerEnrico Chapelaand Beethoven andTan Dun,newconcertos from thejuxtapositionofliturgicalworks by filled withmanymorecultural exchanges, the worldabetterplace. Thisseasonis to us,andempoweringeveryonemake world, enrichingthelivesofthosewholisten and sharemusicalideasfromaroundour As musicians,weareprivilegedtoexchange
your way. trust thatenchanted featherswillcome Ultimately, wetrytogiveyouthebest and appreciative andinspiringcommunity. orchestra, andtheyloveyou,the fantastically you —theylovethemusic-making inthe want tocomeandplaywithus for great orchestraintown!Thebest musicians And weareluckyinSeattletohavesucha music together. space toexplore themagicofexperiencing world abetterplace. We offeracommunal concerts asenchantedfeathersmakingour the worldfromevil.Ilike tothinkofour enchanted featherfromthefirebirdsaves mythological symbol,andinthisfairytalean together inFebruary. Thefirebirdisa We’ll performStravinsky’s FirebirdSuite hopes andaspirationsfortheseason? to inspireandmoveus.Whatareyour The newseasonisallaboutmusic’s power overwhelming finale. before thefinalchorusbuildsuptoan there issilence. Thechorusintones“nirvana” you then?” Heresponds“Iam...awake” and which hedeclines.Whenasked “whatare Buddha’s disciplesaskhimifheisGod, One ofthemostmovingmomentsiswhen Buddha’s life. oratorio ofsixindividualshortstoriesfrom together chants,storiesandsoundsintoan us atBenaroyaHall.Themusicweaves China, allofwhomwillsharethestagewith indigenous performersandtraditionsfrom interpretation ofthepassionintegrates programming, Tan Dun’s contemporary Buddhist passion!Similartoourotherroots forms. Neverbeforehastherebeena Passions aretraditionalChristian liturgical this work?Whatwillwehear? Could yousharealittleofthestorybehind work, butfromanunexpected perspective. Buddha Passion, anothermajorliturgical The seasonculminateswithTan Dun’s larger thanlife, asitshouldbe! but onamuchlargerscale: everythingis is insomewayssimilartothesymphonies soloists andchorusgentlyjoining.Themusic solo violinspinninganendlessmelodywith in theBenedictus—angelicvoiceofa music connectsus.” creativity andhow fascination with apart: adeep,joyful one themestands shape inSeattle, philosophy takes “As Thomas’artistic Inger andJensBruun. Scan|Design Foundation by performances sponsoredbythe Thomas Dausgaard’s 206.215.4747. or bycallingtheTicket Officeat seattlesymphony.org/subscribe the SeattleSymphony at Thomas Dausgaardand season withMusicDirector Subscribe tothe2020–2021 encorespotlight.com 13 3/3 TUESDAY, MARCH 3, 2020, AT 7:30PM LEE MILLS Conductor
Associate Conductor of AUBREY LOGAN WITH the Seattle Symphony and winner of the Solti Foundation U.S. Career THE SEATTLE SYMPHONY Assistance Award in SPECIAL PERFORMANCES 2014, 2017 and 2019, Lee Mills is internationally Photo: Cicero Rodrigues Cicero Photo: Lee Mills, conductor | Aubrey Logan, trombone & vocals recognized as a Dave Johnstone, music director & drums | Michael Ragonese, keyboard passionate, multifaceted and energetic Brian Ward, bass | Katie Hampton, vocals | Lia Booth, vocals | Seattle Symphony conductor. In his previous position as Resident Conductor of the Brazilian MILTON AGER, KEN WELCH “Happy Days are Here Again” Symphony Orchestra, he led performances & MITZIE WELCH/arr. hailed as having a “sonority of unequalled Joshua Washington liveliness and quality” (movimento.com), /orch. Samuel Joseph Smythe working alongside such artists as Simone Porter, Conrad Tao, Eliane Coelho and the JOHN & MICHELLE PHILLIPS “California Dreamin’” Smetana Trio. /arr. Joshua Washington AUBREY LOGAN “I Don’t Wanna Tell Nobody (That I Miss You)” During the 2019–2020 season, Mills /arr. Joshua Washington makes subscription debuts with /orch. Samuel Joseph Smythe the Naples Philharmonic with pianist Jean-Yves Thibaudet, the Amarillo AUBREY LOGAN “High Place” Symphony, the Milwaukee Symphony CAROLE KING “(You Make Me Feel Like) A Natural Woman” Orchestra with soprano Julia Bullock, and & GERRY GOFFIN the Rochester Philharmonic Orchestra. /arr. Aubrey Logan He has also led the National Symphony AUBREY LOGAN “Understand” Orchestra (U.S.), Los Angeles Philharmonic, São Paulo State Symphony Orchestra, St. AUBREY LOGAN “Starting to Believe” Louis Symphony Orchestra and Baltimore /arr. Joshua Washington Symphony Orchestra. In 2014, Mills was the AUBREY LOGAN “Pistol” Assistant Conductor to David Robertson for /arr. Joshua Washington Carnegie Hall’s National Youth Orchestra /orch. Samuel Joseph Smythe of the USA. INTERMISSION Through his project Vibe Sinfônica, in AUBREY LOGAN “The Remembering Song” partnership with nightlife producer The /arr. Don Harper Week Group in São Paulo, he has brought classical music to thousands of new AUBREY LOGAN “L.A. Symphony” listeners. In their inaugural performance, /arr. Don Harper Vibe Sinfônica performed Vivaldi at The MICHAEL MCDONALD, “I Keep Forgettin’ (Every Time You’re Near)” Week Group’s 14th anniversary, playing ED SANFORD, MIKE STOLLER to a crowd of over 10,000 EDM fans and & JERRY LEIBER opening for DJ Offer Nissim. /arr. Aubrey Logan AUBREY LOGAN “Airport Codes” The League of American Orchestras selected Mills for the 2018 Bruno Walter BILLY STRAYHORN “Lush Life” National Conductors Preview, and AUBREY LOGAN “Impossible” in 2017, Mills was selected as a semifinalist /arr. Joshua Washington in both the Sir Georg Solti International /orch. Samuel Joseph Smythe Conducting Competition and the Opera Royal de Wallonie-Liege International GEORGES BIZET “Habanera” from Carmen Opera Conducting Competition. Mills /arr. Aubrey Logan & received the BSO-Peabody Institute Joshua Washington Conducting Fellowship in 2011. He was /orch. Samuel Joseph Smythe a conducting fellow at the American Academy of Conducting at Aspen Program is approximately one hour and 45 minutes including one 20-minute during the summers of 2012 and 2013. intermission. He received his Graduate Performance
Please note that the timings provided for this concert are approximate. Diploma and Artist’s Diploma in Orchestral Please turn off all electronic devices and refrain from taking photos or video. Conducting at the Peabody Institute and Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and graduated from Whitman College. any other use of such copying devices during a performance is prohibited.
14 SEATTLESYMPHONY.ORG AUBREY LOGAN Vocals & trombone
Aubrey Logan’s concerts are a mix of excellent musicality, jaw-dropping vocals, expert trombone- playing, a breathtaking array of originals and original takes on cover songs and, well…fun! Her heart wrenching musical stories have audiences in tears just before her comedic relief has them in stitches.
Originally from Seattle, Logan trained in trombone performance at Berklee College of Music. She soon after made her way to Los Angeles, with dreams of becoming L.A.’s “most cerebral musician with a personality.” Once there she created her own path, lining up professional work with acts as disparate as the Boston Pops, Pharrell, Josh Groban, Seth McFarlane and Meghan Trainor, and at the same time amassing a huge online following thanks to her performances with the YouTube phenomenon PostModern Jukebox.
Her debut, Impossible, was a top 10 album on the iTunes, Billboard and Amazon charts. Her appearance on Summer Horns II, from A to Z, as a special guest of Dave Koz and Concord Records, became the No. 1 selling Contemporary Jazz Album. Logan’s features on Jimmy Kimmel, the Grammy Awards, a PBS special and London Live have kept her in the public eye and millions of fans have watched her head-spinning videos on YouTube and Facebook. © Philip Newton
In Italian with English subtitles. OPERA’S QUINTESSETIAL LOVE STORY Evenings 7:30 PM An audience favorite for over a century, this tale of Sundays 2:00 PM four young Parisians who dedicate their lives to Tuesday 11:00 AM art and love is guaranteed to touch your heart. Puccini’s lush score—performed by a 60-piece Featuring the Seattle Opera Chorus orchestra—perfectly captures their simple joys and members of Seattle and heartbreaking sorrows. The “full-bore, Symphony Orchestra. traditional production” (DC Metro Week) fills the stage with nearly 100 performers and plenty of MCCAW HALL period detail, resulting in “genuine theatrical 206.389.7676 magic” (The Washington Post). SEATTLEOPERA.ORG
2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN PRODUCTION SPONSOR: ANN P. WYCKOFF, ARTSFUND, C.E. STUART CHARITABLE TRUST, BARBARA STEPHANUS, TOBY BRIGHT AND NANCY WARD ADDITIONAL SUPPORT FROM: 4CULTURE
encorespotlight.com 15 Over 1,600 local nonprofits benefit from GiveBIG funding. Give where you live. Donate on May 6.
GiveBIGwa.org 3/6–7 FRIDAY, MARCH 6, 2020, AT 8PM SATURDAY, MARCH 7, 2020, AT 8PM PROGRAM NOTES
BACH & TELEMANN Tonight will take you on a tour of notable 17th and 18th century German composers, BAROQUE & WINE SERIES including works both instrumental and choral. The first piece on tonight’s program comes from Johann Christian Bach, the Dmitry Sinkovsky, conductor, countertenor & violin youngest son of renowned composer J.S. Susan Gulkis Assadi, viola Bach. After the death of his father, when Zach Finkelstein, tenor J.C. Bach was only 14 years old, the young composer moved first to Berlin and later to Seattle Symphony Chorale Italy. There, he embraced Catholicism and Seattle Symphony Italian opera — which drastically impacted his music — and deviated from his family’s JOHANN CHRISTIAN BACH Symphony in D major, Op. 18, No. 6, XC1 14’ strict Lutheranism. Bach eventually found Allegro con spirito— his home in London, where he resided Andante— most of his life until his death in 1782. Allegretto Allegro Pulling from the Italian opera genre, the young Bach employed a lighter style of GEORG PHILIPP TELEMANN Viola Concerto in G major, TWV 51:G9 12’ music. His symphonies, in particular, were modeled on Italian opera overtures, which Largo is why many of them feature only three Allegro movements (in the typical fast-slow-fast Andante overture structure). And yet, Symphony Presto in D major, Op. 18, No. 6, XC1 is in four SUSAN GULKIS ASSADI, VIOLA movements. Opus 18 was put together by publisher Willeim Forster in 1781, just CARL PHILIPP Flute Concerto in D minor transcribed 26’ months before J.C. Bach died. Symphony EMANUEL BACH for Violin, H. 425, Wq. 22 in D major, however, was not arranged /trans. Dmitry Sinkovsky Allegro by Bach, but instead is an anonymous Un poco andante compilation of instrumental music from Allegro di molto his 1779 French opera Amadis de Gaule. DMITRY SINKOVSKY, VIOLIN As you listen tonight, notice the operatic tendencies of the music, particularly the INTERMISSION 20’ pleasurable melodies, simple harmonies JOHANN SEBASTIAN BACH Opening Chorus from Cantata No. 147, 4’ and symmetrical phrases characteristic of /text Salomo Franck “Herz und Mund und Tat und Leben,” BWV 147 the genre. SEATTLE SYMPHONY CHORALE Unlike J.C. Bach, who flourished outside of his German origins, Georg Philipp JOHANN SEBASTIAN BACH Cantata “Ein Herz, das seinen 29’ Telemann was perhaps the best-known /text Anon. Jesum lebend weiß,” BWV 134 German composer of his lifetime. “Ein Herz, das seinen Jesum lebend weiß” Telemann was a self-taught musician, “Auf, Gläubige, singet die lieblichen Lieder” learning a variety of instruments on the “Wohl dir, Gott hat an dich gedacht” side while he studied law at the University “Wir danken und preisen” of Leipzig. As a result, Telemann’s output “Doch wirke selbst den Dank in unserm Munde” was prolific, including over 125 concerti. “Erschallet, ihr Himmel” Tonight’s work, Viola Concerto in G major, DMITRY SINKOVSKY, COUNTERTENOR TWV 51:G9, stands as the first known ZACH FINKELSTEIN, TENOR viola concerto. Telemann composed the SEATTLE SYMPHONY CHORALE work over many years (1716-1721) while he served as music director in Frankfurt. JOHANN SEBASTIAN BACH “Jesus bleibet meine Freude” 2’ The stereotypical concerto includes /text Martin Jahn from Cantata No. 147 three movements, but Telemann’s viola “Herz und Mund und Tat und Leben,” BWV 147 concerto has four movements alternating SEATTLE SYMPHONY CHORALE between slow and fast. Furthermore, Telemann emphasizes the deep, rich, and passionate timbre of the viola rather than Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. the high, virtuosic passages generally Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and found in the genre. The first movement is any other use of such copying devices during a performance is prohibited. slow and simple, but the performer can choose to expand upon Telemann’s piece. As you listen tonight, try to distinguish Telemann’s melody from that of our
encorespotlight.com 17 PROGRAM NOTES TEXT & TRANSLATION performer’s optional ornamentation. The und Tat und Leben,” BWV 147, which J.S. BACH: Opening Chorus from Cantata No. 147 second movement picks up the pace and features chorus and full orchestra. After “Herz und Mund und Tat und Leben” Telemann uses a repeating syncopated this dramatic opening, we turn to the Text by Salomo Franck figure throughout. The third returns to entirety of Cantata “Ein Herz, das seinen Choral Chorale the slow, delicate emotionality of the first, Jesum lebend weiß,” BWV 134. J.S. Herz und Mund und Heart and mouth and this time set primarily in the viola’s upper Bach originally composed this work as a Tat und Leben deed and life strings. The final movement is an exciting, secular cantata in 1719 during his years Muß von Christo Must give testimony fast-paced climax to the concerto. serving as Kapellmeister (music director) in Köthen. The libretto was arranged by an Zeugnis geben of Christ The next work tonight returns to the Bach anonymous poet and used dialogue from Ohne Furcht und Without fearful forced family. Carl Philipp Emanuel Bach was the Christian Friedrich Hurold’s characters Heuchelei, pretense second son of J.S. Bach and the godson Time and Divine Providence. J.S. Bach Daß er Gott und That is He God and of Telemann. For most of his career, C.P.E. later reworked the cantata into a sacred Heiland sei. Savior. Bach served Frederick the Great, the work for Easter. During this period, he had Cantata “Ein Herz, das seinen ruler of Prussia, as court musician and moved to Leipzig and was working as the J.S. BACH: Jesum lebend weiß,” BWV 134 keyboardist. Frederick the Great loved Cantor in St. Thomas Church, dispersing music; he played the flute and is said to music to all of the churches in the city. have gifted flutes to the generals of his Rezitativ (Tenor oder Recitative (Tenor or armies. As a result, Bach wrote many The structure of the cantata oscillates Countertenor) Countertenor) works for the instrument. between recitative and aria and features Ein Herz, das seinen A heart that knows its tenor and alto (performed tonight by Jesum lebend weiß, Jesus is living, Tonight’s piece, Flute Concerto in D countertenor). Each recitative is speech- Empfindet Jesu neue feels the new loving- minor transcribed for Violin, H. 425, Wq. like, serving to distill a large amount Güte kindness of Jesus 22, has gone through many changes since of text to the audience. Between each Und dichtet nur auf and speaks only its initial composition. C.P.E. Bach originally recitative is an aria or duet, which stand as seines Heilands Preis. praise of its Savior. wrote this work as a harpsichord concerto brief climaxes in the cantata due to their Wie freuet sich ein How a faithful spirit in 1747 but soon adapted it for flute. The emotional melodies and contemplative gläubiges Gemüte. - rejoices! - arrangement you will hear today is for nature. Since J.S. Bach did not include a violin, transcribed by tonight’s performer. chorale in this cantata — an unusual move Arie (Tenor) Aria (Tenor) The concerto is in three movements and by the composer — tonight’s program Auf, Gläubige, singet Up, believers, sing portrays the “sensitive style” typical of will close with the “Jesus bleibet mine die lieblichen Lieder, delightful songs, C.P.E. Bach’s compositions. Unlike many Freude” from Cantata No. 147. You will Euch scheinet ein a renewed and instrumental works of the time that only probably recognize this chorale, as it herrlich verneuetes glorious light shines portrayed one emotion, or affect, C.P.E. remains popular today and stands as a Licht. upon you. Bach attempted to express natural feelings testament to the longevity of J.S. Bach’s Der lebende Heiland The living Savior in his music and featured abrupt changes compositions. gibt selige Zeiten, brings blessed times, in affect. This can be heard through the Auf, Seelen, ihr up, souls, you must dramatic first movement, the tender and © 2020 Megan Francisco müsset ein Opfer prepare an offering, sweet second, and the virtuosic finale. bereiten, to fulfill your duty Bezahlet dem to the Highest with Though he was not recognized as Höchsten mit Danken thanks. a genius during his lifetime, German die Pflicht. composer Johann Sebastian Bach is now considered one of the greatest Rezitativ (Dialog: Recitative (Dialog: composers of all time. J.S. Bach’s music is Tenor, Countertenor) Tenor, Countertenor) exquisite; it portrays a mastery of harmony, Wohl dir, Gott hat an You are fortunate, God counterpoint (the art of weaving multiple dich gedacht, has thought of you, voices together), and musical structure. O Gott geweihtes o sanctuary dedicated J.S. Bach was deeply impacted by The Eigentum; to God; Reformation, a movement against the Der Heiland lebt und the Savior lives and Catholic Church started by Martin Luther in siegt mit Macht conquers with power 1517. As a result of Luther’s separation from Zu deinem Heil, zu to your welfare, to Catholicism, Lutheranism swept through seinem Ruhm your glory Europe and dominated German provinces Muß hier der Satan must now Satan during J.S. Bach’s life. furchtsam zittern fearfully tremble Und sich die Hölle and hell itself quake. Though he composed works in a plethora selbst erschüttern. The Savior dies for of genres, J.S. Bach is perhaps best- Es stirbt der Heiland your sake known for his work with cantatas, that is, dir zugut and journeyed for you multi-movement works for soloists, chorus, Und fähret vor dich zu to hell, and instrumental accompaniment that der Höllen, for this He poured out follow a narrative. Tonight’s performance Sogar vergießet er His precious blood, begins with Opening Chorus from sein kostbar Blut, so that you might Cantata No. 147, “Herz und Mund Daß du in seinem triumph in His blood, Blute siegst, since this can defeat 18 SEATTLESYMPHONY.ORG DMITRY SINKOVSKY TEXT & TRANSLATION Conductor & countertenor Dmitry Sinkovsky was groomed for an Denn dieses kann die the enemy, kräftig schauen, so that we behold your international career by the Feinde fällen, and when the battle Was uns dein Tod powerful potency, Moscow Conservatory Und wenn der Streit dir presses on you to your und Sieg erwirbt which your death and where he studied violin an die Seele dringt, soul, Und daß man victory has earned us, with Alexander Kirov, and Daß du alsdann nicht then you would not lie nun nach deinem and that now, through Zagreb Music Academy in überwunden liegst. defeated. Auferstehen your Resurrection, Croatia where he studied Der Liebe Kraft ist vor The power of love is a Nicht stirbt, wenn a person does not die, conducting with Tomislav mich ein Panier banner before me man gleich zeitlich even when he dies in Facini. He has since taken numerous prizes in Zum Heldenmut, zur stirbt, for heroic courage, for the world, major competitions from the Premio Bonporti Stärke in den Streiten: Und wir dadurch zu strength in the battle: and that through this in Italy (2005) to the Bach Competition in Mir Siegeskronen zu to prepare a crown of deiner Herrlichkeit we enter into Your Leipzig (2006), the Musica Antiqua bereiten, victory for me, eingehen. glory. Competition in Bruges (First Prize, Audience Nahmst du die You have put on the Was in uns ist, erhebt Whatever is in us exalts Prize and Critics’ Prize, 2008) to the Romanus Dornenkrone dir, crown of thorns, dich, großer Gott, You, great God, Mein Herr, mein Gott, my Lord, my God, my Und preiset deine and praises Your mercy Weichlein Prize at the Biber Competition in mein auferstandnes resurrected Salvation, Huld und Treu; and love; Austria in 2009 for his “extraordinary Heil, so that no enemy can Dein Auferstehen your Resurrection interpretation of Biber’s Rosary Sonatas” and So hat kein Feind an harm a piece of me. macht sie wieder makes them new again, First Prize at the Telemann Competition in mir zum Schaden teil. - The enemies, however, neu, your great victory Magdeburg (2011). Critics and public alike Die Feinde zwar sind are innumerable. Dein großer Sieg makes us free from the praise his ability to “play from the heart” while nicht zu zählen. God protects the souls macht uns von enemy interpreting with ease music of dazzling Gott schützt die ihm faithful to Him. Feinden los and brings us to life; difficulty. He has recorded for both Naïve and getreuen Seelen. - The ultimate enemy is Und bringet uns zum Therefore let thanks the Russian label, Caro Mitis. His recording Der letzte Feind ist the grave and death. Leben; and praise be given Per Pisendel together with the orchestra Il Grab und Tod. God made even these Drum sei dir Preis to You. Pomo D’oro, on which he is both soloist and Gott macht auch den to end our suffering. und Dank gegeben. conductor, was released in 2013 in Naïve’s zum Ende unsrer Not. - Vivaldi Edition series and was awarded a Choral Chorale Diapason d’Or. Sinkovsky continues to teach Erschallet, ihr Arie (Duett: Aria (Duet: Resound, you heavens, violin at the Moscow Conservatory, a post he Himmel, erfreuet rejoice, earth, Countertenor, Tenor) Countertenor, Tenor) has held since 2005. Wir danken und We thank and praise dich, Erde, sing praise to the preisen dein brünstiges your fervent love Lobsinge dem Highest, you throng of Lieben and bring an offering Höchsten, du believers. Und bringen ein Opfer from our lips before glaubende Schar. Each being sees and ZACH FINKELSTEIN der Lippen vor dich. You. Es schauet und tastes Tenor Der Sieger erwecket The Victor awakens the schmecket ein kedes the eternal goodness die freudigen Lieder, happy songs, Gemüte of the living Savior, American-Canadian Der Heiland erscheinet the Savior appears and Des lebenden He comforts and Zach Finkelstein is a und tröstet uns wieder comforts us again Heilands unendliche reveals Himself as the leading tenor soloist in Und stärket die and through Himself Güte, Victor. North America and streitende Kirche durch strengthens the Er tröstet und stellet abroad, from Seattle’s sich. struggling Church. als Sieger sich dar. Benaroya Hall to New York’s Lincoln Center to Rezitativ (Tenor, Recitative (Tenor, J.S. BACH: Jesus bleibet meine Freude” London’s Sadler’s Wells Countertenor) Countertenor) from Cantata No. 147 “Herz und Mund und to the National Arts Doch würke selbst den Yet mould the gratitude Tat und Leben” Center in Beijing, China. In the concert Dank in unserm Munde, itself in our mouths, Text by Martin Jahn world, Finkelstein is known for his “refined” In dem er allzu irdisch in which it is all too and “elegant” (Vancouver Observer) ist; earthly; Choral Chorale Ja schaffe, daß zu yes, make it so that at Jesus bleibet meine Jesus shall remain my interpretation of the works of Bach, Mozart keiner Stunde no time Freude, joy, and Handel, among others and was hailed Dich und dein Werk a human heart will ever Meines Herzens He’s my courage and as a “compelling tenor,” by The New York kein menschlich Herz forget You and Your Trost und Saft, heart’s blood. Times’ Anthony Tommasini. Finkelstein’s vergißt; works; Jesus wehret allem He wards off despair debut album, Britten and Pears: the Ja, laß in dir das Labsal yes, let the refreshment Leide, and sadness: Canticles, featuring acclaimed recitalist unsrer Brust of our breasts Er ist meines Lebens He’s my strength, my Byron Schenkman, singers Vicki St. Pierre Und aller Herzen Trost and the comfort and Kraft, staff and rod, and Alexander Hajek, and Seattle und Lust, delight of every heart, Meiner Augen Lust My eyes’ sunshine, light Symphony principals Jeffrey Fair (horn) and Die unter deiner Gnade which are loyal to your und Sonne, and pleasure, Valerie Muzzolini (harp) was released in trauen, grace, Meiner Seele Schatz He’s my heart’s delight 2017 on Scribe Records. Finkelstein holds Vollkommen und be complete and und Wonne; and treasure. an Artist Diploma (Voice) from the Royal unendlich sein. eternal. Darum laß ich Jesum Therefore I will not let Conservatory of Music’s Glenn Gould Es schließe deine Hand May your Hand enclose nicht Jesus go School in Toronto. uns ein, us, Aus dem Herzen und out of my heart and Daß wir die Wirkung Gesicht. sight. encorespotlight.com 19 SUSAN GULKIS ASSADI SEATTLE SYMPHONY CHORALE Viola The Seattle Symphony Chorale Principal Viola of the serves as the official chorus of the Seattle Symphony Seattle Symphony. Over the past four since the 1992–1993 decades, the Chorale has grown in season, Susan Gulkis artistry and stature, establishing itself Assadi enjoys a varied as a highly respected ensemble. Critics career as an orchestral have described the Chorale’s work player, chamber as “beautiful, prayerful, expressive,” musician, soloist and “superb” and “robust,” and have teacher. After playing in praised it for its “impressive clarity numerous chamber orchestras, including and precision.” The Chorale’s 100+ The Brandenburg Ensemble, Concerto Photo: VanHouten Ben volunteer members, who are teachers, Soloists of Philadelphia and the European- doctors, attorneys, musicians, students, bankers and professionals from all fields, bring based New American Chamber Orchestra, not only musical excellence, but a sheer love of music and performance to their endeavor. she began her orchestral career as the Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale Principal Viola of the San Francisco Opera performs with the Seattle Symphony both onstage and in recorded performances. before coming to Seattle. Soprano Carla J. Gifford Alan Sheaffer Hailed by The Seattle Post-Intelligencer Caitlin Anderson-Patterson Amy Gleixner Spencer Small for her “uncommon warmth and beauty Laura Ash Kelly Goodin M. Scott Spalding of timbre,” Gulkis Assadi has appeared Christina Arroyo Catherine Haddon Brian Stajkowski often as soloist with the Seattle Symphony. Amanda Bender Shan Jiang Jeremy Paul Swingle Lolly Brasseur Shreya Joseph Max Willis In 1998 she helped inaugurate Seattle’s Ellen Cambron Inger Kirkman Dane Zielinski Benaroya Hall with Yo-Yo Ma in the Shannon Christensen Sara Larson Don Orchestra’s performance of R. Strauss’ Jillian Churchill Rachel Lieder Simeon Bass Quixote. David Stock’s Viola Concerto, Emma Crew Cally Lindenmier John Allwright written for Susan Gulkis Assadi and the Erin M. Ellis Olga Melnik Andrew Cross Seattle Symphony, was released spring Jacquelyn Ernst Audrey Morin Darrel Ede 2004 on Innova Records to critical acclaim. Kaitlyn Gervais Monica Namkung Morgan Elliott In June 2006 Gulkis Assadi played the Emily Han Angela Petrucci Evan Figueras west coast premiere of Paul Schoenfield’s Teryl Hawk Karis Pratt Curtis Fonger Viola Concerto. Most recent solo Kaethe Henning Beth Puryear David Gary Elizabeth Husmann Alexia Regner Raphael Hadac performances include Mozart’s Clarinet Caitlin Hutten Valerie Rice Kelvin Helmeid Concerto (for viola), Dittersdorf’s Sinfonia Sharon Jarnigan Emily Ridgway Colton Hess Concertante for Viola and Double Bass Elizabeth Johnson Laura Marie Rivera Rob Jones and Berlioz’s Harold in Italy. Julia Joo Dale Schlotzhauer Ronald Knoebel Katy Kaltenbrun Darcy Schmidt Tim Krivanek Susan Gulkis Assadi also performs Seung Hee Kim Carreen A. Smith Adam LaRue regularly with the Seattle Opera, the Lori Knoebel Heather Allen Strbiak KC Lee Seattle-based Music of Remembrance, Courtney Lindahl Kathryn Tewson Thomas C. Loomis The Governor’s Chamber Music Series Kori Loomis JoAnn Wuitschick Bryan Lung and was a founding member of the Geraldine Morris Mindy Yardy * Mislav Magerl Nicolle Omiste Glenn Nielsen Bridge Ensemble. She has happily spent Sasha S. Philip Tenor Mark Penrod the last 17 summers performing with the Kaitlin Puryear Matthew Blinstrub Ken Rice Grand Teton Music Festival. Gulkis Assadi Ana Ryker James Clarke Martin Rothwell * received her Bachelor of Music from The Emily Sana Spencer Davis Edward Sam Curtis Institute of Music. Barbara Scheel * Steven Feis Eric Seifert Laura A. Shepherd Theo Floor Garrett Smith Bree'anna Walberg Jacob Garcia Jim Snyder Andrea Wells Joel Gewecke Michael Uyyek Zachary Herrington-Shaner Jared White Alto Eric Jeffords * principal of section Cynthia Beckett Neil Johnson Cyra Valenzuela Benedict Alexander Jones Ivy Rose Bostock Kevin Kralman * Monica Bowen Robert Kuchcinski Nancy Brownstein Patrick Le Quere Kathryn Cannon Miller James H. Lovell Terri Chan Ian McKinley Rachel Cherem Andrew Magee Lauren Cree Ed Morris Paula Corbett Cullinane Wally Pfingsten Aurora de la Cruz Theodore Pickard Robin Denis Christopher Reed Cindy Funaro Jonathan M. Rosoff
20 SEATTLESYMPHONY.ORG THOMAS DAUSGAARD, MUSIC DIRECTOR
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3/8 SUNDAY, MARCH 8, 2020, AT 4PM PROGRAM NOTES CELEBRATE ASIA This concert features three remarkable SPECIAL PERFORMANCES and dazzling contemporary compositions, bookended by what may be called a fanfare and an “old chestnut.” The fanfare Tianyi Lu, conductor is an orchestral arrangement of four very Lori Matsukawa, host popular folk songs from different parts of Conrad Tao, piano China. Hailing from Feng Yang, a town in the eastern Anhui Province, the Flower Adeliia Faizullina, soprano Drum Song is traditionally performed Seattle Symphony by a singer/dancer who accompanies himself or herself on an hourglass drum HUANG RUO Folk Songs for Orchestra 15’ hung around the shoulder. The second Flower Drum Song from Feng Yang song, from the Tibetan town of Kang Ding Love Song from Kang Ding in the southwestern Sichuan Province, is The Little Blue Flower known more authentically as the Song Girl from the Da Ban City of the Horse-drawn Cart Driver. The Little Blue Flower, from the northern ADELIIA FAIZULLINA Tatar Folk Tales: “Sak and Sok” and “Arba” 6’ Shaanxi Province, is about a young ADELIIA FAIZULLINA, SOPRANO woman’s defiant rebellion to an arranged marriage. The last song, originating in the CONRAD TAO The Oneiroi in New York 22’ Uygur national minority culture in Xinjiang Movement One— Province of the far west, has long been Movement Two— popular throughout the country when sung with Chinese lyrics. The Chinese-American Movement Three— composer Huang Ruo (b. 1976) has Movement Four transformed these simple tunes into show CONRAD TAO, PIANO pieces with rich orchestral texture, varied INTERMISSION 20’ instrumental color, and dynamic rhythmic drive. CHEN YI Si Ji (“Four Seasons”) 14’ Composed and performed by Adeliia GEORGE GERSHWIN Rhapsody in Blue 16’ Faizullina (b.1988), Tatar Folk Tales /orch. Ferde Grofé CONRAD TAO, PIANO deservedly won this year’s annual Seattle Symphony Celebrate Asia Composition Competition for young composers. The Celebrate Asia Composition Competition is generously underwritten by Yoshi and Originally from Kazan of the Russian Naomi Minegishi. republic of Tatarstan but now living in Conrad Tao’s performance is generously underwritten by Eric and Margaret Rothchild America, Faizullina sings not with words through the Seattle Symphony’s Guest Artists Circle. but with vocalizations such as grunting, shrieking, ululating, and other extraordinary Celebrate Asia is sponsored by the Atsuhiko and Ina Goodwin Tateuchi Foundation. sounds that vividly, vibrantly and viscerally summon up her home town, a faraway Please note that the timings provided for this concert are approximate. land and culture alien to this audience. Her Please turn off all electronic devices and refrain from taking photos or video. striking vocal expressivity recalls America’s Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and own great Meredith Monk. As Faizullina any other use of such copying devices during a performance is prohibited. herself explains, her blindness “allows me to experiment with musical shadows, to create the space of sounds and volume of musical form, drawing on the musical landscape of nature through instrumental timbres and human voices.”
A 2017 tour de force by Conrad Tao (b. 1994), The Oneiroi in New York creates a spectacular and dramatic soundscape that pushes the expressive powers of both piano and orchestra to their limits and beyond, with rapid shifts in tempo and in dynamic level, ranging from fffff(very very loud) to pppp (very very soft), sometimes within the duration of a single measure. The interplay of complex rhythm among the different sections of the orchestra, within the piano part, and between the
encorespotlight.com 23 TIANYI LU PROGRAM NOTES Conductor Making a name for herself across multiple piano and the orchestra, is intricate labor; later she became the concertmaster continents, Tianyi Lu enough to challenge even the most of a Peking Opera troupe. These musical holds the positions of accomplished musicians — not to mention experiences in China’s folk culture must Assistant Conductor of the conductor, whose business it is to keep be responsible for snatches of Chinese the Melbourne everyone and everything coordinated as musical elements that appear in Si Ji, very Symphony Orchestra, specified by the score. Although some much like “infinite shapes of mountain Principal Conductor of of the intricacy may not be apparent ranges emerging through shifting mist.” the St. Woolos Sinfonia at first hearing, the musical excitement in the UK, and from August 2019 (1898–1937) was that the piece offers can be appreciated George Gershwin commenced as the first Female Conductor America’s most popular U.S.-born in and of itself, particularly since the in Residence with the Welsh National composer of the early 20th century, programmatic title sheds some light on Opera in Cardiff, a role which will include in part because his music crossed the its non-musical content. The fact that performances of Bizet’s Carmen in 2020. musical stylistic boundaries of popular, “oneiroi” means “dreams” in ancient Greek Recent highlights include concerts with the suggests some potential interpretations jazz and classical idioms. His Rhapsody Auckland Philharmonia, Gulbenkian of the soundscape: hallucination? vision? in Blue (1924) is widely considered Orchestra with Carolin Widmann in Lisbon nightmare? Additional clues are provided the most representative “American” and on tour in Portugal, City of Birmingham by the descriptive notes that the composer composition, and few are so beloved. has written into the score for the guidance Commissioned as a concerto-like piece Symphony Orchestra, Hallé Orchestra, of musicians, both characterizing each for an all-jazz concert, it was originally Ulster Orchestra, Royal Welsh College of of the four movements separately (“by written for piano and jazz band, using Music Symphony Orchestra and the turns focused and hazy,” “anticipatory,” a “blue” scale and other jazz idioms. Bucharest Radio Symphony Orchestra, “nauseous and uneasy” and “nasty”) and Soon after its completion, Ferde Grofé Sydney Symphony, Hallé Orchestra and at specific points within each movement scored it for full symphony orchestra, Auckland Philharmonia. (“more anxious,” “even more restless,” supplemented by so-called “vernacular” “volatile,” etc.). Anyone who has lived instruments such as accordian, banjo and The 2019–2020 season sees Lu making in (or visited) New York City and has saxophone, and this version became the her debut with the Royal Scottish National experienced its noise, crowds, frenzy standard in concert halls. Its signature Orchestra, Helsinki Philharmonic, Turku and excitement, but also its pockets of opening features the clarinet playing a Philharmonic Orchestra, Lapland Chamber trill followed by a glissando ascending to a calm and serenity, will recognize the city Orchestra, Seattle Symphony, Singapore high pitch register, as easily recognizable in Tao’s music. It should be noted that Symphony as well the Dunedin and as the opening of Beethoven’s Fifth transitions from one movement to another Christchurch symphony orchestras. In Symphony. Besides jazz, the piece draws are marked by sudden changes of mood her role as Assistant Conductor of the rather than by obvious pauses. on Ragtime rhythms and the Afro-Cuban rhythm called “clave.” Insofar as it has Melbourne Symphony Orchestra, she will A world-renowned composer, Chen Yi been interpreted as a musical portrait lead a regional concerts tour in November (b. 1953) has been honored with many of New York City, it offers an interesting 2019 before subsequently returning twice prestigious awards and commissions, comparison with Tao’s Oneiroi of New more to the orchestra in 2020, alongside including a Pulitzer finalist forSi Ji (“Four York, composed almost a century later. return engagements with the Ulster Seasons”). The four sections of the piece Orchestra and Bucharest Radio Symphony are inspired by four 11th-century poems © 2020 Bell Yung Orchestra. on the beauty of nature and its dramatic seasonal changes of weather over lakes, Born in Shanghai, Lu’s family subsequently among mountains and by the seashore. moved to New Zealand. She completed The poems are replete with striking her Bachelor of Music with First Class images — brimming waves on sunny Honors at the University of Auckland days, dark clouds like spilt ink, raindrops with Uwe Grodd and Karen Grylls, before on boats like bouncing pearls, a sudden studying at the University of Melbourne rolling gale that dispels clouds and rain with John Hopkins. In 2015 Lu completed to reveal quiet water, infinite shapes of her Master of Music in Orchestral mountain ranges emerging through shifting Conducting with Distinction at the Royal mist — that are given brilliant and intense Welsh College of Music and Drama, representation through Chen’s ingenious musical themes and orchestration. In the where she studied with David Jones. Her composer’s own words, the vignettes of broad musical interests and passion for sudden meteorological change provide contemporary music led to her studying “dramatic contrasts symbolizing the electronic music composition as well as growth and maturation processes of studies in Baroque flute, viola da gamba individuals, communities and societies” and harpsichord. and “images of conflict, struggle, yearning, encouragement and triumph.” During China’s turbulent years of cultural revolution, Chen as an adolescent was sent to the countryside to do compulsory
24 SEATTLESYMPHONY.ORG CONRAD TAO ADELIIA FAIZULLINA Density512 for their 2018–2019 season. Piano & composer Soprano & composer She is currently writing for soprano Tony Arnold and guitarist Manuel Barrueco. Conrad Tao has Adeliia Faizullina appeared worldwide as (b.1988) is a composer, Faizullina is a current composer fellow a pianist and composer vocalist, and multi- and a recipient of the Cynthia Jackson and has been dubbed a instrumentalist from Ford Fellowship of Gabriela Lena Frank musician of “probing Kazan, Tatarstan, Creative Academy of Music. She is the intellect and open- Russia. Described as a winner of the 2018 Radio Orpheus Young The hearted vision” by composer “with a Composers Competition in Moscow (First New York Times, who particular ear for Photo: Brantley Gutierrez Brantley Photo: Prize), Finalist of the 2018 International also cited him “one of cutting-edge vocal Rostrum of Composers, and won First Prize five classical music faces to watch” in the colors and an affinity for the music and at the 2015 VII International contest-festival 2018–2019 season. Tao is a recipient of the poetry of Tatar folklore,” Faizullina also “Renaissance” in Armenia. Faizullina’s prestigious Avery Fisher Career Grant and writes virtuoso music for chamber and music has been broadcasted in Australia was named a Gilmore Young Artist — an symphonic genres. Her works have been by ABC Classic FM, and in Russia by honor awarded every two years performed in concerts by leading artists Orpheus Radio. She is also supported by highlighting the most promising American such Duo Cortona-mezzo-soprano Rachel the Tatarstan Government for her studies. pianists of the new generation. At the 2019 Calloway and violinist Ari Streisfeld. She New York Dance and Performance Awards, has also previously collaborated with She received her bachelor’s degree in Tao was the recipient of the award for Invoke quartet, New Music Ensemble of Voice in Auhadeev College of Music Outstanding Sound Design / Music The University of Texas at Austin, (Kazan, Russia) and bachelor’s degree in More Forever Composition, for his work on , Density512, SoundSpace of Austin’s Music Composition in Gnesins Russian a collaboration with Caleb Teicher. Blanton Museum of Art, State Academic Academy of Music (Moscow, Russia). Choir of Tatarstan, the State string quartet She has an MM in Music Composition This season, Tao will be presented in of Tatarstan and Kozjevnicov’s Moscow from University of Texas at Austin and recital by Carnegie Hall, performing Choir. A new work for wind symphony is currently pursuing her DMA at the works by David Lang, Bach, Julia Wolfe, orchestra with choir was commissioned by University of Southern California. Jason Eckhardt, Carter, Rachmaninoff and Schumann. He will also make his debut in recital at Walt Disney Hall, where the LA Phil will present him in works by Copland and Frederic Rzewski.
A Warner Classics recording artist, Tao’s debut disc Voyages was declared a “spiky UPCOMING AT THE debut” by The New Yorker’s Alex Ross. Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means — as the thoughtful programming on this album… proclaims.” His next album, Pictures, with works by ASIAN ART MUSEUM David Lang, Toru Takemitsu, Elliott Carter, Mussorgsky and Tao himself, was hailed by The New York Times as “a fascinating album [by] a thoughtful artist and dynamic performer… played with enormous imagination, color and command.” His third album, entitled American Rage, was released in fall 2019 and features works by Julia Wolfe, Frederic Rzewski and Aaron Copland. EURASIA CONSORT PERFORMS THE Tao was born in Urbana, Illinois in 1994. He WIND IN THE PINES has studied piano with Emilio del Rosario SUN MAR 22, 2 – 4 PM in Chicago and Yoheved Kaplinsky in New Silk Road music and two world premieres! York, and composition with Christopher TRAVELS OF THE HORN RHYTON Theofanidis. FROM IRAN TO CHINA THU APR 16, 7 – 8:15 PM Judith Lerner, Institute for the Study of Ancient World, New York University visitsam.org/gardnercenter
Photo: ©️ Tim Griffith. Photo: Courtesy of GEMS.
encorespotlight.com 25 3/12–14 THURSDAY, MARCH 12, 2020, AT 7:30PM SATURDAY, MARCH 14, 2020, AT 8PM PROGRAM NOTES
TCHAIKOVSKY SERGEY PROKOFIEV SYMPHONY NO. 5 Symphony No. 1, Op. 25, “Classical” BORN Sontsovka, Ukraine, April 23, 1891 DIED Moscow, March 5, 1953 WORK COMPOSED 1917 Eun Sun Kim, conductor WORLD PREMIERE April 21, 1918, in Saint Petersburg, which had recently been renamed Elisa Barston, violin Petrograd (and would later become Leningrad Seattle Symphony before regaining its original name). Prokofiev conducted an ensemble drawn from the ranks SERGEY PROKOFIEV Symphony No. 1, Op. 25, “Classical” 15’ of the former Imperial Court Orchestra. Allegro con brio Larghetto Gavotte: Non troppo allegro What to Listen For Finale: Molto vivace “It seemed to me that if Haydn had lived into our age, he would have FLORENCE PRICE Violin Concerto No. 2 14’ preserved his own way of composing and, Tempo moderato— at the same time, absorbed something Andante cantabile— from the new music. That was the kind of Allegretto symphony I wanted to write: a symphony in ELISA BARSTON, VIOLIN the classical style.” – Sergey Prokofiev INTERMISSION 20’ PIOTR ILYICH TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64, TH 29 44’ During the early decades of the last Andante—Allegro con anima century, many composers were taken Andante cantabile, con alcuna licenza with the concept of neo-classicism. Valse: Allegro moderato Reacting against what seemed to many Finale: Andante maestoso—Allegro vivace the excessive grandiosity of late-Romantic symphonies and tone poems, these Pre-concert Talk one hour prior to each performance. musicians cultivated a clear, lean, succinct Ask the Artist following the Thursday, March 12 concert in the Samuel & Althea Stroum style of writing based on the forms and Grand Lobby. textures of 18th-century composition. Among the most successful instances Elisa Barston’s performances are generously underwritten by Grant and Dorrit Saviers. of modern neo-classicism is Sergey Prokofiev’s “Classical” Symphony, Performances of Tchaikovsky Symphony No. 5 are generously underwritten by an completed in 1917. anonymous donor. Prokofiev’s inspiration for this work was Please note that the timings provided for this concert are approximate. the music of Haydn, with its wit and formal Please turn off all electronic devices and refrain from taking photos or video. clarity. But while the work’s surface and Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and proportions evoke the 18th century, its any other use of such copying devices during a performance is prohibited. tonal language clearly is of a later age. The symphony’s angular melodies, abrupt shifts of harmony and driving rhythms would have been unthinkable to an audience of Haydn’s day, but they are hallmarks of Prokofiev’s style.
A humorous tone pervades this symphony, even in the elegant Larghetto movement. It may seem surprising that Prokofiev could fashion such a piece at a time when his native Russia was in the throes of a disastrous military campaign and epochal revolution. But as he later admitted, Prokofiev was oblivious to the historic events of 1917. The antique charm of the “Classical” Symphony recalls a more innocent time.
Scored for pairs of woodwinds, horns and trumpets; timpani; strings.
26 SEATTLESYMPHONY.ORG PROGRAM NOTES
FLORENCE PRICE Violin Concerto No. 2
BORN April 9, 1887, in Little Rock, AR DIED June 3, 1953, in Chicago, IL WORK COMPOSED 1952 WORLD PREMIERE 1964, in Chicago, by an ad hoc orchestra. Minnie Cedargreen Jemberg, to whom the composer dedicated the work, was the soloist.
What to Listen For In her compositions, Florence Price often drew inspiration from the black music and dance of her native South, especially the spirituals. Here, you can hear wholly original ideas in a cosmopolitan Romantic vein.
“To begin with, I have two handicaps — those of sex and race. I am a woman; and I have some Negro blood in my veins.” That frank confession starts a letter, written in 1943, to Serge Koussevitzky, conductor of the Boston Symphony Orchestra and a champion of modern music during the second quarter of the 20th century. It was made by Florence Price, who added: “I would like to be judged on merit alone.”
Accomplished as both a pianist and a composer, Price and her music have experienced the vagaries of fortune that often befall creative musicians, even those unencumbered by the drawbacks she mentioned to Koussevitzky. Born in 1887, in Arkansas, to a middle-class family (her father was a dentist), Price learned music at an early age, performing on the piano when she was just four and writing her first composition at eleven. At 14, she was sent to Boston to study piano, organ and composition at the New England Conservatory. She subsequently taught in Atlanta and Little Rock, married and gave birth to two daughters.
In 1927, Price and her family moved to Chicago. There she resumed advanced music studies and began to compose earnestly. She worked in obscurity for years before achieving a measure of success and renown. In 1932 her First Symphony won a prestigious competition that included performance by the Chicago Symphony Orchestra. It thus became the first composition by a black woman to be played by a major orchestra. Price subsequently received other performances, wrote song arrangements
encorespotlight.com 27 PROGRAM NOTES for Marian Anderson (the celebrated singer PIOTR ILYICH TCHAIKOVSKY With regard to his Fifth Symphony, he included one of these on the program left only a short scenario concerning its of her famous Lincoln Memorial concert Symphony No. 5 in E minor, Op. 64 first movement. In a brief note written shortly before he began composing it, of 1939), and supported herself and two BORN Kamsko-Votkins, Russia, May 7, 1840 daughters through musical endeavors, Tchaikovsky stated his idea for this portion DIED Saint Petersburg, November 6, 1893 both as a composer and a performer. of the composition: “Introduction: complete WORK COMPOSED 1888 resignation before Fate or, which is the But by the she time died, in 1953, Price’s WORLD PREMIERE November 17, 1888, in Saint same thing, the unfathomable workings of fundamentally Romantic style was being Petersburg. The composer conducted. Providence. Allegro: (I) Murmurs, doubts, pushed aside by the high-modern pleas, reproaches ... (II) Shall I throw myself abstraction then overtaking composition. in the embraces of faith?” By the 1970s, much of her work had fallen What to Listen For into obscurity. There it remained until Much of the drama in this symphony This is certainly vague and incomplete, recently, and might have continued to do stems from Tchaikovsky’s treatment but it is enough to establish an so but for two fortuitous developments. of a recurring subject, often referred to as autobiographical basis for the music. In any One was the chance discovery of a a “motto” theme. This presents itself at the event, the drama inherent in the symphony cache of Price’s manuscripts in the start of the symphony and again in each is evident in purely musical terms. Much attic of a house in Illinois. The other of the ensuing movements, its character of it concerns a “motto” theme, a subject development is a new cultural interest different in each appearance. that recurs in each of the work’s four in, and receptiveness to, classical music movements. (Most commentators refer by both women and composers of color, to it as the “Fate” theme.) With each which has helped speed the resurrection Tchaikovsky composed his Fifth Symphony reappearance, its character changes, and dissemination of the newly recovered during the summer of 1888. At age 48 he until it sounds triumphantly in the finale. Price compositions. was more relaxed and confident than at The metamorphosis over the course of any previous period of his life. His brief the symphony of a single theme from an One of those compositions is the Violin and disastrous marriage in 1877 to a young expression of crisis or pathos to one of Concerto No. 2, which we hear now. conservatory student had forced him exultation has its original precedent in Price completed it in the year before her finally to accept that union with a woman Beethoven’s Fifth Symphony, which in this death and never heard it performed. The and conventional domestic happiness particular work, at least, provided a model premiere took place more than a decade would never be his; and though painful, for Tchaikovsky. later, in 1964, at ceremonies marking the this admission seems to have relieved opening of the Florence Price Elementary the composer of a burden, allowing him The first movement opens with a somber School, in Chicago. The music then to immerse himself in his work. He had introduction whose tone accords with lay hidden for 45 years until a house recently taken up residence in a country Tchaikovsky’s description of “complete renovation prompted its discovery. house outside Moscow, where the bucolic resignation.” Here we encounter the motto surroundings buoyed his spirits. “I cannot theme, announced by the clarinets in Price cast the concerto in a single tell you what a pleasure it has been to their low register. The main body of the movement. It begins with a robust passage watch my flowers grow and see daily, even movement begins with a march subject, for the orchestra, one that suggests hourly, new blossoms coming out,” he also introduced by the clarinets but quickly dramatic developments ahead. But the wrote at this time. “Meanwhile I have been taken up by other instruments. Tchaikovsky solo violin, which makes a long, rhapsodic working with good results, for half of the counters this idea with several others entrance, steers the music into more symphony is orchestrated.” of more genial character, the tension gentle, even bucolic, terrain. The new between them and the martial first theme theme it introduces skips in lilting rhythms But while enjoying a period of relative accounting for much of the movement’s and conveys nothing so much as carefree contentment, Tchaikovsky could hardly interest. innocence. Several reprises of the divorce his creative work from his Andante cantabile orchestra’s dramatic opening punctuate own existential issues. Melancholic, The ensuing unfolds the movement as it unfolds, and a chorale- hypersensitive and self-critical, Tchaikovsky under the spell cast by a melody like theme for brass instruments adds also wrestled throughout his life with presented as a horn solo in its opening depth to the composition. Meanwhile, his homosexuality. His internal struggles moments. Its mood of enchantment twice the solo violin ranges widely and freely, affected especially the characters of his is broken, however, by the return of the weaving sonic garlands around the last three symphonies. Composition of motto figure, now more menacing in orchestra’s statements and leading the each of these works was guided by a tone. The third movement offers waltz work to a point of rest that makes the final subjective program, a drama born of the melodies that seem borrowed from one of orchestral utterance all the more effective. composer’s psychic conflicts. Tchaikovsky Tchaikovsky’s fairy-tale ballets. Once again, near the close of the movement, the theme Scored for solo violin; 2 flutes; 2 oboes and had accompanied his Fourth Symphony with a written description of tension from the introduction is heard, but it seems English horn; 2 clarinets; 2 bassoons; 4 horns; tame and powerless in the ideally elegant 2 trumpets; 3 trombones; tuba; timpani and between tender longings and harsh percussion; harp; celeste; strings. reality — tensions which, he asserted, the world suggested by this music. symphony’s music embodied.
28 SEATTLESYMPHONY.ORG THOMAS DAUSGAARD, MUSIC DIRECTOR
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SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 EUN SUN KIM PROGRAM NOTES Conductor Following “a company debut of astonishing In the finale, Tchaikovsky comes to grips from the first movement during the closing vibrancy and assurance” with the persistent motto theme. Here moments. (San Francisco Chronicle) in Rusalka, Korean he transforms the melody that opened Scored for 3 flutes (the 3rd flute doubling the symphony into a triumphal march, piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 conductor Eun Sun Kim the furious outbursts midway through the horns; 2 trumpets; 3 trombones; tuba; timpani; has been named the movement only serving to make its final strings. Caroline H. Hume Music Photo: Nikolaj Lund Nikolaj Photo: apotheosis more impressive. There is also Director of San Francisco a brief remembrance of the march subject © 2020 Paul Schiavo Opera. Her presence in North America was first established with performances of Verdi’s Requiem with the Cincinnati Symphony and La traviata with Houston Grand Opera, with the latter earning her an appointment as the company’s first Principal Guest Conductor in 25 years.
In the 2019–2020 season, Kim leads concerts with the Los Angeles Philharmonic, Symphonieorchester des Bayerischen SAVE THE DATE! Rundfunks, L’orchestre Philharmonique de Marseille, and the symphony orchestras of WEDNESDAY, MAY 6, 2020 San Diego, Cincinnati, Oregon and Seattle. She continues a series of important operatic debuts with the company premiere of Roberto Devereux at Los Angeles Opera and The Magic Flute at Washington National Opera at the Kennedy Center, and leads Salome in her triumphant return to Houston Grand Opera, where The New York Times pronounced her “a major star…with great sensitivity and flexibility.” Major upcoming debuts include subscription concerts with GIVE the New York Philharmonic and productions with the Wiener Staatsoper, Lyric Opera of Chicago and Metropolitan Opera.
Kim’s recent engagements have also included a new production of Die Fledermaus with English National Opera, Carmen at Opernhaus Zürich, Hänsel und Gretel, Carmen and Die Fledermaus at Volksoper Wien, Il viaggio a Reims at Teatro Real Madrid, La traviata at Opéra de Marseille, and La bohème with Oper Graz. Concert performances comprise appearances with Orchestre de Paris, Beethoven Orchestra Bonn and Stuttgart BIG Philharmonic, as well as orchestras in Madrid, Marseille, Lille, Nancy, Palermo, Turin, Milwaukee, Calgary and Santiago de Make your gift to the Seattle Symphony during Compostela. GiveBIG on Wednesday, May 6, 2020 and join the Kim studied composition and conducting in caring family of donors who bring our music to life. her hometown of Seoul, South Korea, before continuing her studies in Stuttgart, where One BIG day to support the music you love! she graduated with distinction. Directly after graduation, she was awarded the First Prize in the International Jesús López Cobos seattlesymphony.org/giveBIG | 206.215.4832 Opera Conducting Competition at the Teatro Real Madrid.
30 SEATTLESYMPHONY.ORG 3/13 ELISA BARSTON FRIDAY, MARCH 13, 2020, AT 7PM Violin
Praised for her “glowing sound” and TCHAIKOVSKY UNTUXED “technical aplomb” (Strad Magazine), UNTUXED SERIES violinist Elisa Barston is the Seattle Symphony’s Eun Sun Kim, conductor Principal Second Violin. Previously, she served Jonathan Green, host Photo: Larey McDaniel Larey Photo: as the Associate Seattle Symphony Concertmaster of the St. Louis Symphony Orchestra for eight seasons and was a first SERGEY PROKOFIEV Symphony No. 1, Op. 25, “Classical” 15’ violin section member of The Cleveland Allegro con brio Orchestra. As a soloist and chamber Larghetto musician, Barston has performed Gavotte: Non troppo allegro extensively throughout the United States, Finale: Molto vivace Europe and Asia, appearing with the Chicago Symphony, the Los Angeles PIOTR ILYICH TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64, TH 29 44’ Philharmonic, and the St. Louis and Taipei Andante—Allegro con anima symphony orchestras, among many others. Andante cantabile, con alcuna licenza In 1986, she made her European debut Valse: Allegro moderato with the English Chamber Orchestra at the Finale: Andante maestoso—Allegro vivace request of Sir Yehudi Menuhin. Barston studied at the University of Southern Program notes can be found on pages 26–30. California and Indiana University. Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. I began playing the violin at the Performance ©2020 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and age of three and have loved any other use of such copying devices during a performance is prohibited. performing ever since. As classical musicians, our training is multi-faceted: we learn the solo and concerto repertoire for our individual instrument, “and we simultaneously study the art of collaboration through the chamber music and symphonic literature. I adore all avenues of music-making, but my absolute favorite is performing as soloist with orchestra. And the icing on the cake is when I have the opportunity to solo with my very own Seattle Symphony family! There is nothing quite like the feeling of love and support from friends and colleagues when I take center stage! – Elisa Barston”
encorespotlight.com 31 THOMAS DAUSGAARD, MUSIC DIRECTOR Photo: Patoc Brandon
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Since its establishment R. STRAUSS SALOME 33 years ago, The Nesholm Family Foundation Thomas Dausgaard, conductor Gun-Brit Barkmin, soprano has supported organizations Michaela Martens, mezzo-soprano that enhance the quality of life Peter Bronder, tenor in our community, Seattle Symphony including sponsorship of Seattle’s vibrant performing RICHARD STRAUSS Don Juan, TrV 156, Op. 20 18’ arts groups. For over a RICHARD STRAUSS Tod und Verklärung, TrV 158, Op. 24 24’ century, Pacific Northwest (“Death and Transfiguration”) audiences have delighted in performances of the Seattle INTERMISSION 20’ Symphony, which now reaches RICHARD STRAUSS Salome Part II, TrV 215, Op. 54 38’ more than 500,000 people GUN-BRIT BARKMIN, SOPRANO each year in concerts MICHAELA MARTENS, MEZZO-SOPRANO and radio broadcasts. PETER BRONDER, TENOR This includes 50,000 served through concerts, classes Pre-concert Talk one hour prior to each performance. and demonstrations designed for families, teachers Salome is generously underwritten by The Nesholm Family Foundation. and students. Thomas Dausgaard’s performances are sponsored by the Scan|Design Foundation by Inger and Jens Bruun. Peter Bronder’s performances are supported in part by the Melvyn Poll Tenor Fund. The Seattle Symphony Please note that the timings provided for this concert are approximate. continues to surprise and Please turn off all electronic devices and refrain from taking photos or video. delight us with incredible Performance ©2020 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. performances of both contemporary works and time-honored classics.
We are honored to partner with the orchestra and Thomas Dausgaard for his first season as Music Director and proud to sponsor these Masterworks performances of Strauss’ Salome.
We look forward to many more exciting Seattle Symphony performances to come.
John Nesholm, President Erika Nesholm, Executive Director The Nesholm Family Foundation
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JOIN US AS A FOUNDER TODAY! seattlesymphony.org/founders | 206.215.4832 | [email protected] REFLECTIONS PROGRAM NOTES
Reflections from RICHARD STRAUSS is not really what I wanted. This is a very common experience: we wish so much for Thomas Dausgaard BORN June 11, 1864, in Munich, Germany a thing, and when we finally get it after a Each piece in the program represents DIED September 8, 1949, in Garmisch- long fight and struggle, we realize that it is three very different self-expressions of Partenkirchen, Germany not exactly what we thought it would be. Strauss. In Don Juan, Strauss derives Not everyone sees Salome the way I do, inspiration from the personal, wordless Don Juan, TrV 156, Op. 20 but I don’t care; I do it my way and, for me, character of Don Juan himself. In Tod und it works. Of course, the vocal part is very Verklärung, Strauss explores the lofty COMPOSED 1888 demanding, with all these huge lines that human theme of death and transfiguration WORLD PREMIERE 1889 in Weimar with Strauss call for stamina, a good technique and a and lastly — in his sublime element, writing conducting. good idea of what you want to express. The opera — uses the words of Oscar Wilde's performance has to be emotional. It has to Salome to inspire music to new heights. Tod und Verklärung, TrV 158, Op. 24 catch people inside of their souls. (“Death and Transfiguration”) Strauss wrote some of his most daring and powerful music in Salome, and it stands COMPOSED 1889 – Gun-Brit Barkmin as one of the greatest works of the 20th WORLD PREMIERE 1890 in Thuringia with Strauss century. I am stunned by the abandon and conducting relentless originality in Strauss’ music, and Tonight’s concert showcases three early forever perplexed how he gave up this triumphs in Richard Strauss’ 78-year career Salome Part II, TrV 215, Op. 54 side of himself after just one more opera as a composer. Though they were hardly” the only milestones for composer/conductor (Elektra) in this expressionistic direction. COMPOSED 1903–05 Strauss, who wrote his first piece at age WORLD PREMIERE 1905 in Dresden We will perform the second half of Strauss’ 6, completed 140 works by age 18, and Salome, where the drama heats up. And composed his final songs at age 84, these at the same time we offer you two of three works assured his place among his greatest tone poems, the exuberant What to Listen For the great classical composers of the past Don Juan and the more philosophical • In the tone poems, note how deftly 1,000 years. Never one to deny his worth, yet sensual Death and Transfiguration. Strauss transitions from one emotional Strauss brushed off proclamations that his On his death-bed Strauss is said to have state to the other. Equally important is the sometimes programmatic music was second exclaimed that dying was exactly as in this skill with which Music Director Thomas rate by quipping that, if that was true, he was piece of music! Dausgaard expresses these contrasting unquestionably a “first-class second-rate states while maintain overarching music composer.” If you have heard Also sprach Zarathustra coherence and vision. earlier in the season or our latest recording While song comprised a big part of Strauss’ with Strauss’ Alpine Symphony, you know • The conviction of our Salome, soprano oeuvre, it was the tone poems Don Juan how the Seattle Symphony understands Gun-Brit Barkmin, that Salome is ultimately (1888) and Tod und Verklärung (“Death and the music of this composer. A few years child-like, curious and innocent is supported Transfiguration”) (1889) that first ensured his ago, we performed his four last songs by Strauss’ desire that Elisabeth Schumann, fame. Big scaled in orchestral forces as well with a singer with a very special presence a light lyric soprano whose heartfelt artistry, as concept, these early tone poems took on stage, Gun-Brit Barkmin. I am so much radiantly golden highs and unequalled musical inspiration from Liszt and Wagner, looking forward to her coming back to sing charm he adored, perform the role. Although and thematic inspiration from Shakespeare, the title role in Salome. Performing this Schumann wisely refused, watch how well Nicolaus Lenau, Nietzsche, Cervantes and role, she simply becomes Salome, which the far better equipped Barkmin expresses Strauss’ own life. has stunned the operatic world and led Salome’s “crescendo of emotions” and to regular performances, including at the excitement. Performed together, Don Juan and Tod Vienna State Opera. und Verklärung weave a musical tale that begins in the prime of life and concludes We can talk at great length about the For me, Salome is more child-like with ascendance into the spiritual realm. exceptional qualities in these great works, and innocent than in the clichéd Don Juan, inspired by an unfinished work but ultimately I want the listener to trust sense. She is not a vamp or something by Lenau, begins on a thrilling note, with a in their own experience in the moment of frightful. She is cruel, but she is somehow theme that simultaneously expresses the the concert … Music is so much more than curious and innocent. As the Princess of protagonist’s triumphs, cocky self-confidence words: The live music performance is that Judaea, she is not used to this very bold and seemingly untamable sexual bravado. visceral experience of us onstage, baring ‘No!’ from Jochanaan, who pushes her away Don Juan’s incessant drive for sexual our souls as performers and reaching the “in a very ugly way because he’s not very conquest leads us, first, to two love scenes listeners in a million different ways. polite. Strauss’ music shows me that she is with explicit elements of passion, seduction someone helpless who is getting excited in and surrender, and then to a Carnival-like a crescendo of emotions. Being told no is masked ball. Reflections on past adventures something new, and it’s kind of refreshing and seductions unfold before Don Juan and exciting. It opens a door inside of her enters a graveyard and begins a dialogue that she never walked through before. with the statue of a nobleman he previously killed. As the statue becomes animated, At the end of the story when she finally Don Juan invites it to dinner. After Don kisses Jochanaan’s mouth, she says this Juan discovers that the nobleman’s sword- encorespotlight.com 35 PROGRAM NOTES brandishing son has arrived in his father’s Oscar Wilde’s French play Salomé (1891). After After Herod and Herodias enter for a stead, a duel begins. Haunted and exhausted the play’s London premiere was forbidden banquet, Herod is filled with lust for his by everything that has come before, Don Juan by Lord Chamberlain due to its depiction of stepdaughter. The imprisoned prophet again allows himself to be killed. Rather than ending Biblical characters on the stage, the play was condemns Herodias’s marriage. Rather the tone poem with a major flourish, Strauss published in English in 1894, accompanied than heeding his wife’s demands to silence dares to depict the Don’s demise in music of by Aubrey Beardsley’s famed illustrations. the Prophet, Herod asks Salome to eat energetic dissipation that concludes, not with Finally, in 1896, Salomé’s belated premiere in and drink with him. When she refuses, he a bang, but rather with a shudder. the original French took place in Paris. By that promises her anything she wishes — even time, Wilde was already in jail for the crimes of half his kingdom — if she will only dance for Tod und Verklärung illumines a scenario sodomy and gross indecency. His conviction him. of Strauss’ own imagination. It begins at the set him on a downward spiral that led to his deathbed of a man who, in one translation death in 1900, at the age of 46. Our performance opens with Salome’s of Strauss’ printed summary, “had striven Dance of the Seven Veils. The dance towards the highest idealistic aims, maybe Strauss suffered no such fate. Instead, concludes as Salome sheds all her veils, indeed those of an artist.” After breathing his opera’s sensual and blasphemous lies naked at Herod’s feet, and demands irregularly during a fitful sleep — note the elements only swelled audience demand in return the head of John the Baptist on a percussive heartbeat — the man awakens with and enhanced his reputation. Strauss had silver platter. No matter what Herod offers, music that depicts fever and agony. Hints of been alerted to Salomé’s operatic potential nothing will dissuade her. the transfiguration to come emerge, and he even before he saw Max Reinhardt’s German returns to sleep as scenes from his life and production of the Lachmann translation in Thus begins Salome’s intense, extended, remembrances of loves past pass through 1903. After immediately setting to work, he and vocally taxing final tour de force, in his mind. Love, suffering and pain comingle created nothing like Puccini’s melodramatic which her extreme demands are expressed as he gradually accepts that death promises “shabby little shocker,” Tosca, which in equally demanding music. Salome’s the only way he can achieve goals otherwise premiered in 1900. The first Dresden Salome monologue requires a soprano who can unobtainable in this lifetime. Cue the refused to dance the opera’s infamous Middle soar over Strauss’ often dense orchestration Romantic-era notion that the artist’s life is one East inflected Dance of the Seven Veils, while spanning a huge range that of suffering, and that artists and lovers can requiring a dancer to stand in for her. Less encompasses G-flat below middle C to high only achieve fulfillment, à la Wagner’s Tristan than two years later, in New York City, another B. Eventually, Herod surrenders to Salome’s und Isolde, through death. dancer had to stand in for the Metropolitan wishes and orders an executioner to deliver Opera’s first performance of Salome. After the severed head of Jochanaan on a silver With death comes the artist’s transfiguration, a single performance, the Met withdrew platter. Salome grows increasingly ecstatic. as his soul ascends in one of the most Salome from its active repertoire until 1934. As she kisses the head’s bloody lips, Strauss radiant orchestral climaxes that Strauss ever Closer to Strauss’ Munich birthplace, Vienna gifts her with some of his most romantically composed. Strauss’ theme of transfiguration forbid performance until 1918, and London effulgent, gloriously radiant, and deeply held such deep meaning for him that he would only allow a “modified” version at its transgressive music — music that expresses revisited it in “Im Abendrot,” (1948), one of 1910 premiere. Nonetheless, according to that transfiguration of the most depraved sort. his Four Last Songs. Although he never lived infallible source of all knowledge, Wikipedia, Herod, horrified by Salome’s perversion, to hear their premiere, Strauss reportedly 50 opera houses had mounted productions cries “Kill that woman!” As soldiers rush told his daughter-in-law, Alice, as he lay on by 1907. forward to execute her, a rapid series of his deathbed that death was just the way he shockingly discordant passages, followed by composed it in Tod und Verklärung. The opera unfolds in the Palace of Herod, several climactic thuds, bring the opera to Tetrarch of Judaea and Perea. Jochanaan, an abrupt end. It is with another death — the one that aka John the Baptist — the man who concludes the final part the operaSalome — Don Juan prophesized the advent of Jesus and that our concert ends. In some ways, Salome’s Scored for 3 flutes (the 3rd flute doubling is believed to have baptized him — has music, along with that of Wagner’s late piccolo); 2 oboes and English horn; 2 clarinets; been sentenced to death by Herod for operas, laid the groundwork for the radical 2 bassoons and contrabassoon; 4 horns; 3 condemning Herod’s marriage to his sister- trumpets; 3 trombones; tuba; timpani and transformation of 20th-century music and art in-law, Herodias, and is imprisoned in a percussion; harp; strings. that reflected the disintegration of the old cistern in the palace floor. As Jochanaan social and political order. This transformation utters semi-coherent prophetic proclamations Tod und Verklärung manifested concomitantly in Cubism, the 12- Scored for 3 flutes; 2 oboes and English horn; laced with condemnation for Herodias, her tone music of the Second Viennese school, 2 clarinets and bass clarinet; 2 bassoons beautiful teenage daughter Salome, Princess and Nijinsky’s choreography for Stravinsky’s and contrabassoon; 4 horns; 3 trumpets; 3 of Judaea, overhears the prophet and is trombones; tuba; timpani and percussion; 2 savage The Rite of Spring. Strauss never filled with desire for that which she cannot harps; strings. dipped deep into Schoenberg, Berg and touch. After seducing a guard into releasing Webern’s atonalism, but his music took a the prophet, Salome attempts to seduce Salome highly chromatic and scandalous temporary Scored for 3 flutes (the 3rd flute doubling Jochanaan. She praises his black hair and turn with Salome, which premiered in Dresden piccolo); 2 oboes and English horn; 2 clarinets, white skin, and ultimately begs to kiss his lips. on December 9, 1905, and Elektra, whose E-flat clarinet and bass clarinet; 3 bassoons (the As the guard who freed Jochanaan becomes Dresden premiere followed on January 25, 3rd bassoon doubling contrabassoon); 4 horns; so distraught that he kills himself, the prophet 3 trumpets; 3 trombones; tuba; timpani and 1909. resists her advances. Re-imprisoned in the percussion; harp; celeste; strings. Strauss’ libretto for Salome was based on cistern, he continues to babble on about Hedwig Lachmann’s German translation of salvation through the Messiah. © 2020 Jason Victor Serinus
36 SEATTLESYMPHONY.ORG TEXT & TRANSLATION
Richard Strauss Salome Part II
Libretto is Hedwig Lachmann’s German translation of the French play Salomé by Oscar Wilde, edited by the composer.
[Salomes tanz] [Salome dances the dance of the Hör nicht auf die Stimme deiner Do not listen to your mother’s seven veils.] Mutter. voice. HERODES HEROD Sie gab dir immer schlechten Rat. She is ever givin evil counsel. (zu Herodias) (to Herodias) Ah! wondrous! Achte nicht auf sie. Do not heed her words. Ah! Herrlich! Wonderful, wonderful! Wundervoll, wundervoll! Ah! you see, that she has danced SALOME SALOME Siehst du,sie hat für mich getanzt, for me, Ich achte nicht auf die Stimme I do not heed the voice of my deine Tochter. your daughter. meiner Mutter. mother. Komm her, Salome, komm her, Come near, Salome, come near, Zu meiner eignen Lust It is for mine own pleasure du sollst deinen Lohn haben. that I may give thee thy reward. will ich den Kopf des Jochanaan that I ask the head of Jokanaan Ich will dich königlich belohnen. I’ll pay thee royally, my princess. in einer Silberschüssel haben. in a silver charger, Tetrarch. Ich will dir alles geben, I will give thee whatsoever thy Du hast einen Eid geschworen, Remember the oath you have Herodes. taken, Herod. was dein Herz begehrt. soul desireth. Du hast einen Eid geschworen. Remember the oath you’ve taken, Was willst du haben? Sprich! What wouldst thou have? Speak! Vergiß das nicht! forget it not!
SALOME SALOME HERODES HEROD Ich möchte, daß sie mir gleich I would that they presently Ich weiß, ich habe einen Eid I know, I know the oath I’ve taken, in einer Silberschüssel... bring me in a silver charger... geschworen. I know it well. Ich weiß es wohl. HEROD I have sworn an oath by my gods, HERODES Bei meinen Göttern habe ich I know it. In a silver charger? In einer Silberschüssel... geschworen. But I pray thee, Salome, surely, gewiß doch... Aber ich beschwöre dich, Salome, ask of me something else. in a silver charger... in einer Silberschüssel... verlange etwas andres von mir. Ask of me the half of my kingdom, She is charming, is she not? Sie ist reizend, nicht? Verlange die Hälfte meines and I will give it thee. What is’t Königreichs. Was ist’s, But ask not of das du in einer Silberschüssel thou would have in a silver Ich will sie dir geben. charger, me what thy lips have just asked. haben möchtest, Aber verlange nicht von mir, say, what is it, o süße, schöne Salome, was deine Lippen verlangten. O sweet and fair Salome, du, die schöner ist, you who are fairer than all the als alle Töchter Judäas? SALOME SALOME daughters of Judaea? Was sollen sie dir Ich verlange von dir den Kopf I ask of you the head What wouldst thou have in einer Silberschüssel bringen? des Jochanaan. of Jokanaan. them bring thee in a silver char- Sag es mir! ger, tell me? Was es auch sein mag, Tell me now! HERODES HEROD Nein, nein, du sollst es erhalten. Whatsoever it may be, No, no, ich will ihn dir nicht geben. Meine Reichtümer gehören dir. To thee ‘t will be given. I do not wish to give it. Was ist es, My treasures belong to thee. das du haben möchtest, Salome? What is it that thou wouldst de- SALOME SALOME sire, Salome? Du hast einen Eid geschworen, You have sworn an oath, remem- Herodes. ber, Herod. SALOME SALOME Den Kopf des Jochanaan. The head of Jokanaan. HERODIAS HERODIAS Ja, du hast einen Eid geschworen. Yes, you have sworn an oath Alle haben es gehört. before all. HERODES HEROD You swore it before everybody. Nein, nein! No, no!
HERODES HEROD HERODIAS HERODIAS Still, Weib, Be silent, woman! Ah! das sagst du gut, meine Ah! that is well said, my dear zu dir spreche ich nicht. Tochter! daughter! It is not to you I speak. Das sagst du gut! That is well said! HERODIAS HERODIAS Meine Tochter hat recht daran My daughter has done well HERODES HEROD getan, Nein, nein, Salome! No, no, Salome! to ask the head of Jokanaan, she den Kopf des Jochanaan zu is quite right. das ist es nicht, was du begehrst! thou dost not ask that of me! verlangen. He has covered me with insults.
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Er hat mich mit Schimpf He has said monstrous things den Myrten wandeln. I’ll give them all, all of them I’ll und Schande bedeckt. against me. Ich will sie dir alle, alle geben. give thee. Man kann sehn, One can see In der ganzen Welt lebt kein In the whole world there’s no king daß sie ihre Mutter liebt. that she loves her mother well. König, who has peacocks like unto mine. Gib nicht nach, meine Tochter, Do not yield, my daughter, der solche Pfauen hat. I have but a hundred. gib nicht nach! do not yield! Ich habe bloß hundert. But I will give them all to thee. Er hat einen Eid geschworen. He has sworn, he has sworn an Aber alle will ich dir geben. oath. HERODES SALOME SALOME Still, spricht nicht zu mir! HEROD Gib mir den Kopf des Jochanaan! Give me the head of Jokanaan. Salome, ich beschwöre dich: Be silent. Speak not to me! Sei nicht trotzig! Salome, I beseech thee HERODIAS HERODIAS Sieh, ich habe dich immer lieb be reasonable. Gut gesagt, meine Tochter! Well said, my daughter! gehabt. Come, have I not ever loved Und du, du bist lächerlich As for you, you are Kann sein, ich habe dich zu lieb thee? mit deinem Pfauen. ridiculous with your peacocks. gehabt. It may be that I have loved thee too much. Darum verlange das nicht von mir. HERODES HEROD Der Kopf eines Mannes, Therefore ask not this thing of me. . Still, Weib! Silence! der vom Rumpf getrennt ist, The head of a dead man that Du kreischest wie ein Raubvogel. You cry out like a beast of prey. ist ein übler Anblick. is cut from his body Deine Stimme peinigt mich. Your voice wearies me. Hör’, was ich sage! is too vile to look at. Still, sag ich dir! Be silent, I say! Ich habe einen Smaragd. Hear what I tell you! Salome, bedenk, was du tun Salome, just think of what you are Er ist der schönste Smaragd der willst. doing. I have an emerald, ganzen Welt. Es kann sein, daß der Mann von People say of this man that God Den willst du haben, nicht wahr? It is the finest emerald in the Gott gesandt ist. hath sent him. whole world. Verlang ihn von mir, Er ist ein heilger Mann. He is a holy man. Thou wilt like that, wilt thou not? ich will ihn dir geben, Der Finger Gottes hat ihn berührt. The finger of God perchance has Ask it of me den schönsten Smaragd. Du möchtest nicht, touched him. and I will give it you, daß mich ein Unheil trifft, Salome? Thou wouldst not that The finest emerald. Hör jetzt auf mich! Some harm should happen to me? Salome? SALOME SALOME Listen to me! Ich fordre den Kopf des I demand the head of Jokanaan. Jochanaan! SALOME SALOME Ich will den Kopf des Jochanaan. Give me the head of Jokanaan. HERODES HEROD Du hörst nicht zu, Thou art not listening, HERODES HEROD du hörst nicht zu. Thou art not listening. Ah! Du willst nicht auf mich hören. Ah! you are not listening to me. Laß mich zu dir reden, Salome! Be reasonable, listen, Salome! Sei ruhig, Salome. Be calm, Salome! Ich, siehst du, bin ruhig. I, look you, am quite calm. SALOME SALOME Höre: Ich habe an diesem Listen: I have jewels Den Kopf des Jochanaan. The head of Jokanaan. Ort Juwelen versteckt, hidden in this place, Juwelen, die selbst deine Mutter jewels that even your mother has HERODES HEROD nie gesehen hat. never seen. Das sagst du nur, um mich zu Thou sayest that to trouble me, Ich habe ein Halsband mit I have a collar of pearls, quälen, because I have looked at thee. vier Reihen Perlen. set in four rows. weil ich dich so angeschaut habe. Your beauty troubled me. Topase, gelb wie die Augen der Topazes, yellow like the eyes of Deine Schönheit hat mich verwirrt. Oh! Oh! Bring wine! I thirst. Tiger. a tiger. Oh! Oh! Bringt Wein! Mich dürstet! Salome, Salome, Topase, hellrot wie die Augen der Topazes that are pink as the eyes Salome, Salome, let us be friends. Waldtaube, of a wood-pigeon, and green laß uns wie Freunde ah, come near to me! und grüne Topase, wie topazes that are as the eyes of Katzenaugen. Persian cats. zu einander sein! Bethink thee Ich habe Opale, die immer And I have opals that burn always, Bedenk dich! Ah! What would I tell thee? funkeln, with a flame as cold as ice. Ah! Was wollt ich sagen? What was it mit einem Feuer, kalt wie Eis. I will give them all to thee, all, all. Was war’s? Ah! I remember! Ah! Ich weiß es wieder! Ich will sie dir alle geben, alle. I have chrysolites and beryls, Salome, thou knowest my white Ich habe Chrysolithe und Berylle, Salome, du kennst meine weißen peacocks, chrysopases and dark rubies. Chrysoprase und Rubine. Pfauen, beautiful white peacocks, I have sardonyx and hyacinth Ich habe Sardonyx und stones, meine schönen, weißen Pfauen, that are walking in the gardens Hyacinthsteine also stones of chalcedony, die im Garten zwischen between the myrtles. und Steine von Chalcedon. and I will give them all to thee,
38 SEATTLESYMPHONY.ORG TEXT & TRANSLATION
Ich will sie dir alle geben, and other things shall be added. ich würde es nicht dulden! I would not suffer! alle und noch andre Dinge. I have a marvellous crystal, Schlag zu, schlag zu, Naaman, Strike, strike, Naaman, Ich habe einen Kristall, into which it is not lawful for Schlag zu, sag’ ich dir… strike, I tell you… in den zu schaun keinem Weibe women. Nein, ich höre nichts. No, I hear nothing. vergönnt ist. In a coffer of nacre encrusted Es ist eine schreckliche Stille! There is such a terrible silence! In einem Perlenmutterkästchen with amber Ah! Es ist etwas zu Boden Ah! Something has fallen to the habe ich drei wunderbare I have three wondrous tur- gefallen. ground. Türkise: quoises. Ich hörte etwas fallen. I heard something fall. wer sie an seiner Stirne trägt, He who wears them on Es war das Schwert des Henkers. It is the sword of the headsman. kann Dinge sehn, his forehead Er hat Angst, dieser Sklave. He is afraid, this slave. die nicht wirklich sind. can imagine things which are Er hat das Schwert fallen lassen! He has let his sword fall. not. Es sind unbezahlbare Schätze. Er traut sich nicht, ihn zu töten. He dare not kill him. These are treasures beyond all Was begehrst du sonst noch, Er ist eine Memme, dieser Sklave. He is a coward, this slave. Salome? treasures. Schickt Soldaten ihn! Send soldiers down! Alles, was du verlangst, What desirest thou, Salome? will ich dir geben, Ah! whatever thou askest Komm hierher, Come hither, nur eines nicht: I will gladly give thee, save one thing. du warst der Freund dieses Toten, thou wert the friend of this dead- Nur nicht das Leben nicht? man, aye? I’ll give thee all things but dieses einen Mannes. Wohlan, ich sage dir: Well, I tell thee, the life of this man. Ich will dir den Mantel Es sind noch nicht genug Tote. there are not yet enough dead I will give thee even the mantle des Hohenpriesters geben. Geh zu den Soldaten und befiehl men. Ich will dir den Vorhang of the High Priest. ihnen, Go to the soldiers and bid them des Allerheiligsten geben. I’ll give thee the veil, hinabzusteigen und mir zu holen, go down to the cistern of the holy shrine. was ich verlange, and bring me the thing I ask, was der Tetrarch mir versprochen the thing the Tetrarch has prom- DIE JUDE THE JEWS hat, ised me, Oh! Oh! Oh! Oh! oh! Oh! was mein ist! the thing that is mine.
SALOME SALOME Hierher, ihr Soldaten, Hither, ye soldiers, Gib mir den Kopf den Jochanaan! Give me the head of Jokanaan. geht ihr in die Cisterne hinunter go down into the cistern und holt mir den Kopf des and bring me the head of this HERODES HEROD Mannes! man! Man soll ihr geben, was sie Let her be given what she asks ! Tetrarch, Tetrarch, Tetrarch, Tetrarch, verlangt! She is, indeed, her mother’s befiehl deinen Soldaten, command your soldiers Sie ist in Wahrheit ihrer Mutter child ! daß sie mir that they bring me Kind! Who has taken my ring? den Kopf des Jochanaan holen! the head of Jokanaan, my lord! Wer hat meinen Ring There was a ring on my right genommen? hand. Ah! Du wolltest mich nicht deinen Ah! thou wouldst not suffer me Ich hatte einen Ring an meiner Who has drunk my wine? Mund rechten Hand. to kiss thy There was wine in my cup. küssen lassen, Jochanaan! Wer hat meinen Wein getrunken? mouth, Jokanaan! It was still full of wine. Wohl, ich werde ihn jetzt küssen. Es war Wein in meinem Becher. Well, well, I will kiss it now. Someone has drunk it! Ich will mit meinen Zähnen Er war mit Wein gefüllt. I will bite it with my teeth Oh! I’m sure, misfortune hineinbeißen, Es hat ihn jemand ausgetrunken. as one bites a ripe fruit. will befall some of us. wie man in eine reife Frucht Yes, I will kiss thy mouth, Oh! gewiß wird Unheil beißen mag. Jokanaan. über einen kommen. Ja, ich will ihn jetzt küssen deinen I said that I would. Mund, Did I not say it? HERODIAS HERODIAS Jochanaan. Yes, so I have said. Meine Tochter hat recht getan! My daughter has done well. Ich hab’ es gesagt. Hab’ ich’s nicht gesagt? Ah! Ah! I will now kiss thy mouth. Ja, ich hab’ es gesagt. But wherefore dost thou not HERODES HEROD look Ich bin sicher, Ah! ah! Ich will ihn jetzt küssen… I am sure that some at me, Jokanaan? es wird ein Unheil geschehn. misfortune will happen. Aber warum siehst du mich nicht an, Thine eyes that were so terrible, Jochanaan? so full of rage and scorn, SALOME SALOME are shut now. Es ist kein Laut zu vernehmen. - Deine Augen, die so schrecklich There is no sound. I hear noth Wherefore are they shut? Ich höre nichts. ing. waren, Open thine eyes, Warum schreit er nicht, der There’s not a sound. so voller Wut und Verachtung, lift up again thine eyelids, Mann? Why does he not cry out, this sind jetzt geschlossen. Jokanaan! Ah! Wenn einer mich zu töten man? Warum sind sie geschlossen? Why dost thou not look at me? käme, Ah! if any man sought to kill me, Öffne doch die Augen, Art thou afraid of me? ich würde schreien, I would cry out, ich würde mich wehren, I would struggle, encorespotlight.com 39 TEXT & TRANSLATION so hebe deine Lider, Jochanaan! Jokanaan, that thou wilt not look können mein Verlangen stillen. can appease all my desire. Warum siehst du mich nicht an? at me? Was soll ich jetzt tun, Jochanaan? What shall I do now, Jokanaan? Hast du Angst vor mir, And thy red tongue, Nicht die Fluten, Not by floods Jochanaan, daß du mich nicht doth speak no word, Jokanaan, noch die großen Wasser können nor by the great waters ansehen willst? that scarlet viper that spat its dieses brünstige Begehren can ever the heat of my strong Und deine Zunge, poison, löschen. passion be quenched. sie spricht kein Wort, Jochanaan, it stirs no more. Oh! Warum sahst du mich nicht Oh! Wherefore didst thou not diese Scharlachnatter, It is strange, is it not? an? look at me? die ihren Geifer gegen mich spie. How is it that the red Hättest du mich angesehn, If thou hadst looked at me Es ist seltsam, nicht? viper stirs no longer? du hättest mich geliebt. thou wouldst have loved me. Wie kommt es, daß diese rote Thou didst speak evil words Ich weiß es wohl, I know it well, Natter against me, du hättest mich geliebt. thou wouldst have loved me, sich nicht mehr rührt? against me, Salome, Und das Geheimnis der Liebe ist and the great mystery of love Du sprachst böse Worte gegen the daughter of Herodias, größer als das Geheimnis des Is greater than the mystery of mich, Princess of Judaea. Todes. death. gegen mich, Salome, Well, then! die Tochter der Herodias, I am living still, but thou art dead, HERODES HEROD Prinzessin von Judäa. and thy head, thy head belongs Sie ist ein Ungeheuer, deine She is a monster, your daughter. Nun wohl! to me! Tochter. I tell you, she’s altogether a Ich lebe noch, aber du bist tot, I can do with it what I will. Ich sage dir, sie ist ein monster! und dein Kopf, dein Kopf gehört I can throw it to the dogs to feed Ungeheuer! mir! on HERODIAS Ich kann mit ihm tun, was ich will. and to the birds of the air. HERODIAS I approve of what my daughter Ich kann ihn den Hunden What is left by the dogs, Meine Tochter hat recht getan. has done. vorwerfen the birds of the air shall devour. Ich möchte jetzt hier bleiben. And I will stay here now. und den Vögeln der Luft. Ah! Jokanaan, Jokanaan, Was die Hunde übrig lassen, thou wert fair. HERODES HEROD sollen die Vögel der Luft Thy body was a column of ivory Ah! Da spricht meines Bruders Ah ! There speaks my brother’s verzehren. set on a silver socket. Weib! wife. Ah! Jochanaan, Jochanaan, It was a garden full of doves, Komm, ich will nicht an diesem Come, I will not stay here in this Orte bleiben. du warst schön. full of silver lilies. place. Komm, sag ich dir! Dein Leib war eine Elfenbeinsäule No thing on earth Come, I tell you! Sicher, es wird Schreckliches auf silbernen Füßen. was so white as thy skin. Surely some terrible thing will geschehn. happen. Er war ein Garten voller Tauben No thing on earth in der Silberlilien Glanz. Wir wollen uns im Palast Let us hide ourselves in the was so black as thy hair. verbergen, palace, Nichts in der Welt And in all the world Herodias,ich fange an zu Herodias, I am beginning to war so weiß wie dein Leib. was nothing so red as thy erzittern. tremble. Nichts in der Welt mouth. Manassah, Issachar, Ozias, Manasseh, Issachar, Ozias, war so schwarz wie dein Haar. But thy voice was a censer of löscht die Fackeln aus! put out the torches. sweet scents, In der ganzen Welt Verbergt den Mond, Hide the moon, and when I looked on thee war nichts so rot wie dein Mund. verbergt die Sterne! hide the stars! I could hear a music of strange Deine Stimme war ein Es wird Schreckliches geschehn. Something terrible will come. Weirauchgefäß, sounds. und wenn ich dich ansah, SALOME SALOME hörte ich geheimnisvolle Musik. Ah! Wherefore didst thou never look at me, Ah! Ich habe deinen Mund Ah! I have kissed thy mouth, geküßt, Jochanaan. Jokanaan? Jokanaan. Ah! Warum hast du mich nicht Ah! Ich habe ihn geküßt, deinen I have kissed thy mouth, angesehn, Thou didst put upon thine eyes Mund, there was a bitter Jochanaan? the covering of him who seeketh es war ein bitterer taste on thy lips. Du legtest über deine Augen God Geschmack auf deinen Lippen. Was it the taste of blood? die Binde eines, der seinen Gott in all His glory. Hat es nach Blut geschmeckt? No! But perchance it is the taste schauen wollte. Well! Thou may’st have seen thy God, Nein! Doch es schmeckte of love. Wohl! Du hast deinen Gott vielleicht nach Liebe. Jokanaan, They say that love hath a bitter gesehn, Sie sagen, daß die Liebe bitter taste.. Jokanaan, but me, me, me, thou didst schmecke. never see. But what of that? What of that? aber mich, mich, hast du nie Allein was tut’s? Was tut’s? If thou hadst looked at me, I have kissed thy mouth, Jokan- gesehn. Ich habe deinen Mund geküßt, aan. thou wouldst have loved me. Hättest du mich gesehn, Jochanaan. I have kissed thy mouth. I’m thirsting for all thy beauty. du hättest mich geliebt! Ich habe ihn geküßt, deinen I’m hungry for thy body. Ich dürste nach deiner Schönheit. Mund. Ich hungre nach deinem Leib. Neither wine nor apples Nicht Wein noch Äpfel HERODES HEROD Man töte dieses Weib! Kill that woman! 40 SEATTLESYMPHONY.ORG GUN-BRIT BARKMIN PETER BRONDER MICHAELA MARTENS Soprano Tenor Mezzo-soprano
German-born Gun-Brit Peter Bronder studied The Boston Globe hails Barkmin is considered at the Royal Academy Michaela Martens for one of today’s most of Music and National her “dense, color- exciting interpreters of Opera Studio, before saturated voice” and Richard Strauss, in taking his first declares: “She is a demand for Salome, engagements at passionate and Chrysothemis (Elektra) Glyndebourne and sympathetic vocal and Ariadne (Ariadne Welsh National Opera, actress.” Martens has Photo: Florian Kalotay Florian Photo: Photo: Philipp Ottendorfer Philipp Photo: auf Naxos) around the where he was engaged fast become known for globe, including at Wiener Staatsoper, as principal tenor in mainly Italian lyric her portrayals of some of the most difficult Carnegie Hall, Opernhaus Zürich and at repertoire. He has since moved into the dramatic mezzo-soprano roles in the London’s BBC Proms. Barkmin creates more dramatic, predominantly German repertoire, beginning with a triumphant thrilling portrayals of some of opera’s most repertoire. He has made numerous last-minute debut at the Lyric Opera of complex leading ladies including Marie appearances in the UK at the Royal Opera Chicago as die Amme in Die Frau ohne (Wozzeck), Katerina Ismailova (Lady House Covent Garden (ROH), English Schatten, a role she repeated for the Oper Macbeth of Mtsensk) and Emilia Marty (Věc National Opera, Opera North and Scottish Graz in a new production by the critically Makropulos) and enjoys an ongoing Opera. In recent seasons he sang Herod acclaimed director Marco Marelli. This collaboration with many of the world’s top with the Frankfurt Radio Symphony, the role season, Martens debuts the role of conductors including Andris Nelsons, he sings in these performances, Iaryzhkin Amneris in Aïda with Houston Grand Semyon Bychkov, Fabio Luisi and Jaap van in Barrie Kosky’s new production of The Opera. She makes returns to San Francisco Zweden. Barkmin was nominated as a Nose at the ROH, and Der Zwerg in a new Opera as Gertrude in Hänsel und Gretel Limelight Magazine International Artist of production for Lisbon Opera, before and to Santa Fe Opera as Ježibaba in the Year in 2018. making his debut with the New York Rusalka. Concert performances include Philharmonic as Mime in Das Rheingold. Klytemnestra in Elektra with the He made his debut at the Opera de Paris Philadelphia Orchestra, and Herodias in as Misail in a new production of Boris Salome with the Seattle Symphony and the Godunov, where he returns for the revival American Symphony Orchestra. in 2020.
encorespotlight.com 41 3/20 FRIDAY, MARCH 20, 2020, AT 8PM PROGRAM NOTES BEETHOVEN & Ludwig van Beethoven (1770–1827) affixed the titleQuartetto serioso to the SHOSTAKOVICH manuscript of his F-minor Quartet, Op. CHAMBER SERIES 95 (1810). The word “serioso” accurately conveys the nature of this short, compact and dramatic work, though the word itself LUDWIG VAN BEETHOVEN String Quartet No. 11 in F minor, 22’ is a neologism created by the composer. Op. 95, “Serioso” In four movements, the music seems Allegro con brio to express the heightened conflicts of Allegretto ma non troppo his middle-period works while looking Allegro assai vivace ma serioso forward to the economy, concision and Larghetto espressivo—Allegretto agitato—Allegro experimental nature of his late works. The BRITTANY BREEDEN, VIOLIN opening movement leaps into action with ANDY LIANG, VIOLIN a highly agitated motive whose rhythm is SAYAKA KOKUBO, VIOLA strangely similar to the same spot in his NATHAN CHAN, CELLO earlier Fidelio Overture. The lean textures, astringent harmonies, abrupt mood swings BOHUSLAV MARTINŮ La revue de cuisine (“Kitchen Revue”) 16’ and frequent appearance of the dreaded Suite, H. 161a tritone (an augmented fourth, e.g., from C to F-sharp, that was known since the Prologue: Allegretto middle ages as the ‘diabolus in musica’), Tango— Danse d’amour: Lento must have seemed strange indeed to Duel—Tempo di Charleston: Poco a poco allegro Beethoven’s contemporaries. Those Fin du drame: Allegretto features may help explain why he wrote MIKHAIL SHMIDT, VIOLIN to a colleague, “…this quartet is meant for NATHAN CHAN, CELLO a small circle of connoisseurs and should ERIC JACOBS, CLARINET never be publicly performed.” SETH KRIMSKY, BASSOON The frenetic nature of the opening Allegro ALEXANDER WHITE, TRUMPET is leavened somewhat in the succeeding JESSICA CHOE, PIANO Allegretto, in part because of its opening INTERMISSION 20’ cello line as well as its harmonically unrelated tonality of D major. Still, one LUDWIG VAN BEETHOVEN Sextet in E-flat major, Op. 81b 17’ notes a degree of continuing anxiety that Allegro con brio is the byproduct of disquieting chromatic Adagio meanderings. The scherzo-like third Rondo: Allegro movement, which begins without pause, JONATHAN KARSCHNEY, HORN balances somber introspection with JENNA BREEN, HORN propulsive muscularity. The turbulent finale ARTUR GIRSKY, VIOLIN promises no respite until the coda, when NATASHA BAZHANOV, VIOLIN Beethoven shifts from dark F minor to pacific F major—same key as his “Pastoral” RACHEL SWERDLOW, VIOLA Symphony. WALTER GRAY, CELLO Bohuslav Martinů (1890–1959) all but DMITRI SHOSTAKOVICH String Quartet No. 9 in E-flat major, Op. 117 28’ astounds us by the sheer abundance of his Moderato con moto— compositions—nearly 400 works. During Adagio— his lifetime this essentially self-taught Allegretto— composer was influenced by several Adagio— 20th-century stylistic streams, including Allegro Bohemian and Moravian folk music, Stravinskian neo-Classicism, the music of ELISA BARSTON, VIOLIN Albert Roussel and Debussy, as well as MIKHAIL SHMIDT, VIOLIN early English madrigalists, Renaissance MARA GEARMAN, VIOLA polyphonists—even jazz. Derived from WALTER GRAY, CELLO his 1927 ballet, the four-movement suite, La revue de cuisine (“Kitchen Revue”) Musicians’ biographies may be found at seattlesymphony.org. is an infectious tongue-in-cheek fantasy about dancing utensils. It recalls such jazz- Please note that the timings provided for this concert are approximate. inflected works as Milhaud’s La creation Please turn off all electronic devices and refrain from taking photos or video. Performance ©2020 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.
42 SEATTLESYMPHONY.ORG PROGRAM NOTES
du monde, and Stravinsky’s L’histoire the enthusiastic attention of Stalin himself. came in 1964. As elsewhere, its five du soldat. The Prologue is a march that Yet after the Soviet dictator assailed movements are played attacca, without opens with a trumpet fanfare followed Shostakovich’s opera, Lady Macbeth of pause between them. Though some by piano solo before the remaining the Mtsensk District, the composer had to commentators opine that the opening instruments enter, often boisterously. A be careful not to fall victim to the dreaded Moderato con moto and Adagio evoke a Tango follows bearing a languid wind Stalinist purges of the 1930s and beyond. sense of ease and serenity, an element of theme over increasingly insistent piano In common with other Soviet composers unease permeates their opening textures accompaniment. The ensuing Charleston Shostakovich had to write politically and melodic shapes. The third movement, initiated by bassoon becomes jazzily correct pieces to exalt the State, yet he another Adagio creates an ominous syncopated before the Finale recalls the still managed to leave a deep-felt and mood intensified by fierce pizzicatos. The opening movement with recollections of compelling legacy of powerful symphonic Finale, twice as long as each of the four theme fragments from the second and and chamber music that has continued to preceding movements, jumps forward with third dance evocations. A good time is had garner a growing audience throughout the great energy, and like the quartet as a by all! world. Though his music embraces many whole anticipates the edginess of his later genres, with true masterpieces in all of quartets. Beethoven composed many Chamber them, one can argue that his symphonies works before his first-published Op. 1 and quartets clearly define him as one of © 2020 Steven Lowe piano trios, including the Sextet in E-flat the great purveyors of those centuries major, Op. 81b written in 1794–95 but old and seemingly inexhaustible sources not published until 1810 (same year as the of inspiration and emotional richness. In Serioso aforementioned Quartet). By that the realm of chamber music, he typically time his fame led Simrock to put in print composed quickly and largely in his head. many early works that would attract many Unlike most of his string quartets, he musicians to purchase these seemingly composed a first version of hisQuartet new works. Simrock was a long-time friend No. 9 in 1961 but was dissatisfied with of the composer and had been a hornist it, noting that he “burnt it in the stove.” in the electoral orchestra in Bonn, where The ensuing second, final iteration Beethoven had also served as a violist. The three-movement Sextet suggests the light mood of a serenade or divertimento and the virtuoso demands of a double- horn concerto, which essentially defines the format of this delightful work. After a string-dominated chord the opening Allegro con brio surrenders prominence to the horns who are glad to demonstrate and test their chops on those devilishly challenging valve-less early horns. The lovely and lyrical Adagio calms the waters of the infectious first movement provides an appealing breather between the first and third movements, further reinforcing the feel of a concerto. Deriving from the horn’s traditional function as an accompaniment or evocation of a hunt, the Rondo serves as a virtuosic and upbeat conclusion to the Sextet.
Moody both by nature and often in reaction to the fear-laden environment of Stalinist repression, Dmitri Shostakovich (1906–75) had an unerring and Mahler- like propensity toward dark utterance and musical parody. Yet he also had a capacity for joyful expression that served as a balance to his depressive tendencies. During the 1920s, Shostakovich was hailed as the most promising of the new generation of Russian, i.e., “Soviet,” composers, one who had, in fact, captured
encorespotlight.com 43 THOMAS DAUSGAARD, MUSIC DIRECTOR
Dear friends of the Seattle Symphony,
It is a great pleasure to continue my support of the Seattle Pops series, a favorite in this season of music. The Seattle Symphony plays an integral role in the strength and vitality of the Puget Sound region, bringing people together to share the incredible experience of live performances. I take pride in living and working in a city with a world-class, award-winning symphony orchestra, and I am honored to have supported the Seattle Pops series since 2013 and for many years to come.
With gratitude,
John
44 SEATTLESYMPHONY.ORG 3/27–29 FRIDAY, MARCH 27, 2020, AT 8PM SATURDAY, MARCH 28, 2020, AT 8PM THOMAS DAUSGAARD, MUSIC DIRECTOR SUNDAY, MARCH 29, 2020, AT 2PM THE LEGENDARY COUNT BASIE ORCHESTRA POPS SERIES TITLE SPONSOR
Count Basie Orchestra, band Scotty Barnhart, director Carmen Bradford, guest vocalist
The program will be announced from the stage and is approximately two hours including one 20-minute intermission.
Pops Series Title Sponsor: The John & Ginny Meisenbach Foundation
Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. At the Performance ©2020 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. show or on the go
Dear friends of the Seattle Symphony,
It is a great pleasure to continue my support of the Seattle Pops series, a favorite in this season of music. The Seattle Symphony plays an integral role in the strength and vitality Encore is your of the Puget Sound region, bringing people together to share the incredible experience companion of live performances. I take pride in living and working in a city with a world-class, to Seattle’s award-winning symphony orchestra, and I am honored to have supported the Seattle Pops series since 2013 and for many years to come. performing arts.
With gratitude,
encorespotlight.com John
encorespotlight.com 45 THE COUNT BASIE ORCHESTRA SEATTLE SYMPHONY DONORS
PRINCIPAL BENEFACTORS The Seattle Symphony acknowledges with gratitude the following donors who have made lifetime commitments of more than $1 million as of January 31, 2020.
4Culture Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Andrew W. Mellon Foundation ArtsFund ArtsWA Beethoven, A Non Profit Corporation/Classical KING FM 98.1 Alan Benaroya Sherry and Larry Benaroya The Benaroya Family Bill & Melinda Gates Foundation The Boeing Company C.E. Stuart Charitable Trust Charles Simonyi Fund for Arts and Sciences Leslie and Dale Chihuly The Clowes Fund, Inc. Priscilla Bullitt Collins* Jane* and David R. Davis Delta Air Lines Estate of Marjorie Edris Judith Fong and Mark Wheeler Count Basie was able to get many of the greatest instrumentalists and vocalists in jazz The Ford Foundation to be a part of his orchestra, including Billie Holiday, Lester Young, Sweets Edison, Joe Dave and Amy Fulton William and Melinda Gates Jones, Joe Williams, Snooky Young, Frank Foster, Thad Jones, Frank Wess and Clark Terry, Lyn and Gerald Grinstein amongst others. Lenore Hanauer David J. and Shelley Hovind Illsley Ball Nordstrom Foundation The orchestra has played many times for Kings, Queens and other members of Royalty Kreielsheimer Foundation around the world; appeared in movies, television shows and radio commercials; won every The Kresge Foundation Dana and Ned Laird respected jazz poll in the world at least once and has 18 Grammy Awards, the most for any Marks Family Foundation orchestra. Bruce and Jeanne McNae Microsoft Corporation Microsoft Matching Gifts Program Today, under the leadership of its Director, Scotty Barnhart, The Count Basie Orchestra is M.J. Murdock Charitable Trust traveling the world and continuing the excellent standards in swinging and shouting the National Endowment for the Arts blues with precision and continuing to be “The Most Explosive Force In Jazz.” Nesholm Family Foundation The Norcliffe Foundation PONCHO James and Sherry Raisbeck Director Scotty Barnhart SAXOPHONES: Estate of Gladys Rubinstein Gladys* and Sam* Rubinstein David Glasser-lead alto S. Mark Taper Foundation TRUMPETS: Markus Howell-2nd alto Jeff and Lara Sanderson Frank Greene-lead Doug Lawrence-1st tenor Seattle Office of Arts & Culture Seattle Symphony Foundation Shawn Edmonds-2nd Doug Miller-2nd tenor Seattle Symphony Women’s Association Endre Rice-3rd Josh Lee-baritone sax Leonard* and Patricia Shapiro Brandon Lee-4th Eliza and Brian Shelden Dr. Joseph S. Spinola* RHYTHM SECTION: Samuel* and Althea* Stroum TROMBONES: Glen Pearson-piano The Wallace Foundation David Keim-lead Dr. Robert Wallace Will Matthews-guitar Joan S. Watjen, in memory of Craig M. Watjen *Clarence Banks-2nd Trevor Ware-bass Stephen Whyte Mark Williams-3rd Robert Boone-drums Virginia and Bagley* Wright Alvin Walker-4th Anonymous (6) VOCALS: 2019-2020 SPONSORS *Carmen Bradford (Frequent Guest Vocalist) Thank you to the following individuals who are generously sponsoring concerts, artists, commissions and programs *Hired by and worked with Count Basie. this season. Marco Argenti Leslie and Dale Chihuly Children Count Foundation Sue and Robert Collett Element47 William O & K Carole Ellison Foundation Dennis Gannon and Sarah Burns Betty Graham Lynn and Brian Grant Family Ilene and Elwood Hertzog Nader and Oraib Kabbani
46 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS THOMAS DAUSGAARD, MUSIC DIRECTOR
Dana and Ned Laird Betty Graham ⁵ Paul Leach and Susan Winokur Lynn and Brian Grant Family ¹⁰ Benjamin and Kelly Martz Lyn and Gerald Grinstein ^ ¹⁵ The Nakajima Family Ilene and Elwood Hertzog ¹⁵ Mika Nakamura and Gary Wood Dr. Kennan H. Hollingsworth ^ ¹⁵ Nesholm Family Foundation Nader and Oraib Kabbani ° ⁵ Melvyn Poll Tenors Fund Dana and Ned Laird ° ¹⁵ James and Sherry Raisbeck Benjamin and Kelly Martz ° Patricia and Jon Rosen Harold Matzner ⁵ I GIVE BECAUSE ... Eric and Margaret Rothchild Pamela Merriman ¹⁰ Grant and Dorrit Saviers John and Laurel Nesholm ¹⁵ Elizabeth and Justus Schlichting Sheila B. Noonan and Peter M. Hartley ¹⁵ Charles and Maria Schweizer Linda Nordstrom ¹⁵ Yuka Shimizu Patricia and Jon Rosen ° ¹⁰ Mel and Leena Sturman Eric and Margaret Rothchild ¹⁰ Atsuhiko and Ina Goodwin Tateuchi Foundation Grant and Dorrit Saviers ⁵ Virginia B. Toulmin Foundation Elizabeth and Justus Schlichting Muriel Van Housen and Tom McQuaid Yuka Shimizu Stephen Whyte and Rebecca Ralston Mel and Leena Sturman ⁵ My older son Anonymous Patricia Tall-Takacs and Gary Takacs ^ ¹⁵ Atsuhiko and Ina Goodwin Tateuchi Foundation ¹⁰ For more information about sponsorship, please contact Muriel Van Housen and Tom McQuaid ⁵ Becky Kowals at 206.215.4852. M. Barton Waring ⁵ is learning Rick and Debbie Zajicek ⁵ INDIVIDUALS Anonymous (4) The Seattle Symphony gratefully recognizes the following FOUNDERS CIRCLE people for their generous Annual Fund and Special Event cello and gifts through January 30, 2020. Supporters fulfill our mission Gold ($10,000 - $24,999) of bringing people together and lifting the human spirit through the power of music. Thank you! René and April Ancinas ° ⁵ Peter Russo and Kit Bakke ° ⁵ my younger For information about supporting the Seattle Symphony, Jeanne Berwick and James Degel, please visit us online at seattlesymphony.org/give or contact Berwick Degel Family Foundation ¹⁰ Donor Relations at 206.215.4832. Kathy Binder Jim and Marie Borgman ¹⁵ one wants to STRADIVARIUS CIRCLE Phillip and Karla Boshaw ⁵ Matt Brannock and Claire Taylor ⁵ Platinum ($100,000+) Steve and Sylvia Burges ¹⁵ Dr. and Mrs. John E. Caner play piano. Chap and Eve Alvord ¹⁵ Ida Cole The Benaroya Family ¹⁵ Sue and Robert Collett ^ ¹⁵ Leslie and Dale Chihuly ¹⁵ Isiaah Crawford and Kent Korneisel ° Susan Johannsen and Stephen Elop ⁵ John Delo and Elizabeth Stokes ¹⁰ I want the Judith Fong and Mark Wheeler ° ¹⁰ Dr. Susan Detweiler and Dr. Alexander Clowes* ° ¹⁵ Lenore Hanauer ¹⁵ Brooke Benaroya Dickson and Josh Dickson David J. and Shelley Hovind ^ Robert Elliott and Margaret Taylor Leonard and Norma Klorfine Foundation Brittni and Larry Estrada ° ⁵ Symphony to Paul Leach and Susan Winokur ° ¹⁵ Senator and Mrs. Daniel J. Evans ^ ¹⁵ Jeff Lehman and Katrina Russell ⁵ Kathy Fahlman Dewalt and Stephen R. Dewalt ⁵ Marks Family Foundation ° ⁵ Jerald Farley ° ¹⁵ John and Ginny* Meisenbach William E. Franklin ⁵ be here Melvyn* and Rosalind Poll ⁵ Andrew and Molly Gabel ° Martin Selig and Catherine Mayer ^ Katie and Jason Garms Eliza and Brian Shelden ⁵ William Gates Sr. and Mimi Gardner Gates ° ⁵ Joan S. Watjen, in memory of Craig M. Watjen ¹⁵ Mauricio Gonzalez de la Fuente ° Stephen Whyte ° ¹⁰ to inspire Neil M. Gray and Meagan M. Foley ¹⁵ Anonymous (3) Elizabeth and Laurent Guez Leslie and Nick Hanauer Gold ($50,000 - $99,999) Michael R. Hatch ° them as they Dr.* and Mrs.* Ellsworth C. Alvord, Jr. ⁵ Terry Hecker and Dan Savage ∞ ° ⁵ Marco Argenti ° Richard and Elizabeth Hedreen ¹⁵ Sherry and Larry Benaroya ^ ⁵ Bob Hoelzen and Marlene Botter ⁵ Dave and Amy Fulton ^ ⁵ Chuck* and Pat Holmes ^ ¹⁵ Hot Chocolate Fund ¹⁰ grow up. Jean-François and Catherine Heitz ° ¹⁰ Parul and Gary Houlahan ° ⁵ Dustin and Michelle Ingalls ¹⁵ Jeffrey S. Hussey Aimee and Wil Johnson ° The Nakajima Family ° ⁵ Juniper Foundation ¹⁵ James and Sherry Raisbeck ^ ¹⁵ Viren Kamdar and Srilakshmi Remala ° – Sumedh Douglas* and Theiline Scheumann Jeanne Kanach ⁵ Charles and Lisa Simonyi Janet Wright Ketcham Foundation ⁵ H.S. Wright III and Katherine Janeway ¹⁵ Sally Schaake Kincaid ⁵ Anonymous (2) Nancy Neraas and Michael King ° ¹⁰ Lisa Ann Mikulencak and Bernhard Kohlmeier Silver ($25,000 - $49,999) Ron Koo and Lisa Olmos de Koo ° WHY DO YOU GIVE? Moe and Susan Krabbe ¹⁵ Elias and Karyl Alvord ⁵ Dr. Ryo and Kanori Kubota ° Warren A. and Anne G. Anderson ¹⁰ Steve Kutz and Courtney Womack ° ¹⁰ Bob and Clodagh* Ash ^ ¹⁵ Frances Kwapil Paula Boggs and Randee Fox ° John Laughlin Thomas and Susan Bohn Rhoady* and Jeanne Marie Lee ¹⁵ Children Count Foundation ° ¹⁰ Flora Ling and Paul Sturm ⁵ Joe Clark Dr. Pierre and Mrs. Felice Loebel ^ ¹⁵ Rebecca and Barney* Ebsworth ° ⁵ Everil Loyd, Jr. and Joanne DelBene SEATTLESYMPHONY.ORG/GIVE William and Carole Ellison Foundation ⁵ Russ and Diena Mann ° Jan and Brit Etzold ⁵ William and Anna Maynard Dennis Gannon and Sarah Burns ⁵ Scott and Tracy McCammant ° 206.215.4832 Katharyn Alvord Gerlich ¹⁵
encorespotlight.com 47 SEATTLE SYMPHONY DONORS
John and Gwen McCaw Jim and Gaylee Duncan ⁵ Douglass and Katherine Raff ¹⁵ April Cameron Jerry Meyer and Nina Zingale ⁵ John D. Evans Dick and Alice Rapasky ¹⁰ Karen Cameron ⁵ Richard Meyer and Susan Harmon ⁵ Andrew Faulhaber ¹⁰ Sue and Tom Raschella ^ ¹⁵ Diana Carey Yoshi and Naomi Minegishi ^ ¹⁵ Judith Z. Feigin and Colin Faulkner ⁵ Edward* and Vicki M Rauscher Alicia and Jeff Carnevali Ghizlane and Ludovic Morlot David and Dorothy Fluke ^ ¹⁵ Deborah and Andrew Rimkus ¹⁰ Vicente Cartas Espinel ⁵ Mika Nakamura and Gary Wood ⁵ Gerald B. Folland ⁵ Richard* and Bonnie Robbins ⁵ Edith Cheng Erika J. Nesholm ⁵ John and Nancy Freeman Jonathan and Elizabeth Roberts ¹⁵ Robert E. Clapp ∞ ⁵ Gary and Susan Neumann ¹⁵ Jane and Richard Gallagher ⁵ John Robinson and Maya Sonenberg ¹⁵ John Clawson ⁵ Molly Nordstrom Doris H. Gaudette ¹⁵ Mike and Marcia Rodgers ⁵ Kelly Coffing and Alison Hoffarth Laurie and Scott Oki William and Cheryl Geffon Jack Rodman and Koh Shimizu Ellen and Phil Collins ¹⁵ Lourdes M. Orive Natalie Gendler* ¹⁵ Helen and Ivan Rouzanov ⁵ Samuel and Helen Colombo ¹⁵ Dick and Joyce Paul ¹⁰ Janice A. and Robert L. Gerth ¹⁵ Braxton E. Rowe ⁵ Mr. and Mrs. Ross Comer ¹⁰ Mr. and Mrs. Charles M. Pigott ¹⁵ George Gilman ⁵ Dr. and Mrs. Werner E. Samson ⁵ ∞ Mr. and Mrs. Frank Conlon ⁵ Dana M. Reid ° ⁵ Phyllis Golden John and Margaret Sanders Rosalie Contreras and David Trenchard ¹⁰ Jon and Judy Runstad ^ ⁵ Michele and Bob Goodmark ⁵ Norm and Elisabeth Sandler/ Herb and Kathe Cook ⁵ Kathy Savitt and Adam Diamond ° Donald G. Graham, Jr. ¹⁵ The Sandler Foundation ° ⁵ Nancy Davidson Vivian and Jim Schwab ° Dr. Martin L. Greene and Kathleen Wright ⁵ David Schiffrin Matt Decker ♫ Mr. and Mrs. Lyle Snyder ° ⁵ Ted and Sandy Greenlee ¹⁵ Eckhard Schipull ¹⁵ Derek Deeter Neil and Margaret Storey Jeremy Griffin Susan Schroeter-Stokes and Mr. John Delaney Mary Anne Strong Marilyn Gustafson ¹⁵ Robert Stokes ⁵ Hilary Doherty Louise Tolle Margaret Haggerty Seattle Symphony Volunteers Sue Donaldson and Paul Fletcher ¹⁵ Kirsten and Bayan Towfiq William Haines ¹⁵ Jan* and Peter Shapiro Patrice Donohue ⁵ Dr. Robert Wallace ⁵ Mark and Stacy Harrington Jeffrey C. Sherman Matthew Doxey and Tiffany McNees Mr. and Mrs. Michael Werner Michèle and Dan Heidt ¹⁰ Barbara and Richard Shikiar ¹⁵ Ken Duncan and Tanya Parish ¹⁰ Selena and Steve Wilson ¹⁵ Robert and Eileen Hershberg ⁵ Frank and Harriet* Shrontz ¹⁵ Zart Dombourian-Eby and Jeff Eby♫ ¹⁰ Woodworth, Charleson Charitable Fund ⁵ Margaret M. Hess ⁵ Michael Slonski and Jennifer Wilson ° ¹⁰ Dr. Lewis and Susan Edelheit Virginia and Bagley* Wright ¹⁵ Michelle and William Hilf Buz* and Helen Smith ¹⁵ Charles Engelke and Laurie White Anonymous (8) Glen and Ann Hiner ⁵ Nepier Smith and Joan Affleck-Smith ⁵ Junko and Glen Ferguson ⁵ Dick and Nora Hinton ⁵ Ms. Barbara Snapp and Gerard Fischer Silver ($5,000 - $9,999) Endre Holen Dr. Phillip Chapman ⁵ Ernest and Elizabeth Scott Frankenberg ¹⁰ Thomas Horsley and Cheri Brennan ⁵ Jack Freelander ⁵ Richard and Constance Albrecht ^ ¹⁵ Margaret W. Spangler ¹⁵ Carole and Rick Horwitz Walter Gray ♫ Harriet and Dan Alexander ⁵ Sonia Spear ¹⁵ Norm and Carla Hubbard ∞ Drs. Robert and Sally Hasselbrack Jim and Catherine Allchin Lorna Stern ¹⁵ Joni, Scott and Aedan Humphreys ∞ Ken Hayashi ∞ ⁵ Terry Allen Craig and Sheila Sternberg ⁵ Richard and Roberta Hyman ⁵ Ms. Jill Heerensperger Ignacio Alvarado-Cummings ∞ ⁵ Alexander* and Jane Stevens Robert C. Jenkins Joaquin and Jennifer Hernandez Eddy and Osvaldo Ancinas John and Sherry Stilin ¹⁵ JNC Fund ⁵ Jim Hessler and Paula Weiss Drs. Linda and Arthur Anderson ∞ ⁵ The Stretch Fund James and Sirkku Johnson Linda Rae Hickey and Mark Grant Richard Andler and Carole Rush ¹⁰ Isabel and Herb Stusser ¹⁵ Mr. Daniel Kerlee and Alice and Paul Hill ⁵ Claire Angel ¹⁰ Esther M. Su ∞ ⁵ Mrs. Carol Wollenberg Candyce Hogan Geoffrey Antos ¹⁰ Michel and Christine Suignard ⁵ Will and Beth Ketcham William P. and Ruth L. Ingham Fred and Dita Appelbaum Sympaticos Michael A. Klein and Catherine A. Melfi ⁵ Geoffrey Jackson and Susan Y. and Charles G. Armstrong ^ ⁵ Ronald and Pamela Taylor ∞ ⁵ Sarah Kohut Jane Leeson-Jackson* Bill* and Nancy Bain ^ Krishna and Joanna Thiagarajan + Karen Koon ¹⁰ Ralph E. Jackson ¹⁵ Kendall and Sonia Baker ¹⁰ Betty Tong ∞ ⁵ Joan Krajewski Elizabeth Johnson and Matt Uyttendaele Thomas Barghausen and Sandra Bailey ⁵ S. Vadman ¹⁰ Drs. Kotoku and Sumiko Kurachi ⁵ Don and Janice Kline Kris Barker ⁵ Hans and Joan* van der Velden ¹⁵ Eva and Jon LaFollette ¹⁰ Drs. Peter H. and Susan M. Knutson ⁵ Suzanne M. Barker ⁵ Moya Vazquez ⁵ Kathleen Leahy ¹⁵ Thomas and Kathleen Koepsell Patty and Jimmy Barrier ⁵ Nimrod Vered and Lyatt Jaegle Elizabeth Lee Dr. and Mrs. Masato Koreeda ⁵ Carol Batchelder ¹⁵ Jean Baur Viereck ¹⁰ Eugene and Martha Lee ⁵ Michael Krene Dr. Melvin Belding and Dr. Kate Brostoff ∞ ⁵ Steve Vitalich ⁵ Alan and Sharon Levy ¹⁰ Binil Kurian Karin M. Weekly and Bryan H. Bell Jan and Nancy Wanamaker ⁵ Steve Lewis ¹⁵ Bryan LaPorte ∞ ⁵ Donna Benaroya ⁵ Gary and Karla Waterman ^ ⁵ Mark Linsey and Janis Traven ⁵ Justin Lee Maureen and Joel Benoliel John and Fran* Weiss ¹⁵ Christina and James Lockwood Chien Li Janice Berlin ⁵ Laurie and Allan Wenzel ¹⁰ Richard and Francine Loeb ⁵ Gina Linden ∞ ⁵ Bernstein Family Foundation ⁵ Stephen and Marcia Williams ⁵ Bryan Lung ⁵ Kori Loomis ⁵ Robert Bismuth ⁵ Rosalind Horder Williams Rebecca and Laird Malamed Kelli and William Loughrin Rebecca Galt Black ¹⁵ Kenneth and Rosemary Willman ⁵ Mark H. and Blanche M. Harrington Susan and Jeff Lubetkin Barbara BonJour ¹⁵ Wayne Wisehart ⁵ Foundation ¹⁵ Richard* and Beverly Luce ¹⁵ Rosanna Bowles ° ⁵ Christine Wood + ⁵ Judsen Marquardt and Constance Niva ⁵ Kjristine R. Lund ° ⁵ Alec* and Maddy Brindle Jeff Wood and Diane Summerhays ⁵ Frank and Judith Marshall Foundation ⁵ Mark P. Lutz ¹⁵ Zane and Celie Brown ¹⁵ Barbara and Richard Wortley ⁵ Corrinne Martin Malcolm and Diane McCallum ⁵ Susan Y. Buske ∞ ⁵ Marcia and Klaus Zech David Mattson ⁵ Charles Montange and Glen and Anita Campbell ⁵ Christian and Joyce Zobel ¹⁵ Bill and Colleen McAleer ¹⁵ Kathleen Patterson ¹⁵ Dr. Mark and Laure Carlson ¹⁰ Robert and Eileen Zube ⁵ JoAnn McGrath Andrei Moor Cecily Carver ⁵ Igor Zverev ¹⁵ Mr. and Mrs. Fred Merritt ⁵ Christine B. Moss ¹⁵ Ping Chee and Maritta Ko Anonymous (6) Justine and John Milberg ⁵ Mark Nelson Rashmi and Gagan Chopra Carolyn R. Miller ¹⁵ Jarick and Tim Noonan Joshua D. Closson ∞ SYMPHONY CLUB Ronald Miller and Murl Barker ¹⁰ Isabella and Lev Novik ⁵ Cogan Family Foundation ¹⁰ Drs. Pamela and Donald Mitchell ¹⁵ Kathryn and John O’Brien Donald and Ann Connolly ⁵ Principals Club ($2,400 - $4,999) Laina* and Egon Molbak ¹⁵ Jerald E. Olson ¹⁵ Susan Coughlin and John Lauber Mr. and Mrs. Richard Moore Jennifer and Kurt Adair + Meg Owen ⁵ David B. Cross ⁵ Reid* and Marilyn Morgan ^ ¹⁵ John and Andrea Adams ⁵ Brian Pao and Susan Leu ⁵ Beryl and Nick Crossley ⁵ Gary Morse and Ellen Bowman ⁵ Bill and Janette Adamucci Jim Hessler and Paula Weiss James and Barbara Crutcher ⁵ Susan and Furman Moseley Alhadeff Companies Allan and Jane Paulson ¹⁵ Scott and Jennifer Cunningham ⁵ René and Chuck Murry Susan Allan and Keylor Eng ⁵ Nancy and Christopher Perks ¹⁵ Jane* and David R. Davis ^ Akino and Bill Neubauer Mr. and Mrs. John Amaya Marcus Phung ¹⁰ Patricia Davis Thomas and Judith Noble Carlton and Grace Anderson ¹⁰ Mary Pigott Carl de Marcken and Marina Meila ⁵ Bruce and Jeannie Nordstrom ⁵ Patrick Andre ∞ ⁵ Ruth Ann and Jim Powers Calisle Dean ⁵ Eric Noreen and Suzi Hill ⁵ Dr. and Mrs. Terrence J. Ball ¹⁰ Joyce and John Price Frank and Dolores Dean ¹⁵ ♫ Marc and Sally Onetto Jeffrey Barker Lori and Bill Price Dr. Stella Desyatnikova ⁵ Anna and Jonas Barklund ⁵ Gerald and Melissa Overbeck Randolph Rademaker Mr. Steve S. Dietz Jane and Peter Barrett ⁵ Bob and Annette Parks ⁵ Ed and Marjorie Ringness ¹⁵ Cindy Dobrow Elisa Barston and Jim Hsu ♫ Lisa Peters and James Hattori E. Paul and Gayle Robbins The Martine and Dan Drackett William and Beatrice Booth Andrew Pilloud Ms. Jean C. Robinson Family Foundation ⁵ Rosemary and Kent Brauninger ¹⁰ Dr. and Mrs. Richard D. Prince ¹⁵ Nancy M. Robinson ¹⁵ Liz and Miles Drake ¹⁰ Bob and Bobbi Bridge ⁵ Harry* and Ann Pryde Dr. John Schneider
48 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS
Jo Ann Scott Robert Darling ⁵ Mark Johnson Neal Patel Janet Sears ∞ ¹⁵ Caroline L. Feiss* and Gordon B. Davidson Martha Choe Sandra J. Patterson ⁵ Janet and Thomas Seery ¹⁵ Melissa Davis Roberth Karman ⁵ David F. Peck ¹⁵ Julie Shankland Cami and Ray Davis Sean and Lisa Kelly ⁵ Susan and Brian Pessolano Charles Shipley ¹⁵ Douglas Dawson and Paola Diano Mike and Mary Killien ¹⁵ Don and Sue Phillips ⁵ Jeff and Bonnie Shipman ∞ Tom DeBoer ⁵ Dr. and Mrs. Michael Kimmey ¹⁰ Dr. David and Dona Pierson Evelyn E. Simpson ∞ ¹⁵ Thomas and Diane DeGraff Virginia King ¹⁰ Valerie and Stanley Piha ⁵ Douglas Smith and Stephanie Ellis-Smith ⁵ Matthew Del Buono W. M. Kleinenbroich ⁵ Donald Pogoloff ⁵ Mary Snapp and Spencer Frazer Renee and Robert Devinck ∞ Claire and Richard Knierim Bec Powell ∞ Christopher Snow ¹⁰ Mark Dexter Albert and Elizabeth Kobayashi ∞ ¹⁵ Alexander Prior Carlyn K. Stark David and Helen Dichek Andrew N. Kornuta and Xingyu Li Rebecca and Jesse Proudman Victoria Sutter ¹⁰ Dee Dickinson ¹⁰ Afshan Lakha Lucy and Herb Pruzan ⁵ Courtney Thurston Anthony DiRe Eric Lam ¹⁰ Chad Quail Betty Lou and Irwin* Treiger ¹⁵ Dwight and Susan Dively ¹⁰ Ron and Carolyn Langford ¹⁵ Ann Ramsay-Jenkins ⁵ Dolores Uhlman ¹⁵ Richard Dobrow Law Offices of Lisa Saar ∞ Wendy and Murray Raskind ¹⁰ Manijeh Vail ¹⁰ Everett and Bernie DuBois ¹⁵ Hock Lee and Sok Seah Christopher and Lila Rayl Mary Lou and Dirk van Woerden ⁵ Donna and Robert Dughi Christoph Lemoine ∞ ⁵ Reverend Kerry and Robin Reese ¹⁵ Gregory Wallace and Craig Sheppard ∞ Maria Durham and Viva la Música Club ¹⁵ Virginia and Brian Lenker ∞ ¹⁵ Dennis Reichenbach ⁵ Jessie and David Woolley-Wilson ⁵ Mr. Scott Eby ∞ ¹⁰ Carol Lewis and Tom Byers Cecilia Paul and Harry Reinert ¹⁰ Jerry and Nancy Worsham ¹⁰ Branndon R. Edwards ∞ ⁵ Don and Carla Lewis ¹⁰ Jason Reuer ⁵ Sally and David Wright Donna Richman and Mike Ehrenberg ⁵ Jerry and Marguerite Lewis ⁵ Hollace and James Rhodes Lee and Barbara Yates ¹⁵ Thomas* and Ruth Ellen Elliott ¹⁵ Betty Lewis ¹⁰ Jean A. Rhodes ⁵ Keith Yedlin ⁵ Bill and Erin Ellis ⁵ Mike Lewis Valerie Rice Kay H. Zatine ¹⁵ Leila El-Wakil Henry Li John Richardson II ⁵ Anonymous (13) Walter Euyang, Jr. John Lillard and Julia Kalmus ⁵ Mr. and Mrs. Charles Riley ⁵ Dr. and Mrs. R. Blair Evans ¹⁵ Lisa Lindstrom and Neil Snyder Joel Rindal Musicians Club ($1,200 - $2,399) Karen and Bill Feldt ⁵ Michael Linenberger and Sallie Dacey ⁵ Mark Robbins ♫ Al Ferkovich and Dr. and Mrs. Tom Robertson ⁵ Nance and Steve Adler ⁵ Anamaria T. Lloyd Joyce Houser-Ferkovich ∞ ¹⁵ Chuck and Annette Robinson ¹⁰ Peter Aiau and Susan Ormbrek ⁵ Steve Loeb Steven Fetter and Bonnie Kellogg Eric Robison Robert and Ali Alexander Mr. and Mrs. Bruce C. Lorig ⁵ Jerry and Gunilla Finrow ¹⁵ Mr. and Mrs. Robert Roemer Daniel Alexander II Sharon and Marty Lott ⁵ Daniel Firestone Stan and Michele Rosen ⁵ Aditya Anchuri Lovett-Rolfe Family Trust ⁵ Ashley Myers and Andrew Fitz Gibbon David Said Martinez ∞ Eve Gordon Anderson and Mark Anderson Thomas and Virginia Hunt Luce Frederick Edward Forrest Michael Sandoval Phoebe Andrew Mr. and Mrs. Louis Lundquist ¹⁰ Jon Fourre ∞ Sara Delano Redmond Fund Richard and Dianne Arensberg Maria Mackey Jane H. Fox ∞ ¹⁵ Lt. Col. Nathan Ray Sawyer Brenda and Jeffrey Atkin Ana and Gustavo Mahler ⁵ Steve Francks Kate and Matthew Scher Bridget Aumell Rhonda Maloney ∞ ¹⁰ Linda and Alan Freyd Jill Scheuermann and Russell Paquette Scott and Mary Kay Ausenhus Mary Ann and Ted Mandelkorn Maureen Frisch Thomas and Collette Schick Tracy L. Baker ∞ ¹⁵ Zoey Mann Donald and Ann Frothingham Art Schneider and Kim Street ⁵ Carol and Peter Balousek Elliot Margul ⁵ Lydia Galstad ∞ Dr. and Mrs. Jason Schneier ¹⁰ Charlie Barbour and Diana Lynn Kruis ⁵ Mark Litt Family DAF of the Jewish Jacob Garcia Mr. and Mrs. Joseph Schocken ⁵ Joel Barduson ⁵ Federation of Greater Seattle ¹⁰ Ruth and Bill* Gerberding ^ ⁵ Judith Schoenecker and Josh and Megan Barnard Charles T. Massie ∞ ¹⁵ Gail Giacomazzi ⁵ Christopher L. Myers ¹⁰ Cornelius Barnett ⁵ Anne and Rick Matsen ∞ ⁵ Catherine E. Gleason ⁵ Steve Schroeder and Cheryl Beighle ⁵ Michael Barras Carolyn and Richard Mattern ¹⁰ Jeffrey and Martha Golub ¹⁵ Nancy and James Schultz + ¹⁰ Marilee Barth Lois Mayers Erica L. Gomez ⁵ Maria Semple Douglas and Maria Bayer ¹⁵ Louise McAllister ∞ ¹⁰ Bill and Joy Goodenough ¹⁵ Virginia Senear* ¹⁵ Paula Begoun ∞ Dr. and Mrs. Paul McCullough Donna Graddon Stephanie and Evan Sent Patricia Bell John McGarry and Michelle Wernli Robert Greco Shiva Shafii + Joyce and Alan Bender Kevin McGuire ⁵ Maridee Gregory ∞ ⁵ Anne Shinoda-Mettler Judith and Arnold Bendich ⁵ Brooke and Dre McKinney-Ratliff Marjorie and Samuel Gulkis Cindy Shoffner Kurt Berglund Karen and Rick McMichael ∞ ¹⁵ Megan Hall and James Janning ⁵ Sill Family Foundation Dr.* and Mrs. Jeffrey Bernstein ⁵ Melinda McNeely Gregory Hamblin Yara Silva Capt. and Mrs. Paul Bloch ¹⁰ Christine B. Mead ⁵ Drs. Eugene* and Rena Hamburger ⁵ Julie Silvers ∞ ⁵ Audrey and David Bolson Gunda and Uwe Meissner ⁵ Deena and Don Hanke ∞ ⁵ John and Jane Simpson Robert* and Karen Bonnevie Gail and John Mensher ¹⁰ Barbara Hannah ¹⁵ Jeannie Simpson Raymond and Ann Borelli ⁵ Warren Meyer Dave and Sandy Hanower Dr. Charles Simrell and Deborah Giles ¹⁵ Marilyn Braarud ⁵ Karen and James Mhyre ⁵ Linda and Wolfram Hansis ¹⁵ Jonathan Slawson Bob* and Jane Ann Bradbury ¹⁰ Mary Mikkelsen ¹⁵ Dr. and Mrs. James M. Hanson ⁵ Stephen and Susan Smith ⁵ Daniel H. Brown Steven Miletich and Emily Langlie ∞ ⁵ Walter Harley and Anne Sustar ¹⁵ Michele Souligny ∞ ⁵ Cy and Kathleen Butler ⁵ Bruce Miller and Sandra Kroupa Doug and Barbara Herrington Fawn and Jim Spady Mary and Patrick Callan ⁵ Laurie Minsk and Jerry Dunietz Kate Harris and Andrew Jones Kathleen and Robert Spitzer ⁵ Corinne A. Campbell ⁵ Chie Mitsui ∞ James R. Harvey Doug and Katie Sprugel ⁵ Craig and Jean Campbell ¹⁵ Phoebe Moon Ken* and Cathi Hatch ^ ⁵ Stella Stamenova and Chani Johnson Mary Campbell ⁵ Gary Moresky ⁵ Pat Hayenga Sylvia Sterne Wally and Sally Campbell Jeremy Mowery and Laura Vonessen Admiral and Mrs. Thomas B. Hayward ¹⁰ Steve and Sandy Hill Family Fund at the Dr. Lysanne Cape ∞ ¹⁰ Terri Muharsky ⁵ Joshua Hemphill Seattle Foundation ^ ¹⁵ Cory Carlson Janet Murphy ⁵ Ralph and Gail Hendrickson ⁵ Delphine and Charles Stevens Carol and John Austenfeld Kevin Murphy and Karen Freeman ¹⁵ Terrill and Jennifer Hendrickson ⁵ Diane Stevens ⁵ Charitable Trust ¹⁰ Andrew Murray and Kevin Hardie Gabriel and Raluca Hera Bert Sullam ∞ Barbara Carr Marcia and Stuart Murray Mark Hill Mike and Mary Lynn Sutherlin Dr. William Catterall Mr. and Mrs. J. P. Naughton ¹⁵ Mike and Liz Hilton G. M. Teichert ⁵ Andres Felipe Chacon David Neagle Joyce and Michael Hodel Bob and Mimi Terwilliger ¹⁰ Kent and Barbara Chaplin ¹⁵ Paul Neal and Steven Hamilton ∞ ⁵ Marvin and Elizabeth Hoekstra Karen Trilevsky Virginia D. Chappelle ¹⁵ Kirsten Nesholm ⁵ Erik Holt Peter Chuang and Elaine Tsai ⁵ Jorge Chavez Robert Ness Bob Holtz and Cricket Morgan ⁵ Warren and Nancy Tucker ⁵ Dawn Chesbro Marilyn Newland ¹⁰ Gwen and Randy Houser ¹⁰ Dr. and Mrs. H. B. Tukey ¹⁵ David and Leigh Anne Clark Karen and Sam Ng Mr. Roy Hughes ∞ ¹⁰ Raymond Tymas-Jones Ms. Constance Clarke ⁵ Martha Noerr and T. Jeffrey Keane ⁵ Dan Hungate Marcia Van Doren ⁵ Mr. and Mrs. Tony Cockburn Ken and Pearl Noreen ⁵ Patricia Hunter Gretchen Van Meter ¹⁵ Michelle Codd Mr. and Mrs. Thomas Olson Jo Anne Iaciofano Johanna P. Van Stempvoort ¹⁵ Robert and Janet Coe Mrs. Jackie A. O’Neil ⁵ Anne Janes-Waller and Fletch Waller ¹⁰ Carol Veatch ⁵ Susan and Laurence Commeree ¹⁵ Thomas Ortenzi Martha Jaworski ∞ ⁵ Donald J. Verfurth ⁵ Peter and Lori Constable ⁵ Jae Hyun Paek ∞ Baochun Jin Sacia and Neil Vik Jeffrey and Susan Cook ⁵ John Palo Charles and Joan Johnson ¹⁵ Connie Wang and Zachary Pollack Richard Cuthbert and Dr. Russell Paravecchio ¹⁵ Clyde and Sandra Johnson ¹⁰ Debra Ward ∞ Cheryl Redd-Cuthbert ⁵ Richard and Sally Parks* ⁵
encorespotlight.com 49 SEATTLE SYMPHONY DONORS
Judith F. Warshal and Wade Sowers Megan Hall, by James and Sherry Raisbeck, by Kersti Covert, by John Watson ¹⁰ Evan Cartwright Members of the combined arts and Cristina Covert Marc Wautier ⁵ Samantha DeLuna and Jesse Bearden aviation community: Susan Johannsen, Richard Cross, by Eugene and Marilyn Webb ⁵ Patty Hall, by Stephen Elop, Joe Clark, Susan Gibbons Carla Cross Norma Wells ⁵ Michael Hershey and Tom Gibbons John and Elizabeth Current, by Chris Wendt ¹⁵ Jane Hargraft, by Maurice Ravel, by Jay Wang and Nancy Current Mr. Josef Wernli Senator and Mrs. Daniel J. Evans Kathleen S. Morris Denise Dezina, by Greg Wetzel ⁵ Emily R. Hunter, by Chris and Becca Riley, by Maria Durham Caleb Whitmore Anonymous Tanna Williams Ralph Dockham, by Roger and June Whitson ⁵ Martin K. Johansson, by Elisabeth Sandler, by Ms. Andrea Smith-Clarke Bruce Wick and Carmen Spofford ⁵ Evan Cartwright John and Laurel Nesholm James D. Fouts Sr., by Mitch Wilk ⁵ Erik Johnson and Elizabeth Kain, by Maery Simmons and Jacob Roy, by Deborah Lee Fouts Delight Willing David Green Betsy Groat Garret Ihler, by Judith and Lin Wilson Silas Josephson, by T.E. and Peggy Spencer, by Liisa Peterson Aaron Wirsing Linda Josephson John and Nancy McConnell David Kanofsky, by Mark Wittow Will Langlie-Miletich, by Krishna Thiagarajan, by Rae and Howard Mintz Marsha Wolf and Ken Linkhart + Dr. and Mrs. Larry Martin Russ Mann Andrew Willinger Peggy Wolff Diena Lukawski, by Charissa Thompson, by Serge Kardalian, by Elizabeth and Troy Wormsbecker ⁵ Russ Mann Antonio Maldonado Dr. William and Suzanne Phillips Mrs. Sarah Yeager ⁵ Mary Lynch and the Oboe section, by Neal Traven and Elizabeth Gray, by Martin Kohlleppel, by Ming Yuan Mark Linsey and Janis Traven Mark Linsey and Janis Traven Weiying Chen Rebecca and Joseph Zalke Conner Martin, by Stephen Whyte, by Dr. Gordon LaZerte, by Mr. and Mrs. George* Zonoff ⁵ Dr. and Mrs. Larry Martin Mr. and Mrs. Butch Blum Robert Rubnitz and Ellen Strauss Anonymous (22) Marcia Mason, by Sherry Tyler Karen and Tom Holmes Kathleen and Eric Ottum Ko-ichiro Yamamoto, by Jane Leeson-Jackson, by 5 5 years of consecutive giving Ludovic Morlot, by Gregg Hirakawa Geoffrey Jackson 10 10 years of consecutive giving René and April Ancinas Gregory J. Linscott, by 15 15 years or more of consecutive giving Patty and Jimmy Barrier MEMORIAL GIFTS Barbara Krause ∞ Monthly Donor Rebecca Benaroya Norman Lipsky, by Gifts were made to the Seattle Symphony ♫ Musician The Larry Benaroya Family Foundation Benjamin and Donna Lipsky to remember those listed below between ° Board Member Paula Boggs and Randee Fox Richard Lundquist, by January 1, 2019 and January 31, 2020. For ^ Lifetime Director Rosemary and Kent Brauninger Jinja Yutzy information on remembering a friend or loved + Staff Steve and Sylvia Burges Brother Abe Utu Malae, by * In Memoriam Dr. William Catterall one through a memorial gift, please contact Robert Malae Kent and Barbara Chaplin Donor Relations at 206.215.4832 or Ken Martin, by To our entire donor family, thank you for John Delo and Elizabeth Stokes [email protected]. Kay H. Zatine your support. You make our mission and Dr. Susan Detweiler Betty McKenzie, by music a reality. Jim and Gaylee Duncan Clodagh Ash, by Margaret Spicer Jan and Brit Etzold Rebecca Benaroya Virginia Rae McNay, by Sherry and Larry Benaroya Did you see an error? Help us update our Senator and Mrs. Daniel J. Evans The Gilbert Family Sue and Robert Collett records by contacting Judith A. Fong R. Joseph Monsen, by Zart Dombourian-Eby and Jeff Eby [email protected] or William Gates Sr. and Mimi Gardner Gates Llewelyn G. and Joan Ashby Pritchard Senator and Mrs. Daniel J. Evans 206.215.4832. Thank you! Catherine E. Gleason Dr. Alan Morgan, by William Haines Joan Larson Donna Richman and Michael Ehrenberg Jeanne Marie Lee HONORARIUM GIFTS Lenore Hanauer Reid Morgan, by Jean-François and Catherine Heitz Beverly Luce Linda Allen Gifts to the Seattle Symphony are a wonderful Doug and Barbara Herrington Isa Nelson Carol Batchelder way to celebrate a birthday, honor a friend or Alice and Paul Hill Rosalind Poll Betty and Bill Bonnett note an anniversary. In addition to recognition Norm Hollingshead Patricia and Jon Rosen Pauline and Henry Buhler in the Encore program, your honoree Nancy Neraas and Michael King Jane Hargraft and Elly Winer Sue and Robert Collett will receive a card from the Symphony Dana and Ned Laird Dr. Kennan H. Hollingsworth Diane Curtis acknowledging your thoughtful gift. Jeff Lehman and Katrina Russell Llewelyn G. and Joan Ashby Pritchard Susanne Foster Marks Family Foundation Sue and Tom Raschella Jane Hargraft and Elly Winer Gifts were made to the Seattle Symphony in Benjamin and Kelly Martz Kay H. Zatine Ilene and Elwood Hertzog recognition of those listed below between Yoshi and Naomi Minegishi Elizabeth Bachelor, by Dr. Kennan H. Hollingsworth January 1, 2019 and January 31, 2020. Gary Morse and Ellen Bowman Margaret Imhoff Beverly Luce Please contact Donor Relations at The Nakajima Family William Bain, by Isa Nelson [email protected] or John and Laurel Nesholm Llewelyn G. and Joan Ashby Pritchard Sue and Tom Raschella 206.215.4832 if you would like to recognize Rosalind Poll Katherine and Eric Merrifield Kelly Straight someone in a future edition of Encore. Lucy and Herb Pruzan Dr. Aaron Bernstein, by Llewelyn G. and Joan Ashby Pritchard Dana Reid and Larry Hitchon Ruth Mendelsohn Bernstein Kay H. Zatine Sarah Andrabi, by Vivian and Jim Schwab Jeanne Ehrlichman Bluechel, by My Longtime Symphony Companion, by Robin Goldstein and Tim Root Seattle Symphony Volunteers Gwen and Larry Brown, and family Anonymous Mary Austin, by Janet and Thomas Seery Senator and Mrs. Daniel J. Evans Stanley R. Oldham, by Janice and Neill Urano Evelyn E. Simpson Jo Haldeman Margaret and John Albin Rebecca Benaroya, by Carlyn K. Stark Dawn and Paul Meiklejohn Opa, by Vicki Rauscher Mel and Leena Sturman Louise and Stafford Miller Mr. Michael Holst Jean Baur Viereck Patricia Tall-Takacs and Gary Takacs Anna Christy Peacock Frank Powers, by Alan Bender, by Dr. Robert Wallace Gus and Rachel Pineda Jane Powers Patricia and Jon Rosen Llewelyn G. and Joan Ashby Pritchard Ruth Ann and Jim Powers Alexi Chou, by Thank you to everyone who made a gift in Linda and Wayne Townsen, and family L.E. and R.M. Reese, by Alex Chou June 2019 in response to Ludovic’s invitation Kenneth and Rosemary Willman Valerie and Todd Yerkes Bob Bradbury, by Kevin Connolly, by to support the Seattle Symphony. A full listing Jane Ann Bradbury Jennifer Peterson of supporters to this campaign can be viewed Robert D. Brown, by Emily Evans, by at seattlesymphony.org/ludovic-legacy. Nick and Ellen Hope James Wiggins Rev. Frank M. Byrdwell, by James Feddeck, by Kristen Nyquist, by Frank and Phyllis Byrdwell Martha and Michael Laslavic Senator and Mrs. Daniel J. Evans Alec Clowes, by David and Dorothy Fluke, by Pat Prinz, by Anonymous Jay Hereford and Margaret Winsor Hugh Macmahon Barbara Cole, by Brian Goodwin, by Rachmaninoff and Tchaikovsky, by Kay H. Zatine William E. Franklin Mike Craig Nancy Paige Griffin, by Margaret “Peggy” Corley, by Michael Schick and Katherine Hanson Anonymous
50 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY
Bernice Mossafer Rind, by ESTATE GIFTS ENDOWMENT FUND Howie Barokas We gratefully remember the following Lou and Doris Berg individuals for their generosity and The Seattle Symphony is grateful to the following donors who have made commitments of Leslie J. Chihuly, Chair Emerita forethought, and for including the Seattle $25,000 or more to the Endowment Fund since its inception. The following list is current as of Sue and Robert Collett Symphony in their estate or endowed fund. January 31, 2020. For information on endowment gifts and naming opportunities in Benaroya Hall, Miriam Gray Their generosity provides vital support for the please contact Becky Kowals at 206.215.4852 or [email protected]. Mr. and Mrs. Andrew Harris Symphony now and for future generations. $5 Million + $50,000 – $99,999 Dr. Kennan H. Hollingsworth (Estate gifts since September 1, 2017.) Charles and Joan Johnson The Benaroya Family Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Mr. Steve Loeb Clodagh Ash Charles Simonyi Fund for Arts and Sciences Estate of Mrs. Louis Brechemin Ms. Sandy Lundberg Shirley Birchfield Anonymous Estate of Edward S. Brignall Isa Nelson Jeanne E. Bluechel Frances O. Delaney* Susan and James Pass Barbara and Lucile Calef $1,000,000 – $4,999,999 John and Carmen* Delo Margaret Pearl Phyllis B. Clark Estate of Lenore Ward Forbes Llewelyn G. and Joan Ashby Pritchard Leslie and Dale Chihuly Frances L. Condie Estate of George A. Franz Rind Family Foundation The Clowes Fund, Inc. Trudel Dean Jean Gardner Jo-Ellen and Gregory Smith Priscilla Bullitt Collins* Beverly Jean Deckelmann Estate of Mr. and Mrs. Irvin Gattiker Mr. David Thompson Judith Fong Carmen Delo Anne Gould Hauberg* Kay H. Zatine The Ford Foundation Muriel Anita Eisen Estate of William K. and Edith A. Holmes Bill Ruckelshaus, by Dave and Amy Fulton James C. Egbert Susanne F. Hubbach Patricia and Jon Rosen Kreielsheimer Foundation Sherry Fisher John Graham Foundation Richard Rosalie Santos, by Marks Family Foundation Marvin J. Flaherty Mr. and Mrs. Stanley P. Jones* Anonymous Estate of Gladys and Sam Rubinstein Jane B. Folkrod Estate of Betty L. Kupersmith Deborah Dawn Schaffer, by Samuel* and Althea* Stroum Jean Frankland John and Cookie* Laughlin Amanda Schaffer Dr. Robert Wallace Natalie Gendler E. Thomas McFarlan Jan Shapiro, by Elizabeth C. Giblin Estate of Alice M. Muench Peter Shapiro $500,000 – $999,999 Merle P. Griff and Nadine Griff Mack Nesholm Family Foundation Sandra Slater Simpson, by Ursula Grosser Alex Walker III Charitable Lead Trust Estate of Opal J. Orr Jeannie Simpson Carol Hahn-Oliver Mrs. John M. Fluke, Sr.* M. C. Pigott Family Landry Slade, by Sarah C. Hamilton Douglas F. King PONCHO Gretchen Van Meter Christian Heesemann Estate of Ann W. Lawrence Estate of Mrs. Marietta Priebe Dr. Meredith “Buz” P. Smith, by Anita Hendrickson The Norcliffe Foundation Mr. and Mrs. Paul R. Smith Katherine and Eric Merrifield Dr. Charles E. Higbee and Estate of Mark Charles Paben Seattle Symphony Volunteers Jim Stubner, by Mr. Donald D. Benedict James D. and Sherry L. Raisbeck Foundation Estate of Frankie L. Wakefield Kay H. Zatine Susanne F. Hubbach Joan S. Watjen, in memory of Estate of Marion J. Waller Dr. Belinda Towns, by Edward A. Hudson Craig M. Watjen Washington Mutual Jane Hargraft and Elly Winer Raymond L. Ingram Anonymous Llewelyn G. and Joan Ashby Pritchard Betty Jane Kreager $100,000 – $499,999 Patricia and Jon Rosen Mrs. Sylvia B. Kuebler $25,000 – $49,999 Uncle David, by Estate of Glenn H. Anderson Nebahat Kuerzel-Themann Mary Howe Andrew W. Mellon Foundation Edward and Pam Avedisian Marian E. Lackovich John L. Vifian, by Bob and Clodagh* Ash Estate of Bernice Baker Arlyne Loacker Karen and Larry Gookin Dr. and Mrs. Ronald J. Beck Estate of Ruth E. Burgess Fred J. Lorenz Beverly Vifian Drs. Janet P. and George* Beckmann Barbara and Lucile Calef Fern Martin B.K. Walton, by Alan Benaroya Mrs. Maxwell Carlson Jean and Peter J. McTavish Penelope Yonge Estate of C. Keith Birkenfeld Alberta Corkery* Aileen Miholovich Gwen Jones Whyte, by Mrs. Rie Bloomfield* Norma Durst* Helen A. Overton Stephen Whyte The Boeing Company Estate of Margret L. Dutton Richard Robbins Gregory A. Ziuzin, by C.E. Stuart Charitable Trust Estate of Floreen Eastman Dorothy Faye Scholz Stephen Whyte Sue and Robert Collett Hugh S. Ferguson* DJ Smith-Brooks Elaine and Erik Christensen Richard* and Bridget Cooley Mrs. Paul Friedlander* Phillip Soth Linda and H. Matthew Smith Dr. Susan Detweiler and Adele Golub Dr. Joseph S. Spinola Dr. Alexander Clowes* Patty Hall Marion G. Stamper Mildred King Dunn The Keith and Kathleen Hallman Fund Samuel and Althea Stroum E. K. and Lillian F. Bishop Foundation Thomas P. Harville William C. White Estate of Clairmont L. and Evelyn Egtvedt Harold Heath* THOMAS DAUSGAARD, MUSIC DIRECTOR Anonymous Estate of Ruth S. Ellerbeck George Heidorn and Margaret Rothschild* Senator and Mrs. Daniel J. Evans Phyllis and Bob* Henigson Fluke Capital Management Michael and Jeannie Herr The Seattle Symphony Estate of Dr. Eloise R. Giblett Mr. and Mrs. L. R. Hornbeck Agnes Gund JNC Fund gratefully remembers the Helen* and Max* Gurvich Sonia Johnson* cherished members of Richard and Elizabeth Hedreen David and Karen Kratter our Board and Lifetime Dr. Charles E. Higbee and Estate of Marlin Dale Lehrman Director families we lost Mr. Donald D. Benedict Estate of Coe and Dorothy Malone Harold* and Mary Fran Hill Judsen Marquardt and Constance Niva this season and last. Estate of Mrs. James F. Hodges Estate of Jack W. McCoy You are missed. Estate of Ruth H. Hoffman Estate of Robert B. McNett Estate of Virginia Iverson Jean and Peter J. McTavish Estate of Peggy Anne Jacobsson Estate of Shirley Callison Miner Robert C. Jenkins PACCAR Foundation Clodagh Ash Dana and Ned Laird Estate of Elizabeth Parke Estate of Charlotte M. Malone Mr. and Mrs. W. H. Purdy Bruce R. McCaw Family Foundation Keith and Patricia Riffle Bill Bain Bruce and Jeanne McNae Rita* and Herb* Rosen and the Rosen Family Microsoft Corporation Jerry and Jody Schwarz National Endowment for the Arts Seafirst Bank Reid Morgan Northwest Foundation Seattle Symphony Women’s Association Helen A. Overton Security Pacific Bank Peach Foundation Patricia Tall-Takacs and Gary Takacs Estate of Elsbeth Pfeiffer U S WEST Communications William D. Ruckelshaus Estate of Elizabeth Richards Estate of Dr. and Mrs. Wade Volwiler Jon and Judy Runstad Estate of Marion G. Weinthal Estate of Joanne M. Schumacher Estate of Ethel Wood Belinda Towns Weyerhaeuser Company Lee and Barbara Yates The William Randolph Hearst Foundations Anonymous (2) Estate of Helen L. Yeakel * In Memoriam Estate of Victoria Zablocki Anonymous (3) encorespotlight.com 51 MUSICAL LEGACY SOCIETY
We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of January 31, 2020.
Charles M. and Barbara Clanton Ackerman Jim Fox and Rodney Reagor Bonnie Berry and Peter Lara Mary Ann Sage John and Andrea Adams Jane H. Fox Paul Leach and Susan Winokur Thomas H. Schacht Peter Aiau and Susan Ormbrek Ernest and Elizabeth Scott Frankenberg Kathleen Leahy Judith Schoenecker and Christopher L. Myers Harriet and Dan Alexander William E. Franklin George and Loretta Lefler Linda and Bruce Scott Joan P. Algarin Cynthia L. Gallagher Lu Leslan Annie and Leroy Searle Kathleen Amberg Jane and Richard Gallagher Marjorie J. Levar Virginia and Allen* Senear Richard Andler and Carole Rush Jean Gardner Mel Longley and Tanya Wanchena-Longley Leonard* and Patricia Shapiro Ron Armstrong Cheryl and Billy Geffon Thomas and Virginia Hunt Luce Jan* and Peter Shapiro Elma Arndt Natalie Gendler* Ted and Joan Lundberg John F. and Julia P.* Shaw Bob and Clodagh* Ash Carol B. Goddard Judsen Marquardt and Constance Niva Barbara and Richard Shikiar Susan A. Austin Frances M. Golding Ian and Cilla Marriott Seymour Silberstein and Julie Grosnick Rosalee Ball Jeffrey Norman Golub Doug and Joyce McCallum Valerie Newman Sils Dr. and Mrs. Terrence J. Ball Dr. and Mrs. Ulf and Inger Goranson Tom McQuaid Evelyn E. Simpson David W. Barker Betty Graham William C. Messecar Betty J. Smith Murl G. Barker and Ronald E. Miller Catherine B. Green Jerry Meyer and Nina Zingale Jo-Ellen and Gregory Smith Donna M. Barnes Dr. Martin L. Greene Charles N. Miller* Katherine K. Sodergren Carol Batchelder Susan B. and Richard A. Hall Elizabeth J. Miller Margaret W. Spangler Drs. Janet P. and George* Beckmann James and Darlene Halverson Mrs. Roger N. Miller Sonia Spear Madeline Beery Barbara Hannah Charles Montange and Kathleen Patterson Mary and Gordon Starkebaum Rebecca Benaroya Martha W. Hanscom Reid* and Marilyn Morgan Karen J. Stay Donald/Sharon Bidwell Living Trust Harriet Harburn George Muldrow Diane Stevens Dona Biermann Ken* and Cathi Hatch Marr and Nancy Mullen Elizabeth Stokes Karen Bonnevie Michele and Dan Heidt Isa Nelson Victoria Sutter Jay and Carol Bowditch Ralph and Gail Hendrickson Carolyn Niva Patricia Tall-Takacs and Gary Takacs Bob* and Jane Ann Bradbury Deena J. Henkins John and Joyce O’Connell Gayle and Jack Thompson Rosemary and Kent Brauninger Harold* and Mary Frances Hill Gina W. Olson Andrew and Shana Tischaefer Sylvia and Steve Burges Bob Hoelzen and Marlene Botter Miles Olson Art and Louise Torgerson Dr. Simpson and Dr. Margaret Burke Frank and Katie Holland Sarah M. Ovens Betty Lou and Irwin* Treiger Dr. Mark and Laure Carlson Dr. Kennan H. Hollingsworth John Palo Muriel Van Housen Dr. William and Mrs. Mary Ann Champion Chuck* and Pat Holmes Donald and Joyce Paradine Sharon Van Valin Sue and Robert Collett David and Shelley Hovind Dick and Joyce Paul Jean Baur Viereck Patricia Cooke Richard and Roberta Hyman Jane and Allan Paulson Dr. Robert Wallace Dr. Marshall Corson and Mrs. Lauren Riker Geoffrey Jackson Margaret Pepin-Donat Nicholas A. Walls Betsey Curran and Jonathan King Janet Aldrich Jacobs Lisa Peters and James Hattori Jeffrey Ward and Charles Crain Frank and Dolores Dean Jennifer James, MD Stuart N. Plumb Judith Warshal and Wade Sowers Robin Dearling and Gary Ackerman Robert C. Jenkins Roger Presley and Leonard Pezzano Douglas Weisfield John Delaney Clyde and Sandra Johnson Mrs. Eileen Pratt Pringle James and Janet Weisman Lorraine Del Prado and Thomas Donohue Dr. Barbara Johnston Mr. and Mrs. W. H. Purdy John and Fran* Weiss John Delo Norman J. Johnston* and John and Suzanne Rahn Robert T. Weltzien Dr. Susan Detweiler and Dr. Alexander Clowes* L. Jane Hastings Johnston James and Sherry Raisbeck Dorothy E. Wendler Fred and Adele Drummond Atul R. Kanagat Mary C. Ransdell and Keith B. Wong Gerald W. and Elaine* Millard West Renee Duprel Don and Joyce Kindred Dana Reid and Larry Hitchon Katherine B. and Hollis R. Williams Sandra W. Dyer Dell King J. Stephen and Alice Reid Selena and Steve Wilson Ann R. Eddy Douglas F. King Richard* and Bonnie Robbins Ronald and Carolyn Woodard David and Dorothy Fluke Stephen and Barbara Kratz Bill* and Charlene Roberts Arlene A. Wright Gerald B. Folland Tom Kuebler Junius Rochester Janet E. Wright Judith Fong Drs. Kotoku and Sumiko Kurachi Jan Rogers Rick and Debbie Zajicek Jack and Jan Forrest Frances J. Kwapil Patricia and Jon Rosen Anonymous (64) Russell and Nancy Fosmire M. LaHaise James T. and Barbara Russell Jon Fourre Ned Laird Peter Russo and Kit Bakke * In Memoriam
■ THANK YOU MUSICAL LEGACY SOCIETY MEMBERS! The Seattle Symphony thanks all the individuals and families who have notified us that they have remembered the Symphony with a legacy gift.
By making a gift through your estate you join people like you who care deeply about the future of the Seattle Symphony and want to ensure that audiences experience the magic of the orchestra for generations to come. Your gift will help the Seattle Symphony unleash the power of music, bring people together, and lift the human spirit.
To notify us of your planned gift or to learn more about the Musical Legacy Society, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected].
52 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT
The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and in-kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of January 31, 2020. Thank you for your support — our donors make it all possible!
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
Arakawa C.E. Stuart Foundation Charitable Trust
$50,000 – $99,999 $15,000 – $24,999 $5,000 – $9,999 $1,000 – $2,999 Boeing Company Aaron Copland Fund For Music Amphion Foundation Addo † Google Inc. † Chihuly Garden + Glass Apex Foundation Alfred & Tillie Shemanski Trust Fund John Graham Foundation D.A. Davidson & Co. The Capital Grille † Bank of America Foundation Laird Norton Wealth Management Davis Wright Tremaine Citi Community Capital Matching Gifts Program League of American Orchestras Futures Fund Foster Pepper PLLC Fales Foundation Butler Valet † Microsoft Corporation K&L Gates † GE Foundation Consulate General of the Republic of Korea in Seattle Microsoft Matching Gifts KCTS 9 † Glazer's Camera † Ebay Matching Gifts Milliman† Rosanna, Inc. † Google Matching Gifts Educational Legacy Fund Nesholm Family Foundation Wells Fargo Foundation Heartwood Provisions † Eli Lilly & Company Foundation Precept Wine ◊ Wild Ginger Restaurant ◊ Jean K. Lafromboise Foundation Ethan Stowell Restaurant Group † Scan|Design Foundation The Lark Ascends † Genworth Foundation by Inger and Jens Bruun $10,000 – $14,999 Martin Selig Real Estate Seattle Foundation Heritage Distilling † Aetna Morgan Stanley Ivar’s † The Benaroya Company Muckleshoot Indian Tribe $25,000 – $49,999 JTM Construction Bill & Melinda Gates Foundation Music 4 Life † Lagunitas Brewing Company † Bank of America Matching Gifts Peg and Rick Young Foundation MG2 Foundation Boeing Matching Gifts Program The Cricket Foundation Puyallup Tribe of Indians Northwest Security Services Chihuly Studio † Fran’s Chocolates † Starbucks Coffee Company ◊ PONCHO Foundation Classic Pianos ◊ Garvey Schubert Barer † The Westin Hotel, Seattle † The Ruth and Robert Satter DSquared † Helsell Fetterman Wells Fargo Private Bank Charitable Trust Encore Media Group † Holland America Line ◊ Tolo Events † League of American Orchestras Catalyst Fund Lakeside Industries $3,000 – $4,999 UBS Employee Giving Programs Nordstrom Perkins Coie LLP Alaska Airlines Vital Mechanical Peach Foundation Port Blakely Audi USA Wilson Sonsini Goodrich & Rosati Foundation Atsuhiko & Ina Goodwin Tateuchi Foundation Robert Chinn Foundation Grand Image Art † Wright Runstad Virginia B. Toulmin Foundation Snoqualmie Tribe Yamaha Windstar Cruises † T.E.W. Foundation Wyman Youth Trust Treeline Foundation U.S. Bank Foundation † In-Kind Support Weill Music Institute † ◊ Financial and In-Kind Support Windstar Cruises † Anonymous
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.
encorespotlight.com 53 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 Benaroya Hall is barrier-free and meets or exceeds all our presenting sponsors and committees who make PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities these events possible. Individuals who support the online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events below are included among the Individual with disabilities are available. Those with oxygen COAT CHECK: The complimentary coat check Donors listings. Likewise, our corporate and foundation 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 14, 2019 An infrared hearing system is available for patrons CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available SUPPORTING SPONSOR The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Nordstrom in The Boeing Company Gallery coat check and is strictly prohibited. Patrons are asked to turn off all CO-CHAIRS personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Jon Rosen ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head Elisabeth Sandler 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or COMMITTEE except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. April Ancinas Judith Fong EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are Leslie Jackson Chihuly Parul Houlahan appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark Linda Cole Ned Laird seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Zart Dombourian-Eby your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. HOLIDAY MUSICAL SALUTE, DECEMBER 3, 2019 Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall CO-CHAIRS Hall, 206.215.4776. for more information. Michelle Codd Rebecca Ebsworth
COMMITTEE Bridget Aumell DINING AT BENAROYA HALL Roberta Downey Ronald Koo Tiffany Moss Alexander White LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid CELEBRATE ASIA, MARCH 8, 2020 waiting in line at intermission. CO-CHAIRS MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining Martha Lee with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and Yoshi Minegishi 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 COMMITTEE opentable.com or call 206.336.6699. Eunju Kim Anhtuan Nguyen DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Ravi Sanga pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Yuka Shimizu a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Julie Sun weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Susanna Tran Agnes Vining HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Esther Wu Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.
DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.
CONTACT US
TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | PO Box 2108, Seattle, WA 98111-2108
GROUP SALES: [email protected] | 206.215.4818
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.
54 SEATTLESYMPHONY.ORG Photos: James Holt 5 4 / 3 / 2 /KidsinConcertArtisticDirectorLauraMilleson 1 / 6 / 5 /
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