MARCHMARCH 20192019 GRAMOPHONE’’SS ORCHESTRAORCHESTRA OFOF THE THE YEAR YEAR

LUDOVIC MORLOT,MORLOT, MUSICMUSIC DIRECTORDIRECTOR

WAYNE MARSHALLMARSHALL ORGAN RECITALRECITAL && NEW HARBISONHARBISON CONCERTOCONCERTO

MUSIC DIRECTORDIRECTOR LUDOVIC MORLOTMORLOT CONDUCTS BACH’SBACH’S B-MINORB-MINOR MASSMASS & & SHOSTAKOVICH’S SYMPHONYSYMPHONY NO.NO. 15 15

LOOKING AHEAD:AHEAD: GET TO KNOWKNOW INCOMINGINCOMING MUSICMUSIC DIRECTOR DIRECTOR THOMAS DAUSGAARDDAUSGAARD My legacy. My partner.

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Untitled-2 1 12/17/18 4:34 PM CONTENTS MARCH 2019

4 / CALENDAR

6 / MEET THE MUSICIANS

8 / THE SYMPHONY

10 / NEWS

FEATURES

12 / Meet Thomas Dausgaard

CONCERTS

16 / March 7, 8 & 9 Joshua Bell Mendelssohn Violin Concerto 19 / March 14, 16 & 17 Bach Mass in B minor 27 / March 18 Wayne Marshall in Recital 30 / March 19 Michael Tilson Thomas San Francisco Symphony 35 / March 21 & 23 Shostakovich Symphony No. 15 40 / March 22

SEATTLE SYMPHONY CHORALE [untitled] 2 Photo: Photo: Tso Jerome 19 44 / March 29, 30 & 31 Glenn Miller Orchestra

54 / BENAROYA HALL GUIDE

55 / THE LIS(Z)T

GLENN MILLER MARIA MÄNNISTÖ ORCHESTRA Photo: Pinehurst Photography Photography Pinehurst Photo: 40 44

ON THE COVER: Wayne Marshall (pages 27 & 35) COVER DESIGN: Jadzia Parker EDITOR: Heidi Staub

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

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

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

1 7:30pm 2 8pm 3 5pm 4 7:30pm 5 9:30 & 11am 6 In the Spotlight: RyX Octave 9 Rhapsody First Concerts: Trimpin, Stiefel TRUEWEST PRESENTS First Thursday ENSIGN SYMPHONY & Meet the Horn & More Open House CHORUS SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY 2pm “A Floodtide 7:30pm of Inspired Invention”: Brahms Piano Beethoven’s Seventh Concerto No. 1 SEATTLE SEATTLE SYMPHONY PHILHARMONIC ORCHESTRA 8pm Brahms Piano Concerto No. 1 SEATTLE SYMPHONY

6pm 7 8 2pm 9 9am 10 7:30pm 11 10:30am 12 9:30am 13 Third Coast Beethoven & Friends Open Dvorák New World The Percussion: The Percussion: Percussion Stravinsky Rehearsal & Symphony Duck, Duck, Duck, Duck, TOWN HALL SEATTLE SEATTLE SYMPHONY Discussion* SEATTLE SYMPHONY Tambourine Tambourine SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY 7:30pm 7:30pm Anne Lamott 7pm Cubana Be Cubana NWAA, KNKX 88.5FM & Dvorák Untuxed Bop: SRJO with THE STRANGER SEATTLE SYMPHONY special guest Ignacio Berroa SEATTLE REPERTORY JAZZ ORCHESTRA 8pm Dvorák New World Symphony SEATTLE SYMPHONY

2pm Wild Seas, 14 7:30pm 15 7:30pm 16 7:30pm 17 7:30pm 18 7pm 19 2pm 20 Secret Shores Wild Seas, Wild Seas, Valeria Luiselli Mozart Symphony Mozart Untuxed Haydn’s Creation NATIONAL GEOGRAPHIC Secret Shores Secret Shores SEATTLE ARTS & No. 40 SEATTLE SYMPHONY PHILHARMONIA LIVE NATIONAL NATIONAL LECTURES SEATTLE SYMPHONY NORTHWEST & 5pm GEOGRAPHIC LIVE GEOGRAPHIC LIVE KIRKLAND CHORAL In the Spotlight: 10pm SOCIETY Schoenberg & Bach Meet the Musicians* SEATTLE SYMPHONY SEATTLE SYMPHONY 8pm Mozart Symphony 7pm No. 40 Leclair & Rameau SEATTLE SYMPHONY BYRON SCHENKMAN & FRIENDS 7:30pm Tara Westover SEATTLE ARTS & LECTURES

21 7:30pm 22 23 24 7:30pm 25 8pm 26 4pm & 8pm 27 In the Spotlight: Surrogate Cities Surrogate Cities A New World: Heiner Goebbels SEATTLE SYMPHONY SEATTLE SYMPHONY Intimate Music from SEATTLE SYMPHONY Final Fantasy AWR MUSIC

8pm Beethoven V. Coldplay: A Stereo Hideout Production SEATTLE SYMPHONY

4pm 28 29 30 Legends of Rock SEATTLE WOMEN’S CHORUS

6pm American Horizons SEATTLE SYMPHONY

*Donor Events: Call 206.215.4832 for more information seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832

4 SEATTLESYMPHONY.ORG ■ OCTAVE 9 IS OPEN!

Join us this month at Octave 9: Raisbeck Music Center, a new venue ENROLL FOR SPRING CLASSES at Benaroya Hall. Drawing, Painting, Sculpting, Printmaking

■ Sunday, March 3, FEATURING GIG HARBOR 11am, 2, 3, 4 & 5pm FREE! ACCLAIMED ARTIST: MARDIE REES Join sculptor and Gage Instructor Mardie Rees Grand Opening Ceremony & for her Weekend Workshop: Gesture Drawing Open House and Sculpting the Figure. ■ Thursday, March 7, 5–8pm FREE! Grand Opening First Thursday REGISTER NOW! gageacademy.org @gageacademy A free open house and demonstration of Octave 9 every first Thursday of the month. ■ Friday, March 8, 5:30pm The Symphony: Shostakovich A conversation with Dr. Larry Starr, University of Washington Professor Seattle. Emeritus. At your doorstep. ■ Saturday, March 9, 10am–1pm FREE! At Mirabella Seattle, we’re proud Family Open House to offer doorstep access to the city Come play, learn and explore with your family at Octave 9. you love. Enjoy living within walking distance of your favorite Seattle ■ Sunday, March 10, 6pm restaurants, landmarks, and parks, Brooklyn to Ballard all complemented by our incredible Composer in Residence Derek retirement lifestyle. Bermel curates an evening of performances. Call for a tour today. 206-254-1441 ■ Wednesday, March 20, 7:30pm mirabellaliving.com/seattle In the Spotlight: John Harbison A conversation with Pulitzer Prize- winning composer John Harbison. ■ Saturday, March 23, 5pm–12am & Sunday, March 24, 12–8am & 8am–5pm Contemporary Music Marathon Immerse yourself in a 24-hour multi- Mirabella Seattle is a Pacific Retirement Services community and an equal housing opportunity. disciplinary showcase of new music. Visit seattlesymphony.org/ octave-9/concerts-tickets for tickets, reservations and more events.

CONNECT WITH US: Share your photos using #ListenBoldly and follow @seattlesymphony on Facebook, Instagram, Twitter and Snapchat. Download the Listen Boldly app to easily purchase tickets, skip the Ticket Office lines and receive exclusive offers.

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

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

SEATTLE SYMPHONY ORCHESTRA ROSTER

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

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

6 SEATTLESYMPHONY.ORG ■ 

Find thestory at seattlesymphony.org/stories for linksto Gennady’s recent writing. on it,ableto produce somuchemotion,andmany beautiful things,it’s remarkable.” voice,” reflects Gennady. “Whenyou thinkthat it’s onlyasoundbox withfour strings “The violinisanamazinginstrument, becauseit’s theclosest that comes to thehuman Ballard. instruments andbows, runninghiscompany, Filimonov FineViolins, from hisstudio in hat andSymphony black,Gennadyisanentrepreneur and expert appraiser offine (pictured above), whichwas alsohisdaughter’s first violin.Inadditionto hisdetective through the nightandonto Paris, and,eventually, New York. Hestill hastheinstrument A few years later, GennadyfledtheSoviet Unionwithhismother, carryinghis violin bed withmy violinandsleepwithit.Ifell inlove with it.” “The first timemy teacher gave mealittle, tiny violin,asIwas alittlekid,Iwould goto Union, Gennadywas selected for musicaltraining after showing anaptitudefor music. His love for violinsandhistory started whenhewas young. Growing upintheSoviet before. Andfor methat’s very exciting.” sources, new information, actuallyopensupwholenew chapters that nobodyknew “It’s like timetravel, really,” Gennadyexplains. “And ontop ofthat, to gather new online journalfrom Tarisio. Heisacontributing writer for bothpublications. forgotten stories ofluthiershave beenpublishedinThe Strad andCozio Carteggio, an around theworld to places like Florence andVenice. Hisarticlesrecapturing the Jones ofviolinandbow makers, tracking down lost pieces ofhistory through trips There isadetective intheSeattle Symphony: GennadyFilimonov. HeistheIndiana Photo: James Holt Second Violin Gennady Filimonov MEET THEMUSICIANS

encoremediagroup.com/programs kirkland choral society SEATTLE BAROQUE ORCHESTRA CREATION HAYDN’S kirklandchoralsociety.org philharmonianw.org Stephens, Robert Charles baritone Janecke, tenor Tim Tess Altiveros, soprano Dr. JuliaTai, conductor Benaroya HallSeattle Saturday, 20,2019—2:00pm April Day ofEarth incelebration masterpiece HaydnʼsExperience crowning Societypresent Choral Kirkland and Northwest Philharmonia Sultana: Music ofthe Langston Hughes Performing Arts Separdic Diaspora Handel’s Messiah earlymusicseattle.org Bastyr University Chapel EAST OF THE RIVER & BYRD ENSEMBLE from $20to $45 MARCH 17 | 7:30 MARCH 17|7:30 MARCH 17|2:30 St. Mark’s Cathedral 206.325.7066 APRIL 27 | 7:30 APRIL 27|7:30 APRIL 26|7:30 Temple Beth Am Tickets 7 ■ FEATURED COMMUNITY PARTNER InterIm CDA

The Seattle Symphony has partnered with InterIm CDA since 2016. InterIm CDA is a nonprofit affordable housing and community development organization based in the Chinatown/International District. InterIm CDA provides multilingual culturally competent housing-related and community building services to Asian, Pacific Islander, and immigrant and refugee communities in Seattle. InterIm CDA helps build sustainable communities by leading neighborhood improvement projects and teaching leadership development for high school students through the WILD program; while also connecting elders, youth and younger children through the Danny Woo International District Community Garden and their Intergenerational program.

InterIm CDA is one of nearly 80 partners in the Seattle Symphony’s Community Connections program which provides complimentary tickets to diverse communities in the Puget Sound region.

Photo: Henry Liu Photo: “My favorite part of this experience was enjoying the music with my mom A Tai-Chi event for InterIm CDA community residents at Hing Hay and friends.” Park, led by WILD youth and in partnership with the Seattle Police – Ticketholder, InterIm CDA Department.

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

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

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

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

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

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

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Glen Lee Krishna Thiagarajan President & CEO Michael Slonski Treasurer Chris Martin Leo van Dorp Zartouhi Dombourian-Eby Musician Representative

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Jérémy Jolley DEVELOPMENT Krishna Thiagarajan Artistic Collaborations Manager Aaron Sumpter President & CEO Katie Hovde Development Officer, Assistant to VP of Leslie Jackson Chihuly Chair Program Associate Development Wholesale and Charlie Wade Renee Duprel Senior Vice President of Marketing COMMUNICATIONS Associate Vice President of Development Retail Sales & Business Operations Shiva Shafii (Campaign) ¿ Jennifer Adair Public Relations Manager Paul Gjording Vice President & General Manager Heidi Staub Senior Major Gift Officer (Foundations & Government Relations) Roasting fine coffees Rosalie Contreras Managing Editor Betsy Groat Vice President of Communications James Holt since 1993 Campaign Operations Manager Elena Dubinets Digital Content Manager Kent Anderson Vice President of Artistic Planning Andrew Stiefel & Creative Projects Donor Relations Officer Social Media & Content Manager Jane Hargraft Dinah Lu Vice President of Development MARKETING Campaign Coordinator Laura Reynolds Christy Wood Becky Kowals Vice President of Education & Community Senior Director of Marketing & Sales Director of Major Gifts & Planned Giving Engagement Rachel Spain Marsha Wolf Cheronne Wong Marketing Manager Senior Major Gift Officer Vice President & CFO Michelle Cheng Amy Bokanev, Michael Maniaci Major Gift Officers EXECUTIVE OFFICE Digital Marketing Manager Alexa Bayouk, Mady Ellars Margaret Holsinger Amanda DiCesare Development Coordinators (Major Gifts) Executive Assistant to the President & CEO, Marketing Administrator Office & Board Relations Manager Barry Lalonde Megan Hall Director of Development Operations Alex Shiley Director of Digital Products Office Assistant Herb Burke, Jason Huynh Martin K. Johansson Digital Project Managers Communications & Grants Manager ARTISTIC PLANNING Gerry Kunkel Jacob Roy Paige Gilbert Corporate & Concierge Accounts Manager Data Operations Manager Manager of Artistic Planning & Popular Stephanie Tucker Maery Simmons Programming Senior Graphic Designer Data Operations Coordinator Michael Gandlmayr Jadzia Parker Kathleen Shin Assistant Artistic Administrator Graphic Designer Annual Fund Coordinator Stephanie Torok Forrest Schofield Peter Gammell Senior Manager of Creative Projects & Group Services Manager Director of Corporate Development & Community Engagement Special Events Joe Brock Dmitriy Lipay Retail Manager Molly Gillette Director of Audio & Recording Special Events Officer Christina Hajdu Rose Gear Sales Associate Jessica Kittams Personal Assistant to the Music Director & Stewardship Events Officer Artistic Coordinator Nina Cesaratto Ticket Office Sales Manager Ryan Hicks Corporate Development Manager One of Seattle’s original ORCHESTRA & OPERATIONS Brian Goodwin Ticket Office Coordinator Kelly Woodhouse Boston FINANCE & FACILITIES roaster cafes, Lighthouse Director of Operations Asma Ahmed, Mary Austin, James Bean, Jennifer Boyer, Alexandra Perwin Ana Hinz Danela Butler, Katrina Fasulo, Controller has spent more than Production Manager Michelle Grinstead, Hannah Hirano, Megan Spielbusch Liz Kane Mike Obermeyer, Gabrielle Turner, Accounting Manager twenty years creating Assistant to VP & GM Emerson Wahl, Tobie Wheeler Olivia Fowler Ticket Services Associates Scott Wilson Payroll/AP Accountant a loyal following of Personnel Manager VENUE ADMINISTRATION Jordan Bromley Keith Higgins Staff Revenue Accountant coffee lovers. Lighthouse Assistant Personnel Manager Matt Laughlin Director of Facility Sales Bernel Goldberg Robert Olivia General Counsel roasts consistently great Associate Librarian James Frounfelter, Adam Moomey Event & Operations Managers Tyler Ciena Jeanne Case Facilities Director coffee in small batches Nick Cates Librarian Grant Cagle Concert & Event Production Manager Joseph E. Cook Facilities Manager of the freshest premium Sophia El-Wakil Technical Director Damien DeWitte Event Operations Associate Mark Anderson, Jeff Lincoln Senior Building Engineer beans, hand roasted in a Keith Godfrey Assistant Technical Directors Rodney Kretzer House Manager Johnny Baca, Chris Dinon, Building Engineer vintage cast-iron roaster Tanya Wanchena Aaron Gorseth, John Roberson, Willa McAllister Michael Schienbein, Ira Seigel Assistant House Manager & Usher Scheduler Facilities Coordinator each day. Stage Technicians Milicent Savage, Patrick Weigel Assistant House Managers HUMAN RESOURCES EDUCATION & Dawn Hathaway, Lynn Lambie, COMMUNITY ENGAGEMENT Kathryn Osburn Mel Longley, Ryan Marsh, Human Resources Manager Amy Heald Markus Rook Collaborative Learning Manager Head Ushers Laura Banks, Bill Coniff, Katrina Swensen, Carole Unger 400 N 43rd St. Seattle, WA. 98103 Assistant Head Ushers ¿ 206-633-4775 CONTACT US LIGHTHOUSEROASTERS.COM TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]

encoremediagroup.com/programs 9 NEWS FROM: ■ TWO GRAMMY WINS KRISHNA THIAGARAJAN, PRESIDENT & CEO Listen boldly. This phrase rings true in the acoustics of Benaroya Hall and in the orchestra’s recordings. And it doesn’t stop at how we play or listen. It infuses everything we do, guides our decisions as an organization and member of our own community. Last month the Symphony won two Grammy Awards, for a total of five Grammy wins in the past five years. This comes after being Photo: James Holt James Photo:

Photo: Brandon Patoc Brandon Photo: awarded Gramophone’s Orchestra of the Year last September in recognition of the orchestra’s recordings. The Seattle Symphony’s reputation for capturing the magic of Congratulations to Music Director Ludovic live performances in recordings has spread from a best-kept secret to well- Morlot, violinist James Ehnes, composer established fact. Listen to the Grammy-winning recording wherever you like Aaron Jay Kernis, Recording Engineer to stream your music. Dmitriy Lipay and the musicians of the The 2019–2020 season, Thomas Dausgaard’s first as Music Director, was Seattle Symphony for their work resulting in just announced and I hope you’re looking forward to it as much as I am. I two Grammy Awards! invite you to read the interview on page 12 for his insights and renew your subscription to be part of Thomas’ first season. The Grammys were for Best Classical Instrumental Solo and Best Contemporary Over 10,000 local 3rd through 5th graders are visiting Benaroya Hall this for their recording month for Link Up: Seattle Symphony, where they’ll sing and play recorder Classical Composition along with the orchestra from their seats. For many of these kids this of Aaron Jay Kernis’ Violin Concerto, which concert presents a lot of firsts: their first time in a concert hall, their first time was commissioned and premiered by downtown and their first time performing an instrument (with a professional the Seattle Symphony in March 2017 at orchestra!). The energy and excitement from these young musicians is enough Benaroya Hall (pictured above). to make anyone fall in love with classical music all over again. “Commissioning new music is one of Benaroya Hall has been at the heart of Seattle’s arts and culture scene for 20 the most important things we do, and it’s years — home to not just the Seattle Symphony, but many local groups and incredibly heartening to see the excitement a favorite destination for visiting artists. This month we’re celebrating the about this new concerto extend to a grand opening of a third venue in the Hall, Octave 9: Raisbeck Music Center. Grammy win,” shared Seattle Symphony In Octave 9 we will live and breathe today’s art and support contemporary President & CEO Krishna Thiagarajan. composers with a dedicated medium for their work. Arts are the way a society articulates itself and Octave 9 is an experimental lab for the future of The Seattle Times review of the premiere performance, cultivating bold new voices. And you get to be a part of history stated, “the new concerto demands almost in the making. Join us at one of the many events or concerts in Octave 9 — superhuman agility and stamina of Ehnes, take a look at the calendar on page 4 or visit us online to get tickets. the soloist for whom it was written, and he Thank you for joining us today and listen boldly! rose to the challenge.” Krishna The Seattle Symphony was also nominated for Best Orchestral Recording this year for the first installment in a Nielsen cycle with Music Director Designate Thomas Dausgaard. Stop by Symphonica, The Symphony Store NOTA BENE at Benaroya Hall before your concert or during intermission to get your own Grammy-winning CD. Seattle Symphony OCTAVE 9 GRAND OPENING We’re celebrating the Grand Opening of Benaroya Hall’s recordings are also available through newest venue, Octave 9: Raisbeck Music Center, all month long. Join us for one of all major streaming services and online the many concerts or events to see the space for yourself. Check out the calendar on page 4 and learn more at seattlesymphony.org/octave9. music retailers. Aaron Jay Kernis’ Violin Concerto was jointly commissioned by the Seattle Symphony, Toronto FREE COMMUNITY CONCERT Join the orchestra at the University of Washington campus Symphony Orchestra, Dallas Symphony Orchestra on March 15! Ludovic Morlot and David Alexander Rahbee will conduct the Seattle and Melbourne Symphony Orchestra. Symphony at Meany Hall in music composed by UW faculty members and Seattle Symphony musicians. seattlesymphony.org/inthecommunity

10 SEATTLESYMPHONY.ORG March 2019 Volume 32, No. 7 Bischofberger Violins est. 1955 Professional Repairs Appraisals Paul Heppner President & Sales

Mike Hathaway 1314 E. John St. Senior Vice President Seattle, WA Kajsa Puckett 206-324-3119 Vice President, Sales & Marketing Call today to schedule a tour: 206-382-3100 www.bviolins.combviolinsltd.com www.HorizonHouse.org Genay Genereux Accounting & Office Manager

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Devin Bannon, Brieanna Hansen, Amelia Heppner, Ann Manning Seattle Area Account Executives Carol Yip EMANUEL AX APRIL 2 | 7:30 P.M. Sales Coordinator Universally beloved for his top-notch performances, pianist Emanuel Ax Marketing Shaun Swick recreates his winning 1974 Arthur Rubinstein Competition recital program Senior Designer & Digital Lead with the vantage of profound musical maturity, depth and understanding.

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited. TIME FOR THREE APRIL 18 | 7:30 P.M.

With infectious energy, virtuosity and showmanship, string trio Time for Three transcends classification, performing everything from Bach and Brahms to original compositions to ingenious mash-ups of indie hits.

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encoremediagroup.com/programs 11 MEET THOMAS DAUSGAARD

With joy and enthusiasm, Thomas For Thomas, Seattle has long been a home What can we expect in your first season away from his native Denmark. As the as music director? Dausgaard starts his Symphony’s Principal Guest Conductor since 2014, together Thomas and the This season is an invitation into my world, journey as the Seattle orchestra have achieved international into some of the music which changed my acclaim with their recordings of Mahler’s life — music close to my heart and which Symphony’s new music Tenth Symphony and Nielsen’s Symphonies has played a continuous role in my musical Nos. 3 and 4. life. I find it very inspiring to think that we director this fall. as an orchestra are a source of life and But, in so many ways, we’ve only seen a vitality for the community, offering spiritual By Andrew Stiefel glimpse of Thomas’ musical interests. experiences which inspire on many levels, with each program expressing something Through close working relationships with about who we are and where we are many of the leading orchestras in Europe, going together. Thomas Dausgaard brings a special Thomas has established an international energy to the stage every time he reputation for his creativity and innovative This season marks the 250th anniversary conducts. His joy and love for the programming. He is currently Chief of Beethoven’s birth. You’ve taken music are contagious: with Thomas at Conductor of the BBC Scottish Symphony the celebration a step farther by the podium, you simply cannot leave Orchestra and Chief Conductor of the commissioning a series of new works. Benaroya Hall without being moved. Swedish Chamber Orchestra, having Could you share a bit about your vision previously served as Chief Conductor of for the festival? the Danish National Symphony Orchestra. I am always drawn to an element of So, ahead of his first season, we wanted to context, so rethinking how to celebrate the learn more about Thomas and his vision for humanist ideals of Beethoven in a way the years ahead.

12 SEATTLESYMPHONY.ORG Photo: Karya Schanilec warmth. Icouldn’t imaginealifewithoutit. force, itwaslarger thanlife, andithadahumanity he inspiredafterwards.Hismusichadanelemental those composerswhohadinspiredhim—andto understood throughit.Anditopenedmyearstoall a connectiontohismusic,andinsomewayIfelt listening toandplayingallIcouldgetholdof. Ifeel The rockbanddisbandedandIreveledinBeethoven, about ayearlatertherewasnowayback. But whenIfirstheardBeethoven’s Pathetique Sonata of onetheleadingrockbandsinDenmark.Ilovedit. performing them,andhadbeentaken underthewings three otherboys.We werewritingourownsongs, I wasabout10formedarockbandtogetherwith Beethoven wasmygatewaytoclassicalmusic.When musical journey. Couldyousharethatstorywithus? Beethoven’s musicplayedapivotalroleinyour Corey andAngeliquePoteat. composed byTyshawn Sorey, Janice Gitek,Chuck youth chorus,andSethParker Woods innewworks performing onHarryPartch’s uniqueinstruments,a be membersofregionalnativetribes,anensemble in particular, Seattle. Sharingthestagewithuswill his brothersandsistershereintheUnitedStates, and, has inspiredustopresenthismusicinthecontext of be brothers.” Ourcelebrationofhis250thanniversary text bySchillerwiththefamouslinethat “weshallall In hisNinthSymphony, Beethovensetstomusicthe new context. is incrediblystimulating,like creatingacompletely which meaningfullyinvolvescommunitiesinSeattle “This seasonisaninvitation “This heart andwhichhasplayed my life—musiccloseto into myworld,someof the musicwhichchanged a continuousroleinmy musical life.” it whettedmyappetiteformore. with mycelloteacher. Lots oftea,hyggeandfun.And family’s livingroom to playHaydn’s CelloConcerto Following thatIgotasmallorchestratogetherinmy was thebestdayformeonthatfield! field. AsIdidn’t enjoyplayingfootballverymuch,this ended uponedayrehearsingoutdoorsonthefootball high school.We wereshortofrehearsalspacesand orchestra Ihadwrittenforamultimediashowatmy The firstpieceIconductedwasanoverturefor for orchestra. they developedintolongerworks, someofthem down theideasIwantedtokeep, andeventually cracked thecodeformusicalnotation, Ibeganwriting piano, improvisingtohisjazzplaying.WhenIlater a chair, Isatnext tomyfatherwhileheplayed the hear whatIhadcomposed.Assoonascouldsitin What gotmestartedinconductingwastheurgeto conducting orchestras? So howdidyougofromplayinginarockbandto

encoremediagroup.com/programs 13

Photo: Brandon Patoc “I love the way nature interacts with the city of Seattle; you are never far from the water, and that means space, where you can feel the elements and the changes of light.” Photo: Brandon Patoc Brandon Photo:

So what inspired you to make a life Stravinsky immersed himself in while I’ll open our season with the Overture in music? composing it. We’ll share the stage with as a greeting from my country and my folk musicians and singers to explore what musical background. I had an urge to explore all kinds of things inspired Stravinsky. to do with music and studying at the Royal When you’re not in rehearsal or concerts, Academy of Music in Copenhagen helped You’ve had success conducting music by what do you enjoy doing? me grow up and focus on what I enjoyed Carl Nielsen with the Seattle Symphony, the most, conducting orchestra. I realized most recently as a Grammy nomination A poet once said that for a man to be I had a fire burning inside, making me kind for his Third and Fourth Symphonies. You happy he needs a beautiful garden, a of addicted to the experience. have a personal connection to Nielsen, good library and a wonderful partner. I am correct? happy and agree! Together my wife and I You’ve spoken in the past about your are privileged to have three children, and fascination with discovering the roots My grandmother knew him, because when my greatest joy is to be with my family of inspiration for composers. This she studied piano at the Royal Academy and friends. year you’ve planned an exploration of Music in Copenhagen, he taught her of Stravinsky’s The Rite of Spring and and her best friend, who later became my In Seattle I am lucky to have very good old Scriabin’s Poem of Ecstasy. Could you piano teacher. So I heard about Nielsen friends, and as I love going on the ferries, share a little about this concert? from as early as I can remember. luckily some of them live on Bainbridge Island. I love the way nature interacts with Planning this program, and discovering In one of the first concerts I went to (I was the city of Seattle; you are never far from Stravinsky’s possible inspiration from probably 10 or 11), the program opened with the water, and that means space, where folk music, has been just hair-raisingly Nielsen’s Maskarade Overture. It opened you can feel the elements and the changes fascinating and fun! In this program we the concert in the most sparkling and of light. I don’t think a day passes without explore ecstasy by two Russian composers upbeat way and I fell in love with it. me taking pictures of the sky, the changing partly living at the same time, but each colors of Puget Sound or the mountains! exploring into the extreme their own — and Later on, while studying conducting at very different — musical languages. the Royal College of Music in London, I love being outside cities in a place where I went to a concert with the Danish the night sky is lit by stars or a bonfire. I Both works have drawn me to them National Symphony Orchestra where they love being in nature, leaning on a tree, like a magnet: Scriabin’s like a musical performed it as an encore. Having been sitting in a kayak. And I love silence — then hallucination of fantasy and repetition, away from his music for awhile, I was blown sound can have a greater impact. and Stravinsky’s a series of dances away by hearing it again and I realized I accumulating tension released by the final had a deep connection with his musical ritual of a girl dancing herself to death. language — the humor, affirmation of life Be part of Thomas Dausgaard’s inaugural It has its inspiration in stories of ancient and joy shining in this miniature work was season! Subscriptions are available rituals and in traditional folk music which simply part of me. online or by calling the Ticket Office at 206.215.4747.

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Untitled-2 1 2/19/19 4:20 PM 3/7–9 THURSDAY, MARCH 7, 2019, AT 7:30PM FRIDAY, MARCH 8, 2019, AT 8PM OVERVIEW SATURDAY, MARCH 9, 2019, AT 8PM JOSHUA BELL Miracles The first public performance of Franz VIOLIN Joseph Haydn’s Symphony No. 102, in MENDELSSOHN London, early in 1795, saw a disaster happily averted. While the orchestra was CONCERTO playing, a huge chandelier crashed to the floor, landing where a portion of the HONORING THE LEGACY OF BUSTER & NANCY ALVORD audience had left their seats and moved closer to the stage in order to get a better look at Haydn, who was directing the Dima Slobodeniouk, conductor performance. The realization that their Joshua Bell, violin migration had spared many from injury or Seattle Symphony worse prompted cries of “Miracle!” among the listeners. LOTTA WENNÄKOSKI Hava (U.S. Premiere) 10’ Their reaction is understandable in an FRANZ JOSEPH HAYDN Symphony No. 102 in B-flat major 24’ apparent case of salvation through divine Largo—Vivace intervention. Yet not all miracles require Adagio apparently supernatural events. When we Menuet: Allegro think of the development of human musical Presto activity that had led to Haydn’s symphony — from the earliest drumming and tribal INTERMISSION singing to the understanding of harmony FELIX MENDELSSOHN Violin Concerto in E minor, Op. 64 26’ and counterpoint, the invention of modern Allegro molto appassionato— instruments, the ability to write and read Andante— musical notation, and the marshaling of all Allegretto non troppo—Allegro molto vivace this by a singular genius such as Haydn JOSHUA BELL, VIOLIN for creation on a high intellectual and artistic level — it seems miraculous in its own right. No less miraculous is music’s Joshua Bell will be performing his own cadenza in Mendelssohn’s Violin Concerto. ability to intimate weightless floating, as we experience in the piece that opens Pre-concert Talk one hour prior to performance. our program, or the mastery of the violin Speaker: Megan Francisco, Doctoral Candidate in musicology at the University that Joshua Bell brings to Mendelssohn’s of Washington Violin Concerto.

Joshua Bell’s performances are generously underwritten by Paul Leach and Susan Winokur through the Seattle Symphony’s Guest Artists Circle. Performing this music, or any music in fact, always becomes personal. I find the pieces that I perform always have Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. personal connection and become my Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording favourite pieces, at least for the duration of equipment, and any other use of such copying devices during a performance is prohibited. the preparation and while I’m working on them. My favourite thing about performing is interpreting music. I like to call the orchestra and myself interpreters rather than performers as I find it opens up the nature of performing in a better way.

– Dima Slobodeniouk

16 SEATTLESYMPHONY.ORG PROGRAM NOTES

LOTTA WENNÄKOSKI Wennäkoski says that she wanted to write than 100 symphonies did much to develop a “fast-texture piece,” and Hava is certainly it from an uncertain, fledgling format into Hava that for much of its ten-minute duration. a potent and well-defined vehicle for BORN: February 8, 1970, in Helsinki musical invention. The work begins quietly, with trilling figures WORK COMPOSED: 2007 for flutes and clarinets over a wash of While Haydn spent most of his long career WORLD PREMIERE: January 11, 2008, in string sonority. Other instruments take up in Vienna and its environs, his crowning Espoo, Finland. the tremulous gestures, which change achievements in the field of symphonic shape and color as they grow increasingly composition resulted from a pair of visits energetic. Occasionally the flurry of to London undertaken in 1791–92 and What to Listen For notes pauses on sustained sonorities, again in 1794–95. There the composer Lotta Wennäkoski has described a harbinger of things to come. Always presented a series of concerts featuring her music as straddling the border there is a sense of gossamer lightness, his music, and it was for these events that between texture and fragmented melody. of insubstantial shapes rushing or he created his last 12 symphonies, works In Hava, fast-moving whirrs of notes create fluttering through the air, of gravity all but that represent the genre’s first peak of its shimmering, hovering clouds of orchestral suspended. With eyes closed, a listener development. sound. Later, sustained figures descend might easily feel swept up and carried gently, like falling leaves. along with them. The Symphony in B-flat major, No. 102 in the standard listing of Haydn’s works, The music grows more animated, almost was first heard on February 2, 1795, in the frantic, as it builds to a climax. Its energy English capital. During the performance, The Finnish composer Lotta Wennäkoski then dissipates, the frenetic movement a chandelier fell and crashed to the floor took an unusual route to her current giving way to near-stillness. Now the of the theater. That no one was hurt was position as an internationally recognized sounds seem to float in slow motion. The deemed providential, and this symphony composer. Born in Helsinki Wennäkoski concluding moments bring a final burst of properly should bear the designation studied violin and Hungarian folk music activity. Dima Slobodeniouk, our conductor “Miracle” that erroneously became in Budapest. Returning to her native city, this evening, has recorded Hava and two attached to Haydn’s Symphony No. 96. she worked as a busker on the streets other works by Wennäkoski for a disc on of Helsinki and as a music provider and the Ondine label. The first movement begins with an teacher in daycare and after-school introduction in slow tempo. While such Scored for 2 flutes (the 1st flute doubling centers. She also attended the Sibelius preludes are features of all but one of piccolo, the 2nd flute doubling alto flute); 2 Haydn’s London symphonies, there is Academy, which has produced many oboes; clarinet and bass clarinet; 2 bassoons; impressive musicians during the last 2 horns; 2 trumpets; percussion; strings. nothing commonplace about this initial several decades. She then went to portion of the work. Haydn’s audiences Amsterdam to study privately with Dutch could hardly have anticipated the soft composer Louis Andriessen. FRANZ JOSEPH HAYDN radiance of the strings in their high registers following the sustained unison Gradually, Wennäkoski created an Symphony No. 102 in B-flat major note of the opening measure, or that the impressive body of compositions, and BORN: March 31, 1732, in Rohrau, Austria serene melody these instruments present will soon intimate dark secrets as it passes these, too, demonstrated a willingness DIED: May 31, 1809, in Vienna to venture down unconventional paths. to the cellos and then the winds. WORK COMPOSED: 1794 Her earliest works were scores for radio WORLD PREMIERE: Vivace plays and short films. Subsequently February 2, 1795, in The ensuing , which forms the she wrote music for a full-length silent London, under the composer’s direction. main body of the movement, starts with a film and a piece for chamber orchestra robust, good-natured subject. A second and on-stage juggler. Several dramatic theme — more sustained tones followed works have addressed topical themes, What to Listen For by a few bars of melody — is much shorter including human trafficking, while other “The new [symphony], composed and apparently of less consequence. So compositions reflect her love of Hungarian by the inimitable HAYDN, Haydn, ever delighting in the unexpected, folk music. was performed in masterly stile (sic), begins the central part of the movement as it most richly deserved to be. ... by exploring just this idea. Soon motifs Aural texture is the focus of much of The last movement was encored; from the first subject reappear as part of an Wennäkoski’s music, and her pieces often and notwithstanding an interruption escalating aural drama. The music grows explore extensively a single musical idea. by the accidental fall of one of the increasingly restless until the first subject Both characteristics of her work — a focus chandeliers, it was performed with no returns to launch a triumphant reprise of on texture and concentrated development less effect.” – London Morning Chronicle, the movement’s initial paragraph. of a particular concept — are evident in February 3, 1795 Hava, which opens our program. The There follows an unusual slow movement title has different meanings in different colored by solo cello and, later, by languages: “snow” in Hungarian, “air” muted trumpets and drum. H.C. Robbins in Turkish; and while “hava” is not a Franz Joseph Haydn has been called the Landon, a leading Haydn scholar, noted word in Finnish, it is close to havina, father of the symphony, and properly so. “its reserved, somber joy.” It gives way meaning “rustling” or “swishing.” All of While he did not invent this most important to one of the most substantial minuets in these meanings accord with the music. genre of orchestral music, Haydn’s more any symphony. The finale finds Haydn in

encoremediagroup.com/programs 17 DIMA SLOBODENIOUK PROGRAM NOTES Conductor “Slobodeniouk’s calm, clean direction helped high spirits. Its main theme is exuberant, finished on September 16, 1844, and David hold the sprawling the development of this idea lively and gave the first performance the following symphony tightly surprising. In the closing moments Haydn March. The work “pleased extraordinarily together, ensuring that plays with its principal motif in a most well,” David noted of its reception. It has even the softest, humorous manner. continued to do so ever since, earning a slowest-moving passages place not only as one of Mendelssohn’s had a compelling edge.” Scored for 2 flutes; 2 oboes; 2 bassoons; 2 Borggreve Marco Photo: most melodious compositions but as horns; 2 trumpets; timpani; strings. – Baltimore Sun one of the most popular concertos ever Lauded for his deeply informed and composed for any instrument. intelligent artistic leadership, Dima Slobodeniouk has held the position of Music FELIX MENDELSSOHN Mendelssohn is not generally regarded Director of the Orquesta Sinfónica de Galicia Violin Concerto in E minor, Op. 64 as an especially innovative composer, but two features of his Violin Concerto since 2013, which he combines with his more BORN: February 3, 1809, in Hamburg represented, in 1844, a fairly novel recent positions as Principal Conductor of DIED: November 4, 1847, in Leipzig interpretation of classical concerto form. the Lahti Symphony Orchestra and Artistic WORK COMPOSED: 1844 In the first place, its three movements are Director of the Sibelius Festival following WORLD PREMIERE: March 13, 1845, in not separated but flow smoothly, one to his appointment in 2016. Linking his native Leipzig. Ferdinand David was the soloist, the next, without pause. Secondly, the Russian roots with the cultural influence of his later homeland Finland, he draws and Niels Gade conducted the Leipzig composer dispenses with the traditional orchestral exposition at the opening of the on the powerful musical heritage of these Gewandhaus Orchestra. work, allowing the soloist to present the two countries. He works with orchestras principal theme from the outset. such as the Berliner Philharmoniker, Gewandhausorchester Leipzig, What to Listen For The impassioned opening melody is Symphonieorchester des Bayerischen The concerto’s famous initial melody countered by a more tender idea set Rundfunks, London Philharmonic, London has something of the tempest- forth by the orchestra’s woodwinds, Symphony Orchestra, Finnish Radio tossed character so prized by the early and the contrasting yet complimentary Romantics of the 19th century. The finale characters of these two subjects yields Symphony, and Chicago, Houston, Baltimore dazzles with virtuoso passagework. an emotionally rich first movement. The and Sydney symphony orchestras. cadenza, a rhapsodic solo for the featured player, is written into the score rather than left to the performer’s invention, as JOSHUA BELL Mendelssohn composed his celebrated still was customary in the first half of the Violin Violin Concerto for Ferdinand David, a 19th century. Although, Joshua Bell will long-time friend and musical associate. be performing his own cadenza at our With a career spanning The two musicians met in 1826, when both concerts. more than 30 years as a were still precocious adolescents. David soloist, chamber was well on his way to becoming one of A single tone sustained by the bassoon musician, recording the foremost violinists of his generation; provides a bridge to the lyrical slow artist, conductor and Mendelssohn had already composed movement, whose beautiful theme music education A Midsummer his famous Overture to might well have found its way into one champion, Joshua Night’s Dream and other impressive of Mendelssohn’s many “Songs Without Bell’s curiosity and clarity works. First as chamber music partners Words” had it not been used here. The Mazzucco Lisa Marie Photo: of insight are a testament and soon as friends, Mendelssohn and transition to the finale recalls the principal to his belief in the power of music as a David came to value each other’s artistic theme of the first movement, but the music unifying cultural force. An artist of precision outlook and personal qualities. And so, that follows is a far cry from the Romantic when Mendelssohn assumed directorship passion of the opening. Instead, we are and passion, Bell is committed to the violin of the celebrated Leipzig Gewandhaus treated to a brilliant and sunny movement as an instrument of expression and a vehicle Orchestra, in 1835, one of his first acts with a principal subject in Mendelssohn’s for realizing the new and unexplored. Bell is was to invite David to serve as principal light scherzo style, and with scintillating a Sony Classical artist, who has performed violinist. During his years at the head of passagework from the soloist. with every major orchestra in the world on the Gewandhaus ensemble, Mendelssohn six continents and recorded more than 40 relied extensively on David’s advice. Scored for solo violin; pairs of woodwinds, CDs garnering Grammy, Mercury, horns and trumpets; timpani and percussion; strings. Gramophone and Echo Klassik awards. In 1838, while visiting his family home Named the Music Director of the Academy in Berlin, the composer sent a letter to of St. Martin in the Fields in 2011, he is the David in which he stated: “I should like © 2019 Paul Schiavo only person to hold this post since Sir to write a violin concerto for you next Neville Marriner formed the orchestra in winter. One in E minor runs through my 1958. Bell’s recording with the Academy head, the opening of which gives me no Scottish Fantasy peace.” Despite the seeming urgency of Bruch’s and G-minor of this declaration, more than five years Concerto was released in June 2018. A passed before Mendelssohn finally set the native of Bloomington, Indiana, Bell work down on paper. The concerto was performs on the 1713 Huberman Stradivarius violin. 18 SEATTLESYMPHONY.ORG 3/14–17 THURSDAY, MARCH 14, 2019, AT 7:30PM SATURDAY, MARCH 16, 2019, AT 8PM PROGRAM SUNDAY, MARCH 17, 2019, AT 2PM NOTES BACH MASS IN B MINOR I am thrilled to have a chance to perform Bach’s B-minor Mass. This HONORING THE LEGACY OF BUSTER & NANCY ALVORD is a piece I have listened to again and again since the minute I discovered it, and Ludovic Morlot, conductor | Jane Archibald, soprano | Meg Bragle, mezzo-soprano one that I feel is life changing. Compiled Kenneth Tarver, tenor | Andreas Wolf, bass-baritone | Seattle Symphony Chorale by Bach from music written in different Seattle Symphony stages of his life, the B-minor Mass is a summary of Bach’s production over his JOHANN SEBASTIAN BACH Mass in B minor, BWV 232 career; it is the best of the best from what I. Kyrie 18’ he’s created. “Kyrie eleison”— (Chorus) It is always a challenge to perform this “Christe eleison”— (Duet: Soprano and music with modern instruments in a large Mezzo-soprano) space. I chose to present the B-minor “Kyrie eleison” (Chorus) Mass with smaller forces as it was done in II. Gloria 36’ the original performance setting. In doing “Gloria in excelsis”— (Chorus) so I hope to maintain the work’s virtuosic “Et in terra pax” (Chorus) quality and preserve the clarity of the “Laudamus te” (Aria: Soprano) contrapuntal writing. “Gratias agimus tibi” (Chorus) “Domine Deus”— (Duet: Soprano and Tenor) My hope is that the audience will become “Qui tollis”— (Chorus) immersed in this music — it’s a truly “Qui sedes”— (Aria: Mezzo-soprano) visceral experience. “Quoniam tu solus”— (Aria: Bass-baritone) “Cum sancto spiritu” (Chorus) – Ludovic Morlot INTERMISSION See Ludovic Morlot’s biography on page 6. III. Symbolum Nicenum (Credo) 31’ “Credo in unum Deum”— (Chorus) “Patrem omnipotentem” (Chorus) “Et in unum Dominum” (Duet: Soprano and JOHANN SEBASTIAN BACH Mezzo-soprano) “Et incarnatus est” (Chorus) Mass in B minor, BWV 232 “Crucifixus” (Chorus) BORN: March 21, 1685, in Eisenach, in the “Et resurrexit” (Chorus) central German province of Thuringia “Et in Spiritum sanctum” (Aria: Bass-baritone) “Confiteor”— (Chorus) DIED: July 28, 1750, in Leipzig “Et expecto” (Chorus) WORK COMPOSED: mid-1720s to 1747 or 1748 IV. Sanctus 15’ WORLD PREMIERE: Portions of the B-minor “Sanctus” (Chorus) Mass were performed in Leipzig at various “Pleni sunt coeli” (Chorus) times toward the end of Bach’s life. Following “Osanna” (Double Chorus) Mendelssohn’s famous revival of the St. “Benedictus” (Aria: Tenor) Matthew Passion, in 1829, other performers “Osanna” (Double Chorus) turned to the Mass, but both the first V. Agnus Dei 8’ documented presentation, in Berlin in 1835, “Agnus Dei” (Aria: Mezzo-soprano) “Dona nobis pacem” (Chorus) and several that followed used truncated versions of the score. It is impossible to say when and where the first reasonably complete Pre-concert Talk one hour prior to each performance. performance occurred. Speaker: Dr. Gary D. Cannon, Artistic Director of the Emerald Ensemble, Cascadian Chorale and Vashon Island Chorale Ask the Artist following the Thursday concert. What to Listen For Bach’s masterpiece is, by nearly any Bach Mass in B minor is generously underwritten by the Judith A. Fong Music Directors Fund. measure, the greatest musical Kenneth Tarver’s performances are supported in part by the Melvyn Poll Tenor Fund. setting of the Catholic mass. In this work Please note that the timings provided for this concert are approximate. | Please turn off all electronic devices and refrain from the composer draws on centuries-old taking photos or video. | Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video traditions of ecclesiastic music and on recording equipment, and any other use of such copying devices during a performance is prohibited. more recent developments, fusing them into a magnificent whole.

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PRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA

MASTERWORKS SEASON SPONSOR OF THE SEATTLE SYMPHONY

OFFICIAL AIRLINE OF THE SEATTLE SYMPHONY ORCHESTRA SSO_Delta 120215 working in concert fp.pdf

PRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA PROGRAM NOTES

Bach’s Mass in B minor is one of those after his split from the Church of Rome. As Reformation, which banished much of rare compositions that properly can be such, it was not an exceptional product the Latin liturgy from northern Europe. discussed in superlative terms. It is widely from a composer in Bach’s position, a (Bringing worship and the scriptures into considered the greatest musical setting of church musician in a Protestant stronghold. the local vernacular was, of course, a major the Roman Catholic liturgy ever conceived. Indeed, Bach produced four other works facet of Luther’s reform.) The second was It may well be the greatest of Bach’s of this type during his Leipzig tenure. Over the rise of a new musical style, one that works. It is also, however, one of the most the years that followed, however, Bach saw the intricate weaving of voices in a problematic. Although we know more intermittently added to this Missa other rich polyphonic fabric give way to a more about the circumstances surrounding its sections of the full Latin liturgy. Often he simple and dramatic musical rhetoric. In creation than we do with many of Bach’s set these to freshly composed music, the new manner, singing became clear compositions, we cannot say exactly but sometimes he drew on work he had and distinct from accompaniments, with how or why the Mass came to assume already written for different purposes. The harmony in relatively simple textures its final form, nor to what extent it was resulting Mass in B minor was completed, replacing complex counterpoint. Although performed during the composer’s lifetime. Bach scholars now believe, sometime this new compositional style originated These uncertainties are compounded by between 1747 and 1749, in the twilight of in connection with opera, it soon evidence that the complete score was the composer’s career. became the musical lingua franca of the some two decades in the making, and that Baroque period. a substantial portion of it was borrowed In its final form, Bach’s work corresponds from pieces Bach had originally composed to the Ordinary of the Catholic Mass, that Yet just as the Missa offered Lutheran for other occasions. part of the service used for all liturgical musicians like Bach some access to the occasions. And here we must confront Latin liturgy, so the polyphonic art of what Yet the overriding problem the work poses the question of the composer’s intentions. came to be called the stile antico, the MASTERWORKS SEASON SPONSOR is how Bach, a devout Lutheran who Bach certainly never questioned the tenets “ancient style,” was not entirely lost to OF THE SEATTLE SYMPHONY spent most of his career providing music of his Lutheran faith, and there is practically composers of the 18th century. Handel, for Protestant worship, came to write a no chance that he had an opportunity to Telemann and Vivaldi occasionally Latin Mass in the first place. We can begin present this work in its entirety in Leipzig, employed it, particularly in their sacred to gain some insight into this by briefly which was as staunchly Protestant as any music, but it lived on especially in the looking at the composer’s circumstances city in Germany. The reasons, then, for this work of Bach. The blending of different in the year 1733. Bach had by this time eminently pragmatic artist assembling a but equally expressive melodic lines spent a decade as organist, choir master huge Catholic Mass in the final years of his in counterpoint — particularly imitative OFFICIAL AIRLINE OF THE and resident composer of the four life must, for once, have had nothing to do counterpoint, in which the several voices principal churches in the city of Leipzig, a with practical considerations. Although we echo each other, as in an elaborate SEATTLE SYMPHONY ORCHESTRA stronghold of Lutheran piety in the central- can only speculate about Bach’s motives, round — was for him not only a fruitful German province of Saxony. While not the it seems likely that they had less to do with but apparently a quite natural way of most prestigious in Germany, this position ecclesiastical concerns than with musical conceiving music. This aspect of Bach’s offered a degree of financial security and a ones — more precisely, with a specific art found its fullest expression in his great stable routine. Bach probably realized that musical tradition. choral fugues, whose brilliant contrapuntal it represented the highest professional artifice extended the tradition of the stile station he would attain. From half a millennium before Bach’s antico a century and a half beyond the lifetime until shortly before it, settings of fading of the Renaissance. Bach, more Nevertheless, Bach came to desire a the Mass had been the principal task of than any of his contemporaries, knew wider degree of recognition than modest nearly all Western composers. In the liturgy, and cherished this tradition. His natural Leipzig afforded. It was no doubt this musicians of the late Middle Ages and the predilection for contrapuntal music drew desire that prompted him to petition the Renaissance had found a large canvas him to it, and the numerous copies in his Elector of Saxony for the largely honorary and, above all, a vehicle for the evolution library of scores by Palestrina and other post of Hofcomponist — court composer of polyphonic composition. The combining stile antico composers show that he — a title conferred on several of the most of distinct vocal lines in harmonious studied their art. distinguished musicians of the realm. counterpoint had formed the chief musical In February 1733, Bach began writing a endeavor of the entire epoch, and music Bach certainly knew something of the work to present the Elector, Augustus III, for the Mass written during this time glories his musical forebears had attained in support of his petition. On July 27, the reveals the whole long, magnificent rise in musical settings of the Mass. Because composer sent his offering to Augustus of polyphony, from austere contrapuntal he did, and because he shared their with a typically self-effacing preface, chants in the 12th century to the elaborate central artistic creed — a faith in the begging “in all humility that it may be contrapuntal edifices of Palestrina and primacy of polyphony as an organizing received not as it merits but with your other Renaissance masters during the late principle for composition — it seems Majesty’s famous generosity.” 16th century. natural that he should desire to produce such a work himself. To do so was an act Bach’s tribute — which, incidentally, failed But by around 1600 two major upheavals of communion with the great polyphonists initially to bring the desired appointment — one ecclesiastic, the other musical — of the past who so profitably cultivated the to the Electoral court — was a Lutheran had threatened to cut off many composers Mass, an embracing of their heritage. Missa, the Kyrie and Gloria sections of from the heretofore continuous tradition the Latin Mass, which had been retained of polyphonic settings of the Mass. The Bach joined their ranks, and at the very by Martin Luther for liturgical use even first of these revolutions was Luther’s forefront, in the great fugal choruses of his

encoremediagroup.com/programs 21 PROGRAM NOTES TEXT & TRANSLATION

B-minor Mass. These passages culminate which presents a strict contrapuntal a line of musical thought that stretches treatment of a chant-like theme over from the 12th-century composer-monks of a freely moving accompaniment, a J.S. Bach: Mass in B minor, Notre Dame through the great composers procedure known as “chorale prelude.” BWV 232 who followed and on to Palestrina and “Crucifixus” uses another familiar other masters of the high Renaissance. In contrapuntal device, a repeating bass line Kyrie certain contrapuntal passages of Bach’s that supports proliferating invention over Mass (the ethereally beautiful Gratias, and around it. Bach rigorously maintains Coro Chorus for example), the spirits of his illustrious the “ground” bass subject but uses it to Kyrie eleison. Lord have mercy. predecessors seem almost to materialize create harmonies that scarcely another Duetto (Soprano, Duet (Soprano, with the music. At the same time, however, composer would imagine. Mezzo-soprano) Mezzo-soprano) Bach remained a composer of his own era Christe eleison. Christ have mercy. by juxtaposing his fugal movements with As counterweight to these and other arias and ensemble numbers in a more up- instances of rigorously worked-out Coro Chorus to-date style, a style marked by superbly choral polyphony stand a series of arias Kyrie eleison. Lord have mercy. and duets for solo voices. Composed expressive melodies, comparatively lean Gloria textures, idiomatic accompaniment parts in a manner that would have been for various instruments and, in many unimaginable to church musicians of Coro Chorus passages, a keen sense of musical drama. an earlier era, they employ obbligato Gloria in excelsis Deo. Glory be to God on accompaniments, important parts for high. The B-minor Mass is, then, a work of featured instruments that embroider Coro Chorus inclusion and affirmation. Musically, the vocal lines with expressive counter- Et in terra pax And on earth, peace it employs a blend of old and new melodies. They range from the breezy hominibus bonae to men procedures with no sense of contradiction “Domine Deus,” with its bewitching flute voluntatis. of good will. between them. Spiritually, it may be obbligato, to an “Agnus Dei” whose music heard as an ecumenical statement in seems bowed and bent with the sins of Aria (Soprano) Aria (Soprano) which Bach transcends the ecclesiastical the world. Laudamus te, We praise you, boundaries of his own denomination to benedicimus te, we bless you, adoramus te, we adore you, create a tremendous song of worship A third group of movements is formed glorificamus te. we glorify you. for all of Christendom and, to the extent by choruses written in a more modern that religious sentiments have some manner, one independent from the Coro Chorus universality, for all of mankind. It is also contrapuntal idioms of the past. “Gloria Gratias agimus tibi We give you thanks for one of the great musical achievements in excelsis,” for example, gives us festive propter magnam your great joy. of its age or any other, a work that music, with trumpets and timpani lending gloriam tuam. brilliance to the proceedings. “Cum sancto continues to inspire awe and reverence Duetto (Soprano, Duet (Soprano, spiritu,” “Et ressurexit” and “Osanna” are among listeners even in our own more Tenor) Tenor) other festive choruses. secular era. Domine Deus, Rex Lord God, heavenly coelestis, King, The opening section of the B-minor Finally, there are several movements that conform to no general type. The sorrowful Deus Pater God the almighty Mass establishes an alternation of older omnipotens, Father, chorus “Qui tollis” is one, but perhaps contrapuntal procedures and more Domine Fili unigenite, O Lord, the only- most notable is “Et incarnatus est,” in modern ones, a pattern Bach will follow Jesu Christe altissime, begotten Son, which Bach suggests the mystery of God’s over the course of the work. The initial Domine Deus, Agnus Jesus Christ, Most “Kyrie eleison” unfolds as a great fugal human incarnation through enigmatic Dei, Filius Patris. High Lord God, movement. The ensuing “Christe eleison,” harmonies. Lamb of God, Son of by contrast, offers a glad duet for sopranos Scored for solo soprano, alto, tenor and the Father. with a broad, flowing accompaniment in bass; mixed chorus; 2 flutes; 3 oboes (the Coro Chorus the violins. With the second “Kyrie eleison,” 1st and 2nd oboes double oboe d’amore); Qui tollis peccata You who take away Bach returns to fugal writing, choosing 2 bassoons; corno di caccia; 3 trumpets; mundi, the sins of the world, a theme whose writhing line presents a timpani; harpsichord and portative organ; strings. miserere nobis. have mercy upon us. special compositional challenge. Qui tollis peccata You who take away mundi, the Subsequent movements confirm the © 2019 Paul Schiavo suscipe sins of the world, pattern established in this initial section. deprecationem receive our prayer. The choral movements are often, nostram. though not invariably, cast in venerable contrapuntal forms. The “Gratias agimus Aria (Mezzo-soprano) Aria (Mezzo-soprano) tibi” presents one of Bach’s most Qui sedes ad dextram You who sit at the right impressive fugues in the “ancient” style. Patris, miserere nobis. hand of the Father, (The composer reprises its music in the have mercy upon us. plea for peace that closes the Mass.) Other examples of well-established contrapuntal forms include “Credo in unum Deum,”

22 SEATTLESYMPHONY.ORG TEXT & TRANSLATION

J.S. Bach: Mass in B minor, BWV 232

Aria (Bass-baritone) Aria (Bass-baritone) Aria (Bass-baritone) Aria (Bass-baritone) Quoniam tu solus sanctus, For you alone are the Holy One, Et in Spiritum Sanctum Dominum et And I believe in the Holy Ghost, tu solus Dominus, you alone are the Lord, vivificantem, the Lord and Giver of Life, who tu solus altissimus Jesu Christe. you, Jesus Christ, alone are the qui ex Patre Filioque procedit; proceeds from the Father and the most High. qui cum Patre et Filio simul adoratur Son; et conglorificatur; who with the Father and the Coro Chorus qui locutus est per Prophetas. Son together is worshipped Cum Sancto Spiritu in gloria Dei With the Holy Ghost in the glory of Et unam sanctam catholicam et and glorified; who spake by the Patris. Amen. God the Father. Amen. apostolicam ecclesiam. Prophets. Symbolum Nicenum And I believe in one Catholic and Apostolic Church. Coro Chorus Credo in unum Deum. I believe in one God. Coro Chorus Confiteor unum baptisma in I acknowledge one Baptism for the

Coro Chorus remissionem peccatorum. remission of sins. Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father almighty, factorem coeli et terrae, maker of heaven and earth, Coro Chorus visibilium omnium et invisibilium. and of all things visible and Et exspecto resurrectionem And I await the resurrection of invisible. mortuorum the dead et vitam venturi saeculi. Amen. and the life of the world to Duetto (Soprano, Mezzo-soprano) Duetto (Soprano, Mezzo-soprano) come. Amen. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum the only-begotten Son of God, Sanctus et ex Patre natum ante omnia begotten of his Father before all Coro Chorus saecula. worlds. Sanctus, sanctus, sanctus Holy, Holy, Holy Deum de Deo, God of God, Dominus Deus Sabaoth. Lord God of Hosts. lumen de lumine, Light of Light, Pleni sunt coeli et terra gloria eius. Heaven and earth are full of Deum verum de Deo vero, very God of very God, your glory. genitum, non factum begotten, not made, being of one consubstantialem Patri, substance with the Father, Coro Chorus per quem omnia facta sunt. by whom all things were made. Osanna in excelsis Hosanna in the highest. Qui propter nos homines Who for us men et propter nostram salutem descendit and for our salvation came down Aria (Tenor) Aria (Tenor) de coelis. from heaven. Benedictus qui venit in nomine Blessed be he that comes in the Domini. name of the Lord. Coro Chorus Et incarnatus est And was incarnate Coro Chorus de Spiritu Sancto ex Maria virgine, by the Holy Ghost of the Virgin Osanna in excelsis Hosanna in the highest. et homo factus est. Mary and was made man. Agnus Dei Coro Chorus Aria (Mezzo-soprano) Aria (Mezzo-soprano) Crucifixus etiam pro nobis And was crucified also for us Agnus Dei qui tollis peccata mundi, Lamb of God, who takes away the sub Pontio Pilato, under Pontius Pilate, miserere nobis. sins of the world, passus et sepultus est. he suffered and was buried. have mercy on us. Coro Chorus Coro Chorus Et resurrexit tertia die And on the third day Dona nobis pacem. Give us peace. secundum scripturas, he rose again according to the et ascendit in coelum, scriptures, sedet ad dextram Dei Patris, and ascended into heaven, et iterum venturus est and sits at the right hand of the cum gloria judicare vivos et mortuos, Father, cuius regni non erit finis. and he sall come again with glory, to judge both the quick and the dead, whose kingdom shall have no end.

encoremediagroup.com/programs 23 JANE ARCHIBALD Soprano

Jane Archibald began her career in her native Canada, before becoming an Adler Fellow with the San Francisco Opera. She then joined the ensemble of the Photo: Tansey Helen Photo: Vienna State Opera, debuting many coloratura roles. She now performs regularly around the world. Archibald appears on numerous recordings, including her Juno-winning solo album of Haydn coloratura arias. Her GRETCHEN FRANCES BENNETT 2018–2019 season includes performances Air, the free or unconfined space above the surface of the earth with Sir Simon Rattle at the Royal Albert Hall/BBC Proms and at the Lucerne Festival, role debuts as Mathilde (William Through June 2, 2019 Tell) at the Theater an der Wien and Image: Gretchen Frances Bennett. Blue Like Nevermind (Last Days) (detail), 2008. Daphne (Daphne) for Frankfurt Opera, Colored pencil on paper. 13 x 20 in. Courtesy of the artist. Photo: Steven Miller. concerts of Candide in London and Tel Gretchen Frances Bennett is organized by the Frye Art Museum and curated by Aviv, Bach’s St. Matthew Passion in Lyon, Amanda Donnan. Generous support is provided by Vulcan, Inc. Britten’s Les Illuminations in Portland and concerts at home in Halifax with the Camerata Singers (Annelies) and Symphony Nova Scotia (Mozart’s 704 Terry Avenue | fryemuseum.org | Always Free C-minor Mass).

MEG BRAGLE Mezzo-soprano

Widely praised for her musical intelligence and “expressive virtuosity” (San Francisco Chronicle), Meg Bragle has earned an international reputation as one of Photo: Fernanda Monteiro Fernanda Photo: today’s most gifted mezzo-sopranos. A frequent featured soloist with Sir John Eliot Gardiner and the English Baroque Soloists, she has made four recordings with the group, including Bach’s Easter and Ascension Oratorios — leading to her BBC Proms debut — and the 2015 release of Bach’s Mass in B minor. As an early music specialist, Bragle YOUR SYMPHONY. YOUR LEGACY. has sung in North America and Europe with the Philharmonia Baroque Orchestra, By making a gift through your estate you join people Netherlands Bach Society, Tafelmusik like you who care deeply about the future of the Seattle Baroque Orchestra, Orchestra of the Age of Enlightenment, St. Paul Chamber Symphony and want to ensure that audiences experience Orchestra, Les Violons du Roy, Orpheus the magic of the orchestra for generations to come. Chamber Orchestra, Orchestra of St. Luke’s, Orchestre Révolutionnaire et To share your goals for your future gift, please contact Becky Kowals Romantique, American Bach Soloists, at [email protected] or 206.215.4852. Apollo’s Fire, Arion Baroque and the Dunedin Consort.

24 SEATTLESYMPHONY.ORG KENNETH TARVER SEATTLE SYMPHONY CHORALE Tenor The Seattle Symphony Chorale A graduate of Yale serves as the official chorus of the University, Oberlin Seattle Symphony. Over the past four College and the Met decades, the Chorale has grown in Young Artist program, artistry and stature, establishing itself Grammy Award-winning as a highly respected ensemble. Critics Detroit-born tenor have described the Chorale’s work Kenneth Tarver as “beautiful, prayerful, expressive,” specializes in Mozart, “superb” and “robust,” and have Photo: Photo: Tomàs Joan Berlioz and virtuosic praised it for its “impressive clarity Bel Canto repertoire. During his extensive and precision.” The Chorale’s 120 operatic career, he has performed in such Photo: VanHouten Ben volunteer members, who are teachers, prestigious venues as the Festival of doctors, attorneys, musicians, students, bankers and professionals from all fields, bring Aix-en-Provence, the Edinburgh Festival, not only musical excellence, but a sheer love of music and performance to their endeavor. Staatsoper Berlin and Covent Garden. He Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale has appeared with leading orchestras such performs with the Seattle Symphony both onstage and in recorded performances. as London Symphony Orchestra, the New York Philharmonic, the Concertgebouw Soprano Terri Chan Andrew Magee Amsterdam and the Berlin Phiharmonic Caitlin Anderson-Patterson Rachel Cherem Ed Morris with conductors including Sir Colin Davis, Laura Ash Lauren Cree Wally Pfingsten Riccardo Chailly, Claudio Abbado and Lolly Brasseur Paula Corbett Cullinane Theodore Pickard Ellen Cambron Aurora de la Cruz Christopher Reed Pierre Boulez, recording extensively for Shannon Christensen Robin Denis Jonathan M. Rosoff La Donna del Lago Opera Rara ( ), Harmonia Jillian Churchill Cindy Funaro Bert Rutgers Mundi, LSO Live (Les Troyens, Béatrice et Emma Crew Carla J. Gifford Peter Schinske Bénédict, Roméo et Juliette). Recent Erin M. Ellis Amy Gleixner Alan Sheaffer recordings include Rossini’s La gazza Jacquelyn Ernst Kelly Goodin Spencer Small ladra, Bianca e Falliero and Sigismondo Kaitlyn Gervais Catherine Haddon M. Scott Spalding (Naxos) and Così fan tutte and Don Dalia Gladstein Shan Jiang Brian Stajkowski Giovanni with Teodor Currentzis. Emily Han Shreya Joseph Jeremy Paul Swingle Teryl Hawk Inger Kirkman Max Willis Lyndsey Howell Sara Larson Dane Zielinski Elizabeth Husmann Rachel Lieder Simeon Caitlin Hutten Cally Lindenmier Bass ANDREAS WOLF Sharon Jarnigan Audrey Morin John Allwright Bass-baritone Elizabeth Johnson Monica Namkung Christopher Benfield Julia Joo Angela Petrucci Jay Bishop Young German Katy Kaltenbrun Karis Pratt Hal Bomgardner Bass-baritone Andreas Seung Hee Kim Beth Puryear Andrew Cross Wolf is a regular guest Lori Knoebel Alexia Regner Darrel Ede at major international Meghan Limegrover Valerie Rice Morgan Elliott opera houses and Kori Loomis Emily Ridgway Evan Figueras concert halls working Megan McCormick Laura Marie Rivera Curtis Fonger with conductors such Adrienne Selvy Mildon Dale Schlotzhauer Steven Franz Geraldine Morris Darcy Schmidt David Gary as William Christie, Rachel Nofziger Carreen A. Smith Raphael Hadac René Jacobs, Ton Helen Odom Heather Allen Strbiak Kelvin Helmeid Koopman, Hans-Christoph Rademann, Nicolle Omiste Kathryn Tewson Rob Jones Jérémie Rhorer, Peter Dijkstra, among Taylor Peters JoAnn Wuitschick Ronald Knoebel others. Recent highlights include Bach’s Sasha S. Philip Mindy Yardy * Tim Krivanek Weihnachtsoratorium with the Bavarian Kaitlin Puryear KC Lee Radio Choir, the Messe in h-moll with Emily Reed Tenor Thomas C. Loomis Concerto Köln at Hamburg’s Ana Ryker Matthew Blinstrub Bryan Lung Elbphilharmonie, Mozart’s Requiem with Emily Sana James Clarke Glenn Nielsen the Nederlandse Kamerkoor, Handel’s Barbara Scheel * Spencer Davis Mark Penrod Laura A. Shepherd Theo Floor Ken Rice Serse on tour with Pomo d’Oro, Guglielmo Joy Chan Tappen Jacob Garcia Martin Rothwell * Cosi fan in Michael Haneke’s production of Catherine Thornsley Joel Gewecke Edward Sam tutte in Madrid, Brussels and the Wiener Andrea Wells Zachary Herrington-Shaner Christopher Smith Festwochen and a series of productions at Eric Jeffords Garrett Smith Bayerische Staatsoper Munich. Future Alto Neil Johnson Jim Snyder highlights include Jupiter in Platée at Cynthia Beckett Alexander Jones Michael Uyyek Semperoper Dresden, Beethoven’s Mass Cyra Valenzuela Benedict Kevin Kralman * Jared White in C in Paris and Amsterdam, and his return Ivy Rose Bostock Robert Kuchcinski to Madrid as Papageno in Die Zauberflöte Monica Bowen Patrick Le Quere * principal of section and Leporello in Don Giovanni at Nancy Brownstein Ian Loney Kathryn Cannon Miller James H. Lovell Opernhaus Zurich.

encoremediagroup.com/programs 25 Photo: Brandon Patoc Brandon Photo:

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SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 3/18 MONDAY, MARCH 18, 2019, AT 7:30PM PROGRAM WAYNE MARSHALL NOTES IN RECITAL FLUKE/GABELEIN ORGAN RECITAL SERIES At the beginning of the 1920s, Marcel Dupré was perhaps the most prominent of the great French organ virtuosos, known Wayne Marshall, organ widely for his compositions, consummate technique and legendary improvisational MARCEL DUPRÉ Symphonie-Passion, Op. 23 29’ skills. He made his first concert tour Le monde dans l’attente du Sauveur to North America in 1921; his opening Nativité recital in New York was described as “a Crucifixion musical miracle.” On December 8, Dupré Résurrection gave the first in a series of six recitals on the massive Grand Court Organ at GEORGE C. BAKER Deux Évocations 15’ the Wannamaker department store in Philadelphia. An immense crowd filled INTERMISSION the store to hear Dupré on what was then the largest organ in the world. After FRANZ SCHMIDT Toccata in C major 9’ intermission an improvisation on submitted themes was programmed. Four chant FRANZ SCHMIDT Variations and Fugue on an Original 19’ melodies were proposed giving Dupré the Theme in D major idea of developing these liturgical themes (King’s Fanfare from Fredigundis) in a four-movement symphony outlining the life of Christ. Dupré recalled: “At the WAYNE MARSHALL Improvisations on Themes by Beethoven 15’ announcement of my plan, the entire hall was on its feet, and I played in a state of Please note that the timings provided for this concert are approximate. exaltation that I have seldom known.” It Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording was a triumphant occasion and one critic equipment, and any other use of such copying devices during a performance is prohibited. wrote: “The improvised symphony became a tone poem of surpassing beauty.” That night in his hotel room, still under the spell of inspiration, Dupré wrote down the main musical ideas of this formidable improvisation. Dupré completed his Symphonie-Passion in 1924 and gave the first performance in this form on October 9, 1924 in Westminster Cathedral in London.

The first theme of the opening movement emerges out of seemingly random sequences of metrical groupings and compulsive rhythms forming fragments of melody. Dissonances pile up in unending anguish, evoking the restlessness and tension with which the coming of the Messiah is anticipated. This introduction is followed by a second theme, the tranquil chant Jesu Redemptor omnium (“Jesus, Redeemer of humankind”). The sense of impatience and fear returns until at last the optimistic chant theme provides the long- awaited resolution in a triumphal hymn.

The second movement begins with a pastorale in which flute and oboe alternate, depicting the stable and manger in Bethlehem. The arrival of the shepherds is portrayed with soft flutes, followed by the Three Kings in a setting of Adeste fideleson the celestes and flutes.

In the Crucifixion, a slow, sorrowful theme begins in the dark sonority of muted reeds; a jerky rhythm symbolizes the unsteady progress of Christ carrying the

encoremediagroup.com/programs 27 NAME A SEAT IN BENAROYA HALL As we celebrate the 20th anniversary of Benaroya Hall — home of the Seattle Symphony — we need your support to remain one of the finest concert halls in the world. Seats are available throughout the S. Mark Taper Foundation Auditorium and the Illsley Ball Nordstrom Recital Hall. Your gift is an opportunity to join in the legacy and preservation of Benaroya Hall. Join us today for this once-in-a-lifetime opportunity to be a part of Benaroya Hall history. CREATE A LASTING LEGACY

SEATTLESYMPHONY.ORG/BH20 | 206.215.4832 WAYNE MARSHALL PROGRAM NOTES Organ British conductor, organist and pianist cross. Dupré steadily intensifies the music, in Vienna, eventually becoming its director. Wayne Marshall is Chief building to a dramatic climax. Syncopated He maintained friendly relations with a Conductor of WDR chords depict the hammer strokes of wide variety of musicians and composers, Funkhausorchester the crucifixion, abruptly interrupted by including Mahler and Schoenberg. Cologne, and Organist jagged chords, then an ominous quiet: and Associate Artist of the death of Jesus on the cross. The Much of Schmidt’s compositions are the Bridgewater Hall. sorrow of the Virgin Mary is expressed marked with by complex textures and He became Principal with the chant Stabat Mater dolorosa with harmonies, though certainly firmly based Guest Conductor of Orchestra Sinfonica di in a late-Romantic tone. In contrast, touching simplicity. Milano Giuseppe Verdi in 2007. Marshall is the Toccata in C, another product a celebrated and award-winning The last movement depicting the of the summer of 1924, is in a more interpreter of Gershwin, Bernstein and Resurrection is based on a single chant, straightforward and accessible language. Adoro te devote. The theme first appears The work is cast in a highly concise sonata- other 20th-century American composers. in the pedal, as if emerging from the allegro form, each component clearly set He has recorded extensively for numerous darkness of the tomb. The music gradually off from one another. Though Schmidt’s major labels and received an ECHO Award grows into a glorious toccata with the musical language might have been clearer for his Gershwin Songbook recording. His theme in long notes on full organ. In than usual in this work, he certainly did not latest organ recording released on Fugue an ecstatic coda, the theme is heard spare the demands on the performer — State Records, Gershwin and Bernstein last as in powerful chords leading to a the work contains formidable challenges Improvised, has received numerous triumphant closing. in perpetual motion writing, extensive excellent reviews. In 2004 he received an virtuosic passages for the pedal and dense Honorary Doctorate from Bournemouth As a young man, the American organist chords leaping about the compass of the University and in 2010 he became a Fellow George C. Baker enjoyed a varied career instrument. Schmidt acknowledged its of the Royal College of Music. In October as a teacher, busy recitalist and prolific difficulties in a letter: “The piece is possible 2016 Marshall was awarded the recording artist. He stepped aside to only at a very fast tempo — it would be Independence Golden Jubilee Award study medicine, ultimately specializing in quite ineffective slowly.” towards his contribution for outstanding dermatology, but never abandoned his musical activities. In the past few decades In 1916 he produced his first surviving service to the UK. he has become increasingly known for organ composition, the Variations his organ compositions, continuing the and Fugue on an Original Theme, a ethos of the great 20th-century French preliminary study for his second opera organists-composers such as Louis Vierne, Fredigundis. A solemn hymn-like theme Marcel Dupré, Maurice Duruflé and his own is followed by six variations and a double teacher Jean Langlais. fugue that forms a thunderous conclusion. Here Schmidt displays superlative skills The Deux Évocations demonstrate the in variation technique: the theme remains type of improvisation that one might throughout but is constantly overlaid with have expected to hear during a visit to new ideas in a wide variety of textures. the great churches and cathedrals of During the summer of 1924 Schmidt France. The Première Évocation treats immersed himself in organ composition two chant hymns honoring the Virgin Mary and produced the revised version of the in various ways — a pedal solo crowned Variations and Fugue that was eventually with haunting chords, then interwoven published and heard tonight. with the foundation stops. The Deuxième Évocation sets three Easter chants, initially © 2019 Joseph Adam set in a manner reminiscent of Dupré in the Symphonie-Passion that opened tonight’s recital, and culminating in a mighty toccata on the full resources of the organ.

Along with Max Reger and Sigfrid Karg- Elert, the Austrian Franz Schmidt can rightfully be considered one of the most important Germanic composers for the organ in the early 20th century. He was of Hungarian descent and born in what is now Bratislava. His parents were both accomplished musicians, and his talents as a pianist, organist and cellist developed early. He studied in Vienna in the 1890s and became a member of the Vienna Philharmonic in 1896. Schmidt turned to a life centered upon teaching in 1914 when he joined the faculty of the Conservatory

encoremediagroup.com/programs 29 3/19 TUESDAY, MARCH 19, 2019, AT 7:30PM PROGRAM NOTES MICHAEL TILSON The middle section of the march, or THOMAS trio, is in 2/4 and settles into a kind of sly circus atmosphere. Different groups SAN FRANCISCO of instruments in different keys make their appearance in an aural procession. SYMPHONY First, the winds in C play a new march SPECIAL PERFORMANCES tune saying “Agnes Albert.” Then, the instruments in F are heard playing the same tune. But as these instruments are transposing instruments, although the Michael Tilson Thomas, Music Director & conductor | Christian Tetzlaff, violin notes they play read A - G - N - E - S etc., San Francisco Symphony the notes that are heard are completely different. They are followed by instruments in E-flat and B-flat until quite a jungle- MICHAEL TILSON THOMAS Agnegram 4’ like cacophony is built up — punctuated by alternately elegant and goofball WOLFGANG Violin Concerto No. 3 in G major, K. 216 24’ percussion entrances. The jazzy 6/8 tune AMADEUS MOZART Allegro reappears now in canon and the piece Adagio progresses to a jubilant and noisy ending. Rondo: Allegro © 1998 Michael Tilson Thomas CHRISTIAN TETZLAFF, VIOLIN INTERMISSION Agnegram is still in the form of a LUDWIG VAN BEETHOVEN Symphony No. 3 in E-flat major, Op. 55, Eroica 50’ march. But now the middle section, Allegro con brio a kind of John Philip Sousa-like trio, Marcia funebre: Adagio assai explores a musical joke that I had planned, Scherzo: Allegro vivace but not finished in time, for the premiere Finale: Allegro molto performance. The trio recalls many famous tunes that amused Agnes. There are Michael Tilson Thomas and the San Francisco Symphony performance is generously surreal references to Schumann, underwritten by Martin Selig and Catherine Mayer through the Seattle Symphony’s Guest Tchaikovsky, Verdi, and Irish lullabies, but Artists Circle. they appear only to the degree that the San Francisco Symphony tours are supported by the Frannie and Mort Fleishhacker Endowed notes that they have in common with her Touring Fund, the Halfmann-Yee Fund for Touring, the Fay and Ada Tom Family Fund for name will allow. Touring, and the Brayton Wilbur, Jr. Endowed Fund for Touring. I think she would have enjoyed Please note that the timings provided for this concert are approximate. discovering them and chuckling Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording over them. equipment, and any other use of such copying devices during a performance is prohibited.

– Michael Tilson Thomas on his 2016 revision, performed tonight PROGRAM NOTES

The prodigious keyboard talents of the young Wolfgang Amadeus Mozart (1756–­ Since studying composition with Ingolf A - G - E are obviously the notes that they 91) are the stuff of legend, overshadowing Dahl at the University of Southern name. B is B-flat (as this note is called in another of his considerable skills: playing California, Michael Tilson Thomas (b. German). S is E-flat, also a German musical the violin. His father was an influential 1944) has produced a small but impressive term. T is used to represent one note, teacher and the author of a seminal book body of works. His craft and wit are on full B-natural, the “ti” of the solfège scale. on violin technique, so it figured that display in this short orchestral showpiece, From these arcane, but not unprecedented Mozart would pick up stringed instruments. for which he provided the following manipulations (Bach, Schumann and He wrote five violin concertos, all during description: Brahms among others often did this kind his teenage years, when his official of thing), a basic “scale” of eight unusually position had him working alongside Agnegram was written to celebrate arranged notes emerges, from which all his father in the service of Salzburg’s the 90th birthday of the San Francisco the themes are drawn. The piece itself archbishop. With no record of any other Symphony’s extraordinary patron and is a march for large orchestra. The first performer or commission involved, we friend Agnes Albert, and it is a portrait part of the march is in 6/8 and is almost can surmise that Mozart wrote the violin of her sophisticated and indefatigably a mini-concerto for orchestra, giving brief concertos with the intention of performing enthusiastic spirit. It is entirely composed sound-bite opportunities for the different the solo parts himself. Such works, along of themes derived from the spelling of sections of settling into a jazzy and hyper- with the many symphonies, serenades her name. rangy tune.

30 SEATTLESYMPHONY.ORG PROGRAM NOTES

and divertimentos from that time, were a surprise entrance with a recapitulation of induce misery if not for its undeniable perfect fare for the side gigs he booked that same theme a few measures ahead grace and beauty. A major-key interlude, entertaining Salzburg’s wealthy families. of schedule — an effect so unexpected providing respite, incorporates an that even Beethoven’s student Ries, upon arpeggiated accompaniment that recalls In the opening Allegro movement of hearing the symphony for the first time, the gentle sway of the first movement. the Violin Concerto No. 3, the violin suspected the horn player of having lost After returning to the minor key, the parts are full of three-note chords, both count of the measures. appearance of fugal counterpoint for the soloist and within the orchestra. reinforces the profound, ceremonial The chords give the main theme extra The symphony’s second movement, atmosphere of the funeral march. panache and power, and their idiomatic labeled a funeral march, sinks into a voicings show that Mozart knew how prolonged state of despair that might to achieve maximum effect on his secondary instrument.

Out of all five of Mozart’s violin concertos, this work’s central Adagio is the only movement in which two flutes replace the oboes. (Presumably the oboists in Salzburg SAVE THE DATE! doubled on flute.) The solo violin’s long, arcing phrases sound like they could come from the mouth of an operatic soprano; WEDNESDAY, MAY 8, 2019 there is even a bit of a “diva” moment when the violin intrudes on the orchestra’s final coda to offer one last statement of the main theme.

In the Rondo finale, one of the contrasting sections borrows a folk tune from the vicinity of Strasbourg, near the border between France and Germany, leading Mozart and others to dub this the “Strassburger” Concerto. Droning double- stops and folksy fiddling contribute to the local color. GIVE Ludwig van Beethoven (1770–1827) had been contemplating a work inspired by Napoleon for several years by the time he took up the Symphony No. 3 in E-flat major, which he originally subtitled “Bonaparte.” Beethoven’s adulation turned to disgust in 1804, when he learned that Napoleon had declared himself Emperor; according to Beethoven’s student Ferdinand Ries, who delivered the disturbing news, “Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor.” When Beethoven prepared the symphony for publication in 1806, he titled it “Sinfonia eroica, composed to celebrate the BIG memory of a great man.” The unspecified Make a gift to the SEATTLE SYMPHONY on Wednesday, “great man” may have been Prince May 8, 2019 and join the caring family of donors who bring Louis Ferdinand of Prussia, who died in 1806 fighting against Napoleon’s army. our music to life. Ferdinand was a friend of Prince Joseph One BIG day to support the concerts and musicians you love! Franz von Lobkowitz, Beethoven’s patron and the symphony’s dedicatee.

The defining motive of the Eroica Symphony’s first movement is a rocking seattlesymphony.org/givebig | 206.215.4832 cello strain that trails into foreign harmonies after four measures. As the development section closes, a horn makes

encoremediagroup.com/programs 31 A SYMPHONY FOR TODAY AND TOMORROW Your Gift to the Seattle Symphony Endowment

DID YOU KNOW? ANNUAL FUND OR ENDOWMENT? A robust endowment is the financial foundation of every Annual Fund gifts are essential for maintaining successful major American orchestra. artistic quality and funding the Symphony’s season of When you make a donation to the Endowment your gift is concerts. A healthy endowment builds a foundation for held in perpetuity with annual earnings supporting the Seattle the future, helping to maintain a superb and enduring Symphony’s outstanding music and musicians, vital community orchestra in our community. and education programs, and bold artistic initiatives. You can donate today or make your gift to the Endowment A STRONG ENDOWMENT PROVIDES through your will or estate plans. FINANCIAL SECURITY AND RESILIENCE.

To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852. MICHAEL TILSON THOMAS CHRISTIAN TETZLAFF PROGRAM NOTES Music Director & conductor Violin Michael Tilson Thomas Born in Hamburg in first conducted the San 1966, music has Out of this grief comes a giddy Scherzo, Francisco Symphony occupied a central place a symphonic construct that Beethoven (SFS) in 1974 and has in Christian Tetzlaff’s popularized as an alternative to Haydn’s been Music Director family; his three siblings slower, tamer minuets. A contrasting since 1995. A Los are all professional trio section features the three horns in Angeles native, he musicians. He made his vigorous hunting calls. studied with John concert debut playing Photo: Spencer Lowell Spencer Photo: Bertazzi Giorgia Photo: Crown and Ingolf Dahl the Beethoven Violin The finale, built as a theme and variations, at the University of Southern California, Concerto at age 14 and attributes the incorporates material from the ballet The becoming Music Director of the Young establishment of his musical outlook to his Creatures of Prometheus that Beethoven Musicians Foundation Debut Orchestra at teacher at the conservatory in Lübeck, had also used in an earlier set of piano 19. He worked with Stravinsky, Boulez, Uwe-Martin Haiberg. variations. A short but fiery introduction gives way to an unusual presentation of Stockhausen and Copland at the famed the theme, reduced to its bare skeleton. Monday Evening Concerts and was pianist Tetzlaff has performed and recorded a and conductor for Piatigorsky and Heifetz broad spectrum of repertory, ranging © 2019 Aaron Grad master classes. In 1969 Tilson Thomas from Bach’s unaccompanied sonatas and won the Koussevitzky Prize and was partitas to 19th-century masterworks by appointed Assistant Conductor of the Mendelssohn, Beethoven and Brahms; Boston Symphony Orchestra (BSO). Ten and from 20th-century concertos by days later he came to international Bartók, Berg and Shostakovich to world recognition, replacing Music Director premieres of contemporary works. A William Steinberg in mid-concert at Lincoln dedicated chamber musician, he frequently Center. He went on to become the BSO’s collaborates with artists including Leif Ove Principal Guest Conductor, and he has also Andsnes and Lars Vogt, and is the founder served as Music Director of the Buffalo of the Tetzlaff Quartet, which he formed in Philharmonic, and as a Principal Guest 1994 with violinist Elisabeth Kufferath, violist Conductor of the Los Angeles Hanna Weinmeister, and his sister, cellist SAN FRANCISCO SYMPHONY Philharmonic. With the London Symphony Tanja Tetzlaff. Orchestra he has served as Principal The San Francisco Symphony (SFS) gave Conductor and Principal Guest Conductor; During the 2018–2019 season, Tetzlaff its first concerts in 1911 and has grown in he is currently Conductor Laureate. He is returns to Tanglewood to work with acclaim under a succession of distinguished Artistic Director of the New World the Boston Symphony Orchestra under music directors: Henry Hadley, Alfred Hertz, Symphony, America’s Orchestral Academy, Thomas Adès; makes appearances with Basil Cameron, Issay Dobrowen, Pierre which he co-founded in 1987. Michael the Cleveland and National Arts Centre Monteux, Enrique Jordá, Josef Krips, Seiji Tilson Thomas’s recordings have won orchestras and the Detroit, New World Ozawa, Edo de Waart, Herbert Blomstedt, numerous international awards, including and Toronto symphonies; and tours North and Michael Tilson Thomas, who assumed twelve Grammys for SFS recordings. In America with Tanja Tetzlaff and Lars Vogt. his post in 1995. Esa-Pekka Salonen was 2014 he inaugurated SoundBox, the San Internationally, he tours Vietnam with the recently named the Symphony’s next Francisco Symphony’s new alternative NHK Symphony and appears with the Music Director, beginning in September performance space and live music series. London Symphony, Deutsches Symphonie- 2020. The SFS has won such recording His television credits include the New York Orchester Berlin, Munich Philharmonic awards as France’s Grand Prix du Disque, Philharmonic Young People’s Concerts and and Helsinki Philharmonic; and is Artist-in- Britain’s Gramophone Award, and the in 2004 he and the SFS launched Keeping Residence at London’s Wigmore Hall. United States’ Grammy. The SFS education Score on PBS-TV. His compositions program Adventures in Music brings music include From the Diary of Anne Frank; Tetzlaff has received numerous awards to every child in grades 1 through 5 in San Shówa/Shoáh; settings of Emily Dickinson, for his many recordings, including the Francisco’s public schools. In 2004 the SFS Walt Whitman, and Rainer Maria Rilke; Diapason d’Or, the Midem Classical launched the multimedia Keeping Score Island Music; Notturno; and, most recently, Award and the Preis der Deutschen on PBS-TV and the web. In 2014 the SFS Four Preludes on Playthings of the Wind. Schallplattenkritik. Most recently, his inaugurated SoundBox, a new experimental Michael Tilson Thomas is a Chevalier des recording of the Bartók violin concertos with performance venue and music series. SFS Arts et des Lettres of France, was Musical the Helsinki Philharmonic and Hannu Lintu radio broadcasts, the first in the nation America’s Musician and Conductor of the was chosen as the Gramophone Concerto to feature symphonic music when they Year, and was inducted into the Recording of the Year. His recording of the began in 1926, today carry the Orchestra’s Gramophone Hall of Fame in 2015. He has unaccompanied Bach sonatas and partitas, concerts across the country. been elected to the American Academy of which he recorded for the third time, was Arts and Sciences, and in 2010 was released in September 2017 for Ondine. awarded the National Medal of Arts by President Obama. Most recently, he joined Christian Tetzlaff currently performs on the California Hall of Fame and was a violin modeled after a Guarneri del elected to the Academy of Arts and Letters Gesu made by the German violin maker, as an American Honorary Member. Peter Greiner.

encoremediagroup.com/programs 33 SAN FRANCISCO SYMPHONY 2018–2019 U.S. TOUR ROSTER

Michael Tilson Thomas Music Director & Conductor Christian Reif Resident Conductor Esa-Pekka Salonen Music Director Designate Ragnar Bohlin Chorus Director Herbert Blomstedt Conductor Laureate Vance George Chorus Director Emeritus

FIRST VIOLINS VIOLAS FLUTES HARP Alexander Barantschik Jonathan Vinocour Principal Tim Day Principal Douglas Rioth Principal Concertmaster Yun Jie Liu Associate Principal Caroline H. Hume Chair TIMPANI Naoum Blinder Chair Katie Kadarauch Assistant Robin McKee Associate Principal Edward Stephan Principal Associate Principal Catherine & Russell Clark Chair Nadya Tichman Marcia & John Goldman Chair Concertmaster John Schoening* Linda Lukas San Francisco Symphony Joanne E. Harrington & Lorry I. Alfred S. & Dede Wilsey Chair PERCUSSION Foundation Chair Lokey Second Century Chair Catherine Payne Piccolo Jacob Nissly Principal Wyatt Underhill Assistant Gina Cooper Raymond Froehlich OBOES Concertmaster Nancy Ellis Tom Hemphill Eugene Izotov* Principal 75th Anniversary Chair James Lee Wyatt III David Gaudry Edo de Waart Chair Jeremy Constant Assistant David Kim James Button Associate Principal KEYBOARDS Concertmaster Christina King Pamela Smith Vacant Mariko Smiley Wayne Roden Dr. William D. Clinite Chair Jean & Bill Lane Chair Paula & John Gambs Second Nanci Severance Russ deLuna English Horn Marc Shapiro† Century Chair Adam Smyla Joseph & Pauline Scafidi Chair Melissa Kleinbart Matthew Young Robyn Smith† * On leave Katharine Hanrahan Chair Zhenwei Shi† † Acting member Yun Chu CLARINETS CELLOS of the SFS Carey Bell Principal Sharon Grebanier* Principal Michael Grebanier* William R. & Gretchen B. Kimball LIBRARIANS Naomi Kazama Hull Philip S. Boone Chair In Sun Jang* Chair Margo Kieser Principal Peter Wyrick Associate Principal Luis Baez Associate Principal & Nancy & Charles Geschke Chair Yukiko Kurakata Peter & Jacqueline Hoefer Chair Catherine A. Mueller Chair E-flat Clarinet John Campbell Assistant Amos Yang Assistant Principal Suzanne Leon David Neuman Matt Gray Assistant Margaret Tait Jerome Simas Bass Clarinet Leor Maltinski Lyman & Carol Casey Second Sakurako Fisher President Diane Nicholeris Century Chair BASSOONS Mark C. Hanson Chief Executive Sarn Oliver Principal Barbara Andres* Stephen Paulson Officer Florin Parvulescu The Stanley S. Langendorf Steven Dibner Associate Principal Victor Romasevich Rebecca Blum Director of Foundation Second Century Chair Rob Weir Orchestra, Education, and Catherine Van Hoesen* Contrabassoon Barbara Bogatin* Steven Braunstein Strategic Initiatives Robin Sharp† Phylis Blair Cello Chair Yeh Shen† HORNS David Chambers Chief Revenue Jill Rachuy Brindel Robert Ward Principal and Advancement Officer Sarah Knutson† Gary & Kathleen Heidenreich Nicole Cash* Associate Principal Andrew Dubowski Director of Second Century Chair SECOND VIOLINS Bruce Roberts Assistant Principal Operations Principal Dan Carlson Sébastien Gingras Jonathan Ring Matthew Spivey Director of Artistic Dinner & Swig Families Chair Penelope Clark Second Century Jessica Valeri Planning Associate Principal Chair Helen Kim Daniel Hawkins Oliver Theil Director of Audrey Avis Aasen-Hull Chair David Goldblatt Christopher Cooper† Communications Acting Assistant Christine & Pierre Lamond Jessie Fellows Robin Freeman Director of Public TRUMPETS Principal Second Century Chair Relations Mark Inouye Principal Paul Brancato Carolyn McIntosh Senior Video Producer William G. Irwin Charity Kim Huynh The Eucalyptus Foundation Anne Pinsker Executive Foundation Chair Shoko Kashiyama Second Century Chair Shu-Yi Pai† Assistant to the Music Director Aaron Schuman Associate Raushan Akhmedyarova Richard Andaya† Manager of Principal Joyce Cron Wessling David Chernyavsky Nora Pirquet† Tours and Media Production John Chisholm* Peter Pastreich Chair BASSES Tim Carless Production Manager Cathryn Down Guy Piddington Scott Pingel Principal Robert Doherty Stage Manager Darlene Gray* Ann L. & Charles B. Johnson Daniel G. Smith Associate Michael “Barney” Barnard Stage Stan & Lenora Davis Chair Chair Principal Technician Amy Hiraga Jeff Biancalana Stephen Tramontozzi Assistant Mike Olague Stage Technician Kum Mo Kim Principal TROMBONES Kelly Leon-Pearce Richard & Rhoda Goldman Chair Timothy Higgins Principal Eliot Lev* S. Mark Wright Robert L. Samter Chair The San Francisco Symphony Isaac Stern Chair Lawrence Metcalf Second Nick Platoff Associate Principal string section utilizes revolving Chunming Mo Century Chair Paul Welcomer seating on a systematic basis. Polina Sedukh Charles Chandler John Engelkes Bass Trombone Players listed in alphabetical Chen Zhao Lee Ann Crocker order change seats periodically Sarah Wood† TUBA Chris Gilbert Mary Kim† Jeffrey Anderson Principal Brian Marcus James Irvine Chair Joseph Edelberg† William Ritchen

34 SEATTLESYMPHONY.ORG 3/21–23 THURSDAY, MARCH 21, 2019, AT 7:30PM SATURDAY, MARCH 23, 2019, AT 8PM OVERVIEW

SHOSTAKOVICH Bach and Beyond SYMPHONY NO. 15 Last week, Seattle Symphony performed Johann Sebastian Bach’s magisterial Mass in B minor. Had he composed nothing else, HONORING THE LEGACY OF BUSTER & NANCY ALVORD Bach would occupy a special place in the annals of Western music on the strength of Ludovic Morlot, conductor that work alone. Of course, he left us much Wayne Marshall, organ more, a musical legacy that numbers more Seattle Symphony than a thousand compositions. Those works have been an inspiration to generations of JOHANN SEBASTIAN BACH Toccata and Fugue in D minor, BWV 565 10’ musicians since Bach’s day. Our program /orch. Leopold Stokowski begins with two examples of this. Leopold Stokowski’s orchestration of the Toccata JOHN HARBISON What Do We Make of Bach? for Orchestra 20’ and Fugue in D minor, BWV 565, is probably and Obbligato Organ the most famous of the many rescorings of Bach’s organ works made over the last Chorale—Variations— century and more. John Harbison’s What Fantasia, soggetti prestiti— Do We Make of Bach? uses some of Bach’s Finale: Fugue compositional procedures “re-imagined WAYNE MARSHALL, ORGAN in our still new century,” as the American INTERMISSION composer puts it. DMITRI SHOSTAKOVICH Symphony No. 15 in A major, Op. 141 45’ Dmitri Shostakovich is another of the many Allegretto composers influenced by Bach. Indeed, his Adagio— Preludes and Fugues, Op. 87, a monument Allegretto of 20th-century music for solo piano, Adagio—Allegretto was frankly inspired by Bach’s The Well- Tempered Clavier. Shostakovich’s final Pre-concert Talk one hour prior to each performance. symphony bears no explicit connection to Speaker: Dr. Larry Starr, retired Professor and Chair of American Music Studies at the Bach or his music, but its shapely melodic School of Music, University of Washington phrases and high degree of compositional craftsmanship are virtues that Bach, above all Front Row Center with Marcie Sillman following the Saturday concert. composers, exemplifies. I first got to know composer John This concert is presented as part of the Seattle Symphony’s New Music WORKS initiative, which Harbison during my time as assistant is supported in part by a grant from the National Endowment for the Arts. New Music WORKS features commissions, concerts and educational activities that use composition as a catalyst for conductor of the Boston Symphony collaboration and engagement in music. Orchestra, when I performed some of his music with the Boston Symphony Chamber Players and at Tanglewood. It has been very Please note that the timings provided for this concert are approximate. important to me to commission a new piece Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording from him during my tenure at Seattle equipment, and any other use of such copying devices during a performance is prohibited. Symphony. I’m thrilled that Harbison’s Organ Symphony, What Do We Make of Bach? is ready for us to perform with organist Wayne Marshall, whom we welcomed last season as the pianist for Wonderful Town.

For me, the works of Bach and Shostakovich always pair well together. Both composers “signed” their music using musical cryptograms — the BACH and DSCH motifs respectively — and both explore the idea of mirroring. It’s interesting to perform Stokowski’s orchestration of Bach’s Toccata and Fugue for organ — without organ. And Shostakovich’s Symphony No. 15 is a return to the sarcastic tone of the composer’s earlier symphonies, but with more of an expansive melodic quality.

– Ludovic Morlot See Ludovic Morlot’s biography on page 6.

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JOHANN SEBASTIAN BACH Stokowski said that he imagined his arrangement to be what Bach would have Toccata and Fugue in D minor, written if he had the modern orchestra at BWV 565 his disposal. As such, it does not aspire to BORN: March 21, 1685, in Eisenach, in the the kind of “historically informed” sound that has become the goal of many recent central German province of Thuringia renditions of Bach’s music. Rather, it gives DIED: July 28, 1750, in Leipzig us Bach unabashedly refracted through WORK COMPOSED: ca. 1708; orchestrated by the prism of a later sensibility. It is, in Leopold Stokowski in 1926 a sense, the product of an alchemical WORLD PREMIERE: February 1926, in transformation in which two dissimilar Philadelphia. Leopold Stokowski conducted the geniuses join to create something Philadelphia Orchestra. new, unexpected and in its own way quite wonderful.

Scored for 4 flutes (the 3rd and 4th flutes What to Listen For doubling piccolo); 2 oboes and English horn; The Toccata’s dramatic opening 2 clarinets and bass clarinet; 2 bassoons gesture cascades from the high and contrabassoon; 4 horns; 3 trumpets; to the low end of the orchestra’s range. 3 trombones; tuba; timpani; harp; celeste; strings. Chains of brief, rapid motifs create an impression of virtuosity and improvisation. Following the Fugue, whose driving, almost machine-like theme serves as the premise for a great contrapuntal tour de JOHN HARBISON force, strains of the Toccata return in the work’s final moments. What Do We Make of Bach? for Orchestra and Obbligato Organ

BORN: December 20, 1938, in Orange, New Jersey The Toccata and Fugue in D minor, BWV NOW RESIDES: Madison, Wisconsin and 565 has long been the most famous of Boston, Massachusetts Bach’s compositions for the organ and WORK COMPOSED: 2018 one of the most familiar of all his works. WORLD PREMIERE: October 12, 2018, at Its music reveals the more fantastic side the University of Minnesota’s Northrop Hall, of the composer’s imagination. Here Bach constructs a sonic edifice not unlike some in Minneapolis. Osmo Vänskä conducted great gothic cathedral: grandly conceived the Minnesota Orchestra, and Paul Jacobs but ornamented with surprising details; performed the featured organ part. generally dark yet admitting sudden flashes of light; by turns inspiring and a bit frightening. What to Listen For As the first piece on our program Although it is a pillar of the organ literature, demonstrates, Bach’s organ music the Toccata and Fugue once was best translates well to the modern orchestra. known in its arrangement for orchestra by John Harbison’s new composition extends Leopold Stokowski (1882–1977). Famous that affinity by combining orchestra as the conductor of the Philadelphia and organ, the latter in a featured role. Orchestra and by any measure one of Bach was a great organist and wrote the great maestros of the last century, hundreds of works for the instrument. And Stokowski used his intimate knowledge so, Harbison speculates, “perhaps the of both the orchestra and the organ — organist’s role sometimes represents a which he played professionally before dialogue between Bach and the composer taking up the baton — to fashion brilliantly of this piece?” effective transcriptions of a number of Bach’s keyboard works. Written in 1926, his orchestration of the D minor Toccata and Fugue is the most celebrated of these, if only because it subsequently was used John Harbison, whose 80th birthday is for the opening sequence in Walt Disney’s being widely observed in the music world film Fantasia. this concert season, is distinguished in two fields of musical activity. First and foremost, he is a much-honored American composer,

36 SEATTLESYMPHONY.ORG PROGRAM NOTES

one whose music has been widely which entails the intricate kind of echoic performed and has earned a Pulitzer Prize, counterpoint of which Bach was, and a MacArthur Foundation award and other remains, the unrivaled master. acknowledgments. But throughout his long I GIVE BECAUSE ... Scored for solo organ; 2 flutes (the 2nd flute career Harbison also has been active as doubling piccolo); 2 oboes (the 2nd oboe a conductor. doubling English horn); 2 clarinets (the 2nd clarinet doubling bass clarinet); 2 bassoons Although he has directed major American (the 2nd bassoon doubling contrabassoon); and foreign orchestras, Harbison has 4 horns; 2 trumpets; trombone and bass focused his conducting primarily on choral trombone; tuba; timpani; harp; strings. music, especially that of J.S. Bach. For nearly five decades he has been Principal Guest Conductor of Boston’s Emanuel Music, whose signature endeavor has been performances of Bach’s sacred DMITRI SHOSTAKOVICH cantatas in ecclesiastic settings. He also Symphony No. 15 in A major, Op. 141 One of the joys has served as music director and frequent guest conductor of the Cantata Singers, BORN: September 25, 1906, in Saint Petersburg of my life is another Boston-area chorus that has made DIED: August 9, 1975, in Moscow Bach the core of its repertory. WORK COMPOSED: 1971 WORLD PREMIERE: January 8, 1972, in when I am an Through these activities, as well as his own Moscow. Maxim Shostakovich, the composer’s study and his teaching at several schools (principally MIT, where he is a longtime son, conducted the All Union Radio and enthusiastic faculty member), Harbison has been Television Symphony Orchestra. immersed in Bach’s music for much of his life. That experience now has produced member of the a work with both literary and musical What to Listen For components. What Do We Make of Bach? Shostakovich’s final symphony is the title of a book of Harbison’s writings has been described as a work of audience at about Bach and his music and the name “introspective loneliness in the face of of a new composition. “I started them approaching death” and, by contrast, simultaneously,” Harbison explains, “and as expressing optimism following a Benaroya Hall, they remain closely linked in my mind, period of poor health. The music seems each half of the project explaining the to support each view in turn. This is a celebrating other ... Each plays a role in summarizing complex, ambiguous work of art created a lifetime preoccupation.” Despite the by a complex, ambiguous artist. In it, connection between music and book, irony, elegy, drama and much else find the magic Harbison notes, “I have taken some care expression. to make both halves freestanding.” of music. The musical portion of What Do We Make of Bach? was jointly commissioned by Seattle Symphony and the Minnesota Shostakovich’s symphonic output is Orchestra. “A suggestion early in the substantial: 15 works, most of them large in process from Ludovic Morlot encouraged scale. The composer’s Symphony No. 15 in – Jacqueline me in a direction I had begun to consider,” A major, Op. 141, forms a fitting coda to this Harbison notes, “the inclusion of an important body of music. Its tone seems, ‘obbligato’ organ part.” The piece, which apart from its opening movement, mostly unfolds in three connected movements, restrained and contemplative. A number of revisits in present-day terms some of observers, including some who knew the Bach’s compositional formats. First comes composer, have found in this symphony a set of variations on a stern theme a mood of valediction, even a meditation given out by the orchestra and organ on mortality. in alternating statements. The second That characterization comes, however, movement consists of several sections: with hindsight knowledge of this being a Fantasia built on melodies derived WHY DO YOU GIVE? Shostakovich’s last symphony, and that its from Bach but rearranged to be made author had not long to live after he wrote all but unidentifiable; a Cadenza, an it. Moreover, the details of Shostakovich’s extended solo, for the organ; a Canzone, biography don’t neatly support the or instrumental aria; and two vocal forms SEATTLESYMPHONY.ORG/GIVE notion of a swan-song. It is true that the associated with church music, an Antiphon composer had for some time been in poor and Chorale. The finale brings a Fugue, 206.215.4832 health when he conceived the piece. But

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in 1970 a regimen of physical therapy and medication greatly improved his condition and his outlook. It was, therefore, with renewed hope that he wrote the Fifteenth Symphony in the spring and summer of 1971. A friend, visiting Shostakovich as he was finishing the work, found him in high spirits.

The first of the symphony’s four movements opens with bright, ethereal sounds of bell (glockenspiel) and flute. The latter instrument holds the spotlight before handing off its melody to a bassoon. That melody gradually develops into an ironic march, a type of music Shostakovich wrote often over the course of his career.

Suddenly, the brass interject the gallop from Rossini’s William Tell Overture (familiar to Americans of a certain age as the “Lone Ranger” theme), a quotation that will recur four more times before the bizet movement is done. The music continues to develop in unforeseen ways. It grows vehement; it dissolves into cross-rhythms (superimposed patterns of five, six and eight notes per measure); it reaches a ringing climax, replete with majestic chords CARMEN in the brass; it diminishes to solo passages for violin, xylophone and other instruments. In short, from its modest opening, this movement traverses remarkably MAY 4–19 wide terrain. The slow second movement is entirely different. Here, nearly everything is set in contrasting monochromatic sonorities, as Shostakovich writes for choirs of brass Photo © Philip Newton or woodwinds or strings, or else uses single instruments. Sustained tones from the bassoons provide a bridge to the third movement, a scherzo whose use IMPRESSIVE. ICONIC. IRRESISTIBLE. of solo violin recalls the same detail of Bizet’s thrilling story of deadly obsession New Production instrumentation in the scherzo of Mahler’s seduces with an amazing array of instantly In French with English Fourth Symphony. recognizable melodies and masterful arias subtitles. Evenings 7:30 PM The finale brings another extraneous beloved around the globe. An ordinary soldier quotation, this time from Wagner. It is a Sundays 2:00 PM becomes mesmerized by a beguiling factory girl three-note motif associated with fate in with a plan. Will either of them manage to Featuring the Seattle that composer’s four-opera Ring cycle, foresee the tragic ending of their high-stakes Opera Chorus and and it sounds at the very outset of the game? Don’t miss this grand new production members of Seattle movement. Twice more, between spare percussive textures, the motif sounds. featuring lavish scenery, traditional costumes, Symphony Orchestra. And then, the music slips into a blithe and Bizet’s perpetually appealing score. MCCAW HALL melody for the violins, the transition being all the more surprising for how smoothly it SEATTLEOPERA.ORG/CARMEN 206.389.7676 is accomplished.

Yet the Wagnerian “fate” motif has not 2018/19 SEASON SPONSOR: LENORE M. HANAUER been banished — it will return repeatedly — and the clear complexion of the new PRODUCTION SPONSORS: BARBARA STEPHANUS, SEATTLE OFFICE OF ARTS & CULTURE, JAY S. WAKEFIELD AND SUSANNE M. WAKEFIELD, Ph. D. melody darkens as it undertakes more subtle kinds of expression. The music

38 SEATTLESYMPHONY.ORG PROGRAM NOTES

becomes wistful, ghostly and threatening by turns, and it eventually attains a disturbing climax. Shostakovich gives the final word to the percussion, which seem to convey the last movement of some mechanical doll before it winds down to stillness.

Scored for 2 flutes and piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani and percussion; celeste; strings.

© 2019 Paul Schiavo

WAYNE MARSHALL Organ

British conductor, organist and pianist Wayne Marshall is Chief Conductor of WDR Funkhausorchester Cologne, and Organist and Associate Artist of the Bridgewater Hall. He became Principal Guest Conductor of Orchestra Sinfonica di Milano Giuseppe Verdi in 2007. Marshall is a celebrated and award-winning interpreter of Gershwin, Bernstein and other 20th-century American composers. He has recorded extensively for numerous major labels and received an ECHO Award for his Gershwin Songbook recording. His latest organ recording released on Fugue State Records, Gershwin and Bernstein Improvised, has received numerous excellent reviews. In 2004 he received an Honorary Doctorate from Bournemouth University and in 2010 he became a Fellow of the Royal College of Music. In October 2016 Marshall was awarded the Independence Golden Jubilee Award towards his contribution for outstanding service to the UK.

encoremediagroup.com/programs 39 3/22 FRIDAY, MARCH 22, 2019, AT 10PM PROGRAM NOTES [UNTITLED] 2 [UNTITLED] SERIES The Italian composer Luciano Berio (1925–2003) was a leading figure in Ludovic Morlot, conductor contemporary music in the second half of the 20th century, renowned for his Maria Männistö, soprano pioneering electronic music and for Jacob Greenberg, piano his virtuosic studies for solo acoustic Conor Hanick, piano instruments. Another area of focus, vocal music, owed much to his marriage to the Roman Rabinovich, piano American mezzo-soprano Cathy Berberian. Sophie Baird-Daniel, harp In 1960, she joined the harpist and two Bridget Kibbey, harp percussionists from the Boston Symphony Orchestra to offer the premiere ofCircles Valerie Muzzolini, harp at the Berkshire Music Festival (now known James Benoit, percussion as Tanglewood). Berio wrote the following Matthew Decker, percussion program note for that initial performance: Michael A. Werner, percussion Music is never pure: it is attitude: it is theatre. It is indivisible from its gestures. LUCIANO BERIO Circles 18’ /text e.e. cummings “stinging gold swarms”— The task is to entrust the sense of the musical action to the specific abilities “riverly is a flower” of the protagonists, to give them the “n(o)w the how dis(appeared cleverly) world” possibility of defining for themselves the “riverly is a flower” conditions through which eventuality is “stinging gold swarms” transformed into reality, before the eyes of MARIA MÄNNISTÖ, SOPRANO the listener, in the hearing of the viewer. VALERIE MUZZOLINI, HARP MICHAEL A. WERNER, PERCUSSION In Circles the possibilities are enlarged MATTHEW DECKER, PERCUSSION by the presence of the words, Nos. 25, 76 and 221 from Collected Poems by e. e. cummings: “stinging gold swarms...”, PIERRE BOULEZ sur Incises 40’ “riverly is a flower...”, “n(o)w the how Moment I dis(appeared cleverly)world…”. Poems 25 Moment II and 76 appear twice, in different moments LUDOVIC MORLOT, CONDUCTOR of the musical development. JACOB GREENBERG, PIANO ROMAN RABINOVICH, PIANO Circles is not a series of vocal fragments CONOR HANICK, PIANO with instrumental accompaniment, but rather an elaboration of the three VALERIE MUZZOLINI, HARP poems in a unified form where vocal SOPHIE BAIRD-DANIEL, HARP and instrumental action strictly condition BRIDGET KIBBEY, HARP each other. The theatrical aspects of the JAMES BENOIT, PERCUSSION performance are inherent in the structure MATTHEW DECKER, PERCUSSION of the work itself which is, above all, a MICHAEL A. WERNER, PERCUSSION structure of actions: to be listened to as theatre and to be viewed as music. [untitled] series is generously underwritten by the Judith A. Fong Music Directors Fund. Pierre Boulez (1925–2016) was a lightning [untitled] 2 is presented as part of the Seattle Symphony’s New Music WORKS initiative, which rod in the world of contemporary music for is supported in part by a grant from the National Endowment for the Arts. New Music WORKS 60 years. As a child, he displayed equal features commissions, concerts and educational activities that use composition as a catalyst for gifts in music and mathematics, and after collaboration and engagement in music. enrolling at the Paris Conservatoire in 1942 he was drawn to a musical path that suited his ease with numerical processes. Please note that the timings provided for this concert are approximate. With the encouragement of Messiaen, Please turn off all electronic devices and refrain from taking photos or video. Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording his harmony teacher, Boulez adopted the equipment, and any other use of such copying devices during a performance is prohibited. serial method of composition developed several decades earlier in Vienna by Arnold Schoenberg and his pupils, including Anton Webern, whom Boulez revered above all modern composers. His compositions, whether for acoustic instruments, electronics, or both in combination, consistently stretched the

40 SEATTLESYMPHONY.ORG PROGRAM NOTES GiveBIG is back! boundaries of technique and technology, shaping the work of the many composers in his orbit. He also made a lasting impact MAY 8, 2019 as a conductor of contemporary music and traditional repertoire, even serving for a time as music director of the New York Philharmonic.

One hallmark of Boulez’s work as a composer was his continual renewal of earlier music. Before sur Incises, he wrote Incises (“Interpolations”) in 1994 as a ten-minute virtuoso turn for solo piano, to be played by the brave entrants at an international piano competition. He began reworking that material the next year to honor the upcoming 90th birthday of the great arts patron Paul Sacher, expanding the instrumentation to three pianos, three harps and three percussionists, and eventually stretching the music to some 40 minutes by the time he finished POWERED Y it in 1998. The University of Louisville COMMONS honored sur Incises with the Grawemeyer Award in 2001, one of the top prizes in classical music.

In sur Incises, Boulez continued his fascination with certain rigorous I give. techniques for manipulating combinations of pitches. The essential material that shapes nearly every detail is a single collection of six distinct notes (a feature known as a hexachord) derived from the name SACHER. From Bach to You give. Shostakovich, composers have found endless inspiration in this game of representing names with corresponding notes; the SACHER hexachord proved particularly bountiful for Boulez, who built six different works off of that pattern. To We give, render Sacher’s name in music required a combination of German musical spelling (in which they call E-flat “Es” and B-natural “H”) plus one borrowing from solfège, i.e. the “Do-Re-Mi” system for naming together. notes (such that the R stands for Re, corresponding to D).

Boulez understood perfectly well that the intricacies of his technique would be N R too much for a listener to parse in real time, but he trusted audiences to rely on their ears to make the connections. GiveBIG2019.org “You have an object, and then you can deduce further objects,” he explained in an interview, “hearing them in different ways, SPONSORS despite their complexity. You hear the relationships through a big chord and you hear that, definitely. … Although you cannot listen to the detail of it, you are completely guided by harmony.”

encoremediagroup.com/programs 41 PROGRAM NOTES TEXT & TRANSLATION

For all the sophistication of how he LUCIANO BERIO: Circles combined individual notes — a matter Text by e.e. cummings that goes over the heads of all but the most devoted scholars — the self- “Stinging” -visiblya mongban(gedfrag- evident appeal of Boulez’s music is ment ssky?wha tm)eani ngl(essNessUn how he assembled sounds. Within the stinging rolli)ngl yS troll s(who leO v erd)oma insCol transformation from Incises to sur Incises, gold swarms the sound of one piano gets refracted upon the spires into a giant meta-piano: three pianists silver Lide.!high distributed across the stage comingle in chants the litanies n , o ;w: feats of collective virtuosity, while three the great bells are ringing with rose theraIncomIng harps and tuned percussion amplify the lewd fat bells the wooden and metallic aspects of the and a tall o all the roofs roar piano’s tone. wind drownInsound( is dragging & Boulez’s choice to use instruments in the (we(are like)dead groups of threes came about from a rather sea )Whoshout(Ghost)atOne(voiceless)O practical calculation, since twos would with dream ther or im) have repeated Bartók’s beloved sonata S pos for two pianos and two percussionists, sib(ly as whereas fours would have butted up leep) against Stravinsky’s scoring in the ballet “riverly is a flower” But l!ook- Les noces. Such thinking highlights how riverly is a flower Boulez was at once a lofty visionary gone softly by tomb s with an eye on his legacy and a working rosily gods whiten musician who understood the context of befall saith rain U his compositions in the real world. It was n:starT birDs(IEAp)Openi ng a rare combination in the mid-to-late 20th anguish t hing ; s( century, and it allowed him to transcend of dream-send is -sing the ivory tower that confined so many of hushed )all are aLI(cry alL See)o(ver All)Th(e grEEn his peers. in ?eartH)N,ew © 2019 Aaron Grad moan-loll where night gathers “riverly is a flower” morte carved smiles riverly is a flower gone softly by tomb cloud-gloss is at moon-cease rosily gods whiten soon befall saith rain verbal must-flowers close ghosts on prowl gorge anguish night morte sly slim gods stare soon close gods

“n(o)w the how dis(appeared stare cleverly) world” n(o)w “Stinging” stinging the gold swarms how upon the spires dis(appeared cleverly)world silver chants the litanies iS Slapped:with;liGhtninG the great bells are ringing with rose ! the lewd fat bells and a tall at wind which(shal)lpounceupcrackw(ill)jumps is dragging of the THuNdeRB sea loSSo!M iN with dream S

42 SEATTLESYMPHONY.ORG MARIA MÄNNISTÖ ROMAN RABINOVICH VALERIE MUZZOLINI Soprano Piano Harp

Maria Männistö delights Praised by The New From Nice, France, in exploring the vast York Times for his Valerie Muzzolini range of human “uncommon sensitivity began to study harp at expression through and feeling,” pianist age 7. At 23, she music, be it classical Roman Rabinovich is became the principal repertoire, demanding the winner of the 12th harpist of the Seattle contemporary works, Arthur Rubinstein Symphony and has International Piano

Scandinavian folk music Borocz Balazs Photo: performed as a guest Photo: Pinehurst Photography Pinehurst Photo: or her own Master Competition. He with many orchestras compositions. This season she is thrilled to has performed throughout Europe and the around the U.S. and Europe. She is a very return to the Seattle Symphony main stage U.S. in venues such as Gewandhaus active chamber musician and proponent of and [untitled], and to perform during the Leipzig, Wigmore Hall, the Great Hall of contemporary music. contemporary music marathon at Octave 9. Moscow Conservatory, Cité de la Musique and the Kennedy Center. JAMES BENOIT Percussion JACOB GREENBERG SOPHIE BAIRD-DANIEL Piano Harp James Benoit is the Principal Timpanist of Pianist Jacob Harpist Sophie the Seattle Symphony. Greenberg is a Baird-Daniel can be Previously, Benoit was longtime member of heard performing the Associate Principal the International regularly around the Percussionist and Contemporary Pacific Northwest with Assistant Principal Ensemble. In addition the Seattle Symphony, Timpanist with the Fort to his solo discs on Seattle Opera and San Worth Symphony Francisco Ballet. Other

New Focus Recordings, Photography Robert Kris Lou + Erik Photo: Orchestra and spent three seasons as a Photo: Jessica Slaven Jessica Photo: he has recorded for the orchestral engagements section percussionist with the Sarasota Nonesuch, Bridge, Mode, Kairos, Centaur, have included the Houston Symphony, Opera. Benoit has a master’s degree from Tzadik and New Amsterdam labels. Orquestra Filarmonica de Jalisco and the The Juilliard School and a bachelor’s Greenberg is on the faculty of Hunter Tanglewood Music Center Orchestra. She is degree from the Berklee College of Music. College, City University of New York, The the founder and artistic director of Juilliard School and the Tanglewood Archipelago Collective Chamber Music MATTHEW DECKER Music Center. Festival on San Juan Island. Percussion

Matthew Decker is the Assistant Principal CONOR HANICK BRIDGET KIBBEY Timpanist and a section Piano Harp percussionist with the Conor Hanick is Called the “Yo-Yo Ma of Seattle Symphony. Prior regarded as one of his the harp,” (Vogue), to joining the Seattle generation’s most Bridget Kibbey Symphony, Decker inquisitive interpreters showcases the spent two seasons as of music old and new. instrument’s vast the Assistant Principal With a unique capabilities alongside Percussionist of the North Carolina adeptness for today’s top artists. Symphony and was a fellow of the New contemporary music 2019–2020 season World Symphony. Photo: Lauren Desberg Lauren Photo: Smith Ronald Photo: reinforced by a highlights include tours commitment to music of all ages, Hanick’s of her own J.S. Bach keyboard concerti MICHAEL A. WERNER interpretations demonstrate a “technical transcriptions with the Dover Quartet, and Percussion refinement, color, crispness and wondrous mandolinist Avi Avital, and world-premiere variety of articulation that benefit works by performances of a new harp concerto Principal Percussionist any master” (The New York Times). written by Brazilian composer João for the Seattle Luiz Rezende. Symphony since 2009, Michael Werner played for the Metropolitan Opera for 13 years, was Principal of the Toronto Symphony Orchestra for two years, and Acting Principal for the 2014–2015 season at the LA Philharmonic. Werner has been a faculty member at the Music Academy of the West since 2005.

encoremediagroup.com/programs 43 3/29—31

FRIDAY, MARCH 29, 2019, AT 8PM NICK HILSCHER Music Director & Vocalist SATURDAY, MARCH 30, 2019, AT 8PM SUNDAY, MARCH 31, 2019, AT 2PM Nick Hilscher is a first-rate singer of the American Songbook. A native of Atlanta, GLENN MILLER Georgia, he began his professional career in ORCHESTRA his teens, playing piano SEATTLE POPS SERIES and singing in the Atlanta area. He has a Program will be announced from the stage and is approximately two hours and 10 Bachelor of Music in piano performance minutes including one 20-minute intermission. from Samford University and is the Music Director and featured vocalist with the Glenn Miller Orchestra Glenn Miller Orchestra. featuring The Moonlight Serenaders * HANNAH TRUCKENBROD Music Director: Nick Hilscher Atlanta, GA * Vocals Vocalist: Hannah Truckenbrod Aurora, IL * Hannah Truckenbrod is a jazz vocalist that hails SAXOPHONES: from Aurora, Illinois. Lead Alto Kevin Sheehan Chicago, IL * She has a bachelor’s Alto 2 Michael Paglione Putnam, CT degree in Jazz Studies Tenor 1 Erik Stabnau Rochester, NY * from Western Michigan Tenor 2 Jon Olejnik Tallahassee, FL University and has Bari/Alto Patrick Sheehan Chicago, IL performed with artists

such as Kurt Elling, Ben TRUMPETS: Folds, Randy Brecke and the New Lead Ashley Hall Crescent City, FL York Voices. Split lead/2nd Matthew Gates Phenix City, AL Jazz/3rd Alex Piela Madison, WI * 4th Christopher Stein Chicago, IL GLENN MILLER ORCHESTRA TROMBONES: Lead George Reinert III Anchorage, AK 2nd Hayden Mapel Phoenix, AZ 3rd Greg Fallis Memphis, TN Bass/4th Jason Bennett Warren, ME

DRUMS: Dean Schweiger Philadelphia, PA PIANO: Byron McChord Lexington, KY BASS: Aaron Krings Tinley Park, IL

Friday performance sponsored by Morgan Stanley. Over 60 years since the public first embraced the successful Miller Sound, Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. both the legend and the music live Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording on. The Glenn Miller Orchestra is the equipment, and any other use of such copying devices during a performance is prohibited. most sought-after big band in the world today for both concert and dance engagements. Still considered the greatest band of all time, its unique sound is loved by almost anybody that cares for dance music. The Miller Estate formed the present Glenn Miller Orchestra in 1956 following strong popular demand aroused as a result of the successful motion picture, an immense box office smash, The Glenn Miller Story, starring James Stewart and June Allyson. The band has been touring consistently since, playing an average of 300 live dates a year around the globe to millions of fans.

44 SEATTLESYMPHONY.ORG FOUNDERS CIRCLE A BOLD EXPRESSION OF SUPPORT Join a community of supporters who share your commitment to the orchestra and you’ll enjoy premium behind-the-scenes experiences and exclusive access to the Norcliffe Founders Room for wine, coffee and tea during concert intermission.

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PRINCIPAL BENEFACTORS James and Sherry Raisbeck Martin Selig and Catherine Mayer ^ The Seattle Symphony acknowledges with gratitude Grant and Dorrit Saviers Joan S. Watjen, in memory of Craig M. Watjen ¹⁵ the following donors who have made lifetime Scan|Design Foundation by Inger and Jens Bruun Anonymous commitments of more than $1 million as of Charles and Maria Schweizer January 25, 2019. Martin Selig and Catherine Mayer Silver ($50,000 - $99,999) Yuka Shimizu Dr.* and Mrs.* Ellsworth C. Alvord, Jr. ⁵ Mel and Leena Sturman 4Culture Elias and Karyl Alvord ⁵ Atsuhiko and Ina Goodwin Tateuchi Foundation Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Dave and Amy Fulton ^ ⁵ Andrew W. Mellon Foundation Muriel Van Housen and Tom McQuaid Jeffrey S. Hussey Stephen Whyte ArtsFund Paul Leach and Susan Winokur ° ¹⁵ Anonymous ArtsWA Norm and Elisabeth Sandler/The Sandler Foundation ° ⁵ Beethoven, A Non Profit Corporation/ Douglas* and Theiline Scheumann Classical KING FM 98.1 Charles and Lisa Simonyi Alan Benaroya PRINCIPAL MUSICIANS CIRCLE H.S. Wright III and Katherine Janeway ¹⁵ Sherry and Larry Benaroya The following donors have generously underwritten the Anonymous (4) The Benaroya Family appearances of principal musicians this season. Bill & Melinda Gates Foundation Bronze ($25,000 - $49,999) The Boeing Company Sue and Robert Collett Warren A. and Anne G. Anderson ¹⁰ C.E. Stuart Charitable Fund John Delo and Elizabeth Stokes Bob and Clodagh Ash ^ ¹⁵ Charles Simonyi Fund for Arts and Sciences David J. and Shelley Hovind Peter Russo and Kit Bakke ° ⁵ Leslie and Dale Chihuly Mika Nakamura and Gary Wood Sherry and Larry Benaroya ^ ⁵ The Clowes Fund, Inc. 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Richard and Francine Loeb ⁵ FOUNDERS CIRCLE Kjristine R. Lund ⁵ Richard Meyer and Susan Harmon ⁵ Gold ($7,500 - $9,999) Yoshi and Naomi Minegishi ^ ¹⁵ Molly and Marco Abbruzzese ¹⁵ Mika Nakamura and Gary Wood ⁵ Richard Andler and Carole Rush ¹⁰ I GIVE BECAUSE ... Dick and Joyce Paul ° ¹⁰ Bernstein Family Foundation ⁵ Sally G. Phinny ^ Rosanna Bowles ° ⁵ Dana Reid and Larry Hitchon ° ⁵ Steve and Sylvia Burges ¹⁵ Kathy Savitt and Adam Diamond ° Patricia Davis Vivian and Jim Schwab ° John Delo and Elizabeth Stokes ⁵ Seattle Symphony Volunteers David and Dorothy Fluke ^ ¹⁵ Yuka Shimizu Gerald B. Folland ⁵ Mr. and Mrs. Michael Werner Donald G. Graham, Jr. ¹⁵ Anonymous Joaquin and Jennifer Hernandez Dustin and Michelle Ingalls ¹⁵ Silver ($10,000 - $14,999) JNC Fund ⁵ Richard and Constance Albrecht ^ ¹⁵ Karen Koon ¹⁰ Alison S. Andrews Eva and Jon LaFollette ¹⁰ Minoru and Yoko Arakawa Stacey and Dan Levitan This Jim and Marie Borgman ¹⁵ Bob and Annette Parks ⁵ Renée Brisbois and Jay Burrell ° ⁵ Sue and Tom Raschella ^ ¹⁵ Jeffrey* and Susan Brotman ¹⁵ Michael Slonski and Jennifer Wilson ° ¹⁰ world-class Dr. Mark and Laure Carlson ¹⁰ Michel and Christine Suignard ⁵ Isiaah Crawford and Kent Korneisel ° Hans and Joan* van der Velden ¹⁵ The Martine and Dan Drackett Family Foundation ⁵ Brittni and Larry Estrada ° ⁵ Silver ($5,000 - $7,499) orchestra is Kathy Fahlman Dewalt and Stephen R. Dewalt ⁵ Jim and Catherine Allchin ¹⁵ Henry M. Finesilver ⁵ Terry Allen William E. Franklin ⁵ Eddy and Osvaldo Ancinas at the heart of Andrew and Molly Gabel ° Inessa and Eric Anderson William Gates Sr. and Mimi Gardner Gates ⁵ Geoffrey Antos ¹⁰ Natalie Gendler* ¹⁵ Susan Y. and Charles G. Armstrong ^ ⁵ what makes Mauricio Gonzalez de la Fuente ° Dr. C. Bansbach Lynn and Brian Grant Family ° ¹⁰ Thomas Barghausen and Sandra Bailey Neil M. Gray and Meagan M. Foley ¹⁵ Kris Barker ⁵ Elizabeth and Laurent Guez Suzanne M. Barker Seattle great Margaret Haggerty Carol Batchelder ¹⁵ Leslie and Nick Hanauer Donna Benaroya ⁵ Glen and Ann Hiner ⁵ Maureen and Joel Benoliel — bringing so Bob Hoelzen and Marlene Botter ⁵ Kathy Binder Hot Chocolate Fund ⁵ Robert Bismuth ⁵ Douglas Howe and Robin DuBrin Rebecca Galt Black ¹⁵ Aimee and Wil Johnson ° Barbara BonJour ¹⁵ much warmth Juniper Foundation ¹⁵ Phillip and Karla Boshaw Viren Kamdar and Srilakshmi Remala ° Matt Brannock and Claire Taylor ⁵ Janet Wright Ketcham Foundation ⁵ Alec and Maddy Brindle ⁵ Sally Schaake Kincaid and joy, Susan Y. Buske ∞ ⁵ Nancy Neraas and Michael King ° ¹⁰ Rashmi and Gagan Chopra Dr. Ryo and Kanori Kubota David and Leigh Anne Clark Steve Kutz and Courtney Womack ° ¹⁰ David B. Cross ⁵ inspiration and Frances Kwapil Scott and Jennifer Cunningham ⁵ Rhoady* and Jeanne Marie Lee ¹⁵ Lloyd G. Danku Flora Ling and Paul Sturm Jane* and David R. Davis ^ Everil Loyd, Jr. and Joanne DelBene comfort to so Carl de Marcken and Marina Meila ⁵ Diena Lukawski and Russ Mann Calisle Dean Christopher H. Martin Mr. Steve S. Dietz Scott and Tracy McCammant ° Aileen Dong ⁵ many people. John and Gwen McCaw Liz and Miles Drake ¹⁰ The Mitrovich Family ° ⁵ Charles Engelke and Laurie White Cookie and Ken Neil Judith Z. Feigin and Colin Faulkner ⁵ Erika J. Nesholm ⁵ Gerard Fischer Gary and Susan Neumann ¹⁵ Jack Freelander ⁵ Kristen and Phillip O’Reilly William and Cheryl Geffon Jay Picard ° Phyllis Golden – Alexander Mr. and Mrs. W. H. Purdy ¹⁵ Michele and Bob Goodmark ⁵ Jon and Judy Runstad ^ ⁵ Patty Hall ^ ¹⁵ Neil and Margaret Storey Mark and Stacy Harrington Mary Anne Strong Margaret M. Hess ⁵ Barbara Tober Dick and Nora Hinton ⁵ Louise Tolle Endre Holen Betty Tong ⁵ Carole and Rick Horwitz Jacopo Vecchiato Norm and Carla Hubbard ∞ Dr. Robert Wallace ° ⁵ Don and Connie Irving WHY DO YOU GIVE? Selena and Steve Wilson ¹⁵ Jeanne Kanach ⁵ Virginia and Bagley* Wright ¹⁵ Michael A. Klein and Catherine A. Melfi ⁵ Anonymous (6) Joan Krajewski John and Joyce O’Connell Kathleen Leahy ¹⁰ SEATTLESYMPHONY.ORG/GIVE Mark Linsey and Janis Traven ⁵ Roy and Laura Lundgren Mark H. and Blanche M. Harrington Foundation ¹⁵ 206.215.4832

encoremediagroup.com/programs 47 SEATTLE SYMPHONY DONORS

JoAnn McGrath Thomas Horsley and Cheri Brennan ⁵ Dr. Melvin Belding and Frank and Judith Marshall Foundation Carolyn R. Miller ¹⁵ Joni, Scott, and Aedan Humphreys ∞ Dr. Kate Brostoff ∞ ⁵ Corrinne Martin Mr. and Mrs. Richard Moore Richard and Roberta Hyman ⁵ Hal and Anne Bomgardner ⁵ Kevin McGuire Reid and Marilyn Morgan ^ ¹⁵ Robert C. Jenkins William and Beatrice Booth Joy McNichols ¹⁵ Susan and Furman Moseley James and Sirkku Johnson Rosemary and Kent Brauninger ¹⁰ Christine B. Mead ⁵ Robert Moser Thomas and Kathleen Koepsell Bob and Bobbi Bridge ⁵ Ronald Miller and Murl Barker ¹⁰ Akino and Bill Neubauer Lisa Ann Mikulencak and Alexandra Brookshire and Bert Green ^ Gary Moresky ⁵ Jarick and Tim Noonan Bernhard Kohlmeier Claire and Aaron Burnett Christine B. Moss ¹⁵ Mark and Sally Onetto Drs. Kotoku and Sumiko Kurachi ⁵ Barbara A. Cahill ¹⁰ Marcia Murray Lourdes M. Orive Tatyana Kutsy April Cameron Thomas and Judith Noble Lisa Peters and James Hattori Elizabeth Lee Sherry and Bruce Carbary Bruce and Jeannie Nordstrom Mr. and Mrs. Charles M. Pigott ¹⁵ Eugene and Martha Lee ⁵ Vicente Cartas Espinel Isabella and Lev Novik ⁵ Dr. and Mrs. Richard D. Prince ¹⁵ Steve Lewis ¹⁵ Charlotte Chandler Kathryn and John O’Brien Douglass and Katherine Raff ¹⁵ Richard* and Beverly Luce ¹⁵ Jeffrey Christianson Jerald E. Olson ¹⁵ Dick and Alice Rapasky ¹⁰ Rebecca and Laird Malamed Gakyung Chung Mary Pat and John Osterhaus Tom and Teita Reveley Michael and Barbara Malone ⁵ Robert E. Clapp ∞ ⁵ Path Forward Leadership Development Carrie Delaney Rhodes ⁵ Judsen Marquardt and Constance Niva ⁵ Terese Clark Allan and Jane Paulson ¹⁵ Bernice Mossafer Rind* ^ ⁵ Ken* and Robin Martin ^ John Clawson ⁵ Susan and Brian Pessolano Jonathan and Elizabeth Roberts ¹⁵ Benjamin and Kelly Martz Ellen and Phil Collins ¹⁵ Marcus Phung ¹⁰ Mike and Marcia Rodgers David Mattson ⁵ Mr. and Mrs. Ross Comer ¹⁰ Louis Poulin Helen and Ivan Rouzanov ⁵ Bill and Colleen McAleer ¹⁵ Peter and Lori Constable Lucy and Herb Pruzan ⁵ Suzanne and Walter Scott Foundation Brooke and Dre McKinney-Ratliff Tiffany and Scott Dale Harry* and Ann Pryde Jan and Peter Shapiro Justine and John Milberg ⁵ Dr. Kevin Thomas Damour Julie Ratner Frank and Harriet* Shrontz ¹⁵ Drs. Pamela and Donald Mitchell ¹⁵ Cami and Ray Davis Jason Reuer ⁵ Klara and Larry Silverstein Laina* and Egon Molbak ¹⁵ Frank and Dolores Dean ¹⁵ Ed and Marjorie Ringness ¹⁵ Megan and Mike Slade Gary Morse and Ellen Bowman ⁵ Derek Deeter Chuck and Annette Robinson ¹⁰ Buz and Helen Smith ¹⁵ Eric Noreen and Suzi Hill ⁵ Jeff Dempsey Nancy M. Robinson ¹⁵ Ms. Barbara Snapp and Brian Pao and Susan Leu Dr. Geoffrey Deschenes and Braxton E. Rowe Dr. Phillip Chapman ⁵ E. Paul and Gayle Robbins ⁵ Dr. Meredith Broderick ⁵ Kate and Matthew Scher Alexander and Jane Stevens ¹⁰ Richard and Bonnie Robbins ⁵ Matthew Doxey and Tiffany McNees Thomas and Collette Schick John and Sherry Stilin ¹⁵ John Robinson and Maya Sonenberg ¹⁵ Jeff Eby and Zart Dombourian-Eby ♫ ⁵ Eckhard Schipull ¹⁵ Cynthia Stroum Jack Rodman and Koh Shimizu Leo and Marcia Engstrom ⁵ Harry Schneider and Gail Runnfeldt Sympaticos James T. and Barbara Russell Paul and Kimberly Fisher Dr. John Schneider Patricia Tall-Takacs and Gary Takacs ^ ¹⁵ Dr. and Mrs. Werner E. Samson ⁵ Ashley Myers and Andrew Fitz Gibbon Jo Ann Scott S. Vadman ¹⁰ John and Margaret Sanders Isabel Foster Carpenter Janet and Thomas Seery ¹⁵ Gary and Karla Waterman ^ ⁵ David Schiffrin Ernest and Elizabeth Barbara and Richard Shikiar ¹⁵ Laurie and Allan Wenzel ⁵ Susan Schroeter-Stokes and Scott Frankenberg ¹⁰ Douglas Smith and Stephen and Marcia Williams ⁵ Robert Stokes ⁵ John and Nancy Freeman Stephanie Ellis-Smith Kenneth and Rosemary Willman ⁵ Jeffrey C. Sherman Jacob Garcia Mary Snapp and Spencer Frazer Simon Woods and Karin Brookes ⁵ Anne Shinoda-Mettler Jean Gardner ^ ¹⁵ Christopher Snow ⁵ Woodworth, Charleson Nepier Smith and Joan Affleck-Smith ⁵ Carol B. Goddard ¹⁵ Mr. and Mrs. Lyle Snyder ⁵ Charitable Fund ⁵ Margaret W. Spangler ¹⁵ Walter Gray ♫ Stella Stamenova Barbara and Richard Wortley ⁵ Sonia Spear ¹⁵ Don and Liz Gresch ¹⁰ Paula Stokes and John Sullivan Marcia and Klaus Zech Lorna Stern ¹⁵ Kate and Ted Gunal Victoria Sutter ⁵ Anonymous (6) Craig and Sheila Sternberg Marilyn Gustafson ¹⁵ Ronald and Pamela Taylor ∞ ⁵ Isabel and Herb Stusser ¹⁰ Ken Hayashi ∞ ⁵ John and Eleanor Toews Bronze ($3,500 - $4,999) Esther M. Su ∞ Ms. Jill Heerensperger Manijeh Vail ¹⁰ AFCO & Sons, LLC David Tan and Sherilyn Anderson-Tan ⁵ Anders and Liz Hejlsberg Mr. Leo van Dorp ⁵ Kirsten and Bayan Towfiq Robert and Eileen Hershberg Johanna P. VanStempvoort Ignacio Alvarado-Cummings ∞ ⁵ ∞ ⁵ ∞ ¹⁵ Betty Lou and Irwin* Treiger Harold* and Mary Fran Hill Mary Lou and Dirk van Woerden Claire Angel ¹⁰ ¹⁵ ¹⁰ ⁵ Jean Baur Viereck Candyce Hogan Maia and John Vechey Bill and Nancy Bain ^ ⁵ ¹⁰ Janna Viniko Becca and Brandon Honcoop Charlie Wade + Kendall and Sonia Baker ¹⁰ Steve Vitalich Bob and Melinda Hord Jan and Nancy Wanamaker Dr. and Mrs. Terrence J. Ball ⁵ ⁵ ⁵ ⁵ Bryna Webber and Joni, Scott and Aedan Humphreys Judith A. Whetzel Dr. and Mrs. Ronald J. Beck ⁵ ∞ ⁵ Karin M. Weekly and Bryan H. Bell Dr. Richard Tompkins ⁵ Patricia Hunter Roger and June Whitson Janice Berlin John and Fran Weiss ¹⁵ Geoffrey Jackson and Jessie and David Woolley-Wilson Wayne Wisehart Jane Leeson-Jackson* Jerry and Nancy Worsham Zane and Celie Brown ¹⁵ ⁵ ∞ ¹⁰ Glen Campbell Jeff Wood and Diane Summerhays ⁵ Michael Jensen and Jeff and Korynne Wright Cecily Carver Sally and David Wright Diane Kurzontkowski Kay H. Zatine ¹⁵ Ping Chee and Maritta Ko Keith Yedlin ⁵ Elizabeth Johnson and Igor Zverev ¹⁵ Christian and Joyce Zobel Matt Uyttendaele Anonymous (14) Joshua D. Closson ∞ ¹⁵ Robert and Eileen Zube Stacy and Doug King Cogan Family Foundation ¹⁰ ⁵ Anonymous (4) Karen and Peter Klacsmann Musicians Club ($1,000 - $1,999) Samuel and Helen Colombo ¹⁵ W. M. Kleinenbroich Donald and Ann Connolly ⁵ ⁵ Jennifer and Kurt Adair + Conductors Club ($2,000 - $3,499) Rosalie Contreras and Sarah Kohut Bill and Janette Adamucci Ben Kolpa and Angelisa Paladin David Trenchard + ¹⁰ John and Andrea Adams ⁵ Nance and Steve Adler ⁵ Dr. and Mrs. Masato Koreeda Beryl and Nick Crossley ⁵ Robert and Ali Alexander ⁵ Peter Aiau and Susan Ormbrek ⁵ Leslie Lackey James and Barbara Crutcher ⁵ Harriet and Dan Alexander ⁵ ⁵ John Akin and Mary Stevens Eric Lam Dr. Stella Desyatnikova ⁵ Daniel Alexander II ⁵ Dr. Bruce and Joann Amundson Cindy Dobrow Susan Allan and Keylor Eng Stewart M. Landefeld and Adaline Ancinas Margaret Breen Jim and Gaylee Duncan ⁵ Mr. and Mrs. John Amaya Eve Gordon Anderson and Mary and Michael Lee Andrew Faulhaber ¹⁰ Drs. Linda and Arthur Anderson ∞ ⁵ Mark Anderson Dawn Lepore and Ken Gladden Jane and Richard Gallagher ⁵ Carlton and Grace Anderson ⁵ ¹⁰ Patrick Andre ∞ ⁵ Alan and Sharon Levy Doris H. Gaudette ¹⁵ Larry Harris and Betty Azar ¹⁵ ¹⁰ Phoebe Andrew Kori Loomis George Gilman ⁵ Dr. Larry and DeAnne Baer Richard and Dianne Arensberg Susan and Jeff Lubetkin Erica L. Gomez ⁵ Tracy L. Baker ¹⁵ Bridget Aumell Mr. and Mrs. Louis Lundquist Ted and Sandy Greenlee ¹⁵ Charlie Barbour and Diana Lynn Kruis ⁵ ⁵ Joel Barduson ⁵ Bryan Lung William Haines ¹⁵ Jeffrey Barker ♫ ⁵ Steven Barger Gunilla and Vidur Luthra Jane Hargraft and Elly Winer + ⁵ Michael Barras Anna and Jonas Barklund ⁵ Mark P. Lutz Michèle and Dan Heidt ¹⁰ Jane and Peter Barrett ⁵ ¹⁵ Cornelius Barnett ∞ ⁵ Zoey Mann Gabriel and Raluca Hera Patty and Jimmy Barrier ⁵ Marilee Barth Susan Marinello Moira Holley and Scott Wasner Douglas and Maria Bayer ¹⁵

48 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Silas Beane and Kristin Bunce Jerry and Gunilla Finrow ¹⁵ Phyllis Leventhal Lori and Bill Price Patricia Bell Marilyn First Don and Carla Lewis ¹⁰ Alexander Prior Joyce and Alan Bender Shari and Michael Fleming Jerry and Marguerite Lewis ⁵ Llewelyn G. and Judith and Arnold Bendich Jack and Jan Forrest ⁵ Betty Lewis ¹⁰ Joan Ashby Pritchard ^ ¹⁵ Dr.* and Mrs. Jeffrey Bernstein Jane H. Fox ¹⁵ Mike Lewis Judy Quick Paul and Sarah Bliss Steve Francks Chien Li Tom and Carol Quinsey ¹⁵ Capt. and Mrs. Paul Bloch ¹⁰ Judith Frank Henry Li Ann Ramsay-Jenkins ⁵ Molly Blume ⁵ Ms. Janet Freeman-Daily ¹⁵ Gina Linden ∞ Wendy and Murray Raskind ¹⁰ Audrey and David Bolson Maureen Frisch Bobbie Lindsay and Douglas Buck Jane and James Rasmussen ¹⁵ Marilyn Braarud Carole Fuller and Evan Schwab Mr. and Mrs. Bruce C. Lorig ⁵ Eric Raub ⁵ Bob* and Jane Ann Bradbury ¹⁰ Terri and Joseph Gaffney ⁵ Sharon and Marty Lott Christopher and Lila Rayl Herb Bridge* and Edie Hilliard Rosemary and Byron Gee Lovett-Rolfe Family Trust ⁵ Reverend Kerry and Robin Reese ¹⁰ Katharine M. Bullitt Martin and Ann Gelfand Thomas and Virginia Hunt Luce Cecilia Paul and Harry Reinert ¹⁰ Dr. Margaret Burke Abraham George and Catharin Maney Sandy Mackie Kristi Rennebohm-Franz ∞ Lisa Bury and John R. Taylor Ruth and Bill* Gerberding ^ ⁵ Nancy and Roger MacPherson Lynn Resnick Judy and Ward Bushnell Janice A. and Robert L. Gerth ¹⁵ Ana and Gustavo Mahler Teresa Revelle Cy and Kathleen Butler Gail Giacomazzi ⁵ Rhonda Maloney ∞ ¹⁰ Hollace and James Rhodes Mary and Patrick Callan Bernel Goldberg + Mark Litt Family DAF of the Jewish Jean A. Rhodes ⁵ Karen Cameron ⁵ Bill and Joy Goodenough ¹⁵ Federation of Greater Seattle ¹⁰ Fred Richard ¹⁵ Corinne A. Campbell ⁵ Robert Greco Charles T. Massie ∞ ¹⁵ John Richardson II ⁵ Craig and Jean Campbell ¹⁵ Maridee Gregory ∞ ⁵ Lois Mayers Jennifer Ridewood Mary Campbell ⁵ Megan Hall and James Janning + ⁵ Florence and Charlie Mayne Mr. and Mrs. Charles Riley ⁵ Wally and Sally Campbell Lea and Larry Hamlin Malcolm and Diane McCallum ⁵ Deborah and Andrew Rimkus ⁵ Dr. Lysanne Cape ∞ ⁵ Rich and Reggie Hammond Dr. and Mrs. Paul McCullough Melissa and Manuel Rivelo Nora Capron Deena C. Hanke ∞ ⁵ E. Thomas McFarlan ¹⁰ Dr. Tom Roberts Louis Carbonneau and Agnes Mallet Barbara Hannah ¹⁵ John McGarry and Michelle Wernli Dr. and Mrs. Tom Robertson ⁵ Janitta and Bob Carithers Dave and Sandy Hanower Diane and Scott McGee Mary and David Robinson Carol and John Austenfeld Linda and Wolfram Hansis ¹⁵ Heather and Mike McKay Ms. Jean C. Robinson Charitable Trust ⁵ Dr. and Mrs. James M. Hanson ⁵ Karen and Rick McMichael ∞ ¹⁵ Dina Rohm Barbara Carr Karin and Frederic Harder Dr. and Mrs. James F. McNab Stan and Michele Rosen ⁵ Patrick Cazeau Walter Harley and Anne Sustar ¹⁵ Melinda McNeely Sara Delano Redmond Fund Anand Chakraborty Racha and Wassef Haroun Gunda and Uwe Meissner ⁵ Lt. Col. Nathan Ray Sawyer Liz Chambers and Jim Johnson Susan and Tom Harvey Jan and Andy Meyers Art Schneider and Kim Street ⁵ Kent and Barbara Chaplin ¹⁵ Drs. Robert and Sally Hasselbrack Karen and James Mhyre Dr. and Mrs. Jason Schneier ⁵ Jorge Chavez Ken* and Cathi Hatch ^ ⁵ Mary Mikkelsen ¹⁵ Mr. and Mrs. Joseph Schocken ⁵ Mr. James Chesnutt ⁵ Pat Hayenga Laurie Minsk and Jerry Dunietz Judith Schoenecker and Heinke Clark Admiral and Mrs. Thomas B. Hayward ⁵ Chie Mitsui ∞ Christopher L. Myers ¹⁰ Ms. Constance Clarke ⁵ Mary Heckman Charles Montange and Steve Schroeder and Cheryl Beighle ⁵ Michelle Codd Nichole Heidrick Kathleen Patterson ¹⁵ Patrick and Dianne Schultheis Robert and Janet Coe Joshua Hemphill James Monteith and Marita Caya ⁵ Nancy and James Schultz + ⁵ Sam and Karen Coe ∞ Ralph and Gail Hendrickson Brady Montz ⁵ Janet Sears ∞ ¹⁵ Steve and Kelly Coffing Terrill and Jennifer Hendrickson ⁵ Melinda Moore ∞ Maria Semple Ida Cole F. Randall and Barbara Hieronymus ⁵ Mary and Alan Morgan Virginia Senear ¹⁵ Susan and Laurence Commeree ¹⁵ Alice and Paul Hill Richard Mori ⁵ Dr. Anita Shaffer ⁵ Mr. and Mrs. Frank Conlon ⁵ Marvin and Elizabeth Hoekstra Kevin Murphy ¹⁵ Julie Shankland Dr. Loveday Conquest ⁵ Toni and Rod Hoffman ⁵ Andrew Murray and Kevin Hardie Julie and Don Shaw Herb and Kathe Cook ⁵ Norm Hollingshead ⁵ Mr. and Mrs. J. P. Naughton ¹⁵ Yumi and Craig Sherman Jeffrey and Susan Cook ⁵ Bob Holtz and Cricket Morgan ⁵ David Neagle Charles Shipley ¹⁵ Patricia Cooke Hannah Hoose Paul Neal and Steven Hamilton ∞ ⁵ Jon and Kim Shirley Danica Coonan Gwen and Randy Houser ¹⁰ Mark Nelson Todd Shively and Christopher Woods T. W. Currie Family ¹⁵ Krista Hughes Robert and Claudia Nelson Cindy Shoffner Richard Cuthbert and Mr. Roy Hughes ∞ ⁵ Kirsten Nesholm ⁵ Sill Family Foundation Cheryl Redd-Cuthbert Jo Anne Iaciofano Robert Ness Evelyn E. Simpson ∞ ¹⁵ Robert Darling ⁵ Ralph E. Jackson ¹⁵ Marilyn Newland ¹⁰ Dr. Charles Simrell and Deborah Giles ¹⁵ Caroline L. Feiss* and Kimberly Jankelson Olin Nichols Mr. Charles Sitkin Gordon B. Davidson Clyde and Sandra Johnson ¹⁰ Mark Nickerson Connie Smith Douglas Dawson and Paola Diano Shirley Kah Linda Nordberg Garrett Smith Tom DeBoer Roberth Karman ⁵ Ken and Pearl Noreen ⁵ Stephen and Susan Smith ⁵ Mark Dexter Sean and Lisa Kelly ⁵ Mary Odermat Michele Souligny ∞ ⁵ David and Helen Dichek Dibra and Kent Kildow Douglas and Alida Oles Michael Spektor Anthony DiRe Mike and Mary Killien ¹⁵ Thomas and Cynthia Ostermann ¹⁰ Kathleen and Robert Spitzer ⁵ Dwight and Susan Dively ⁵ Karol King ⁵ Richard and Peggy Ostrander Doug and Katie Sprugel ⁵ Sue Donaldson and Paul Fletcher ¹⁵ Virginia King ¹⁰ Gerald and Melissa Overbeck Dr. and Mrs. Gordon Starkebaum ¹⁰ Patrice Donohue Frank and Diana Kirkbride ¹⁰ Meg Owen ⁵ Susan Yates Stephens Everett and Bernie DuBois ¹⁰ Carolyn and Robert Kitchell Jae Hyun Paek ∞ Steve and Sandy Hill Family Fund Ken Duncan and Tanya Parish ⁵ Alana Knaster John Palo at the Seattle Foundation ^ ¹⁵ Renee Duprel + Drs. Peter H. and Susan M. Knutson David and Gina Pankowski ⁵ Diane Stevens ⁵ Mr. Scott Eby ∞ ⁵ Albert and Elizabeth Kobayashi ¹⁵ Richard and Sally Parks* ⁵ Michelle Strauss Dr. Lewis and Susan Edelheit Vera Koch PAS Financial Planning ⁵ Mike and Mary Lynn Sutherlin Branndon R. Edwards ∞ ⁵ Andrew N. Kornuta and Xingyu Li Jacqueline Louise Patek Ton Swan and Kayley Runstad Swan Donna Richman and Mike Ehrenberg ⁵ Becky Kowals and Max Rose + Neal Patel Priscilla and Theodore Tanase Bill and Erin Ellis ⁵ Norbert and Kimberly Kusters David F. Peck ¹⁵ Chee Wei Tang David Elop Afshan Lakha Nancy and Christopher Perks ¹⁵ Margaret Taylor and Robert Elliott ⁵ Mr. David Epstein Aidan Lang and Linda Kitchen Mary and Kerry Person G. M. Teichert Luis Espinosa Ron and Carolyn Langford ¹⁵ Perspectives of New Music Bob and Mimi Terwilliger ¹⁰ Dr. and Mrs. R. Blair Evans ¹⁰ Bryan LaPorte ∞ Don and Sue Phillips ⁵ Robert Shawn Thesman ⁵ Karen and Bill Feldt ⁵ Peter M. Lara ¹⁵ Mary Pigott Peter Chuang and Elaine Tsai ⁵ Junko and Glen Ferguson Law Offices of Lisa Saar Tom and Brooke Pigott Kenneth Tschritter Al Ferkovich and Gregory and Mary Leach ¹⁵ Valerie and Stanley Piha Warren and Nancy Tucker ⁵ Joyce Houser-Ferkovich ¹⁵ Justin Lee Andrew Pilloud Dolores Uhlman ¹⁵ Lori and Miguel Ferrer* Sharon Lee Donald Pogoloff ⁵ Sami Uotila and Tuula Rytila Steven Fetter and Bonnie Kellogg Timothy Lee Jane Powers Janice and Neill Urano Helga Filler Virginia and Brian Lenker ∞ ¹⁵ Ruth Ann and Jim Powers Jan van Horn

encoremediagroup.com/programs 49 SEATTLE SYMPHONY DONORS

Gretchen Van Meter ¹⁵ Kathryn L. Dunn, by Paul Allen, by Tara and John Verburg Jane Hargraft and Elly Winer Leslie J. Chihuly, Chair Emerita Donald J. Verfurth ⁵ , by , by Ryan Waite Maria Durham Nancy Alvord Angela Henrick Dr. Diana Behler Doug* and Maggie Walker ¹⁰ Norm Hollingshead Leslie J. Chihuly, Chair Emerita Silvia Waltner Gloria Ortiz and Pedro Trujillo Laurel and John Nesholm Connie Wang and Zachary Pollack Jorge E. Restrepo Llewelyn G. and Joan Ashby Pritchard Lois Waplington Nicolle Durham Rey Debra Ward ∞ Dwight Baker, by Judith F. Warshal and Wade Sowers Alexandra Gardner, by Madred Slaker Eugene and Marilyn Webb ⁵ Keith Gardner Jonathan Weintraub Herb Bridge, by , by Leslie J. Chihuly, Chair Emerita Greg Wetzel ⁵ Nancy Paige Griffin Michael Schick and Katherine Hanson Amy and Jeff Wilcox Richard M. Campbell, by Mitch Wilk ⁵ Patty Hall, by Janet W. Ketcham Rosalind Horder Williams Michael Hershey Delight Willing Barney Ebsworth, by Shannon Wilson and Mitchell Johnson Alyssa Levitz and Christopher Lang, by Leslie J. Chihuly, Chair Emerita Mark Wittow Richard De Puma John Fado, by Marsha Wolf and Ken Linkhart + Dmitriy Lipay, by Peggy Wolff Peggy Wolff Tatyana Kutsy Elizabeth and Troy Wormsbecker Shirley Fleischmann, by Carol Wright ⁵ Diena Lukawski, by Ellen and Arthur Rubinfeld Michael and Gail Yanney Russ Mann Ruthe Ginn, by Mindy Yardy Marcia Mason, by Margaret Grubaugh Lee and Barbara Yates ¹⁵ Kathleen and Eric Ottum Mr. Rocky Yeh Waldo Henning, by Rebecca and Joseph Zalke Tom and Maureen McDonough, by Maria Durham and Viva la Música Club Mr. and Mrs. George* Zonoff ⁵ Karen McDonough William Forsythe Anonymous (25) Somrak Jaion , by Ludovic Morlot Nancy Knudsen Martine and Dan Drackett 5 5 years of consecutive giving Milicent Savage Jay Hereford and Margaret Winsor 10 10 years of consecutive giving Anonymous 15 15 years or more of consecutive giving Jon Rosen, by Jane Leeson-Jackson, by ∞ Monthly Sustaining Donor Susan and Rich Ahearn ♫ Geoffrey Jackson Musician Brenda Barnes ° Board Member Keridan Cole Hubert Locke, by ^ Lifetime Director Steve and Kay Frank Leslie J. Chihuly, Chair Emerita + Staff Sally and Kit Narodick Llewelyn G. and Joan Ashby Pritchard * In Memoriam John and Laurel Nesholm , by Vivian and Jim Schwab Richard Lundquist Jinja Yutzy To our entire donor family, thank you for your support. Cynthia and Daniel Weiner You make our mission and music a reality. Marcia and Mike Wiviott Kenneth Martin, by Boy Scout Troop 80 Jerome L. Rubin, by Did you see an error? Help us update our records Leslie J. Chihuly, Chair Emerita Patricia and Jon Rosen by contacting [email protected] or Glen and Ann Hiner 206.215.4832. Thank you! Arie Schäcter, by Llewelyn G. and Joan Ashby Pritchard Elle Simon Francis Szatanek Penny Zaleta HONORARIUM GIFTS Seattle Symphony Horns, by Carl de Marcken and Marina Meila Frank Powers, by Gifts to the Seattle Symphony are a wonderful way Richard Andler and Carole Rush to celebrate a birthday, honor a friend or note an , by T.E. and Peggy Spencer Dr. Kennan H. Hollingsworth anniversary. In addition to recognition in the Encore John and Nancy McConnell Isa Nelson program, your honoree will receive a card from the Jane Powers Symphony acknowledging your thoughtful gift. Pat Takahashi, by Gary Morse and Ellen Bowman Ruth Ann and Jim Powers Shawn Powers Gifts were made to the Seattle Symphony in Toshio Uno, by Seattle Symphony Volunteers recognition of those listed below between Anthony Uno Virginia Senear February 1, 2018 and January 25, 2019. Nancy Tracy Please contact Donor Relations at 206.215.4832 or Simon Woods, by Leslie and Dale Chihuly [email protected] if you would like to Bernice Mossafer Rind, by recognize someone in a future edition of Encore. Senator and Mrs. Daniel J. Evans Howie Barokas Dana and Ned Laird Lou and Doris Berg Laurel and John Nesholm Leslie J. Chihuly, Chair Emerita Michael H. Beck, by Llewelyn and Jonie Pritchard Miriam Gray Patricia and Jon Rosen Pat and Jon Rosen Mr. and Mrs. Andrew Harris Mr. Anthony Uno Renée Brisbois, by Dr. Kennan H. Hollingsworth Chap and Eve Alvord Stephen Whyte, by Charles and Joan Johnson Mr. Steve Loeb , by Sherry Tyler Steve Bryant Ms. Sandy Lundberg Elle Simon Jim and Mary Lou Wickwire, by Isa Nelson Melissa and David Wickwire T.J. Callahan, by Susan and James Pass Tim Callahan Margaret Pearl MEMORIAL GIFTS Llewelyn G. and Joan Ashby Pritchard , by David Cross Gifts were made to the Seattle Symphony to remember Rind Family Foundation Feng Hua and Bin Zhao those listed below between February 1, 2018 and Jo-Ellen and Gregory Smith Mr. David Thompson David Davis, by January 25, 2019. For information on remembering a friend or loved one through a memorial gift, please Carissa Hussong Stan Shiebert, by contact Donor Relations at 206.215.4832 or Arts, Recreation and Literature Department of Kathy and Steve Dewalt, by [email protected]. Nancy MacPherson Seattle Public Library , by Ginger Ackerly Ray and Jane Strohm, by Leslie J. Chihuly, Chair Emerita Al Ferkovich and Joyce Houser-Ferkovich 50 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY ENDOWMENT FUND

The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to Donald Thulean, by the Endowment Fund since its inception. The following list is current as of January 25, 2019. For information on Gerard Fischer endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or Lois Timlin, by [email protected]. Margaret and Mark Van Gasken $5 MILLION + Estate of Edward S. Brignall Kathleen Trier, by The Benaroya Family Frances O. Delaney* Horizon House Supported Living Charles Simonyi Fund for Arts and Sciences John and Carmen* Delo Anonymous Estate of Lenore Ward Forbes B.K. Walton, by Estate of George A. Franz Penelope Yonge $1,000,000 - $4,999,999 Jean Gardner Joan Weber, by Leslie and Dale Chihuly Estate of Mr. and Mrs. Irvin Gattiker Dr. Sharon Zerr-Peltner The Clowes Fund, Inc. Anne Gould Hauberg* Priscilla Bullitt Collins* Richard and Elizabeth Hedreen Ralph Wedgewood, by Estate of William K. and Edith A. Holmes Thomas Chatriand and Cindy Gustafson Judith A. Fong Estate of Susanne F. Hubbach Horizon House Supported Living The Ford Foundation John Graham Foundation Jane Kippenhan Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Michael Vargas Kreielsheimer Foundation Estate of Betty L. Kupersmith Anonymous Marks Family Foundation Estate of Gladys and Sam Rubinstein John and Cookie* Laughlin Gwen Jones Whyte, by Samuel* and Althea* Stroum E. Thomas McFarlan Stephen Whyte Dr. Robert Wallace Estate of Alice M. Muench Nesholm Family Foundation ESTATE GIFTS $500,000 - $999,999 Estate of Opal J. Orr M. C. Pigott Family We gratefully remember the following individuals for Alex Walker III Charitable Lead Trust PONCHO their generosity and forethought, and for including Mrs. John M. Fluke, Sr.* Estate of Mrs. Marietta Priebe the Seattle Symphony in their will, trust or beneficiary Douglas F. King Mr. and Mrs. Paul R. Smith designation. These legacy gifts provide vital support Estate of Ann W. Lawrence Estate of Frankie L. Wakefield for the Symphony now and for future generations. The Norcliffe Foundation Estate of Marion J. Waller (Estate gifts since September 1, 2016.) Estate of Mark Charles Paben James D. and Sherry L. Raisbeck Foundation Washington Mutual Anonymous Dr. William and Mrs. Laura Andrews Joan S. Watjen, in memory of Craig M. Watjen Barbara and Lucile Calef Charles Robb Chadwick $100,000 - $499,999 $25,000 - $49,999 Phyllis B. Clark Estate of Glenn H. Anderson Edward and Pam Avedisian Frances L. Condie Andrew W. Mellon Foundation Estate of Bernice Baker Trudel Dean Bob and Clodagh Ash The Boeing Company Carmen Delo Dr. and Mrs. Ronald J. Beck Estate of Ruth E. Burgess Nancy Lee Dickerson Drs. Janet P. and George* Beckmann Estate of Barbara and Lucile Calef Muriel Anita Eisen Alan Benaroya Mrs. Maxwell Carlson Sherry Fisher Estate of C. Keith Birkenfeld Alberta Corkery* Jane B. Folkrod Mrs. Rie Bloomfield* Norma Durst* Elizabeth C. Giblin The Boeing Company Estate of Margret L. Dutton Merle P. Griff and Nadine Griff Mack C.E. Stuart Charitable Fund Estate of Floreen Eastman Carol Hahn-Oliver Sue and Robert Collett Hugh S. Ferguson* Sarah C. Hamilton Richard* and Bridget Cooley Mrs. Paul Friedlander* Allan and Nenette Harvey Dr. Susan Detweiler and Dr. Alexander Clowes* Adele Golub Anne Marie Haugen Mildred King Dunn Patty Hall Susanne F. Hubbach E. K. and Lillian F. Bishop Foundation Thomas P. Harville Gretchen and Lyman Hull Estate of Clairmont L. and Evelyn Egtvedt Harold Heath* E. Marian Lackovich Estate of Ruth S. Ellerbeck George Heidorn and Margaret Rothschild* Arlyne Loacker Senator and Mrs. Daniel J. Evans Phyllis and Bob* Henigson Fred J. Lorenz Fluke Capital Management Michael and Jeannie Herr Olga M. McEwing Estate of Dr. Eloise R. Giblett Charles E. Higbee, MD* and Donald D. Benedict* Jean and Peter J. McTavish Agnes Gund Mr. and Mrs. L. R. Hornbeck Dorothy Faye Scholz Helen* and Max* Gurvich JNC Fund Allen E. Senear Estate of Mrs. James F. Hodges Sonia Johnson* Phillip Soth Estate of Ruth H. Hoffman The Keith and Kathleen Hallman Fund Dr. Joseph S. Spinola Estate of Virginia Iverson David and Karen Kratter Samuel and Althea Stroum Estate of Peggy Anne Jacobsson Estate of Marlin Dale Lehrman Anonymous Robert C. Jenkins Estate of Coe and Dorothy Malone Klorfine Foundation Estate of Jack W. McCoy Estate of Charlotte M. Malone Estate of Robert B. McNett Bruce and Jolene McCaw Estate of Jean and Peter J. McTavish Bruce and Jeanne McNae Estate of Shirley Callison Miner Microsoft Corporation PACCAR Foundation National Endowment for the Arts Mr. and Mrs. W. H. Purdy Northwest Foundation Estate of Elizabeth Parke Estate of Helen A. Overton Sue and Tom Raschella Peach Foundation Keith and Patricia Riffle Estate of Elsbeth Pfeiffer Rita* and Herb* Rosen and the Rosen Family Estate of Elizabeth Richards Seafirst Bank Jon and Judy Runstad Security Pacific Bank Estate of Joanne M. Schumacher Jerry and Jody Schwarz Weyerhaeuser Company Seattle Symphony Women’s Association The William Randolph Hearst Foundations Patricia Tall-Takacs and Gary Takacs Estate of Helen L. Yeakel U S WEST Communications Estate of Victoria Zablocki Estate of Dr. and Mrs. Wade Volwiler Anonymous (3) Estate of Marion G. Weinthal Estate of Ethel Wood Lee and Barbara Yates $50,000 - $99,999 Anonymous (2) Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Estate of Mrs. Louis Brechemin * In Memoriam

encoremediagroup.com/programs 51 MUSICAL LEGACY SOCIETY

We offer our sincere thanks to the following individuals who have remembered the Seattle Symphony with a future gift through their estate. Legacy donors help preserve the beauty of symphonic music and enrich the next generation through the sights and sounds of the orchestra. To let us know you have remembered the Seattle Symphony in your planning or to learn more, please contact Director of Major Gifts & Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of January 25, 2019.

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

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

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

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

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 25, 2019. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

C.E. Stuart Seattle Symphony Charitable Trust Volunteers ◊

$50,000 – $99,999 Encore Media Group † $5,000 – $9,999 $1,000 – $2,999 Alaska Airlines KCTS 9 † Apex Foundation Alfred and Tillie Shemanski Trust Fund Google Inc. † Peach Foundation Citi Community Capital Bank of America Foundation John Graham Foundation Rosanna, Inc. † GE Foundation Matching Gifts Program † Laird Norton Wealth Management Sheri and Les Biller Family Foundation Glazer's Camera † Butler Valet Microsoft Corporation Virginia Mason Listen for Life Center Google Matching Gifts Consulate General of the Republic of Korea in Seattle Microsoft Matching Gifts Wild Ginger Restaurant ◊ Heartwood Provisions † Ebay Matching Gifts Nesholm Family Foundation IntuitiveX Educational Legacy Fund Precept Wine ◊ $10,000 – $14,999 Jean K. Lafromboise Foundation Eli Lilly & Company Foundation Scan|Design Foundation Aaron Copland Fund For Music The Lark Ascends † Genworth Foundation by Inger and Jens Bruun AETNA Casualty and Surety League of American Orchestras/ Grousemont Foundation Seattle Foundation Amazon Ford Musicians Award JTM Construction The Benaroya Company Martin Selig Real Estate MG2 Foundation $25,000 – $49,999 Bill & Melinda Gates Foundation Morgan Stanley Northwest Security Services Bank of America Matching Gifts Muckleshoot Indian Tribe † PONCHO Foundation Boeing Matching Gifts Program BNY Mellon Music 4 Life The Ruth and Robert Satter Chihuly Studio † Expedia Peg and Rick Young Foundation Charitable Trust Classic Pianos ◊ Foster Pepper PLLC Puyallup Tribe of Indians Tolo Events † Classical KING FM 98.1 Four Seasons Hotel † Skanska USA UBS Employee Giving Programs DSquared † Fran’s Chocolates † Starbucks Coffee Company ◊ Vital Mechanical J.P. Morgan Chase & Co. Garvey Schubert Barer † The Westin Hotel, Seattle † Wilson Sonsini Goodrich & Rosati Holland America Line ◊ Nordstrom Wheels Up Foundation Lakeside Industries Seattle Cancer Care Alliance Wright Runstad Perkins Coie LLP Atsuhiko & Ina Goodwin Tateuchi $3,000 – $4,999 Wyman Youth Trust Foundation Port Blakely Amphion Foundation Virginia B. Toulmin Foundation T.E.W. Foundation Audi USA † In-Kind Support Wells Fargo Private Bank Thompson Seattle † The Capital Grille † ◊ Financial and In-Kind Support Treeline Foundation Clark Nuber $15,000 – $24,999 U.S. Bank Foundation Grand Image Art † AegisLiving Weill Music Institute † Tulalip Tribes Charitable Fund Chihuly Garden + Glass Wells Fargo Foundation Yamaha Davis Wright Tremaine Anonymous Delta Dental of Washington

GOVERNMENT SUPPORT

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

encoremediagroup.com/programs 53 SEATTLE SYMPHONY BENAROYA HALL GUIDE SPECIAL EVENTS SPONSORS &

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

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

EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are COMMITTEE appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark April Ancinas Eric Jacobs Sherry Benaroya Nader Kabbani seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Rosanna Bowles Hisayo Nakajima your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Meredith Broderick Paul Rafanelli the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Leslie Chihuly Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Linda Cole Elizabeth Sandler Hall, 206.215.4776. for more information. Dr. Susan Detweiler Jim Schwab Kathy Fahlman Dewalt Mel and Leena Sturman Parul Houlahan DINING AT BENAROYA HALL HOLIDAY MUSICAL SALUTE, DECEMBER 4, 2018

CO-CHAIRS Rebecca Ebsworth Michelle Codd LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid COMMITTEE waiting in line at intermission. Bridget Aumell Diena Lukawski Roberta Downey Tiffany Moss MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining Terry Hecker Alexander White with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and Ron Koo seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit TEN GRANDS, MAY 11, 2019 opentable.com or call 206.336.6699. Kathy Fahlman Dewalt DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Co-Founder and Executive Director pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open COMMITTEE weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Rosanna Bowles Ryan Matthew Porter Cheri Brennan Fawn Spady HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Stephen Dewalt Saul Spady Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most Tom Horsley Stephanie White performances in the S. Mark Taper Foundation Auditorium. Ben Klinger David Woolley-Wilson Victoria Kroehl Jessie Woolley-Wilson DELICATUS: Delicatus is Seattle’s own Delicatessen specializing in premium deli sandwiches, salads, specialty meats, Susan Lubetkin Barbara Wortley artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open Carla Nichols weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. YOUNG PATRON'S COUNCIL

CHAIR Molly Gabel

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

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encoremediagroup.com/programs 1 2 55 “Town Music carries forward time-honored musical traditions and brings us new ways to enjoy classic sounds.” Joshua Roman Series Artistic Director

WED 3/20 | BROADWAY PERFORMANCE HALL TALEA ENSEMBLE TUE 5/21 | TOWN HALL SEATTLE Presenting Sideshow, an austere chamber PIANO KI AVAAZ music meditation on spectacle and virtuosity. Composer Reena Esmail presents her newly commissioned piano trio.

SUN 4/7 | BENAROYA HALL THIRD COAST PERCUSSION FRI 6/21 | TOWN HALL SEATTLE The Northwest debut of the first all-percussion BACH TO BATES composition by Philip Glass. Mason Bates presents a convergence of classical and modern electronic influences.

TICKETS AND SUBSCRIPTIONS: WWW.THSEA.ORG/TM2019

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