JANUARY 2018
LUDOVIC MORLOT, MUSIC DIRECTOR
DAUSGAARD
CONDUCTS BRAHMS PROKOFIEV FESTIVAL
BROADWAY TODAY CONTENTS Photo: Patoc Brandon
“This is where I slow down and really meditate. I can come to a concert and feel totally renewed afterwards. Knowing my efforts directly help this organization make me incredibly proud, and bringing a person to the orchestra who has never experienced symphonic music is one of the greatest pleasures I have.” – Terry, proud supporter and Symphony Board member
JOIN TERRY BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Concerts like the one you are about to enjoy are only possible through the support of generous music lovers like you. SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 CONTENTS JANUARY 2018
4 / CALENDAR
6 / THE SYMPHONY
10 / NEWS
FEATURES 12 / CELEBRATE ASIA
14 / THE CONDUCTOR’S LIFE, WITH PABLO RUS BROSETA
CONCERTS 15 / January 4 & 6 MOZART SYMPHONY NO. 39
18 / January 12–14 BROADWAY TODAY
20 / January 15 NATHAN LAUBE IN RECITAL
23 / January 18 PROKOFIEV CONCERTO FESTIVAL 1
27 / January 19 PROKOFIEV CONCERTO FESTIVAL 2
29 / January 25 & 27 DAUSGAARD CONDUCTS BRAHMS
32 / January 26 BRAHMS UNTUXED 18 / BETSY WOLFE Photo: Justin Patterson Justin Photo: 42 / GUIDE TO THE SEATTLE SYMPHONY
43 / THE LIS(Z)T
15 / AUGUSTIN HADELICH 27 / SOPHIE LEE Photo courtesyPhoto of the artist Photo: Paul Glickman Paul Photo:
ON THE COVER: Thomas Dausgaard (p. 29) by Brandon Patoc COVER DESIGN: Jadzia Parker EDITOR: Heidi Staub
© 2018 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 ON THE DIAL: Tune in to January & Classical KING FM 98.1 every February Wednesday at 8pm for a Seattle Symphony spotlight and CALENDAR the first Friday of every month at 9pm for concert broadcasts.
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
JANUARY ■ 7:30pm 7pm 8pm Mozart Symphony Garfield High School Mozart Symphony No. 39 Side-by-Side No. 39
1 2 3 4 5 6
8pm 8pm Broadway Today Broadway Today
7 8 BETSY WOLFE 9 10 11 12 13
2pm 7:30pm 7:30pm 7:30pm 7:30pm 8pm Broadway Today Nathan Laube Seattle Arts & Seattle Arts & Prokofiev Concerto Prokofiev Concerto in Recital Lectures: Lectures: Festival 1 Festival 2 2:30pm Seattle Nikki Giovanni Jesmyn Ward Baroque Orchestra: Byron Schenkman’s Favorites 14 15 16 17 18 19 20
3pm 7:30pm 9am 7:30pm 7:30pm 7pm 2pm Seattle Seattle Youth STG Presents: Adam Friends Open Howard Jones Solo: Dausgaard Conducts Brahms Untuxed Philharmonic Symphony Orchestra Sandler & Friends Rehearsal & Discussion The Songs & The Brahms Orchestra presents Side-by-Side Stories Three Decades, 7pm 7:30pm Five Treasures Roosevelt High School Seattle Arts & Side-by-Side Lectures: Ijeoma Oluo 8pm Dausgaard 21 22 23 24 25 26 Conducts Brahms 27
2pm 7:30pm 7:30pm 8pm ■ FEBRUARY 12pm Rachmaninov 8pm National Geographic National Geographic National Geographic The St. Olaf Choir Symphony No. 3 Rachmaninov Live — View From Live — View From Live — View From in Concert 7:30pm 7:30pm Seattle Arts & Symphony No. 3 Above Above Above Rachmaninov Lectures: Live Taping Symphony No. 3 of “A Tiny Sense of Accomplishment” 8pm Joshua Bell 28 29 30 31 1 in Recital 2 3
7:30pm 7:30pm 12pm 2pm UW Symphony at Morlot Conducts Founders Circle Silver SYSO: 4 Orchestras Benaroya Hall Strauss Luncheon* Winter Concert 8pm 7:30pm Morlot Conducts Masters of Scottish Strauss Arts 8pm Andre Feriante 4 5 6 LA LA LAND7 8 9 10
4pm 7pm 7:30pm 7:30pm 1pm 10:30am Tiny Tots: 9:30, 10:30 & 11:30am Tiny Celebrate Asia Catholic High School La La Land in Concert La La Land in Concert Benaroya Hall Tour Goodnight Moon Tots: Goodnight Moon Choir Festival with the Seattle with the Seattle 7:30pm Seattle Repertory Symphony Symphony 7:30pm 8pm Just a Kiss Away! Jazz Orchestra: Brubeck & Seattle Arts & Lisa Fischer & Grand Desmond: Inseparable 7:30pm Lectures: Colson Baton with the Seattle 8pm Just a Kiss Away! Lisa Benjamin Clementine Whitehead Symphony Fischer & Grand Baton with the Seattle Symphony 11 12 13 14 15 16 17
2pm Just a Kiss Away! 7:30pm 3:30pm 8pm 11am Lisa Fischer & Grand Jake Shimabukuro Friends Open Vivaldi Gloria Family Concerts: Baton with the Seattle Rehearsal* The Story of Babar Symphony 7pm Byron Schenkman & 8pm Friends — Handel: From Vivaldi Gloria the War of Love 7:30pm Fran Lebowitz 18 19 20 21 22 23 24
2pm National 7:30pm 7:30pm 12pm Geographic Live — National Geographic National Geographic Seattle City Hall Between River & Rim: Live — Between River Live — Between River Community Concert Hiking the Grand Canyon & Rim: Hiking the & Rim: Hiking the 7:30pm 2:30pm Grand Canyon Grand Canyon The Wailin’ Jennys Rachel Barton Pine 8pm Carla Bruni 25 26 27 28 NATIONAL GEOGRAPHIC LIVE
LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information
Betsy Wolfe in Broadway Today (January 12–14); La La Land in Concert with the Seattle Symphony (February 13 & 14) 4 SEATTLESYMPHONY.ORG by Dale Robinette; National Geographic Live — Between River & Rim: Hiking the Grand Canyon (February 25–27)
SSO058-Calendar.indd 1 12/19/17 2:25 PM ■ ON THE BEAT See Who’s Here to Hear MOZART’S COMEDY ABOUT SEX così fan tutte jan 13-27, 2018 Photo: James Holt James Photo:
I’ve liked classical music pretty much my entire life. I spent about 50 years in broadcasting in the United States, Australia and Europe. I was also one of a handful of Americans that participated in a thing called the radio pirates of England in the 1960s. We did our broadcasts from a ship in the North Sea. I proved to myself that I can never, ever get seasick. We went through some pretty violent weather — our ship was only 180 feet long, a former liberty ship from World War II. I started out as a disc jockey and wound up as the general manager of Swinging Radio London before we were forced to shut down.
– Jack
CONNECT WITH US: LET THE GAMES BEGIN! Seattle Opera Revival Share your photos using #ListenBoldly and Love has many faces when two buddies In Italian with English subtitles. follow @seattlesymphony on Facebook, Evenings 7:30 PM don disguises to test the faithfulness Instagram, Twitter and Snapchat. Download Sunday 2:00 PM the Listen Boldly app to easily purchase of their fiancèes. Will the women fall tickets, skip the Ticket Office lines and receive for their “new” suitors as the opera’s MCCAW HALL exclusive offers. title (“All women do it”) suggests? 206.389.7676 And if they do, who is really to blame? SEATTLEOPERA.ORG/COSI Blending bawdy humor and keen insight, the charming Così features some of PRODUCTION SPONSORS: SEATTLE OPERA FOUNDATION, seattlesymphony.org the sweetest and most ravishing music ANN P. WYCKOFF, ARTSFUND TICKETS: 206.215.4747 Mozart ever wrote. PHOTO © PHILIP NEWTON GIVE: 206.215.4832
encoremediagroup.com/programs 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR
French conductor Ludovic at the University of California, Berkeley. The orchestra has Morlot has been Music Director many successful recordings, available on their own label, of the Seattle Symphony Seattle Symphony Media. A box set of music by Dutilleux since 2011. Amongst the was recently released to mark the 100th anniversary of the many highlights of his tenure, composer’s birth. the orchestra has won three Grammy Awards and gave an Ludovic Morlot was Chief Conductor of La Monnaie for exhilarating performance at three years (2012–14). During this time he conducted several Carnegie Hall in 2014. new productions including La Clemenza di Tito, Jenu°fa and Pelléas et Mélisande. Concert performances, both During the 2017–2018 in Brussels and Aix-en-Provence, included repertoire by season Morlot and the Beethoven, Stravinsky, Britten, Webern and Bruneau. Seattle Symphony will continue on their incredible Trained as a violinist, Morlot studied conducting at the musical journey, focusing Royal Academy of Music in London and then at the Royal
Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: particularly on the music College of Music as recipient of the Norman del Mar of Berlioz, Stravinsky and Conducting Fellowship. Morlot was elected a Fellow of Bernstein. In addition, they will be presenting some exciting new the Royal Academy of Music in 2014 in recognition of his works by John Luther Adams, David Lang and Andrew Norman and significant contribution to music. He is Chair of Orchestral welcoming Alexandra Gardner for a residency. The orchestra will also Conducting Studies at the University of Washington School be performing on tour in California, including a two-day residency of Music.
SEATTLE SYMPHONY ORCHESTRA ROSTER
LUDOVIC MORLOT Thomas Dausgaard, Principal Guest Conductor 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 Mara Gearman PICCOLO HORN HARP Open Position Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Penelope Crane Robert & Clodagh Ash Piccolo Charles Simonyi Principal Horn Principal Open Position Wes Dyring Mark Robbins Clowes Family Associate Concertmaster Sayaka Kokubo OBOE Associate Principal KEYBOARD Cordula Merks Rachel Swerdlow Mary Lynch Jonathan Karschney Joseph Adam, organ + Assistant Concertmaster Julie Whitton Principal Assistant Principal Simon James Supported by anonymous donors Jenna Breen PERSONNEL MANAGER Second Assistant Concertmaster CELLO Ben Hausmann John Turman Scott Wilson Jennifer Bai Efe Baltacıgil Associate Principal Danielle Kuhlmann Mariel Bailey Marks Family Foundation Principal Cello Chengwen Winnie Lai ASSISTANT PERSONNEL Cecilia Poellein Buss Meeka Quan DiLorenzo Stefan Farkas TRUMPET MANAGER Ayako Gamo Assistant Principal David Gordon Keith Higgins Timothy Garland Nathan Chan ENGLISH HORN The Boeing Company Principal Trumpet Leonid Keylin Eric Han Stefan Farkas Alexander White LIBRARY Mae Lin Bruce Bailey Assistant Principal Patricia Takahashi-Blayney Mikhail Shmidt Roberta Hansen Downey CLARINET Christopher Stingle Principal Librarian Clark Story Walter Gray Benjamin Lulich Michael Myers Robert Olivia John Weller Vivian Gu Mr. & Mrs. Paul R. Smith Principal Associate Librarian Jeannie Wells Yablonsky Joy Payton-Stevens Clarinet TROMBONE Jeanne Case Emil Khudyev Arthur Zadinsky David Sabee Ko-ichiro Yamamoto Librarian Associate Principal Principal Rachel Swerdlow SECOND VIOLIN BASS Laura DeLuca David Lawrence Ritt Assistant Librarian Elisa Barston Jordan Anderson Dr. Robert Wallace Clarinet Stephen Fissel Principal Mr. & Mrs. Harold H. Heath Eric Jacobs TECHNICAL DIRECTOR Michael Miropolsky Principal String Bass Joseph E. Cook BASS TROMBONE John & Carmen Delo Joseph Kaufman E-FLAT CLARINET Stephen Fissel ARTIST IN ASSOCIATION Assistant Principal Second Violin Assistant Principal Laura DeLuca Dale Chihuly Kathleen Boyer Ted Botsford ** TUBA Gennady Filimonov Jonathan Burnstein 2017–2018 SEASON BASS CLARINET John DiCesare Evan Anderson Brendan Fitzgerald * COMPOSER IN RESIDENCE Eric Jacobs Principal Alexandra Gardner Natasha Bazhanov Jennifer Godfrey Brittany Boulding Breeden Travis Gore HONORARY MEMBER Stephen Bryant BASSOON TIMPANI Jonathan Green Cyril M. Harris † Linda Cole Seth Krimsky Open Position Principal Xiao-po Fei FLUTE Principal Paul Rafanelli + Artur Girsky Demarre McGill Matthew Decker Resident Mike Gamburg Andy Liang Principal Assistant Principal † In Memoriam Andrew Yeung Supported by David J. and Shelley Hovind ** On Leave CONTRABASSOON PERCUSSION Jeffrey Barker * Temporary Musician for 2017–2018 VIOLA Associate Principal Mike Gamburg Michael A. Werner season Susan Gulkis Assadi Judy Washburn Kriewall Principal PONCHO Principal Viola Zartouhi Dombourian-Eby Michael Clark Arie Schächter Matthew Decker Assistant Principal
6 SEATTLESYMPHONY.ORG ■ ROBERTA DOWNEY JAN Cello 11
Robin & Rachelle McCabe Duo Pianos Sisters see eye-to-eye playing music by Bernstein, Brahms, Debussy, and more. 7:30 pm Meany Theater
FEB 5
UW Symphony at Benaroya Hall with Sæunn Thorsteinsdóttir, cello, Cristina Valdés, piano & Michael Jinsoo Lim, violin Ludovic Morlot and David A. Rahbee
Photo courtesy Downey Photo of Roberta conduct works by Rossini, Stravinsky, Beethoven, and Enesco. 7:30 pm Benaroya Hall That’s Seattle Symphony cellist Roberta Downey in her beekeeping gear. When she’s not playing with the orchestra, Roberta loves to dabble, whether raising ducks, brewing mead, making wine or restoring an old cabin with her husband. “I like to keep my fingers in many pies, it keeps life interesting,” she reflects. “Many things fascinate me and FEB learning new things is fun.” 23
Roberta grew up in Seattle. Her father, Edward Hansen, was the Seattle Symphony’s organist under Music Director Milton Katims in the 1960s. “Both my parents were musicians, so music was always there,” says Roberta. “One of my fondest grade school memories was when the Seattle Symphony string quartet with concertmaster Henry Siegel came and played for us.”
After college, she moved back to Seattle and started to prepare for auditions. “Many of my friends in college were Olympic athletes and I saw how they would taper for Faculty Recital: Craig Sheppard, piano competitions,” she explains. “So I decided to apply it to my audition.” Tapering is a Bach: The Art of The Fugue process that focuses your entire life toward a goal — practice sessions, diet, even your Chair of the UW piano program performs Bach’s masterwork. sleep schedule. 7:30 pm Meany Theater
Laughing, she admits it might be hard to pull off the same process — especially the bit about cutting carbs the week of the audition. “But I feel so fortunate to have found a hometown job,” she smiles. “It still feels amazing to be playing with the orchestra I grew up watching as a kid.” MORE AT: WWW.MUSIC.WASHINGTON.EDU ArtsUW TICKET OFFICE: 206.543.4880 For more on the Seattle Symphony, visit seattlesymphony.org/stories.
encoremediagroup.com/programs 7 ■ SIMPLE GIFTS Youth in Focus
Youth in Focus empowers youth, through photography, to experience their world in new ways and to make positive choices for their lives. They put cameras in the hands of youth surrounded by high quality talented teachers, nurturing adult mentors and create a strong community of support. Through photography, students find their voice, identity, creativity, and gain new confidence in their worth and abilities.
The Seattle Symphony has been partnering with Youth in Focus since 2013 and the young people they serve have access to complimentary tickets through the Community Connections program.
Youth in Focus is one of 18 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who previously or are currently experiencing homelessness.
“I really enjoyed attending the symphony’s performance. The seats were great, the music was beautiful, and it was an opportunity I would not have otherwise Photo courtesy of Youth in Focus Youth courtesyPhoto of had!” – Youth in Focus Teaching Artist
■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.
SEATTLE SYMPHONY BOARD OF DIRECTORS
LESLIE JACKSON CHIHULY Chair* Jon Rosen Woody Hertzog Dick Paul Secretary* Vice Chair, Development* Vice Chair, Governance* RENÉ ANCINAS, Chair-Elect* Michael Slonski Kjristine Lund Stephen Whyte Treasurer* Vice Chair, Audiences & Communities* Vice Chair, Finance*
DIRECTORS Viren Kamdar Simon Woods, David Davis Marlys Palumbo Marco Abbruzzese Ronald Koo President & CEO Nancy Evans Sally Phinny Sherry Benaroya Ryo Kubota Zartouhi Dombourian-Eby, Dorothy Fluke James Raisbeck Musician Representative James Bianco Stephen Kutz David Fulton Sue Raschella Jonathan Karschney, Ned Laird* Jean Gardner Bernice Rind Paula Boggs Musician Representative Rosanna Bowles Paul Leach* Ruth Gerberding Jill Ruckelshaus Renée Brisbois Brian Marks LIFETIME DIRECTORS James Gillick Jon Runstad Isiaah Crawford Michael Mitrovich Llewelyn Pritchard Jerry Grinstein Martin Selig Susan Detweiler Hisayo Nakajima Chair Patty Hall John F. Shaw Rebecca Ebsworth Cookie Neil Richard Albrecht Cathi Hatch Linda Stevens Larry Estrada Nancy Neraas Susan Armstrong Steven Hill Patricia Tall-Takacs Jerry Farley Laurel Nesholm* Robert Ash Ken Hollingsworth Marcus Tsutakawa Molly Gabel Jay Picard William Bain Patricia Holmes Cyrus Vance, Jr. Martin Greene Dana Reid* Bruce Baker David Hovind Karla Waterman Jeremy Griffin Elisabeth Beers Sandler Cynthia Bayley Henry James Ronald Woodard Terry Hecker Jim Schwab Alexandra Brookshire Hubert Locke Arlene Wright Jean-François Heitz* Robert Wallace Phyllis Byrdwell J. Pierre Loebel Joaquin Hernandez Phyllis Campbell Kenneth Martin DESIGNEES Parul Houlahan* Mary Ann Champion Yoshi Minegishi * Executive Committee Member Douglas Jackson Sasha S. Philip, President, Robert Collett Marilyn Morgan Susan Johannsen Seattle Symphony Chorale Isa Nelson Aimee Johnson Bonnie Peterson, President, Nader Kabbani Seattle Symphony Volunteers
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair Mario Abbruzzese Leslie Jackson Chihuly David Tan Chair Muriel Van Housen Secretary Brian Grant J. Pierre Loebel Rick White Michael Slonski Treasurer Joaquin Hernandez
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair Dwight Dively Tom Owens Designees: Nancy B. Evans Secretary Jim Duncan Fred Podesta Simon Woods, 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 Katie Hovde Laura Banks, Everett Bowling, Simon Woods Program Associate Veronica Boyer President & CEO Rebecca Aitken, Jessica Andrews- Assistant Head Ushers Leslie Jackson Chihuly Chair Hall, Lena Console, Kaley Eaton, Ron Hyder Charlie Wade Sonya Harris, Jessi Harvey, Technical Coordinator Rafael Howell, Zachary Kambour, Senior Vice President of Marketing Emily Herdeman Kelly, Leanna Keith, & Business Operations DEVELOPMENT Paul Kikuchi, Leslie McMichael Jennifer Adair Teaching Artists Shaina Shepherd Vice President & General Manager Development Officer (Assistant to VP of Pianist Development & Grants) Jovino Maureen Campbell Melville COMMUNICATIONS FEB Renee Duprel Santos Neto Vice President & Chief Financial Officer Shiva Shafii Associate Vice President of Development Rosalie Contreras Public Relations Manager (Campaign) 02 Vice President of Communications Heidi Staub Maria Kolby Wolfe 7:30 Elena Dubinets Managing Editor Major Gifts Officer (Campaign) Vice President of Artistic Planning James Holt Betsy Groat Jane Hargraft Digital Content Manager Campaign Operations Manager Vice President of Development Andrew Stiefel Becky Kowals Kristen NyQuist Social Media & Content Manager Director of Major Gifts and Planned Giving Director of Board Relations JAN Marsha Wolf & Strategic Initiatives MARKETING Senior Major Gift Officer Laura Reynolds Christy Wood Amy Bokanev, Nicholas Walls Vice President of Education & Community Senior Director of Marketing & Sales 18 Clarinetist Engagement Major Gift Officers 7:30 Rachel Spain Jessica Lee, Tess Benson Sean Osborn Marketing Manager EXECUTIVE OFFICE Development Coordinators (Major Gifts) Kyle Painter Margaret Holsinger Paul Gjording Marketing Operations Coordinator An elegant & intimate Executive Assistant to the President & CEO/ Senior Major Gift Officer venue located in the Office Manager Barry Lalonde (Foundations & Government Relations) Director of Digital Products heart of downtown Megan Hall ARTISTIC PLANNING Jason Huynh Director of Development Operations Bellevue. Digital Marketing Manager Paige Gilbert Alicia Archambault Manager of Artistic Planning & Popular Herb Burke Stewardship Manager Featuring weekly music Programming Tessitura Manager Martin K. Johansson performances & table Rose Gear Gerry Kunkel Development Communications Manager seating paired with wine Personal Assistant to the Music Director & Corporate & Concierge Accounts Manager Artistic Coordinator Jacob Roy and beer selections you Jessica Forsythe Data Operations Manager Dmitriy Lipay Art Director can enjoy throughout the Director of Audio & Recording Maery Simmons Helen Hodges, Jadzia Parker Data Entry Coordinator performance. Blaine Inafuku Graphic Designers Associate Artistic Administrator Zoe Funai Forrest Schofield Special Events Manager Group Services Manager ORCHESTRA & OPERATIONS Ryan Hicks JAN Joe Brock Kelly Woodhouse Boston Corporate Development Manager Retail Manager Director of Operations 27 Christina Hajdu Ana Hinz FINANCE & FACILITIES Sales Associate 7:30 Production Manager David Nevens Brent Olsen Controller Scott Wilson Ticket Sales Manager Personnel Manager Megan Spielbusch Nina Cesaratto Accounting Manager Mozart Keith Higgins Assistant Sales Manager Assistant Personnel Manager Jacqueline Moravec Birthday Molly Gillette Payroll/AP Accountant Patricia Takahashi-Blayney Bash Ticket Office Coordinator Principal Librarian Jordan Bromley Early Asma Ahmed, Mary Austin, Staff Accountant Robert Olivia James Bean, Melissa Bryant, Music Tristan Saario Associate Librarian Kimberly Carey, Brian Goodwin, Seattle Staff Revenue Accountant Jeanne Case Mike Obermeyer, CaraBeth Wilson, Librarian Elizabeth Ylaya Bernel Goldberg Ticket Services Associates General Counsel Joseph E. Cook www.resonance.events Technical Director David Ling VENUE ADMINISTRATION Facilities Director Mark Anderson, Jeff Lincoln Matt Laughlin Assistant Technical Directors Aaron Burns, Damien De Witte Director of Facility Sales Building Engineers Johnny Baca, Chris Dinon, James Frounfelter, Adam Moomey Rodney Kretzer Aaron Gorseth, Event & Operations Managers Facilities & Security Coordinator John Roberson, Sophia El-Wakil Michael Schienbein, Facilities Sales & Operations Coordinator HUMAN RESOURCES Ira Seigel Kathryn Osburn Stage Technicians Keith Godfrey House Manager Human Resources Generalist EDUCATION & Tanya Wanchena Karya Schanilec COMMUNITY ENGAGEMENT Assistant House Manager & Usher Scheduler Receptionist/Marketing Assistant Amy Heald Milicent Savage, Patrick Weigel Collaborative Learning Manager Assistant House Managers Jérémy Jolley Dawn Hathaway, Lynn Lambie, Mel Artistic Collaborations Manager Longley, Ryan Marsh, Markus Rook Head Ushers
CONTACT US
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
10 SEATTLESYMPHONY.ORG
new works benefits not only our audiences, but the wider field of symphonic music. music. symphonic of field wider the but audiences, our only not benefits works new {
Year. Elena’s creative approach to programming and her work in commissioning over 50 50 over commissioning in work her and programming to approach creative Elena’s Year. Symphony donors. Symphony
’s top 30 Professionals of the the of Professionals 30 top ’s America Musical of one named recently was who Dubinets, the Seattle Office of Arts & Culture and Seattle Seattle and Culture & Arts of Office Seattle the
Join us in celebrating Seattle Symphony VP of Artistic Planning Elena Elena Planning Artistic of VP Symphony Seattle celebrating in us Join are made possible with support from 4Culture, 4Culture, from support with possible made are BRAVO ELENA! BRAVO The Seattle Symphony’s Community Concerts Concerts Community Symphony’s Seattle The
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Pablo Rus Broseta, conductor Broseta, Rus Pablo
two Family Connections passes for children 8 to 18 to attend with you for free. for you with attend to 18 to 8 children for passes Connections Family two
ticket for yourself over the phone or in-person at the Ticket Office, you may request up to to up request may you Office, Ticket the at in-person or phone the over yourself for ticket at Seattle City Hall City Seattle at
Family Connections. When you purchase a regularly priced Masterworks, Pops or Untuxed Untuxed or Pops Masterworks, priced regularly a purchase you When Connections. Family COMMUNITY CONCERT CONCERT COMMUNITY
Share your love of music with the young people in your life through through life your in people young the with music of love your Share HALL CITY SEATTLE FREE KIDS TICKETS KIDS FREE
Wednesday, February 28, at 12 noon 12 at 28, February Wednesday,
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Anna Edwards, conductor Edwards, Anna
Thomas Dausgaard, conductor Dausgaard, Thomas
at Roosevelt High School High Roosevelt at
ROOSEVELT HIGH SCHOOL SCHOOL HIGH ROOSEVELT
SIDE-BY-SIDE WITH WITH SIDE-BY-SIDE Simon
Tuesday, January 23, at 7pm at 23, January Tuesday,
With warmest wishes, wishes, warmest With
Stephen Rogers Radcliffe, conductor Radcliffe, Rogers Stephen
institution, which is such a shining jewel in this city’s cultural landscape. cultural city’s this in jewel shining a such is which institution,
Ludovic Morlot, conductor Morlot, Ludovic
for your support, and to urge you to go on supporting generously this precious precious this generously supporting on go to you urge to and support, your for
at Benaroya Hall Benaroya at remains for me to wish you all many years ahead of great music, to thank you you thank to music, great of ahead years many all you wish to me for remains
ORCHESTRA
As I depart the beautiful Pacific Northwest and its generous people, it just just it people, generous its and Northwest Pacific beautiful the depart I As
SEATTLE YOUTH SYMPHONY SYMPHONY YOUTH SEATTLE
SIDE-BY-SIDE WITH WITH SIDE-BY-SIDE
welcoming Thomas Dausgaard to the position in 2019. 2019. in position the to Dausgaard Thomas welcoming
Sunday, January 21, at 3pm at 21, January Sunday,
celebrating Ludovic Morlot’s incredible achievements as Music Director and and Director Music as achievements incredible Morlot’s Ludovic celebrating
confident that the Seattle Symphony still has its best days ahead of it, including including it, of ahead days best its has still Symphony Seattle the that confident
Kimberly Roy, conductor Roy, Kimberly
creativity of our staff, and the generosity and leadership of our board, I feel truly truly feel I board, our of leadership and generosity the and staff, our of creativity Pablo Rus Broseta, conductor Broseta, Rus Pablo
people and our communities, the talents of our musicians, the determination and and determination the musicians, our of talents the communities, our and people
at Benaroya Hall Benaroya at
extraordinarily compassionate and inspiring work we undertake with young young with undertake we work inspiring and compassionate extraordinarily
SCHOOL HIGH GARFIELD
electrifying performances we have heard on stage these past few months, the the months, few past these stage on heard have we performances electrifying
SIDE-BY-SIDE WITH WITH SIDE-BY-SIDE
it stands for, knows where it’s going and knows how to get there. Based on the the on Based there. get to how knows and going it’s where knows for, stands it
Friday, January 5, at 7pm at 5, January Friday,
As I said when I announced my departure: The Seattle Symphony knows what what knows Symphony Seattle The departure: my announced I when said I As
Don’t miss these upcoming concerts! upcoming these miss Don’t
it is today. today. is it
together to connect with their community. community. their with connect to together this community — into the focused, ambitious and resilient organization that that organization resilient and ambitious focused, the into — community this
live performances and to bring people people bring to and performances live has continued to develop — with the amazing support of so many of you in in you of many so of support amazing the with — develop to continued has
part of its mission to increase access to to access increase to mission its of part years of my professional life. Over the past few years the Seattle Symphony Symphony Seattle the years few past the Over life. professional my of years
around the Puget Sound region as a a as region Sound Puget the around
especially this wonderful organization to which I have devoted the last seven seven last the devoted have I which to organization wonderful this especially
performs free Community Concerts Concerts Community free performs
next CEO. It is very hard indeed for me to contemplate leaving Seattle — and and — Seattle leaving contemplate to me for indeed hard very is It CEO. next
Every year the Seattle Symphony Symphony Seattle the year Every
Philharmonic and a search is already underway to find the Seattle Symphony’s Symphony’s Seattle the find to underway already is search a and Philharmonic As you may have read, I am moving on to become CEO of the Los Angeles Angeles Los the of CEO become to on moving am I read, have may you As
Photo: Jenny Crooks
of great music as widely as possible. as widely as music great of
forward our art form in new ways, build new audiences and share the inspiration inspiration the share and audiences new build ways, new in form art our forward
prominent performing arts organizations to take take to organizations arts performing prominent
our responsibilities as one of Seattle’s most most Seattle’s of one as responsibilities our
Photo: Brandon Patoc
community engagement. We take very seriously seriously very take We engagement. community
and performances, and deep commitment to to commitment deep and performances, and
poles of our work — adventurous programming programming adventurous — work our of poles
another year of passionate investment in the twin twin the in investment passionate of year another
Here at the Symphony we recommit again to to again recommit we Symphony the at Here
Welcome to 2018 at the Seattle Symphony! Symphony! Seattle the at 2018 to Welcome
SIMON WOODS, PRESIDENT & CEO & PRESIDENT WOODS, SIMON
CONCERTS
NEWS FROM: NEWS
COMMUNITY
■ January 2018 Volume 31, No. 5 206.441.3322 WWW.SCT.ORG 201 Thomas St. Seattle, WA 98109
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Barry Johnson Digital Engagement Specialist YOUR SYMPHONY. YOUR LEGACY. Ciara Caya Customer Service Representative & Making a gift through your will or estate ensures the Administrative Assistant orchestra thrives long into the future, continuing to Corporate Office bring people together and lift the human spirit through 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 the power of music. [email protected] 800.308.2898 x105 www.encoremediagroup.com For more information on how you can make a gift through your estate, contact Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Becky Kowals at 206.215.4852 or [email protected] Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.
encoremediagroup.com/programs 11 CELEBRATE ASIA This year is the tenth anniversary of Celebrate Asia, an annual event presented in collaboration with Seattle’s Asian communities.
BY ANDREW STIEFEL Photo: Brandon Patoc Brandon Photo: Northwest Kung Fu and Fitness School Lion Dance at the 2016 Celebrate Asia.
Drums thunder from the balcony and dancers whirl past in bright was 16 to pursue his real love, tennis, earning a scholarship to splashes of color. Dragons weave through the crowd and people play at Stanford University before starting work at IBM. “Then in burst forth in moments of spontaneous dancing. It’s all part of 2000 I came to Seattle and felt that it was time to pay back all my Celebrate Asia, the Seattle Symphony’s annual concert honoring luck, the lucky life that I’ve had,” says Minegishi. and celebrating Seattle’s Asian communities. With the support of the Seattle Symphony Board Chair at the This year is the tenth anniversary of Celebrate Asia, which has time, Susan Hutchinson, Minegishi invited representatives from drawn more than 19,000 people to the Seattle Symphony and eight countries — Japan, China, Korea, India, Vietnam, Thailand, Benaroya Hall since it began in 2009. The concert was the vision Indonesia and the Philippines — to join the planning committee of Seattle Symphony Lifetime Director Yoshi Minegishi, who and launch the concert. “To do anything you need a team, a good approached the Symphony with the inspiration for the concert. team,” he explains. “It is a community event, and the community “I know how difficult it is for immigrants to get involved with the must guide the decisions. That is key.” civic life of their area,” says Minegishi, himself an immigrant and One of the people Minegishi reached out to was Jerry Lee. naturalized U.S. citizen. “I wanted to connect the Asian community “We each took blocks of 500 tickets and sold them to our with the Seattle Symphony and the cultural life of Seattle, to friends, family, everyone we knew,” says Lee. “For many people, encourage them to get involved in the civic life of their city.” it was their first time hearing the Seattle Symphony or going to Minegishi was born in Japan at the outbreak of World War II Benaroya Hall. It was amazing.” and moved to the United States in 1966. “Our house didn’t burn, The first concert opened to a sold-out audience and featured one of the very few that survived the bombing,” recalls Minegishi a side-by-side performance with the Seattle Youth Symphony about his introduction to Western music. “We had an old German Orchestra as well as solo appearances by Chinese and Korean piano. And I learned a little bit.” artists. “The whole community showed up,” smiles Minegishi as he Although he took piano for many years, he admits that “sports recounts the first concert. Many other Asian countries have been were my thing.” He moved to Redwood City, California when he represented on the main stage throughout the years, as well as in
12 SEATTLESYMPHONY.ORG the pre- and post-concert performances. In the 2010–2011 season, the Symphony introduced a composition competition as part of Celebrate Asia. The competition recognizes emerging composers who are influenced by Asian culture, music and traditions. You can listen to past winners at seattlesymphony.org/compositioncompetition. “The goal is discovery, helping us identify young talent,” says Elena Dubinets, Seattle Symphony Vice President of Artistic Photo: Brandon Patoc Brandon Photo: Planning. “And to give them a platform to Sharmista Mitra Dohray performing Indian folk dances at the 2015 Celebrate Asia. start growing. Huang Ruo, our first winner, now has an international career. And it all started here.” This year, Celebrate Asia will feature one of the soloists from the very first concert: Warren Chang performing a solo on the erhu, a Chinese stringed instrument. The program will also feature Indian composer and soloist Nishat Kahn performing his Concerto for Sitar and Orchestra. In the second half of the concert, the Seattle Chinese Orchestra will join members of the Seattle Symphony for side-by-side performances. The members of the orchestra play traditional Chinese instruments as well as the cello and double bass, which add depth and blend to the ensemble. The two orchestras will play arrangements of traditional Chinese Photo: Brandon Patoc Brandon Photo: folk songs. Koto player Chiaki Endo in 2015 Celebrate Asia concert. “I hope the Seattle Symphony continues to share this music, here and with other cities around the world,” says Minegishi. “That would be my dream.” The tenth anniversary of Celebrate Asia is on February 11, 2018. Stop by the Ticket Concierge in the Grand Lobby (available for most performances) before your concert or during intermission to get tickets, or purchase on our Listen Boldly app, online, in-person at the Ticket Office or by calling 206.215.4747.
Thank you to the Celebrate Asia committee: Viren Kamdar and Martha Lee, co-chairs, with Vivi Cooper, Greg Dwidjaya, Mariela Fletcher, Anjali Joshi, Eunju Kim, Pankaj Nath, Kim Long Nguyen, Akemi Photo: Yuen Lui Studio Lui Yuen Photo: Sagawa, Ravi Sanga, Busbong Sears, The inaugural Celebrate Asia committee in 2009. Clockwise from upper left: Steve Baker, Pankaj Nath, Yuka Shimizu, Julie Sun, Susanna Tran, Quang Nguyen, Dan Petersen, Yoshi Minegishi, Mona Locke, Susan Hutchison, Jerry Lee, Carolyn Kuan, Esther Wu and Ruoxi Zhang. Martha Lee, Sheila Burrus, Naomi Minegishi, Ruoxi Zhang, Natasha Jacob, Rosalie Contreras and Julie Sun.
encoremediagroup.com/programs 13 THE CONDUCTOR’S LIFE, WITH PABLO RUS BROSETA Associate Conductor Rus Broseta conducts Prokofiev, de Falla and more. BY HEIDI STAUB Photo: Andrew Stiefel Andrew Photo: Photo: Carlin Ma Photo: Clockwise from left: Pablo conducting the September 2017 Opening Night Concert; with Yo-Yo Ma after a rehearsal for their performance together in October 2016; with his wife Gemma Goday and son Xavier after a Family Concert he conducted in December 2016. Photo: Brandon Patoc Brandon Photo:
The life of an Associate Conductor of the Seattle Symphony is Ludovic Morlot unexpectedly had to withdraw due to an injury. a whirlwind, and Pablo Rus Broseta seems to be a superhuman. “The beginning of this season was quite special for me when I was When I spoke to Pablo over Skype the afternoon before he asked to conduct the Opening Night Concert,” shared Pablo. “It conducted the performance of Nosferatu with the Seattle was a challenge because I received that call three days before the Symphony in October, he was home as his 2-year-old son napped. first rehearsal, which is a bit scary, but in the other sense, I had the “Of course, I have my programs, then I do cover for almost confidence of the orchestra. I know them well and we have a good every week and I work with Dima [Dmitriy Lipay] in the recording relationship, so I was relieved because I had some trust with them. studio, then I do my guest conducting outside Seattle when It was one of my favorite moments.” I have time,” Pablo explains. “Thursday I go to Europe — I’m This month Pablo conducts the Prokofiev Festival, which conducting in Germany this weekend and coming back Monday follows the Shostakovich Festival he led last season. “It’s great to for Shostakovich with the Seattle Symphony. Of course, I like to do have two concerts focusing on something really specific — like it, so I cannot complain!” concertos by Prokofiev. It’s a challenge, but I’m so happy to do it, Nosferatu and Shostakovich are just two of the almost 20 because when you focus on one composer in such a short space programs he is leading with the Seattle Symphony this season. and time, it gives you the opportunity to discover new things that In addition to that, Pablo’s many responsibilities as Associate maybe in other types of concerts you would never have.” Conductor include editing concert recordings for radio broadcast An advantage that Pablo brings to the Seattle Symphony is and grant support, working with the artistic staff on programming his expertise of Spanish music. On the Carmina burana program ideas, and being the cover conductor, which means personal in March, the orchestra will perform Spanish composer Manuel preparation of all scores and attendance at all rehearsals and de Falla’s Three-Cornered Hat. “De Falla’s not so well known as performances as the “understudy” to the conductor. If you Stravinsky or Ravel, or other great composers of the 20th century, don’t see Pablo on the podium during a concert, you’ll likely but I think he’s a great composer and I try to perform more of his spot him out in the audience with you, ready to jump in at a music. It’s very special for me to share this music.” moment’s notice. Get tickets to Pablo’s concerts by stopping by the Ticket Pablo experienced this when he received a call to take over Concierge in the Grand Lobby, on the Listen Boldly app, online, as conductor of the Opening Night Concert when Music Director in-person at the Ticket Office or by calling 206.215.4747.
14 SEATTLESYMPHONY.ORG
THURSDAY, JANUARY 4, 2018, AT 7:30PM OVERVIEW SATURDAY, JANUARY 6, 2018, AT 8PM Discoveries & Rediscoveries MOZART The three compositions performed during our concert bring musical discoveries of different sorts. Mozart’s Symphony No. 39 is often SYMPHONY NO. 39 performed, yet it is one of those essential works that rewards repeated listening, revealing something new each time it is heard. Ludovic Morlot, conductor Augustin Hadelich, violin Preceding it on our program is music recently rediscovered after lying hidden Seattle Symphony for more than a century. Written on the cusp of its author’s breakthrough into full GYÖRGY LIGETI Violin Concerto 28’ mastery and individuality, Stravinsky’s elegiac Praeludium: Vivacissimo luminoso— Pogrebal’naya Pesnya (“Funeral Song”) Aria, Hoquetus, Choral: Andante con moto— provides a glimpse of this important composer Intermezzo: Presto fluido stepping from the lush musical realm of the Passacaglia: Lento intenso late 19th and early 20th centuries toward the Appassionato: Agitato molto modernity of his mature style. AUGUSTIN HADELICH, VIOLIN But the greatest discovery of all, even for INTERMISSION those who may have already heard it in recording, lies in the Seattle premiere of György Ligeti’s extraordinary Violin Concerto. IGOR STRAVINSKY Pogrebal’naya Pesnya (“Funeral Song”) 12’ (West Coast Premiere) In my opinion, Ligeti is the great composer of the late 20th century, and his Violin Concerto WOLFGANG AMADEUS Symphony No. 39 in E-flat major, K. 543 25’ is among his signature achievements, a MOZART Adagio—Allegro work that combines originality, inventiveness Andante con moto and depth of expression in an astonishing Menuetto: Allegretto amalgam. Challenging listening it may be, but Finale: Allegro well worth any effort expended.
It’s a thrill to be able to give the Seattle Pre-concert Talk one hour prior to each performance Symphony and West Coast Premiere Speaker: Charles Corey, University of Washington Affiliate Assistant Professor, of Stravinsky’s Funeral Song. This piece is Composition; Director, Harry Partch Instrumentarium very somber, dark, and a powerful ode to Stravinsky’s teacher, Nikolai Rimsky-Korsakov. Ask the Artist on Saturday, January 6 in the Samuel & Althea Stroum Grand Lobby following the concert Ligeti’s Violin Concerto is sonically very Guests: Ludovic Morlot and Augustin Hadelich unique in the way it makes use of multiple tuning systems; while most of the orchestra musicians will be tuned as usual, some Augustin Hadelich’s performances are generously underwritten by Bob and Clodagh Ash will tune to the pitches of the harmonic through the Seattle Symphony’s Guest Artists Circle. series. The result is the sonic equivalent of Media Sponsor: Classical KING FM 98.1 two paintings, one Renaissance and one contemporary, blending together.
I always look forward to working with Augustin Hadelich, who not only has a very refined technique but takes an intelligent approach to repertoire.
We know Ligeti loved Mozart; this is what inspired me to put these two composers together. Of Mozart’s symphonies, No. 39 Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. is one of my favorites. I find it has a certain Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording sweetness that gives it a nostalgic tone. equipment, and any other use of such copying devices during a performance is prohibited. – Ludovic Morlot See Ludovic Morlot’s biography on page 6.
encoremediagroup.com/programs 15 PROGRAM NOTES
GYÖRGY LIGETI inimitable. Béla Bartók stands beside paying homage to that composition, Ligeti Violin Concerto Stravinsky, Ravel and several others as one of begins the first movement with the solo BORN: May 28, 1923, in Tirnaveni, Transylvania the pioneers who first created masterworks instrument sounding a tuning motif — one within a modern musical idiom. No less using the pitches of the violin’s open strings. DIED: June 12, 2006, in Vienna important and impressive is his latter-day The pace is faster, however, and the mood WORK COMPOSED: 1984–92 compatriot György Ligeti. more frenetic than the initial moments of Berg’s WORLD PREMIERE: October 8, 1992, in Cologne. concerto, and the use of micro-tones, quasi- Saschko Gawriloff was the solo violinist, and Peter Ligeti emerged during the 1960s as one of mechanical figures, complex cross-rhythms Eötvös conducted the Ensemble Modern. the most remarkable musical thinkers of his and frantic moto perpetuo passagework create generation. In a series of striking pieces, an impression entirely unlike Berg’s nostalgic Buckle up for an exhilarating ride. the composer, recently escaped from Viennese lyricism. From its bare opening Between frenetic opening and closing communist Hungary, created a new kind measures the music grows progressively movements we hear old musical ideas of music, compressing details of melody, more dense and intricately layered. At last, (aria and chorale writing, Romantic reverie harmony and rhythm into tightly woven webs however, the texture thins out again, and a and more) made new through Ligeti’s of sound: dense cloudlike chords or tangled high-flying violin line skitters, tumbles and innovative approach to them. Dizzying knots of many-stranded counterpoint. This metamorphoses into the earth-bound tones mixtures of different rhythms, instrumental innovative music achieved widespread of drums. Thoughts of the mythical Icarus colors, even tuning systems enrich the public recognition in 1968 with the release plunging from the sky spring to mind here. music’s complexion, while ocarinas and of Stanley Kubrick’s landmark film 2001: A recorders expand the palette of the Space Odyssey, whose soundtrack used After the frenzy of this first movement, the orchestra’s timbres. (without the composer’s foreknowledge start of the second, with its slow, rhythmically or permission) excerpts from several of simple, unaccompanied solo for the featured Ligeti’s works. instrument, is all the more striking. The The Ligeti Violin Concerto is one of composer’s title for the movement indicates, the most extraordinary and difficult By the end of the 1960s Ligeti had firmly in addition to an instrumental aria, two other works ever written for the violin. It is by turns established the most distinctive and original kinds of music: Hoquetus, a Latin term for beautiful, frightening, joyous, painful and idiom in late 20th-century composition. hocketting, the medieval technique of dividing virtuosic. Performing it is exhilarating and Having done so, he might have clung a melodic line among several voices (or feels a bit like walking on a tightrope! comfortably to its manner and techniques. instrumental parts), usually in a rhythmically Instead, he set out in new directions. Over the lively manner; and a chorale. These three In Ligeti’s later period, compositional avant- next three decades, Ligeti’s music grew and kinds of music do not follow each other garde techniques are never employed evolved swiftly, eventually becoming a late sequentially, as the movement’s title might for their own sake, but always to express body of work every bit as astonishing and suggest. Rather, they are superimposed and sincere and intense emotion. While the work important as his compositions of the ‘60s. interpenetrate each other. Still, the movement’s is rhythmically very complex, consonant final moments, like its first, are given over harmonies abound. One of the chief products of this later phase solely to the faintly stirring, faintly melancholy of Ligeti’s career is his Violin Concerto, melody of the aria. The fast first movement starts with open completed in 1992 after six years of strings creating an ethereal and otherworldly intermittent work. The music reflects an The third movement begins in almost a vein sound, in perpetual motion. The second interest that increasingly marked Ligeti’s of Romantic reverie, the solo instrument movement is a beautiful and serene music during the 1980s: a fascination with rhapsodizing against an ethereal sonic chant, almost medieval in nature, which non-standard tuning and micro-tones, those background. But as other instruments join is interrupted by a chorus of ocarinas! It pitches lying between the conventional 12 its song, they throw the melody out of joint. sounds like folk music of a strange and notes traditional to Western concert music. In Soon the quietly cascading scales of the bewildering lost culture. During the final this concerto, Ligeti subverts the familiar 12- accompaniment emerge forcefully, seizing the movement the music becomes more and note scale in a variety of ways. Among other spotlight in a powerful, even violent, fashion. more agitated, culminating in the frantic things, two members of the orchestral strings, The ensuing Passacaglia follows a similar cadenza, in which the violinist explores a violin and viola, are tuned slightly differently course, beginning in a slow and deliberate musical material from all five movements, as from their colleagues; brass players are vein but growing progressively more animated the music accelerates towards the end of instructed to use “natural” harmonics that and vehement, reaching an almost hair-raising the concerto like a meteorite crashing down lie outside the uniformly spaced notes of level of tension in its closing moments. to earth. Western music; and woodwind players occasionally trade their usual instruments for The finale is no slender coda but instead the – Augustin Hadelich ocarinas, which are practically incapable of most dramatic and in many ways the most sustaining pitch evenly, and for recorders, substantial, portion of the composition. Eventful Two Hungarians produced some of the which also are difficult for any but specialist music that recalls, in varied form, much of most original and beautiful music of the performers to play in tune. what has gone before leads to the cadenza, early and late decades of the 20th century which the orchestra seems to cut short with an respectively. Both were composers of genius, Following the example of Alban Berg’s impatient final gesture. and both proved highly influential, if ultimately magisterial Violin Concerto, and no doubt
16 SEATTLESYMPHONY.ORG Scored for solo violin; 2 flutes (the 1st doubling alto phrases foretell The Firebird, written the year in slow tempo to begin the first movement. flute and treble recorder, the 2nd doubling piccolo and after this Funeral Song. Harmonically, the This preface begins with sonorous chords descant recorder); 1 oboe (doubling soprano ocarina); 2 clarinets (the 1st doubling E-flat clarinet and sopranino music looks not ahead to the discords of The in formal rhythms punctuated by timpani ocarina, the 2nd doubling bass clarinet and alto ocarina); Rite of Spring so much as back to the richly strokes and falling scale figures. The latter will 1 bassoon (doubling soprano ocarina); 2 horns; 1 trumpet; expressive idiom of Wagner. reappear, in a more animated context, during 1 tenor trombone; timpani and percussion; strings (with 1 the main body of the movement. violin and 1 viola in scordatura). Scored for 3 flutes (the 3rd doubling piccolo); 2 oboes and English horn; 3 clarinets (the 3rd doubling bass There follows a slow movement that begins clarinet); 3 bassoons (the 3rd doubling contrabassoon); softly and placidly in the string choir alone. IGOR STRAVINSKY 4 horns; 3 trumpets; 3 trombones; tuba; timpani and Beginning with its second paragraph, Pogrebal’naya Pesnya (“Funeral Song”) percussion; 2 harps; strings. however, Mozart touches on some dark BORN: June 17, 1882, in Oranienbaum, Russia harmonies and stormy textures. The outbursts DIED: April 6, 1971, in New York WOLFGANG AMADEUS MOZART never last long, though, and the movement as WORK COMPOSED: 1908 Symphony No. 39 in E-flat major, K. 543 a whole conveys a beautiful and seemingly WORLD PREMIERE: January 17, 1909, in Saint BORN: January 27, 1756, in Salzburg nocturnal atmosphere. Petersburg, Russia. Felix Blumenfeld conducted the DIED: December 5, 1791, in Vienna Russian Symphony Orchestra. WORK COMPOSED: 1788 The third movement presents a robust minuet whose central episode uses an WORLD PREMIERE: Unknown Alpine folk-dance melody, sung here by the Following a mournful introduction, a clarinet. Mozart constructs the finale on a succession of changing instrumental Here is an exemplary classical single swift and energetic theme that proves colors fulfills Stravinsky’s notion of the symphony: four movements, including the source of myriad developments. constituent members of the orchestra filing in an almost dream-like Andante and a succession past the tomb of his teacher, quicksilver finale. An introduction in slow Scored for flute; pairs of clarinets, bassoons, horns and Nikolai Rimsky-Korsakov, “each laying down tempo precedes the first movement. trumpets; timpani; strings. its melody as its wreath against a deep Beginning in a splendid, even ceremonious, © 2018 Paul Schiavo background of tremolo murmurings ...” manner, the music soon becomes quiet and expectant, its mounting sense of anticipation Igor Stravinsky was, and remains, the pre- making the onset of the ensuing Allegro all eminent composer of the early 20th century. the more effective. AUGUSTIN HADELICH Violin Several of his works, once controversially modern, have become pillars of the orchestral In the summer of 1788, Mozart completed Musical America’s 2018 literature. (Most notable in this regard are three extraordinary symphonies, the last Instrumentalist of the the three great ballet scores written in of more than 40 such works he would Year, Augustin Hadelich the years leading up to World War I: The compose. This “final trilogy,” as it is often has firmly established Firebird, Petrushka and The Rite of Spring.) called, poses two of the most intriguing and himself as one of the It is especially exciting, therefore, that one of enduring questions of Mozart’s biography: great violinists of today. Stravinsky’s compositions thought lost, and Why did the composer write these works, He has performed with which had not been heard in more than 100 and did he ever hear them performed? every major orchestra in years, has recently been rediscovered. Mozart scholars have proposed several the U.S., many on possibilities for explaining the composition of numerous occasions, as well as an ever- This is Pogrebal’naya Pesnya, an orchestral these three late symphonies, but even their growing number of major orchestras in the piece written as a tribute to Stravinsky’s most persuasive theories remain unproved UK, Europe and the Far East. teacher, Nikolai Rimsky-Korsakov, following his for lack of definitive documentary evidence. death in 1908, and performed at a memorial And so, the mystery of the composer’s last Hadelich’s career took off when he concert in Saint Petersburg early the following three symphonies remains just that. But was named Gold Medalist of the 2006 year. Although the 26-year-old Stravinsky of the music’s value there is no doubt. No International Violin Competition of designated the work his “Opus 5,” it was symphonic compositions of the 18th century Indianapolis. Since then, he has garnered never published and the music eventually lost. surpass the “final trilogy” in strength, intricacy an impressive list of honors, including the Late in his life, Stravinsky speculated that the or beauty, and only Mozart’s slightly earlier inaugural Warner Music Prize in 2015, and orchestral parts might still reside in the library “Prague” Symphony and the later “London” a 2016 Grammy Award for his recording of the Saint Petersburg Conservatory, but it was symphonies of his contemporary and friend of Dutilleux’s Violin Concerto, L’arbre des only in 2015 that Russian musicologist Natalia Franz Joseph Haydn even approach them in songes, with the Seattle Symphony under Braginskaya discovered them there. this respect. Ludovic Morlot (Seattle Symphony Media).
The work’s title means “Funeral Song,” and a Like the other two symphonies of the “final Hadelich plays the 1723 “Ex-Kiesewetter” dolorous tone pervades its 12-minute span. trilogy,” this work follows the four-movement Stradivari violin, on loan from Clement and Stravinsky begins with an introductory passage sequence that by the 1780s had become Karen Arrison through the Stradivari Society whose opening of quiet bass tones, tremulous the usual format of symphonic composition. of Chicago. string figures, and nervous wind-instrument Unlike them, its plan includes an introduction
encoremediagroup.com/programs 17 FRIDAY, JANUARY 12, 2018, AT 8PM SATURDAY, JANUARY 13, 2018, AT 8PM SUNDAY, JANUARY 14, 2018, AT 2PM BROADWAY TODAY SEATTLE POPS Title Sponsor
Steven Reineke, conductor | Betsy Wolfe, vocals | Jeremy Jordan, vocals | Seattle Symphony
ANDREW LLOYD WEBBER Selections from 3’ MARK MANCINA, He Lives in You 3’ /arr. Calvin Custer The Phantom of the Opera JAY RIFKIN & LEBO M from The Lion King /arr. Steven Reineke ALAN MENKEN “Santa Fe” from Newsies 4’ /lyrics Jack Feldma JEREMY JORDAN ANDREW LLOYD WEBBER Jellicle Ball from Cats 4’ /orch. Steven Reineke /orch. David Cullen
GLEN HANSARD & “Falling Slowly” from Once 4’ SARA BAREILLES “She Used to be Mine” 4’ MARKÉTA IRGLOVÁ BETSY WOLFE from Waitress JEREMY JORDAN BETSY WOLFE
JOHN KANDER Chicago Suite 5’ ALAIN BOUBLIL & “Why God, Why?” 4’ /arr. Michael Gibson CLAUDE-MICHEL SCHÖNBERG from Miss Saigon /lyrics Alain Boublil & JEREMY JORDAN STEPHEN SCHWARTZ “Meadowlark” 6’ Richard Maltby, Jr. /arr. Mark Buys from The Baker’s Wife /orch. William David Brohn & Kevin Purcell BETSY WOLFE ALAIN BOUBLIL & Suite from Les Misérables 4’ JASON ROBERT BROWN “A Summer in Ohio” 4’ CLAUDE-MICHEL SCHÖNBERG /orch. Fred Barton from The Last Five Years /arr. Steven Reineke BETSY WOLFE JUSTIN PAUL & BENJ PASEK “Waving Through a Window” 4’ TREY PARKER, “You and Me 3’ /arr. Sam Shoup from Dear Evan Hansen ROBERT LOPEZ & (But Mostly Me)” from JEREMY JORDAN MATT STONE The Book of Mormon /arr. Sam Shoup JEREMY JORDAN JOHN KANDER & FRED EBB “Maybe this Time” 3’ /orch. Bob Krogstad from Cabaret JASON ROBERT BROWN “Before and After 9’ BETSY WOLFE You/One Second and a Million Miles” from The ALAN MENKEN “Suddenly Seymour” 4’ Bridges of Madison County /lyric Howard Ashman from Little Shop of Horrors BETSY WOLFE /arr. Sam Shoup BETSY WOLFE JEREMY JORDAN JEREMY JORDAN
INTERMISSION
Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
18 SEATTLESYMPHONY.ORG STEVEN REINEKE BETSY WOLFE Conductor Vocals SEATTLE POPS SERIES Steven Reineke has Betsy Wolfe is currently TITLE SPONSOR established himself as starring in the hit one of North America’s Broadway musical leading conductors of Waitress. She was last popular music. He is seen on Broadway Music Director of the starring in Falsettos as New York Pops at Cordelia, one of the Carnegie Hall, Principal lovable “lesbians from Photo: Michael Tammaro Michael Photo: Pops Conductor of the Patterson Justin Photo: next door,” directed by National Symphony Orchestra at the John F. James Lapine. Her other Broadway credits Kennedy Center for the Performing Arts, include Woody Allen’s musical adaptation of and Principal Pops Conductor of the Bullets Over Broadway where she played Houston and Toronto symphonies. opposite Zach Braff, under the direction of On stage, Reineke has created programs Susan Stroman. Previously, she starred in and collaborated with a range of leading the Off-Broadway revival of The Last Five artists from the worlds of hip-hop, Years at Second Stage Theatre and the THE Broadway, television and rock including Broadway revival of The Mystery of Edwin SEATTLE SYMPHONY Common, Kendrick Lamar, Nas, Sutton Drood as Rosa Bud. Wolfe made her Foster, Megan Hilty, Cheyenne Jackson, Metropolitan Opera debut in Douglas Carter THANKS MCM Wayne Brady, Peter Frampton and Ben Beane’s adaptation of Die Fledermaus, FOR MAKING Folds, among others. In 2017 NPR’s All which she recently returned to for an Things Considered featured Reineke encore engagement. Wolfe has been a THE SEATTLE POPS leading the National Symphony Orchestra guest artist for over 40 symphony, pops and SERIES POSSIBLE. performing live music excerpts between philharmonic orchestras across the U.S. and news segments — a first in the show’s internationally. Recordings include 45‑year history. Falsettos, Bullets over Broadway, The Last Five Years, The Mystery of Edwin Drood, I always love performing music from Stage Door Canteen, 35MM and Merrily We the Broadway stages. It’s a great joy Roll Along. She holds a BFA in musical to reside in Manhattan, just a short walk to theatre from Cincinnati Conservatory of so many incredible Broadway shows. I try to Music. Wolfe can also be seen in the film see as much theater as I can when I’m adaptation of The Last Five Years. home in New York City, which always inspires me to think of songs and shows I absolutely love this set list we’ve that I might want to represent in my next come up with! We’re performing the Broadway-themed Pops concerts. Of well-known hits that everyone loves, but course I always love performing music from also bringing in some of the best lesser- the Golden Age of Broadway like Rodgers known material that just makes us melt. This and Hammerstein and Lerner and Loewe. concert was created for Carnegie Hall in Those songwriters paved the way for so 2016 and we’ve performed some of these many talented theater writers that are selections at the Kennedy Center, Carnegie working today. There’s such a variety these Hall and with the Toronto Symphony, but it’s days in the styles of music that appear in been a great treat to reexamine the musicals and the themes and subject matter program for Seattle and make it the best it’s have also expanded greatly, making them been. There is truly nothing like singing with feel extremely relevant to present day life. a live Symphony. It is one of my greatest I’ve also included music on this program joys! My only connection to Seattle is a trip from the top four longest running Broadway through the airport in 2005, so this is a long musicals of all time: Les Misérables, overdue trip to this incredible city. I’m Cats, The Lion King and in the number one beyond happy to finally be here! slot — The Phantom of the Opera.
encoremediagroup.com/programs 19 JEREMY JORDAN Vocals MONDAY, JANUARY 15, 2018, AT 7:30PM A Tony and Grammy nominated actor and singer, Jeremy Jordan is currently starring in the CBS hit, Supergirl. NATHAN LAUBE Earlier he was a series regular in NBC’s IN RECITAL musical drama, Smash. Photo: Laura Rose Photo: He starred opposite FLUKE/GABELEIN ORGAN RECITAL SERIES Anna Kendrick in Richard LaGravenese’s film adaptation of Jason Robert Brown’s Nathan Laube, organ cult musical, The Last Five Years. He was honored with the Rising Star Award at the Napa Film Festival for his work on the film. CHARLES-MARIE WIDOR Allegro vivace from Symphonie pour 12’ Jordan also starred opposite Queen Grand Orgue, Op. 42, No. 5 Latifah and Dolly Parton in Todd Graff’s Warner Bros. film, Joyful Noise. JEAN ROGER-DUCASSE Pastorale 12’
On Broadway, he originated the role of RICHARD WAGNER Overture to Tannhäuser 18’ Jack Kelly in Disney’s hit musical, Newsies, /trans. S.P. Warren, earning Tony, Grammy and Drama Desk E.H. Lemare & N.J. Laube nominations. He recently reprised the role in the film version of the show. Jordan INTERMISSION also played Clyde Barrow in Broadway’s Bonnie & Clyde, for which he won the JOHANN SEBASTIAN BACH Fantasia and Fugue in G minor, BWV 542 13’ TheatreWorld Award. He got his Broadway MAURICE DURUFLÉ Suite pour Orgue, Op. 5 23’ start in Rock of Ages and also starred as Prélude Tony in the most recent revival of West Sicilienne Side Story. He played the central role of Toccata J.M. Barrie in the original production of Finding Neverland at ART in Cambridge. Jordan regularly performs concerts and cabaret shows to sold out houses across the country. He has a BFA from Ithaca College and is originally from Corpus Christi, Texas.
Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
20 SEATTLESYMPHONY.ORG PROGRAM NOTES
Rarely can a single composer be so closely The influence of the Organ Reform Once primarily known by the cognoscenti identified with the creation of an entire Movement in the 1950s and 1960s cast of the organ world, the works of Maurice musical genre as Charles-Marie Widor a shadow on the reputation of organ Duruflé have become a treasured part and the Symphonie pour Grand Orgue, transcriptions, and even more so, those of the 20th-century repertoire for the Op. 42, No. 5, or the “Organ” Symphony. who performed them. Apart from the organ and choirs. Duruflé’s compositions, Widor was organist for 64 years at the transcriptions of Italian concertos by J.S. though limited in number, are highly Church of Saint-Sulpice, the home of Bach and J.G. Walther, transcriptions distinguished, each a masterpiece. He Aristide Cavaillé-Coll’s magnum opus, an disappeared from most organ recitals. paid tribute to his composition teacher opulent five-manual organ of 98 stops. He In the past decades, there has been Paul Dukas with his Suite pour Orgue, derived tremendous inspiration from this a growing appreciation for the great Op. 5, composed in 1933. organ, and was inspired to write a series orchestral organs from the turn of the of ten multi-movement works that drew 20th century, and the music it best Duruflé supplied the following description upon the tonal resources of the symphonic suits, whether it be original works or of the work: “The Prélude, which is somber organ of the 19th century. transcriptions. The world’s leading in character, is composed in the form of concert artists are again including the a diptych. A single theme, presented in Widor’s Symphony No. 5 was written great transcriptions of both the era three successive expositions, gradually in 1878, and was inspired by the new and modern days in their recitals, and accumulates the power of the organ. The Cavaillé-Coll organ for the immense audiences are once again drawn to the second part consists of a long recitative, Palais du Trocadéro in Paris, located King of Instruments through these musical developing the first notes of the theme. directly across the Seine from the widely expressions. The transcription of Wagner’s The Sicilienne is of classic construction, disliked novelty of the Paris Exhibition, Overture to Tannhäuser on tonight’s comprising three statements of the main the “eyesore” known as the Eiffel Tower. program combines the work of three theme and two episodes. The contrasting Widor gave the first performance of the musicians: Samuel P. Warren, a Canadian- of timbres and a quest for color have been completed symphony there on October born organist who spent most of his career the composer’s aim, as well as putting into 19, 1879; since that performance, it has in New York City; the English organist relief the evocative character becoming to remained Widor’s most widely known Edwin H. Lemare, remembered as perhaps this style of piece. The Toccata, in ternary and performed composition (and one of the greatest and most prolific transcriber form, begins with a short introduction, Widor’s own personal favorites among for the organ; and tonight’s recitalist, preparatory to the entry of the rhythmic his own works). The opening movement Nathan Laube. and vigorous principal theme, which is of this symphony is a set of variations given to the pedals. In the middle section, based on an extended march-like theme, The compositions of Johann Sebastian a second theme appears, and is later and is a showcase for Widor’s mastery of Bach form an undisputed cornerstone of combined with the first. Finally, a return compositional technique. Though Widor the organist’s repertoire; most of these to the opening measures, and a brilliant always abhorred frequent changes of date from the first half of Bach’s life, as he conclusion with the second theme.” registration (“no ‘magic-lantern’ effects, rarely composed original works for solo please!”), this movement is an exception to organ once he took up duties as Kantor Like Roger-Ducasse and his own teacher the rule, and requires the most variety in (music director of the city churches) in Dukas, Duruflé was always intensely self- tonal color of any of his works. Leipzig in 1723. Like most of Bach’s paired critical of his own works; he grew to dislike preludes and fugues, Fantasia and Fugue the Toccata, and later refused to perform, The French composer Jean Roger- in G minor were not originally conceived record or even teach the movement to his Ducasse was a composition student of as a linked pair. The fantasia combines many students. “It has a very bad theme,” Gabriel Fauré at the Paris Conservatoire; elements of the stylus fantasticus style he once stated in an interview with the he later succeeded Fauré as professor of that Bach absorbed during his time with American organist George Baker. Many composition and orchestration. Though Dieterich Buxtehude in Lübeck. Bach have respectfully disagreed, and the work he composed in a wide variety of forms, alternates sections of free, recitative- has been deemed one of the pinnacles his greatest successes were his operatic like writing with quieter sections with of the repertoire by organists and and orchestral works. The Pastorale, his stricter counterpoint. Throughout both, audiences alike. only work for solo organ, dates from 1909. Bach is extraordinarily harmonically Much like Fauré, Roger-Ducasse was adventuresome, pushing to the absolute © 2018 Joseph Adam skilled at combining both classical form limits of what was permissible in the day. with impressionist color and harmony. The ensuing fugue is one of the more The work opens with a quiet siciliano engaging works Bach ever wrote, with a theme, building to an immense climax particularly tuneful and memorable subject, before returning to the quiet repose possibly based on a Dutch folk song. It was of the opening. Roger-Ducasse was a favorite, even during Bach’s lifetime, as intensely self-critical of his own works, a large number of early copies of the work and destroyed anything he did not deem survive to this day. up to his rigorous standards; the Pastorale survived such scrutiny, and is now the composer’s most often-performed work.
encoremediagroup.com/programs 21 NATHAN LAUBE VILLAGE Organ THEATRE Nathan Laube is Assistant Professor of 2017-2018 Organ at the Eastman SEASON Snappy dialogue and quick School of Music in THE GIN GAME wit crackle in this Pulitzer Rochester, New York, STRING Prize-winning play and International HAIRSPRAY Consultant in Organ Studies at the Royal SUBSCRIBE Birmingham JAN 18 – FEB 25 MAR 2 – 25 Conservatoire in the UK. He is frequently a AND SAVE 20% ISSAQUAH EVERETT OR MORE! featured soloist at international festivals
SPONSORED IN PART BY and organist conventions, and maintains a (425) 392-2202 ISSAQUAH I (425) 257-8600 EVERETT I VILLAGETHEATRE.ORG rigorous schedule of solo recital performances at prestigious venues throughout the U.S. and Europe. He is a featured concerto soloist on a Grammy- winning recording of works by Stephen Paulus with the Nashville Symphony. In 2017 he was the first-ever Organist in Residence on the famous 1738 Müller organ of St. Bavo Church in Haarlem in the Netherlands and he performed the inaugural recital on the restored organ at King’s College, Cambridge. Born in Waukegan, Illinois, Laube studied at the Curtis Institute of Music in Philadelphia, the Conservatoire à Rayonnement Régional de Toulouse France and the Musikhochschule, Stuttgart Germany. He was a Fullbright Scholar and a German DAAD Scholarship recipient.
I’m thrilled to perform on the versatile and dramatic C.B. Fisk organ at Benaroya Hall. Preparing such an Private Client & Luxury Real Estate organ recital is a bit like opening the proverbial ‘box of chocolates’: I can never know just how this proposed program will sound on this particular instrument and in its particular context until I’m seated at the organ and begin experimenting with the huge spice cabinet of sounds that make JAVILA CREER SHAWNA ADER up its unique organ ‘DNA.’ One has to be Premier Associate | Executive Premier Director | Managing Broker Broker open to being astonished by unexpected possibilities the instrument affords and 206 794 5284 206 251 2337 javila.withwre.com aderberger.com therefore willing to rethink the particular color or expression of a certain musical ERICA CLIBBORN AMY SAJER passage, or indeed an entire work. Executive Premier Director | Premier Director | Broker Broker Perhaps in this way organists are therefore truly among the luckiest musicians: each 206 251 1869 206 550 8903 ericaclibborn.com amysajer.withwre.com performance invites and indeed demands a certain rethinking and rediscovery of a MICHAEL DOYLE DEIRDRE DOYLE work on each new instrument. I predict this Premier Director | Executive Premier Director | Managing Broker Broker pairing of repertoire and instrument will eclipse the ‘box of chocolates’ experience; 206 669 0203 206 234 3386 MichaelDoyleProperties.com deirdre-doyle.com I’m expecting to be a ‘kid-in-a-candy-store’ at Benaroya!
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22 SEATTLESYMPHONY.ORG PROGRAM THURSDAY, JANUARY 18, 2018, AT 7:30PM NOTES PROKOFIEV The three early concertos on our program CONCERTO FESTIVAL 1 are intertwined in several ways. They are products of an intensely productive five- SPECIAL PERFORMANCES year period between 1910 and 1915; even before this, from 1908, Prokofiev had been Pablo Rus Broseta, conductor making a splash in public performances as William Hagen, violin a 17-year-old composer and pianist. The precocity and energy of the works we’ll Nathan Lee, piano hear tonight are typical, offering a good Conrad Tao, piano snapshot of a very young, rather brash and Seattle Symphony immensely talented young man.
SERGEY PROKOFIEV Piano Concerto No. 1 in D-flat major, Op. 10 16’ Prokofiev began thinking about writing a Allegro brioso— piano concerto as early as 1910, and his Andante assai— plans went through various permutations, Allegro scherzando growing larger and more elaborate at each NATHAN LEE, PIANO step. He premiered his Piano Concerto No. 1, as the soloist, in Moscow on July 25, Violin Concerto No. 1 in D major, Op. 19 22’ 1912 (conducted by Konstantin Saradzhev), Andantino—Andante assai and he performed it again shortly thereafter, Scherzo: Vivacissimo at Pavlovsk (near St. Petersburg). These Moderato—Allegro moderato two early performances were not without WILLIAM HAGEN, VIOLIN controversy, which Prokofiev thoroughly INTERMISSION relished. Indeed, he was happily anticipating an uproar when he decided to Piano Concerto No. 2 in G minor, Op. 16 31’ perform this concerto at his graduation from Andantino—Allegretto the St. Petersburg Conservatory in 1914. As Scherzo: Vivace he noted in his diary, even though some Intermezzo: Allegro moderato listeners “will want to hurl a chair at me, Finale: Allegro tempestoso others will be genuinely thrilled by it.” CONRAD TAO, PIANO The concerto is in one movement but with several distinct inner sections. In his diary, Prokofiev gives a detailed description of the work’s form, but in an article he wrote at the time of the premiere, he is more succinct: the concerto, he says, is unified by “three whales” — that is, by the threefold repetition of the grand opening motif (at the beginning, middle and end of the piece). The first part of the work is framed between two statements of this opening theme and features bold octaves, swelling dynamics and sharply defined rhythms, all of which are characteristic of his approach as a composer and as a pianist. After these two statements, a sweet, slow theme with delicate piano writing is, as he describes it, “dropped into” the work. He then turns up the volume and intensity, plunging us into the driving rhythms of the final section, which, in turn, propels us (via some dramatic brass writing) to the final cadenza. Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. We end with the “third whale,” a triumphant, Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording full throated reprise, pulling out all the equipment, and any other use of such copying devices during a performance is prohibited. stops of the large orchestral forces he has assembled.
encoremediagroup.com/programs 23 PABLO RUS BROSETA PROGRAM NOTES continued Conductor Pablo Rus Broseta is Associate Conductor of Prokofiev’s Violin Concerto No. 1 in the hall for a few moments. Then, the Seattle Symphony, emerged from the same astonishingly boos and catcalls were answered with having originally been productive period, although its premiere loud applause ... I was pleased that the appointed Assistant was somewhat delayed, much to the Concerto provoked such strong feelings Conductor in 2015. composer’s frustration. (It premiered on in the audience.” Many critics were on the During the 2017–2018 October 18, 1923, in Paris, with Marcel negative side, with one writer remarking season, he leads the Photo: Chuck Moses, Yuen Lui Studio Lui Yuen Chuck Moses, Photo: Darrieux as soloist, conducted by Sergey that the cadenzas appeared to have been Seattle Symphony in a Koussevitsky.) Like the Piano Concerto No. created by “emptying an inkwell over wide variety of concerts, including an 1, the Violin Concerto emerged gradually, the paper.” The orchestral score of this all-Russian program with pianist Beatrice as the composer continued to think about concerto was lost in 1917, and later, in 1923, Rana, Carmina burana and a festival of it over many months in 1914 and 1915. His Prokofiev reconstructed and revised the Prokofiev concertos. In 2016–2017, he descriptions over this long period are work based on the surviving piano score. conducted a festival of Shostakovich consistent; even in his initial ideas about The first of the four movements has a concertos as well as a concert with Yo-Yo the piece, he described it as “beautiful and lush, even dreamy, appeal, with a lighter Ma. He is rapidly building a wide-ranging tender” — and this was at the very time he secondary theme full of the twisting leaps repertoire from Handel to John Adams, with was in rehearsals for his tumultuous Piano so characteristic of Prokofiev’s melodies. a focus on the great symphonic repertoire. Concerto No. 2! The cadenza might have provoked the As guest conductor, Rus Broseta’s 2017– “inkwell” comment, although it builds 2018 season includes debuts with the This original conception is immediately gradually and logically using familiar Houston and Kitchener-Waterloo apparent in the first of the three motifs, taking us to heights of triple forte, symphonies, and return engagements with movements, where the solo violin part is underscored by the direction colossale. the SWR Symphonieorchester and marked “dreamily” (sognando), as it enters (Prokofiev confessed that he went wrong in Orquesta de Valencia. Rus Broseta studied softly above a gentle cushion of sound this cadenza at the premiere: “it sounded composition and saxophone at the provided by the violas. The movement fine, but the truth is I was improvising rather Conservatory of his native Valencia, with as a whole is marked by a quiet restraint, than playing exactly.”) further studies in conducting in Lyon, at the with sparing use of brass instruments, Conservatorium van Amsterdam, and focusing instead on beautiful interplay The following Scherzo is a blast of Universität der Künste Berlin. between the orchestra (especially the harp) perpetual motion, setting up the contrasting and the soloist. There is no conventional third movement, Intermezzo, with its heavy I have great memories from the cadenza, and the movement concludes in opening leaps in the brass and percussion. Shostakovich Concerto Festival I had stratospheric, angelic heights, setting us up The propulsive strides continue throughout, the opportunity to conduct last season with for the contrasting second movement, the although there are moments of release in the Seattle Symphony and the three Scherzo. This is the movement Prokofiev passages offering light washes of color, fantastic soloists, Kevin Ahfat, Aleksey described as being “the scherzo of all especially in the solo piano. The last Semenenko and Edgar Moreau, so I’m scherzos,” and he was particularly proud movement, marked Allegro tempestoso, happy to have the opportunity to do a of the orchestration here, noting in his is indeed both fast and tempestuous, similar thing this year with Prokofiev diary that it was “stunningly transparent although settling quickly into another of concertos. It’s so intense — we have five and should sound lustrous.” It is marked Prokofiev’s winding melodies. It builds to soloists and two concerts, so it’s very Vivacissimo and proceeds with a charging another colossal cadenza, transitioning demanding, but I’m really looking forward to and cheerful astringency. The final smoothly into the dazzling final push, with it. It’s great to have two concerts focusing movement releases us from this whirlwind the “violent concluding chord” ending the on something really specific — like with a dry, precise accompaniment (it work in a blaze of energy. concertos by Prokofiev. It’s a challenge, but is actually marked to be played “with I’m so happy to do it, because when you precision”). The soloist enters with an © 2018 Claudia Jensen focus on one composer in such a short arching melody that gradually increases in space and time, it gives you the opportunity density and rhythmic motion yet retains its to discover new things that maybe in soaring lines. The concerto ends with other types of concerts you would a profusion of trills, creating a soft, never have. subtle conclusion.
Just a year after he premiered his Piano Concerto No. 1, Prokofiev did the same for his Piano Concerto No. 2, a larger work, with especially difficult writing for the soloist. The composer relished the wildly different reactions from the audience at the premiere (at Pavlovsk, on August 23, 1913, conducted by Alexander Aslanov). As he wrote in his diary: “Following the violent concluding chord there was silence
24 SEATTLESYMPHONY.ORG WILLIAM HAGEN Violin
The riveting 24-year- old American violinist William Hagen was the Business, meet box office. third-prize winner of the 2015 Queen Elisabeth Encore connects your business to arts patrons International Music wherever they are. Competition, making him the highest-ranking Photo: Jeff Fasano Photography Fasano Jeff Photo: American since 1980. To learn what Encore can do for your business, Already a seasoned international visit encoremediagroup.com. performer, Hagen has been hailed as a “brilliant virtuoso…a standout” (The Dallas Morning News), and recently received the 1735 “Sennhauser” Guarneri del Gesú on a long-term loan from the Stradivari Society. A native of Salt Lake City, Hagen began taking violin lessons at age 4. At 10 he began studying with Robert Lipsett at the Colburn School, where he studied until the age of 17. After studying at The Juilliard School with Itzhak Perlman, Hagen returned to Los Angeles to continue his studies at Colburn. He currently studies at the Kronberg Academy in Germany under Christian Tetzlaff. Hagen is an alumnus of the Verbier Academy in Switzerland, the Perlman Music Program and the Aspen Music Festival.
I am so excited to perform Prokofiev Violin Concerto No. 1 with the great Seattle Symphony! I love Prokofiev. To me, he has one of the most unique sounds of any composer. With the vast majority of Watch the beloved Canadian fi lm music, I am deeply affected because it Paddle to the Sea while Grammy seems to be about real life, about real Award-winning Third Coast Percussion human emotions experienced in our own performs a brand new soundtrack – lives. But with Prokofiev, I am taken into a including music by Philip Glass. fantasy. The emotions are just as powerful, but Prokofiev changes the setting from real life to a fairy tale. Perhaps this is no coincidence, considering the oppressive Soviet environment in which he lived and worked... Maybe he escaped into his music? I want to take the audience someplace new and magical with this piece. I really love this piece and have been wanting to play it for quite a long time, and I have been wanting to visit Seattle for years now, so I am really looking forward to this! COMING TO MEANY THIS FEBRUARY
DANISH STRING QUARTET GARRICK OHLSSON Feb. 14 at 7:30 p.m. Feb. 16 at 7:30 p.m.
encoremediagroup.com/programs 25 NATHAN LEE CONRAD TAO SEATTLE Piano Piano CHAMBER 16-year-old Nathan Lee Conrad Tao has MUSIC won First Prize in the appeared worldwide as 2016 Young Concert a pianist and composer, SOCIETY Artists International performing to universal JAMES EHNES Artistic Director Auditions, as well as 14 acclaim from critics and Special Prizes. The audiences alike. His New York Times hailed accolades and awards a performance as include being a Photo: Brantley Guiterrez Brantley Photo: Tickets Dine Matt Photo: from “fearless” and Presidential Scholar in $52 Cleveland Classical wrote that “he had the Arts, a YoungArts gold medal winner in the audience in the palms of his very music, a Gilmore Young Artist and an Avery WINTER FESTIVAL busy hands.” Fisher Career Grant winner. Nathan Lee has already been heard Tao’s career as composer has garnered JANUARY 19-28, 2018 with the Buffalo Philharmonic Orchestra eight consecutive ASCAP Morton ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall on NPR’s From the Top, The Cleveland Gould Young Composer Awards and Orchestra, the Coeur d’Alene Symphony, the Carlos Surinach Prize from BMI, BOX OFFICE the Minnesota Orchestra, and shared including commissions from the Dallas 206.283.8808 // seattlechambermusic.org the stage with Jean-Yves Thibaudet and Symphony Orchestra, Chamber Orchestra Lang Lang at a Seattle Symphony Gala. of Philadelphia, Pacific Symphony, Hong He has given recitals in Korea, for Radio Kong Philharmonic, ProMusica Chamber France, in the Verbier Festival Academy Orchestra and many more. His two Warner in Switzerland, and in Italy where he Classics albums Voyages and Pictures performed at 2017 Musicfest Perugia. have been praised by NPR, The New York Times, The New Yorker’s Alex Ross Nathan Lee, who lives just outside Seattle, and others. began playing the piano at age 6 and made his orchestral debut at age 9. There’s a lot to love about Prokofiev’s Second Piano Concerto Prokofiev’s compositions — the dark hues of its harmonies, the encompass so many of the sarcastic wit bordering on camp, and the elements I find thrilling in music including bonkers and nigh-sadistic virtuosity all exuberant rhythms, an almost obnoxious come to mind — but for me the piece is sense of humor and stunning melodies defined by its constant emotional urgency. which seem to come out of nowhere. I feel Not once does it ever let up; even the especially close to his First Piano most tender flights of lyricism are charged Concerto, as it harnesses so much youthful with a gritted-teeth intensity. energy. The Seattle Symphony has played a big role in my musical journey. My first I think it’s important to remember that the encounter with Prokofiev was actually with concerto was dedicated to the memory of the Symphony and Yefim Bronfman when I Maximilian Schmidthof, a friend of was just 8 years old. It was then that I truly Prokofiev’s who committed suicide in 1913. fell in love with not just Prokofiev, but with For me, that contextualizes the emotional the piano. Since then, I’ve had the urgency and casts a shadow of privilege of performing twice with the seriousness and relative soberness over Symphony with Maestro Morlot and the work, even in those moments of Maestro Rus Broseta. It is truly a pleasure Looney Tunes-adjacent musical slapstick and honor to be back performing such an found in movements two and four. It’s a imaginative concerto in my hometown with masterpiece, suffused with righteous the Seattle Symphony, and I hope to have anger and love and despair. you on the edge of your seats during our journey together through Prokofiev’s First Piano Concerto.
26 SEATTLESYMPHONY.ORG PROGRAM FRIDAY, JANUARY 19, 2018, AT 8PM NOTES PROKOFIEV The works on this program range widely CONCERTO FESTIVAL 2 both chronologically and geographically, from the early sketches for his Piano SPECIAL PERFORMANCES Concerto No. 3 in 1916, to the Violin Concerto No. 2, written 20 years later. These Pablo Rus Broseta, conductor compositions track Prokofiev as he ended Sophie Lee, violin his spectacular, and spectacularly youthful, Charlie Albright, piano career in Russia, through the Revolutionary period of 1917, and his departure to the West. Seattle Symphony Throughout, we see the same intensity of multi-faceted work, but always with a focus SERGEY PROKOFIEV Symphony No. 1, Op. 25, “Classical” 15’ on clear and direct communication, no Allegro matter how different the musical styles Larghetto may sound. Gavotta: Non troppo allegro Finale: Molto vivace Prokofiev began thinking about his Symphony No. 1, the “Classical” Symphony, Violin Concerto No. 2 in G minor, Op. 63 26’ in the midst of the turmoil of Russia in 1917. Allegro moderato In his diaries he describes planning out the Andante assai symphony as he walked around outdoors; Allegro, ben marcato like the Violin Concerto No. 1, this work SOPHIE LEE, VIOLIN was composed without a piano. It shows a INTERMISSION very different musical side of Prokofiev, but his desire to provoke controversy was a Piano Concerto No. 3 in C major, Op. 26 28’ constant. As he wrote in his diary, die-hard Andante—Allegro conservatives will “scream in protest at this Tema con variazioni new example of Prokofiev’s insolence,” and Allegro ma non troppo will accuse him of not allowing Mozart to CHARLIE ALBRIGHT, PIANO “lie quiet in his grave but ... come prodding at him with his grubby hands.” He ended up being pleased by the reception at the premiere by the State Orchestra (formerly the Court Orchestra, which he conducted himself on April 8, 1918 in Petrograd, the former — and present — St. Petersburg), calling it “marvelous” and “a huge success.”
Indeed the classicism with which he infused the symphony was — and remains — very much appreciated. In one of his best-known remarks about this work, Prokofiev said that he “thought that if Haydn were alive today he would compose just as he did before, but at the same time would include something new in his manner of composition.” This is exactly the effect produced by this jewel-like four-movement work, beautifully proportioned and written with humorous restraint. The slippery harmonies of the vigorous opening movement set the tone immediately, introducing the large leaps that will feature throughout. The second, slow movement (Larghetto) is a limpid and Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. expressive interlude, setting up the vigor Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording of the following Gavotta, which takes the equipment, and any other use of such copying devices during a performance is prohibited. leaping motifs and oddly shifting harmonies to new heights. As in a traditional classical symphony, Prokofiev’s work ends with a
encoremediagroup.com/programs 27 SOPHIE LEE PROGRAM NOTES continued Violin Fourteen-year-old Yesong Sophie Lee won lively romp. The composer was particularly Prokofiev started thinking about a third the 2016 Menuhin happy with this movement; as he wrote, his piano concerto as early as 1916, and in diary International Competition only hesitation was “that its gaiety might entries in 1918 he is already describing in London. Quoting The border on the indecently irresponsible. I was its first movement. As in the “Classical” Violin Channel, she “… is hugging myself with delight all the time I was Symphony, he began composing without quickly building an composing it!” using a piano: “Extraordinary how much international following.” clearer everything is without it,” he remarked. Her London and Berlin The Violin Concerto No. 2, the latest This is another work that truly bridges debuts brought praises from major critics: work on the program, continues two ideas continents. He began the Piano Concerto introduced by the “Classical” Symphony: the No. 3 in Russia, and then left to come to “[Lee] plays with an intense sound, as one emphasis on clarity in the musical writing America — he traveled via Vladivostok who has played Bach for decades. Her (although using a very different musical and, after landing in San Francisco, came seriousness and density of expression is language) and its context on the eve of a by train to Seattle. (“A young, fast-growing amazing…a huge talent.” momentous change in the composer’s life. city,” he observed. “Its expansion had been – Kultur Radio The “Classical” Symphony premiered just inhibited by a mountain — so the American before Prokofiev left Russia for America; city fathers simply levelled it to the ground.” “From the slow introduction, [she] led the the Violin Concerto No. 2 was the last of his Clearly Prokofiev was impressed by Seattle’s orchestra with remarkable assurance. She works to be developed and premiered in the Denny Regrade, which had been in progress displayed a fine sense of line and had all the West. Shortly after the premiere, he made since the late 1890s.) Prokofiev eventually colours…essential in this music.” his final return to the Soviet Union, where he spent several seasons in Chicago, with – The Telegraph spent the rest of his career. some trips to Europe, where he finished the concerto. Prokofiev, as piano soloist, “…her composure was remarkable. Her The concerto was commissioned for the premiered it on December 16, 1921, with the playing was silk-toned, notable especially for French violinist Robert Soetens, a performer Chicago Symphony (where, after a quick the intensity it maintained…a real homage already familiar with Prokofiev’s works. The change at intermission, he returned to the to Menuhin in the way her vibrato extended composer joked that the concerto reflected stage to conduct his “Classical” Symphony). seamlessly from note to note…” his “nomadic concertizing existence” — he – The Guardian wrote the first movement in Paris, the second Prokofiev’s first experience with the new movement in Russia, and he orchestrated it technology of recorded music was with Lee currently attends Heatherwood Middle in Baku. The concerto premiered in Madrid this concerto (in 1932 with the London School in Mill Creek. She began studying (on December 1, 1935, conducted by Enrique Symphony). His performance (available violin at age 4 with Jan Coleman and Fernández Arbós) and afterwards, Soetens today on YouTube) illustrates many of the currently studies with Seattle Symphony’s and Prokofiev continued on a concert tour hallmarks of his pianistic technique: the Simon James and studio coach, Hiro David. in Spain, Portugal and North Africa. The ability to span large intervals, the driving concerto was received enthusiastically at the and precise scales, the delight in abrupt premiere and has been performed widely shifts in dynamics and density. All this is Playing Prokofiev’s music is always ever since. on display in the first movement which, inspiring. His orchestration is after a brief slow introduction, launches stunningly colorful, but beautifully Like the “Classical” Symphony, this Violin an energetic theme that covers the range transparent. Not only are Prokofiev’s colors Concerto is laid out in traditional form: of the keyboard. The second movement distinctive, the variety of his musical a substantial first movement; a lyrical shifts gears, with a delicately stated theme characterizations is remarkable. It is and sustained second movement; and a in the orchestra, which is then developed challenging but rewarding to find the best quick, dance-like finale, with lots of formal with increasing intensity, and takes us, after way to express the enormous variety of very repetition and a bright, cheerful manner to a brief and ambiguous little coda, into the imaginative musical elements. It is amazing close out the piece. This straightforward spiky final movement. This conclusion is full to me how the violin solo, which begins the structure reflects Prokofiev’s thinking in of unexpected turns and accents, yet with whole concerto, evolves throughout the the mid-1930s, when he was struggling to some lush, sweeping writing for the strings movement into many forms, and how this define a new compositional approach, in and waves of color provided by the soloist. concerto that starts with a lonely solo ends which music “should be primarily melodious, with an explosion of virtuosic interaction and the melody should be clear and simple © 2018 Claudia Jensen between all the instruments of the orchestra without becoming repetitive or trivial.” This and the soloist. I’m very excited to be is exactly what we hear in the concerto. performing this piece with the Seattle Prokofiev is infinitely creative in his treatment Symphony and all its wonderful musicians. of his performing forces and the ways in I’ve been a constant fan of the Symphony which they interact; although there are some since the age of 4. One of my treasured pungent harmonies, there are no harsh memories is performing for Maestro Morlot dissonances or jagged edges. It represents, when I was 7. Playing this concert is a dream as Prokofiev said, “a new kind of simplicity” come true. for a new era.
28 SEATTLESYMPHONY.ORG CHARLIE ALBRIGHT Piano THURSDAY, JANUARY 25, 2018, AT 7:30PM Hailed as “among the SATURDAY, JANUARY 27, 2018, AT 8PM most gifted musicians of his generation” by the Washington Post, American pianist/ DAUSGAARD composer/improviser Charlie Albright is the CONDUCTS BRAHMS recipient of the Photo: Stan Giske Stan Photo: prestigious 2014 Avery Fisher Career Grant and 2010 Gilmore Young Artist Award. Albright also won the Thomas Dausgaard, conductor 2014 Ruhr Klavier Festival Young Artist Seattle Symphony Award and the 2009 Young Concert Artists International Auditions. JOHANNES BRAHMS Variations on a Theme by Haydn, Op. 56a 19’ Born in Centralia, Washington, Albright Theme: Chorale St. Antoni: Andante— Variation I: Poco più animato— began piano lessons at the age of 3. He Variation II: Più vivace— studied with Nancy Adsit and earned an Variation III: Con moto— Associate of Science degree at Centralia Variation IV: Andante con moto— College while still in high school. He Variation V: Vivace— was the first classical pianist accepted Variation VI: Vivace— to the Harvard College/New England Variation VII: Grazioso— Conservatory (NEC) five-year BA/MM joint Variation VIII: Presto non troppo— program, completing a bachelor’s degree Finale: Andante as a Pre-Med and Economics major at Harvard in 2011, and a Master of Music Liebeslieder-Walzer, Nos. 1, 2, 3 & 4— 20’ Degree in Piano Performance at NEC in Hungarian Dance No. 3 in F major— 2012 with Wha-Kyung Byun. He graduated Liebeslieder-Walzer, Nos. 5, 6 & 7— with the prestigious Artist Diploma from Hungarian Dance No. 10 in F major— The Juilliard School in 2014, working with Liebeslieder-Walzer, Nos. 8 & 9— Yoheved Kaplinsky. Albright is an official Hungarian Dance No. 1 in G minor Steinway Artist. INTERMISSION Albright’s discography includes his solo Symphony No. 2 in D major, Op. 73 41’ debut, Vivace, and the first of a three-part Allegro non troppo series of live Schubert performances. Adagio non troppo Allegretto grazioso (Quasi Andantino) I am thrilled to return to the Pacific Allegro con spirito Northwest to perform again with the Seattle Symphony. Growing up as a student in Centralia, I had the chance to attend their Pre-concert Talk one hour prior to each performance. concerts… and because of that, Benaroya Speaker: Thomas Dausgaard, Seattle Symphony Principal Guest Conductor Hall and the Seattle Symphony are particularly special to me. I always feel Thomas Dausgaard’s performances are generously underwritten by Grant and Dorrit extremely honored to be able to share Saviers through the Seattle Symphony’s Guest Artists Circle. music with my ‘hometown’ community. Media Sponsor: Classical KING FM 98.1
The Prokofiev Concerto No. 3 is simply among the greatest piano concertos ever written. Sure, there are a lot of notes and many parts with ‘flying fingers,’ but the true beauty of the piece is far deeper. The emotions that Prokofiev evokes throughout the piece are incredible: from joy and triumph, to uncertainty and utter desperation.
Please note that the timings provided for this concert are approximate. To me, music is not about playing the Please turn off all electronic devices and refrain from taking photos or video. right notes the fastest. Instead, music is Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording communication and expression, and that equipment, and any other use of such copying devices during a performance is prohibited. is what I hope to share with you tonight. Thank you for inviting me home.
encoremediagroup.com/programs 29 OVERVIEW PROGRAM NOTES
Two Sides of Brahms JOHANNES BRAHMS and around this figure Brahms spins a succession of counter-melodies. When, at Variations on a Theme by Haydn, Johannes Brahms was an unusually the movement’s climax, the humble chorale Op. 56a complex character and artist, both his melody emerges from the general texture, personality and musicianship rife with BORN: May 7, 1833, in Hamburg it has been transformed to something paradox. His acquaintances knew him DIED: April 3, 1897, in Vienna unexpectedly glorious. as a devoted friend and extraordinarily WORK COMPOSED: 1872 generous, but he also could be gruff and Scored for 2 flutes and piccolo; 2 oboes; sometimes shockingly rude. His musical WORLD PREMIERE: November 2, 1873, in 2 clarinets; 2 bassoons and contrabassoon; 4 horns; output is no less contradictory. Studious, Vienna. The composer conducted the Vienna 2 trumpets; timpani and percussion; strings. intensely self-critical and deeply serious, Philharmonic Society Orchestra. Brahms staked his achievement on a JOHANNES BRAHMS series of thoughtful, meticulously wrought The melody that generates these Liebeslieder-Walzer, Nos. 1–9 and deeply expressive large-scale variations is played at the outset by compositions. Yet he also composed many the orchestral woodwinds, reflecting COMPOSED: 1869–70 shorter pieces in a lighter vein. its source, an old piece for wind-band. This WORLD PREMIERE: March 19, 1870, in Berlin, theme returns in its original form only at the conducted by Ernst Rudorff Our concert’s program draws on both end of the work. sides of Brahms’s musical legacy. We begin Hungarian Dances Nos. 3, 10 & 1 with Variations on a Theme by Haydn and COMPOSED: before 1869 Theme-and-variation, which entails conclude with the sunny but by no means WORLD PREMIERE: unknown inconsiderable Symphony No. 2. Between writing paraphrases of a single well- these two major works comes a selection shaped melody, has served composers of more casual pieces. The latter works for centuries. Until the 20th century, the In the first of Brahms’ “Love-Song evince the same high level of compositional outstanding practitioners of this procedure Waltzes,” the composer uses a craftsmanship their author brought to his were German or Austrian musicians. They recurring long–short figure to impart more substantial undertakings. Brahms, a include Mozart, Beethoven, Schubert a feeling of romantic yearning, a feeling that deeply learned musician, could not help and Brahms, who used the theme-and- pervades most of these miniatures. The but bring his great fund of knowledge and variations format to create several large- second piece is exceptional, being less a skill to bear on these pieces. He just wears scale compositions. The most famous is his waltz than a livelier sort of dance. Of the his learning so lightly that we are apt not to Variations on a Theme by Haydn. three Hungarian Dances we hear, the notice it. first (No. 3) conveys a lithe, pastoral Brahms composed this work in 1873, gaiety, the second (No. 10) a robust initially for two pianos. But he must have exuberance and the last (No. 1) a sense Brahms’ music resonates with sensed immediately its potential for larger of smoldering sensuality. something vibrant inside me. With his instrumental forces, for the two-piano score music I can feel exhilarated one moment, was scarcely finished when he commenced Brahms was an extremely serious and melancholic the next and everything in an orchestration of it. ambitious artist, one who came to regard between as Brahms unfolds his musical himself as the heir to Beethoven in the line storytelling. I feel alive. The subject of these remarkable of great German composers. This was, of variations is a modest theme known as course, a weighty mantle, but Brahms self- His orchestral music is often performed “Saint Anthony’s Chorale,” which Brahms consciously carried it, looking to his great by full orchestral forces, but for tonight’s took from a minor piece for wind-band predecessor as a model of high-minded concert we are doing something special: attributed to Haydn. (Recent scholarship musical integrity and cultivating many of the to underscore that his orchestral music is has questioned Haydn’s authorship of the genres Beethoven had enriched, including really chamber music on a bigger scale work, but no matter.) Brahms presents this the symphony and theme-and-variations set. we perform with fewer strings, as Brahms melody in timbres that suggest its source, himself preferred on many occasions. This assigning it to the orchestral woodwinds in Yet, as noted in the introductory remarks makes for a different and maybe even more the opening section of the piece. Each of of these notes, there is another, lighter exciting kind of musical dialogue in the the eight variations that follows preserves side to Brahms’ musicianship, one rooted orchestra; all the parts are covered, but the the harmonic outline of the theme but offers in popular music of his day and marked colors and internal balance in the orchestra entirely new elements of rhythm, melodic alternately by expressive warmth and high might give you a different perspective and contour, texture and instrumental color. vivacity. We encounter this aspect of his experience. Enjoy! The finale is not properly a variation of work chiefly in his Liebeslieder-Walzer and the theme, since it does not follow the Hungarian Dances. Selections from both – Thomas Dausgaard phrase-by-phrase harmonic contour of the these groups of compositions form the original melody. It is, rather, a passacaglia, central part of our program. a self-contained set of variations over a recurring five-measure figure presented at Brahms’ “Love-Song Waltzes” marry the the outset by the basses and cellos. Over lilting rhythms of the waltz and its country-
30 SEATTLESYMPHONY.ORG cousin, the Ländler, with verses gleaned Liebeslieder-Walzer: Scored for 2 flutes (the 2nd must be beautiful at Pörtschach.” But there from a collection of East-European folk doubling piccolo); pairs of oboes, clarinets, bassoons is more to this music than these words and horns; strings. poems, translated into German, mostly on Hungarian Dances: Scored for 2 flutes and piccolo; imply. An artist of Brahms’ ambition and the subject of love. Brahms set the selected pairs of oboes, clarinets and bassoons; 4 horns; 2 power would hardly have limited himself in texts for two pianos and one, two or four trumpets; timpani and percussion; strings. a major work to carefree sentiments and voices, publishing the resulting pieces in bucolic impressions. And the imposing two volumes, issued in 1869 as his Op. JOHANNES BRAHMS scale and emotional complexity of the 52, and 1874 as Op. 65. They proved Second Symphony leave no doubt that it is extraordinarily popular — so much so that Symphony No. 2 in D major, Op. 73 indeed a major work. royalties from sales of the music, mostly to WORK COMPOSED: 1877 grateful amateurs, allowed the composer to This is, in fact, the longest of Brahms’ four WORLD PREMIERE: December 20, 1877, in live comfortably for the last quarter-century symphonies and in many ways the richest Vienna. Hans Richter conducted the Vienna of his life. in detail. Nowhere does the composer Philharmonic Orchestra. achieve a more inventive development of In 1870 Brahms made orchestral his musical materials or more fascinating transcriptions of eight of the Op. 52 Much of this expansive composition relationships among them. Melodies waltzes and another that would appear grows from a three-note motif are transformed in unexpected ways in the Op. 65 group. These nine pieces, sounded by the low strings in its but nevertheless retain their identities; all performed here, reveal the blend of opening moments. This figure punctuates different ideas are set against each other charm and sophistication that marks the the horn-call presentation of the first theme in counterpoint; accompanying figures, on Liebeslieder-Walzer as a whole. Though and begins the two variations of that theme careful listening, turn out to be variations their most conspicuous trait is a limpid — the first a flowing violin line, the second a of principal themes. Yet for all its ingenious flow of melody, the pieces show the work robust passage for full orchestra — that artifice, the Second Symphony attains a of a keen musical intelligence in details quickly follow. Two subsidiary subjects also rare depth of expression, and not all of of harmony, counterpoint and continual play roles in this initial movement: a this is of the bright quality detected by Dr. variation of ideas. minor-key variant of the familiar “Brahms Billroth. Beneath the idyllic surface are lullaby” and a galloping pendant to that undercurrents of more sober thought. While A native of Hamburg and a longtime melody composed largely of the three-note these do not dominate the piece, they do resident of Vienna, Brahms nevertheless motto. The three-note motif returns in the enrich its expressive complexion. had an abiding fondness for the gypsy main theme of the finale, providing a music of Hungary. Periodically, he evoked tangible link to the first movement. The symphony’s initial gesture could hardly this folk music in his own works, his be more modest: cellos and basses sound Zigeunerlieder (“Gypsy Songs”), Op. 103, an initial tone, dip down a note and then Brahms spent some 20 years composing and the finale of his Violin Concerto being return. But this three-note cell is the seed his First Symphony, repeatedly revising prominent examples. Brahms’ most vivid from which much of the symphony springs. details and soliciting advice from trusted rendition of the gypsy manner, however, It appears in different guises again and musical friends. Having finally published came in the sets of Hungarian Dances he again throughout the first movement and it, he quickly set to work on a successor, published in 1869 and 1880. The composer will emerge later as well. finishing this during the summer of 1877, wrote these 21 dances for piano duo, but he at the Austrian lake resort of Pörtschach. also transcribed three of them for orchestra. The ensuing Adagio paints a darker picture. Perhaps because the Second Symphony (The rest were subsequently orchestrated Beginning serenely with a theme that appeared so shortly after its predecessor, a by various other musicians, including descends in the high register of the cellos composition in the heroic-symphony mold, Antonín Dvořák.) against nearly its mirror image rising in the many of the composer’s contemporaries bassoons, it swells to several passionate thought it a slighter work, and found its Our performance has the three Hungarian outbursts. The third movement returns us cheerful demeanor disappointing after the Dances for which Brahms fashioned to a more sunny landscape, though it is not Beethovenian drama of the First. orchestral settings played as codas to without shadows. There seems a wistful It is understandable that the new piece was groups of Liebeslieder-Walzer. Based on sadness in the alternation between brighter misapprehended in this way. The sense of authentic Hungarian tunes, the scoring of and darker harmonies that color the oboe’s struggle and pathos that drove the earlier these pieces is generally more colorful lilting melody. C-minor Symphony toward its glowing than that of Brahms’ other orchestral conclusion had certainly been replaced works. The composer, elsewhere a master No such ambiguity exists in the finale. The by an expansive lyricism and, in many at varying and elaborating musical ideas, entire movement flows from a running passages, a pastoral charm. Theodore is here content merely to present his theme stated softly by the violins in the initial Billroth, the perceptive and musical surgeon borrowed melodies in pleasing succession, measures and concludes with one of the who was Brahms’ closest friend, was not rather than extending or developing them most joyous codas in the orchestral literature. wrong when he wrote to the composer, in any way. All this gives the impression of after studying the newly finished score, Brahms in an exceptionally unbuttoned, Scored for pairs of woodwinds; 4 horns; “This is utter blue sky, a murmuring of 2 trumpets; 3 trombones; tuba; timpani; strings. carefree mood. brooks, sunlight, and cool green shade! It © 2018 Paul Schiavo
encoremediagroup.com/programs 31 THOMAS DAUSGAARD Conductor FRIDAY, JANUARY 26, 2018, AT 7PM Thomas Dausgaard is Principal Guest Conductor and Music Director Designate BRAHMS UNTUXED (starting September UNTUXED SERIES 2019) of the Seattle Symphony. He is also Thomas Dausgaard, conductor Chief Conductor of the BBC Scottish Jonathan Green, host Symphony Orchestra, Chief Conductor of Seattle Symphony the Swedish Chamber Orchestra, Honorary Conductor of the Orchestra della Toscana, JOHANNES BRAHMS Liebeslieder-Walzer, Nos. 1, 2, 3 & 4— 12’ and Honorary Conductor of the Danish National Symphony Orchestra. Symphony No. 2 in D major, Op. 73 41’ He is renowned for his creativity Allegro non troppo and innovative programming, the Adagio non troppo excitement of his live performances Allegretto grazioso (Quasi Andantino) and his extensive catalogue of critically Allegro con spirito acclaimed recordings. He performs internationally with the world’s leading orchestras, and is an exponent of contemporary music, having premiered works by many living composers. Program notes may be found on pages 30–31. He has made over 70 recordings, including complete symphonic cycles by Beethoven, Schubert, Schumann and Rued Langgaard. His most recent release is a critically acclaimed recording of Mahler’s Symphony No. 10 (Deryck Cooke version) with the Seattle Symphony. With the Swedish Chamber Orchestra, he is completing a Brahms cycle and a project combining Bach’s Brandenburg Concertos with six newly commissioned companion works.
Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 Seattle Symphony. Copying of any performance by camera, audio or video recording equipment, and any other use of such copying devices during a performance is prohibited.
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34 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS
Evelyn Simpson 15 Mark P. Lutz 15 Dr. and Mrs. Terrence J. Ball 5 Nepier Smith and Joan Affleck-Smith 5 Susan Marinello Richard Barbieri and Lyn Tangen Margaret W. Spangler 15 Malcolm and Diane McCallum 5 Charlie Barbour and Diana Lynn Kruis 5 Sonia Spear 15 Ashley O’Connor McCready and Mike McCready 5 Joel Barduson 5 Craig and Sheila Sternberg Anne McDuffie and Tim Wood 5 Cornelius Barnett Esther M. Su ∞ Christine B. Mead 5 Eric and Sally Barnum 10 Jean Baur Viereck 10 Ronald Miller and Murl Barker 5 Susan L. Barry 5 Steve Vitalich 5 Drs. Pamela and Donald Mitchell 15 Amie Batson M. Elizabeth Warren 5 Gary Moresky 5 Douglas and Maria Bayer 15 Bryna Webber and Dr. Richard Tompkins 5 Dylan Neuwirth Michael and Stephanie Beers Judith A. Whetzel 5 Marilyn Newland 5 Carl and Renée Behnke Wayne Wisehart 5 Isabella and Lev Novik 5 Karin M. Weekly and Bryan H. Bell Jeff Wood and Diane Summerhays Arwa and Mohammed Obeidat Patricia Benca Keith Yedlin 5 Jerald E. Olson 15 Joyce and Alan Bender Robert and Eileen Zube 5 Mrs. Jackie A. O’Neil 5 Judith and Arnold Bendich Anonymous (2) Mary Pat and John Osterhaus Matthew and Nealan Blinstrub Gerald and Melissa Overbeck Marilyn Braarud Conductors Club ($2,000 - $3,499) PAS Financial Planning 5 Bob* and Jane Ann Bradbury 10 15 Bill and Janette Adamucci 5 Allan and Jane Paulson Ann L. Brand 15 5 Harriet and Dan Alexander 5 David F. Peck Rosemary and Kent Brauninger Jason Perkizas Herb Bridge and Edie Hilliard Drs. Linda and Arthur Anderson ∞ 5 15 5 Carlton and Grace Anderson 5 Nancy and Christopher Perks S. Lori Brown 5 Dr. Larry and DeAnne Baer Marcus Phung Lisa Bury and John R. Taylor Kris Barker Cary Plotkin and Marie-Therese Brincard Cy and Kathleen Butler Jane and Peter Barrett Louis Poulin Mary and Patrick Callan 5 Patty and Jimmy Barrier Aimme Qiao Karen Cameron 5 Dr. and Mrs. Ronald J. Beck 5 Julie Ratner Corinne A. Campbell Capt. and Mrs. Paul Bloch 10 Carrie Delaney Rhodes Elizabeth M. Campbell 15 Hal and Anne Bomgardner 5 Ed and Marjorie Ringness Wally and Sally Campbell 15 5 William and Beatrice Booth Nancy M. Robinson Dr. Lysanne Cape Bob and Bobbi Bridge 5 Annie and Ian Sale Sherry and Bruce Carbary Alexandra Brookshire and Bert Green ^ Kate and Matthew Scher Louis Carbonneau and Agnes Mallet 15 5 Claire and Aaron Burnett Eckhard Schipull Carol and John Austenfeld Charitable Trust 5 Frank and Phyllis Byrdwell ^ Dr. and Mrs. Jason Schneier Trish Carpenter 5 Janitta and Bob Carithers Susan Schroeter-Stokes and Robert Stokes Vicente Cartas Espinel Cecily Carver Jo Ann Scott Patrick Cazeau 5 Jonathan Caves and Patricia Blaise-Caves 5 Jeff and Kim Seely Terri Chan and Tony Dexter 10 15 Patrick Chinn and Angela Redman Janet and Thomas Seery Kent and Barbara Chaplin 15 Jeffrey Christianson Barbara and Richard Shikiar Jorge Chavez Gakyung Chung Anne Shinoda-Mettler Gerrie Cherry Robin Siegl and Paul Andrews Mr. James Chesnutt 5 Robert E. Clapp ∞ 5 Terese Clark Mary Snapp and Spencer Frazer Chien-her Chin 5 Mr. and Mrs. Ross Comer 10 Christopher Snow Lisa Chiou Lorna Stern 15 Michelle and Abhineet Chowdhary Peter and Lori Constable ∞ 10 5 Jeffrey and Susan Cook 5 Alexander and Jane Stevens Marian Christjaener 5 Patricia Cooke Paula Stokes and John Sullivan John Clawson 10 T. W. Currie Family 10 Isabel and Herb Stusser Mark Cockerill and Marie Kennedy 5 Tiffany and Scott Dale Victoria Sutter Michelle Codd 5 Frank and Dolores Dean 15 Ronald and Pamela Taylor Robert and Janet Coe Mr. and Mrs. C. Rhea Thompson Sam and Karen Coe Renee Duprel ∞ + 15 Dr. Lewis and Susan Edelheit Betty Lou and Irwin* Treiger Ida Cole 5 15 Paul and Kimberly Fisher Manijeh Vail Ellen and Phil Collins 5 15 Isabel Foster Carpenter Mary Lou and Dirk van Woerden Susan and Laurence Commeree Jane and Richard Gallagher 5 Maia and John Vechey Mr. and Mrs. Frank Conlon Jean Gardner ^ 15 Janna Viniko Ray Conner 5 Katarina and Jim Garner Charlie Wade + Herb and Kathe Cook 5 Janice A. and Robert L. Gerth 15 Jan and Nancy Wanamaker Beryl and Nick Crossley 15 Carol B. Goddard 15 John and Fran Weiss Richard Cuthbert and Cheryl Redd-Cuthbert 5 Fred Goldstein and David Pitt Norma Wells Lloyd G. Danku 5 Lucia and Jeffrey Hagander 5 Charles Wheeler Robert Darling Ken and Cathi Hatch ^ Roger and June Whitson ∞ Tom DeBoer Ms. Bethany Winham Jeff Dempsey Ken Hayashi ∞ 5 Terrill and Jennifer Hendrickson 5 Jessie and David Woolley-Wilson Karin Desantis 10 Gabriel and Raluca Hera Jerry and Nancy Worsham David and Helen Dichek Harold and Mary Fran Hill 10 Sally and David Wright Anthony DiRe 15 5 Alice and Paul Hill Kay H. Zatine Dwight and Susan Dively 10 10 Candyce Hogan 5 Christian and Joyce Zobel Everett and Bernie DuBois 15 5 Bob and Melinda Hord 5 Igor Zverev Ken Duncan and Tanya Parish Nyssa Houzenga Anonymous (12) Charlie Dunn 15 Patricia Hunter Maria Durham and Viva la Música Club Musicians Club ($1,000 - $1,999) 5 Walt Ingram, Wright Runstad & Company Jeff Eby and Zart Dombourian-Eby 5 Margaret and Frank Isernio Jennifer and Kurt Adair + Mr. Scott Eby ∞ Branndon R. Edwards James and Sirkku Johnson Peter Aiau and Susan Ormbrek ∞ 5 5 Mr. Daniel Kerlee and Mrs. Carol Wollenberg 10 Adaline Ancinas Leo and Marcia Engstrom Stacy and Doug King Eddy and Osvaldo Ancinas Mr. David Epstein Karen and Peter Klacsmann Rick Anderson and Marianne Bergstrom 5 Luis Espinosa 10 W. M. Kleinenbroich 5 Patrick Andre 5 Dr. and Mrs. R. Blair Evans Dr. and Mrs. Masato Koreeda Richard and Dianne Arensberg Kim and Scott Fancher 5 Afshan Lakha Jesus Areyano II Karen and Bill Feldt Stewart M. Landefeld and Margaret Breen Dr. Sharon and Vince Augenstein Junko and Glen Ferguson Mary and Michael Lee Larry Harris and Betty Azar 15 Maria Ferrer Murdock Ruthann Lorentzen 10 Michele and Charles Bacon Lori and Miguel Ferrer* Fo-Ching Lu and Andrew Roberts Wael Bahaa-El-Din and Amira El Bastawissi Helga Filler 15 Gunilla and Vidur Luthra Dr. and Mrs. John Baldwin Jerry and Gunilla Finrow
encoremediagroup.com/programs 35 SEATTLE SYMPHONY DONORS
Ashley Myers and Andrew Fitz Gibbon Sandy Mackie Stan and Michele Rosen Patty Fleischmann Rebecca and Laird Malamed Dr. Len and Gretchen Jane Rosoff Shari and Michael Fleming Michael and Barbara Malone 5 Helen and Ivan Rouzanov 5 Debra and Dennis Floyd Elliot Margul 5 Michelle and Jerry Rubin Jack and Jan Forrest 5 Mark Litt Family DAF of the Jewish Federation of Don and Toni Rupchock 15 Judith Frank Greater Seattle 5 David Sabee and Patricia Isacson Sabee Ms. Janet Freeman-Daily 10 Charles T. Massie ∞ 15 Sarah and Shahram Salemy Donald and Ann Frothingham Lois Mayers Matthew Salisbury Terri and Joseph Gaffney 5 Florence and Charlie Mayne Sara Delano Redmond Fund Martin and Ann Gelfand Michael and Rosemary Mayo 15 Thomas and Collette Schick Ruth and Bill* Gerberding ^ 5 Jennifer McCausland Art Schneider and Kim Street 5 James and Carol Gillick ^ 10 John and Gwen McCaw Judith Schoenecker and Christopher L. Myers 5 George Gilman 5 John McGarry and Michelle Wernli Nancy and James Schultz + 5 Lester E. Goldstein 10 Diane and Scott McGee Janet Sears ∞ 15 Jeffrey and Martha Golub 10 Karen and Rick McMichael ∞ 15 Virginia Senear 15 Bill and Joy Goodenough 15 Dr. and Mrs. James F. McNab Dr. Anita Shaffer 5 Catherine B. (Kit) Green 10 Mary McWilliams 10 Julie Shankland Maridee Gregory ∞ 5 Jerry Meharg Julie and Don Shaw Julie Gulick David Meinert Linda Sheely ∞ 15 Kate and Ted Gunal Mary Mikkelsen 15 Charles Shipley 15 Robert Grey and Kathryn Guykema 5 Dr. Stewart Miller Todd Shively and Christopher Woods Patricia Hackett and Mark Houtchens Laurie Minsk and Jerry Dunietz Dr. Charles Simrell and Deborah Giles 15 Megan Hall and James Janning + 5 Chie Mitsui ∞ Jill Singh Deena C. Hanke ∞ Charles Montange and Kathleen Patterson 15 Randip Singh Dave and Sandy Hanower James Monteith and Marita Caya 5 Connie Smith Linda and Wolfram Hansis 15 Alex and Nayla Morcos Douglas Smith and Stephanie Ellis-Smith Dr. and Mrs. James M. Hanson 5 Mary and Alan Morgan Stephen and Susan Smith 5 Karin and Frederic Harder Christine B. Moss 15 Michele Souligny ∞ Walter Harley and Anne Sustar 15 Kevin Murphy 15 Fawn and Jim Spady Racha and Wassef Haroun Marcia Murray Kathleen and Robert Spitzer 5 Doug and Barbara Herrington Mr. and Mrs. J. P. Naughton 15 Doug and Katie Sprugel 5 Kate Harris and Andrew Jones Paul Neal and Steven Hamilton ∞ 5 Stella Stamenova Mary Heckman Kirsten Nesholm 5 Steve and Sandy Hill Family Fund at Stuart and Evelyn Henderson Paul and Linda Niebanck the Seattle Foundation ^ 15 Robert and Eileen Hershberg 5 Linda Nordberg Diane Stevens 5 Toni and Rod Hoffman 5 Eric Noreen and Suzi Hill 5 Ton Swan and Kayley Runstad Swan Norm Hollingshead 5 Ken and Pearl Noreen David Tan and Sherilyn Anderson-Tan Bob Holtz and Cricket Morgan 5 Lise Obeling Priscilla and Theodore Tanase Hannah Hoose Rena and Kevin O’Brien Chee Wei Tang Mr. Roy Hughes 5 Mary Odermat Bob and Mimi Terwilliger 10 George and Peggy Hunt 5 Alida Oles Peter Chuang and Elaine Tsai 5 Michael Hunter Mr. and Mrs. Thomas Olson Kenneth Tschritter Joyce and Craig Jackson Gordon Orians Dr. and Mrs. H. B. Tukey 10 Ralph E. Jackson 15 Leo Ortiz and Adriana Aguirre Lorna Tumwebaze Randall Jahren 5 Thomas and Cynthia Ostermann 10 Dolores Uhlman 15 Clyde and Sandra Johnson 5 Richard and Peggy Ostrander Sami Uotila and Tuula Rytila Dr. Kari Jones Meg Owen 5 Mr. Leo van Dorp 5 Shreya Joseph David and Gina Pankowski 5 Jan van Horn ∞ Gretchen Kah 5 Christopher Parker Johanna P. VanStempvoort ∞ 15 Shirley Kah Richard and Sally Parks 5 Karoline Vass Hannah and Sarah Kane Margaret Paul and Paul J. Johansen 15 Tara and John Verburg Peter Kelly Mary and Kerry Person Donald J. Verfurth Sean and Lisa Kelly 5 Perspectives of New Music Doug* and Maggie Walker 10 Janet Wright Ketcham Foundation 5 Lisa Peters and James Hattori Stephanie Wallach Ford W. Kiene 10 Rosemary Peterson Connie Wang and Zachary Pollack Dibra and Kent Kildow Don and Sue Phillips Lois Waplington Michael and Mary Killien 15 Derek and Anna Pierce Debra Ward ∞ Karol King 5 Valerie and Stanley Piha Judith F. Warshal and Wade Sowers Virginia King 5 Andrey Popov John Watson 5 Carolyn and Robert Kitchell Ruth Ann and Jim Powers Jonathan Weintraub Alana Knaster Jo-Anne D. Priebe Greg Wetzel 5 Peter and Susan Knutson Llewelyn G. and Joan Ashby Pritchard ^ 15 Amy and Jeff Wilcox Vera Koch Harry* and Ann Pryde Mitch Wilk Maryann and Tom Kofler Ann Ramsay-Jenkins Elizabeth and Troy Wormsbecker Jodi Krause Paul and Bonnie Ramsey Carol Wright Eric Lam 5 Mary C. Ransdell and Keith B. Wong Talia Silveri Wright Aidan Lang and Linda Kitchen Wendy and Murray Raskind 10 Michael and Gail Yanney Ron and Carolyn Langford 15 Reverend Kerry and Robin Reese 10 Mindy Yardy Peter M. Lara 15 Cecilia Paul and Harry Reinert 10 Lee and Barbara Yates 15 J&J Latino O’Connell Kristi Rennebohm-Franz ∞ Anonymous (26) Timothy Lee Jean A. Rhodes 5 Virginia and Brian Lenker ∞ 15 Valerie Rice 5 5 years of consecutive giving Derek Leung 5 Fred Richard 15 10 10 years of consecutive giving Don and Carla Lewis 5 John Richardson II 5 15 15 years or more of consecutive giving Jerry and Marguerite Lewis Jennifer Ridewood ∞ Monthly Sustaining Donor Henry Li Mr. and Mrs. Charles Riley 5 Musician Bobbie Lindsay and Douglas Buck Deborah and Andrew Rimkus 5 ° Board Member Michael Linenberger and Sallie Dacey Melissa Rivello ^ Lifetime Director Robert and Monique Lipman Melissa and Manuel Rivelo + Staff Anne and Steve Lipner Dr. and Mrs. Tom Robertson 5 * In Memoriam Anamaria T. Lloyd Ms. Jean C. Robinson 5 Sharon and Marty Lott Eric Robison Lovett-Rolfe Family Trust Jack Rodman and Koh Shimizu Mr. and Mrs. Louis Lundquist 5 Dina Rohm
36 SEATTLESYMPHONY.ORG 2017 INDIVIDUAL AND FOUNDATION DONORS GOLD CLUB $50K AND UP MARY PIGOTT; PETE AND JULIE ROSE $25,000 - $49,999 NORMAN ARCHIBALD CHARITABLE FOUNDATION; CARL AND RENEE BEHNKE; ALLAN E. AND NORA DAVIS; KATHARYN ALVORD GERLICH; JOHN GRAHAM FOUNDATION; JOSHUA GREEN FOUNDATION; SANDY AND CHRIS MCDADE; NEUKOM FAMILY; NORCLIFFE FOUNDATION; MOCCASIN LAKE FOUNDATION; JUDY PIGOTT; STEPHEN P. AND PAULA R. REYNOLDS; SATTERBERG FOUNDATION; MARY SNAPP AND SPENCER FRAZER; ANONYMOUS (1) CONDUCTOR’S CIRCLE $10,000 - $24,999 NANCY ALVORD; JUDI BECK AND TOM A. ALBERG; ALAN BRUGGEMAN; JIM AND GAYLEE DUNCAN; CYNTHIA HUFFMAN AND RAY HEACOX; PETER HORVITZ; GLENN KAWASAKI; DEBBIE KILLINGER; ED KIM AND SUSAN SHIN; THOM AND GWEN KROON; CHARLOTTE LIN AND ROBERT PORTER; DOUGLAS AND JOYCE MCCALLUM; CAROL AND DOUG POWELL; ANN RAMSAY-JENKINS AND THE WILLIAM M. JENKINS FUND; FAYE SARKOWSKY; SEQUOIA FOUNDATION; JON AND MARY SHIRLEY FOUNDATION; JAMES AND KATHERINE TUNE FIRST CHAIR $5,000 - $9,999 CHAP AND EVE ALVORD; BILL AND NANCY BAIN; BEEKS FAMILY LEGACY - FOUNDATION; STEVE BEHNEN AND MARY HORNSBY; MICHAEL P. BENTLEY; CARLA AND BRAD BERG; TOBY BRIGHT; CREELMAN FOUNDATION; MRS. JANE DAVIS AND ARTS DR. DAVID R. DAVIS; PETER AND SUSAN DAVIS; ELLEN FERGUSON; KEVIN FOX; WILLIAM FRANKLIN; ROD FUJITA; GABE GARTNER; CHUCK AND BRENDA HANDLEY; DAVID JONES AND GRACE LAO; OMAR AND CHRISTINE LEE; LOEB FAMILY CHARITABLE FOUNDATIONS; BLANCHE AND BUILD STEPHEN MAXWELL; BRUCE AND JOLENE MCCAW; ANTHONY AND ERICA MILES; HERB AND LUCY PRUZAN; COMMUNITIES LEIGH AND LOUISE RABEL; ROBERT CHINN FOUNDATION; Thanks to our donors DARYL RUSSINOVICH; MRS. THEILINE SCHEUMANN; DOYLE AND for strengthening the ALANE SIMONS, GRIDIRON CREEK FOUNDATION; BRAD SMITH AND KATHY SURACE- community by helping SMITH; THE HUGH AND JANE FERGUSON FOUNDATION; TREELINE FOUNDATION; ANN P. WYCKOFF; LYNN HUBBARD AND DAVID ArtsFund support ZAPOLSKY; ANONYMOUS (1) ENCORE $2,500 - $4,999 SHERMAN ALEXIE; KIM A. ANDERSON; BOB AND CLODAGH ASH; JIM AND BARB BARNYAK; KUMI AND ANTHONY over 100 cultural BARUFFI; JOHN H. BAUER; DAVID AND KRISTI BUCK; SUE AND ARTIE BUERK; C. KENT AND SANDRA C. CARLSON; ROBERT FLEMING; ERIC FREYBERG; LYNN AND BRIAN GRANT FAMILY; MARIA GUNN; RICHARD AND organizations MARILYN HERZBERG; MARI HORITA; DAN AND CONNIE HUNGATE; JANET WRIGHT KETCHAM FOUNDATION; KAREN KOON; TIM MAUK AND NOBLE GOLDEN; KAREN AND RICK MCMICHAEL; YAZMIN MEHDI AND LIAM LAVERY; DOUGLAS AND each year. NANCY NORBERG; CHUCK NORDHOFF; THE RABEL FAMILY ADVISED FUND; STAN AND INGRID SAVAGE; KEITH SCHREIBER AND CLARE KAPITAN; JOHN S. TEUTSCH; RICH AND LESLIE WALLIS; GAIL AND BILL WEYERHAEUSER 2017 CORPORATE DONOR LIST $5,000 - $9,999 AEGIS LIVING; ALASKAN COPPER & BRASS COMPANY AND ALASKAN COPPER WORKS; BNY MELLON WEALTH MANAGEMENT; ERNST & YOUNG LLP; FOSS MARITIME COMPANY; GENSLER ARCHITECTS; GETTY IMAGES*; GREATER CHINA BUSINESS ASSOCIATION OF WASHINGTON; HD FOWLER; KING 5; LMN ARCHITECTS; MEDICAL CONSULTANTS NETWORK, INC.*; NINTENDO OF AMERICA INC.; PUGET SOUND BUSINESS JOURNAL; RAISBECK FOUNDATION; VULCAN INC $10,000 - $24,999 AMAZON; CENTURYLINK; CHIHULY STUDIOS; CLISE PROPERTIES INC.; COLUMBIA BANK; THE COMMERCE BANK OF WASHINGTON*; DAPPER + ASSOCIATES; DAVIS WRIGHT TREMAINE LLP*; DINGYI NORTH AMERICA SEATTLE, LLC; DORSEY & WHITNEY LLP*; K&L GATES*; KEYBANK; KING COUNTY; NORDSTROM, INC.; R.D. MERRILL COMPANY; SAFECO INSURANCE; U.S. BANK; UNION BANK $25,000 - $49,999 PERKINS COIE*; STOEL RIVES LLP*
*includes employee workplace giving
$25,000–$49,999
$50,000–$99,999 $100,000–$349,999 $350,000 and up
* Support from Microsoft Corporation, The Boeing Company, PHOTO CREDIT Seattle Theatre Group, STG Sellen Construction, POP, and Starbucks Coffee Company AileyCamp. Photo by Christopher Nelson. includes employee workplace giving. DESIGN BY Dapper + Associates
EAP full-page template.indd 1 8/22/17 3:28 PM SEATTLE SYMPHONY DONORS
To our entire donor family, thank you for Raemarie Duclos, by MEMORIAL GIFTS David Howe, by your support. You make our mission and Francis Powers* Gifts were made to the Seattle Mary Howe music a reality. Symphony to remember those listed Richard Howe Steve Frank, by below between November 30, 2016 and Jane Qualia Did you see an error? Help us Pat and Jon Rosen November 22, 2017. For information Christopher Weeks update our records by contacting on remembering a friend or loved one [email protected] or Janice Gerth, by through a memorial gift, please contact Gretchen Hull, by 206.215.4832. Thank you! Robert Gerth Donor Relations at 206.215.4832 or Anonymous [email protected]. HONORARIUM GIFTS Sam Glatstein, by Susan Kane, by Benjamin Glatstein Hannah and Sarah Kane Gifts to the Seattle Symphony are a Joseph and Carol Andrews, by wonderful way to celebrate a birthday, Robin and Zev Siegl , by Milton Katims, by honor a friend or note an anniversary. David Haggerty Marc Stiles Pamela and Patrick Steele In addition to recognition in the Encore Rose and Richard Bender, by program, your honoree will receive a card Alan Cordova , by Laurence Lang, by from the Symphony acknowledging your Lenore Hanauer Penelope Burke Rosalie Lang thoughtful gift. Beatrice and Arlene Berlin, by Janice Berlin , by Isaac Michael Levin, by Gifts were made to the Seattle Mary Henderson Linda Werner Sophie-Shifra Gold Symphony in recognition of those listed Grandma Bosma, by below between November 30, 2016 and Andrew Emory Richard Lundquist, by November 22, 2017. Please contact Donor Mr. and Mrs. Glen Hiner, by Jinja Yutzy Relations at 206.215.4832 or Eugene Leibowitz Bob Bradbury, by [email protected] if you Jane Ann Bradbury Melvyn Poll, by would like to recognize someone in a Virginia Hunt-Luce, by LouAnne Shelton Thomas Luce Friends of Abbott Construction future edition of Encore. Richard M. Campbell, by Janet Abrams , by Asma Ahmed 1201 Third Avenue Parking Garage, by Linda Jones Alison Andrews Ash Family Foundation Charles Montange and Kathleen Rochelle Morrissey Joyce Franich Larry and Sherry Benaroya Patterson Eugene and Sue John Pierre and Felice Loebel, by Edna Kelso Maureen and Joel Benoliel Marilyn Layton Lisa Bergman Bob Ash, by Janet Ketcham, in honor of Carolyn Burnett Jeff Eby and Zart Dombourian-Eby Constance and Larry Martin Music Beyond Borders Everyone at Cactus Restaurant Sue and Thomas Raschella Mary Langholz Marcia Mason, by Debra and Gary Larson Barbara Calvo and Al Benoliel Kathleen and Eric Ottum Dale and Leslie Chihuly Susan and Armin Baumgartel, by Erika Lim Joan and Frank Conlon Zanne and Ian Gerrard John Marshall Maryann Crissey Erica Peterson Reid and Marilyn Morgan, by Llewelyn and Jonie Pritchard Ilene and Elwood Hertzog Randy Robinson and Jane Hadley Sandra and Gary Etlinger Timotha and Charles Freedenberg Bill Beery, by Fred Simons Sharon Friel Madeline Beery Ludovic Morlot, by Carole Tingstad Martine and Dan Drackett Marlene and Jon Fuson Laurie Griffith Steve Bush and Christine Chang, by Arthur Caputi, Jr., by Jane Hargraft and Elly Winer Clarius Group Laurel Nesholm, by Marti Caputi Moya Vazquez David and Sharron Hartman Delney and Andrew Hilen T.J. Callahan, by Kathryn G. Cavin, by Carolee and Tom Mathers Tim Callahan Llewelyn Pritchard, by James Cavin Carol and Thomas Olson Marilyn McManus Pat and Jon Rosen Stewart Miller The Cello Section, by Frederic Chopin, by Linda Nordberg Betty Graham Xiaoxia Zhou W. David Rambo, by Jack Norman Trenton Rambo Patricia Oye Dale and Leslie Chihuly, by Kent Coleman, by William Poll April and René Ancinas Jan Coleman Ann Pryde Brookshire Green Foundation Stella Rolph, by Pat and Jon Rosen Susan Brotman Simone Spiess Jane Davis, by Milicent Savage Liz Chambers and Jim Johnson Clodagh and Robert Ash SRG Partnership, Inc Highland Street Foundation Pat Rosen, by Laurel and John Nesholm Carlyn Steiner Marks Family Foundation Mina Miller and David Sabritt Llewelyn and Jonie Pritchard Leena and Mel Sturman Linda and Gerald Nordberg Diane and Dennis Warshal Jane and Joel Scott Norman and Elisabeth Sandler, by Lucy J. Ding, by Wyman Youth Trust Linda Stevens Stephanie and Michael Beers Paula Ding Barbara and Jonathan Zweig Barbara and Donald Tober Virgina Senear, by Beulah Frankel, by Kelly Schmidt Frank Powers, by Elaine Cho, by Ginny Gensler Richard Andler and Carole Rush Samuel Plott T.E. and Peggy Spencer, by Shirley H. Fuller, by Dr. Kennan H. Hollingsworth John and Nancy McConnell Isa Nelson Terry Clark, by Marise and Randy Person Ruth Ann and Jim Powers Lara Clark Rachel Swerdlow, Walter Gray, and Paul Barbara Bye Goesling, by Shawn Powers , by Seattle Symphony Volunteers Samuel Clarke, by Rafanelli Llewelyn and Jonie Pritchard Virginia Senear David Gaglione Mark Linsey and Janis Traven Donald Thulean, by Allan Granquist, by Nancy Tracy Gerard Fischer Marianne Cole, by Steven Lundholm Elaine Raines, by Mitzi Cieslak Ralph Wedgwood, by Martin Greenfield, by Cindy Chang J. Mary and Alan Morgan Linda and Randy Ebberson Rosalie Contreras, by Pat and Jon Rosen Laurel Kalina Robert Haeger Stephen Whyte, by Sarah Hamilton, by Sheila Lukehart Mark Schletty and Jan Laskey Karen and Randall Nelson Samantha DeLuna and Jesse Bearden, by Barbara and Charles Jennings Sheri Sharp Jennifer Lee Katherine and Douglas Sprugel Jordan Louie James and Mary Lou Wickwire, by Frederick Hayes, by Carole Wilson Brandon Patoc Melissa and David Wickwire Sue and Robert Collett
38 SEATTLESYMPHONY.ORG SEATTLE SEATTLE SYMPHONY SYMPHONY ENDOWMENT FUND
The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to DONORS the Endowment Fund since its inception. The following list is current as of November 22, 2017. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected]. Jean Robbins, by $5 Million + Sue and Robert Collett Nancy Kyler Frances O. Delaney* Alice Laitner The Benaroya Family John and Carmen* Delo Giovina Da Sessions Charles Simonyi Fund for Arts and Sciences Estate of Lenore Ward Forbes Anonymous Estate of George A. Franz Carole Sanford, by Jean Gardner Horizon House Supported Living $1,000,000 - $4,999,999 Estate of Mr. and Mrs. Irvin Gattiker Leslie and Dale Chihuly Anne Gould Hauberg* Langdon Simmons, by The Clowes Fund, Inc. Richard and Elizabeth Hedreen Llewelyn and Jonie Pritchard Priscilla Bullitt Collins* Estate of William K. and Edith A. Holmes Judith A. Fong Estate of Susanne F. Hubbach Donald Strong, by The Ford Foundation John Graham Foundation Mary Anne Strong Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Kreielsheimer Foundation Estate of Betty L. Kupersmith B. K. Walton, by Marks Family Foundation John and Cookie* Laughlin Penelope Yonge Estate of Gladys and Sam Rubinstein E. Thomas McFarlan Samuel* and Althea* Stroum Estate of Alice M. Muench Ralph Wedgewood, by Dr. Robert Wallace Nesholm Family Foundation Thomas Chatriand and Cindy Gustafson Estate of Opal J. Orr Jane Kippenhan $500,000 - $999,999 M. C. Pigott Family Michael Vargas Alex Walker III Charitable Lead Trust PONCHO Estate of Mrs. Marietta Priebe Brian Weiss, by Mrs. John M. Fluke, Sr.* Mr. and Mrs. Paul R. Smith Sue Eriksen Douglas F. King Estate of Frankie L. Wakefield Dina Jacobson Estate of Ann W. Lawrence Estate of Marion J. Waller Lars Sorensen The Norcliffe Foundation Estate of Mark Charles Paben Washington Mutual Anonymous Janice T. Whittaker, by James D. and Sherry L. Raisbeck Foundation Joan S. Watjen, in memory of Craig M. Watjen Jody Friday $25,000 - $49,999 $100,000 - $499,999 ESTATE GIFTS Edward and Pam Avedisian Estate of Glenn H. Anderson Estate of Bernice Baker We gratefully remember the following individuals for Andrew W. Mellon Foundation The Boeing Company their generosity and forethought, and for including Bob and Clodagh Ash Estate of Ruth E. Burgess the Seattle Symphony in their will, trust or beneficiary Drs. Janet P. and George* Beckmann Estate of Barbara and Lucile Calef designation. These legacy gifts provide vital support Alan Benaroya Mrs. Maxwell Carlson for the Symphony now and for future generations. Estate of C. Keith Birkenfeld Alberta Corkery* (Estate gifts since September 1, 2015.) Mrs. Rie Bloomfield* Norma Durst* The Boeing Company Estate of Margret L. Dutton Dr. William and Mrs. Laura Andrews C.E. Stuart Charitable Fund Estate of Floreen Eastman Harriet C. Barrett Trust Richard* and Bridget Cooley Hugh S. Ferguson* Barbara and Lucile Calef Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Paul Friedlander* Robert E. and Jeanne Campbell Mildred King Dunn Adele Golub Charles Robb Chadwick E. K. and Lillian F. Bishop Foundation Patty Hall Frances L. Condie Estate of Clairmont L. and Evelyn Egtvedt Thomas P. Harville Trudel Dean Estate of Ruth S. Ellerbeck Harold Heath* Carmen Delo Senator and Mrs. Daniel J. Evans George Heidorn and Margaret Rothschild* Nancy Lee Dickerson Fluke Capital Management Phyllis and Bob* Henigson Sherry Fisher Estate of Dr. Eloise R. Giblett Michael and Jeannie Herr Jane B. Folkrod Agnes Gund Charles E. Higbee, MD and Donald D. Benedict* Lenore Ward Forbes Helen* and Max* Gurvich Mr. and Mrs. L. R. Hornbeck Marion O. Garrison Estate of Mrs. James F. Hodges JNC Fund Elizabeth C. Giblin Estate of Ruth H. Hoffman Sonia Johnson* Merle P. Griff and Nadine Griff Mack Estate of Virginia Iverson The Keith and Kathleen Hallman Fund Helen and Max Gurvich Estate of Peggy Anne Jacobsson David and Karen Kratter Carol Hahn-Oliver Robert C. Jenkins Estate of Marlin Dale Lehrman Sarah C. Hamilton Estate of Charlotte M. Malone Estate of Coe and Dorothy Malone Allan and Nenette Harvey Bruce and Jolene McCaw Estate of Jack W. McCoy Yveline Harvey Bruce and Jeanne McNae Estate of Robert B. McNett Anne Marie Haugen Microsoft Corporation Estate of Jean and Peter J. McTavish Susanne F. Hubbach National Endowment for the Arts Estate of Shirley Callison Miner Gretchen and Lyman Hull Northwest Foundation PACCAR Foundation Betty L. Kupersmith Estate of Helen A. Overton Mr. and Mrs. W. H. Purdy E. Marian Lackovich Peach Foundation Estate of Elizabeth Parke Anna L. Lawrence Estate of Elsbeth Pfeiffer Sue and Tom Raschella Arlyne Loacker Estate of Elizabeth Richards Keith and Patricia Riffle Olga M. McEwing Jon and Judy Runstad Rita* and Herb* Rosen and the Rosen Family Jean and Peter J. McTavish Estate of Joanne M. Schumacher Seafirst Bank Norman D. Miller Weyerhaeuser Company Security Pacific Bank Nuckols-Keefe Family Foundation The William Randolph Hearst Foundations Jerry and Jody Schwarz Beatrice Olson Estate of Helen L. Yeakel Seattle Symphony Women’s Association Carl A. Rotter Estate of Victoria Zablocki Patricia Tall-Takacs and Gary Takacs John C. Rottler Anonymous (3) U S WEST Communications Dorothy Faye Scholz Estate of Dr. and Mrs. Wade Volwiler Allen E. Senear $50,000 - $99,999 Estate of Marion G. Weinthal Amy Sidell Estate of Ethel Wood Phillip Soth Dr.* and Mrs. Ellsworth C. Alvord, Jr. Anonymous (2) Morton Stelling Estate of Mrs. Louis Brechemin Ida L. Warren Estate of Edward S. Brignall * In Memoriam
encoremediagroup.com/programs 39 MUSICAL LEGACY SOCIETY
The Musical Legacy Society celebrates those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant future for the Seattle Symphony, helping the Orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community. To learn more about the Musical Legacy Society, or to let us know you have already included the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of November 22, 2017.
I GIVE BECAUSE ... Charles M. and Barbara Clanton Ackerman Ned Laird Joan P. Algarin Paul Leach and Susan Winokur Kathleen Amberg Kathleen Leahy Richard Andler and Carole Rush Lu Leslan Ron Armstrong Marjorie J. Levar Elma Arndt Mel Longley and Tanya Wanchena-Longley Bob and Clodagh Ash Thomas and Virginia Hunt Luce Susan A. Austin Ted and Joan Lundberg Rosalee Ball Judsen Marquardt and Constance Niva David W. Barker Ian and Cilla Marriott Donna M. Barnes Doug and Joyce McCallum Carol Batchelder Tom McQuaid Drs. Janet P. and George* Beckmann Jean E. McTavish* Alan Benaroya William C. Messecar Rebecca Benaroya Jerry Meyer and Nina Zingale Donald/Sharon Bidwell Living Trust Charles N. Miller Dona Biermann Elizabeth J. Miller I support arts Bob* and Jane Ann Bradbury Mrs. Roger N. Miller Rosemary and Kent Brauninger Murl G. Barker and Ronald E. Miller Sylvia and Steve Burges Reid and Marilyn Morgan Dr. Simpson* and Dr. Margaret Burke George Muldrow organizations Dr. William and Mrs. Mary Ann Champion Marr and Nancy Mullen Sue and Robert Collett Isa Nelson Dr. Marshall Corson and Mrs. Lauren Riker Gina W. Olson as much as Betsey Curran and Jonathan King Sarah M. Ovens Frank and Dolores Dean Donald and Joyce Paradine Robin Dearling and Gary Ackerman Dick and Joyce Paul Lorraine Del Prado and Thomas Donohue Jane and Allan Paulson I can and John Delo Stuart N. Plumb Dr. Susan Detweiler and Dr. Alexander Clowes* Roger Presley and Leonard Pezzano Fred and Adele Drummond Mrs. Eileen Pratt Pringle Mildred King Dunn Mr. and Mrs. W. H. Purdy love the Renee Duprel James and Sherry Raisbeck Sandra W. Dyer Dana Reid and Larry Hitchon Ann R. Eddy J. Stephen and Alice Reid David and Dorothy Fluke Bernice Mossafer Rind Symphony. Gerald B. Folland Bill* and Charlene Roberts Judith A. Fong Junius Rochester Jack and Jan Forrest Jan Rogers Russell and Nancy Fosmire Patricia and Jon Rosen Thank you for Ernest and Elizabeth Scott Frankenberg James T. and Barbara Russell Cynthia L. Gallagher Mary Ann Sage Jane and Richard Gallagher Thomas H. Schacht Jean Gardner Judith Schoenecker and Christopher L. Myers your beautiful Cheryl and Billy Geffon Annie and Leroy Searle Natalie Gendler Virginia and Allen* Senear Carol B. Goddard Leonard* and Patricia Shapiro Frances M. Golding Jan and Peter Shapiro contributions Jeffrey Norman Golub John F. and Julia P.* Shaw Dr. and Mrs. Ulf and Inger Goranson Barbara and Richard Shikiar Betty Graham Valerie Newman Sils to this city! Catherine B. Green Evelyn Simpson Dr. Martin L. Greene Betty J. Smith Roger J.* and Carol* Hahn-Oliver Katherine K. Sodergren James and Darlene Halverson Althea C. and Orin H.* Soest Barbara Hannah Sonia Spear Harriet Harburn Karen J. Stay Ken and Cathi Hatch Diane Stevens Michele and Dan Heidt Patricia Tall-Takacs and Gary Takacs – Teresa Ralph and Gail Hendrickson Gayle and Jack Thompson Deena J. Henkins Art and Louise Torgerson Charles E. Higbee, MD Betty Lou and Irwin* Treiger Harold and Mary Frances Hill Muriel Van Housen Bob Hoelzen and Marlene Botter Sharon Van Valin Frank and Katie Holland Jean Baur Viereck Dr. Kennan H. Hollingsworth Dr. Robert Wallace Chuck and Pat Holmes Nicholas A. Walls David and Shelley Hovind Jeffrey Ward and Charles Crain Richard and Roberta Hyman Judith Warshal and Wade Sowers Janet Aldrich Jacobs Douglas Weisfield Jennifer James, MD James and Janet Weisman WHY DO YOU GIVE? Robert C. Jenkins John and Fran Weiss Dr. Barbara Johnston Robert T. Weltzien Norman J. Johnston* and L. Jane Hastings Johnston Dorothy E. Wendler Atul R. Kanagat Gerald W. and Elaine* Millard West Don and Joyce Kindred Selena and Steve Wilson SEATTLESYMPHONY.ORG/GIVE Dell King Ronald and Carolyn Woodard Douglas F. King Arlene A. Wright Stephen and Barbara Kratz Janet E. Wright 206.215.4832 Frances J. Kwapil Rick and Debbie Zajicek M. LaHaise Anonymous (50) * In Memoriam
40 SEATTLESYMPHONY.ORG CORPORATE & FOUNDATION SUPPORT
The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of November 22, 2017. Thank you for your support — our donors make it all possible!
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
Seattle Symphony Volunteers ◊
$50,000 - $99,999 Virginia Mason Medical Center Google Matching Gifts Seattle Classical KING FM 98.1 ◊ Wild Ginger Restaurant † Heartwood Provisions † Cornerstone Advisors, Inc. Geekwire † The Lark Ascends † DreamBox Learning Google Inc. † $10,000 - $14,999 MG2 Foundation Ebay John Graham Foundation Aaron Copland Fund For Music Muckleshoot Indian Tribe Educational Legacy Fund KEXP † The Benaroya Company Music4Life Eli Lilly & Company Foundation Laird Norton Wealth Management Bill & Melinda Gates Foundation Neiman Marcus Finlandia Foundation Seattle Chapter Microsoft Corporation Matching Gifts Peg and Rick Young Foundation Firestone Walker Brewing Company † Microsoft Matching Gifts BNY Mellon Puyallup Tribe Of Indians Fox’s Seattle † Nesholm Family Foundation Coca-Cola Company Matching Gifts RBC Foundation Genworth Foundation Precept Wine ◊ Foster Pepper PLLC RN74 Seattle † Grand Hyatt Hotel New York † Seattle Met Magazine † Four Seasons Hotel † S. L. Pitts PC Grousemont Foundation Fran’s Chocolates ◊ Silverstein Properties Kane Environmental, Inc $25,000 - $49,999 Garvey Schubert Barer † Skanska USA Kerloo Cellars † Holland America Line ◊ Alaska Airlines Starbucks Coffee Company KeyBank Foundation Lakeside Industries Bank of America The Westin Hotel, Seattle † Lagunitas Brewing Company Lino Tagliapietra Inc. Boeing Matching Gifts Program LAUGH Studios † Perkins Coie LLP Chihuly Studio † $3,000 - $4,999 Neon Taco † RBC Wealth Management Classic Pianos ◊ Amphion Foundation O Wines † Robert Chinn Foundation DSquared † The Capital Grille † Paul & Dottie Foundation of the Treeline Foundation DuPage Foundation Encore Media Group † Clark Nuber U.S. Bank Foundation The PONCHO Foundation J.P. Morgan Chase & Co. Dick’s Drive-In ◊ The Ruth and Robert Satter Weill Music Institute † Fast Water Heater Co Nordstrom Charitable Trust Wells Fargo Foundation Peach Foundation Grand Image Art † Steinway & Sons Seattle/Bellevue ◊ Anonymous Lane Powell PC Seattle Cancer Care Alliance Sun Liquor † Schwabe, Williamson & Wyatt Wells Fargo Private Bank Thompson Seattle † $5,000 - $9,999 Tesla Motors † Tolo Events † AETNA Casualty and Surety Yamaha $15,000 - $24,999 Tulalip Tribes Charitable Fund Apex Foundation Chihuly Garden + Glass UBS Employee Giving Programs Atsuhiko & Ina Goodwin Tateuchi Clowes Fund, Inc. $1,000 - $2,999 Foundation Wilson Sonsini Goodrich & Rosati Estates Wine Room ◊ Alfred and Tillie Shemanski Trust Fund Foundation Brown Bear Car Wash Jean K. Lafromboise Foundation Bank of America Foundation Matching Wyman Youth Trust Citi Community Capital Gifts Program KCTS 9 † Creelman Foundation Big Mario’s Pizza † Northwest Center † In-Kind Support Davis Wright Tremaine Butler Valet † Port Blakely ◊ GE Foundation Cadence Winery † Financial and In-Kind Support Rosanna, Inc. † Glazer’s Camera † Consulate of the Republic of Poland in Sheri and Les Biller Family Foundation 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 41 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Located in The Boeing Company Gallery, Symphonica is from ushers. COMMITTEES open weekdays from 11am–2pm and 90 minutes prior to SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Special Events provide significant funding each season Benaroya Hall is barrier-free and meets or exceeds all to the Seattle Symphony. We gratefully recognize our PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities presenting sponsors and committees who make these online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those events possible. Individuals who support the events with disabilities are available. Those with oxygen below are included among the Individual Donors COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous listings. Likewise, our corporate and foundation is located in The Boeing Company Gallery. flow. Requests for accommodations should be partners are recognized for their support in the 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. An infrared hearing system is available for patrons OPENING NIGHT GALA, SEPTEMBER 16, 2017 CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Honoring Leslie and Dale Chihuly The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and SUPPORTING SPONSORS JPMorgan Chase & Co. personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. Nordstrom ADMISSION OF CHILDREN: Children under the age of LOST AND FOUND: Please contact the Head 5 will not be admitted to Seattle Symphony performances Usher immediately following the performance or CO-CHAIRS Renée Brisbois except for specific age-appropriate children’s concerts. call Benaroya Hall security at 206.215.4715. Terry Hecker EMERGENCY PHONE NUMBER: Please leave the HOST YOUR EVENT HERE: Excellent dates are appropriate phone number, listed below, and your exact available for those wishing to plan an event in the S. Mark COMMITTEE Kathleen Boyer Hisayo Nakajima seat location (aisle, section, row and seat number) with Taper Foundation Auditorium, the Illsley Ball Nordstrom Dr. Meredith Broderick Paul Rafanelli your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Zartouhi Elizabeth Roberts the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Dombourian-Eby Jon Rosen Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Kathy Fahlman Dewalt Christine Suignard Hall, 206.215.4776. for more information. Beth Ketcham
HOLIDAY MUSICAL SALUTE, DECEMBER 5, 2017
CO-CHAIRS Rebecca Ebsworth DINING AT BENAROYA HALL Michelle Codd
COMMITTEE LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are open 75 minutes prior Dr. Meredith Broderick Tiffany Moss to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid Roberta Downey Kirsten Towfiq waiting in line at intermission. Kathleen Mitrovich
MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Market, offering delicious, inventive menus with the best local and TEN GRANDS, MAY 12, 2018 seasonal produce available. Open two hours prior to most Seattle Symphony performances and select non-Symphony Kathy Fahlman Dewalt performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit Co-Founder and Executive Director opentable.com or call 206.336.6699. COMMITTEE DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled Rosanna Bowles Fawn Spady pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab Cheri Brennan Saul Spady a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open Stephen Dewalt Stephanie White Tom Horsley David Woolley-Wilson weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. Ben Klinger Jessie Woolley-Wilson HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Carla Nichols Barbara Wortley Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. CLUB LUDO, JUNE 9, 2017
DELICATUS: Delicatus is Seattle’s own cross cultural Delicatessen specializing in premium deli sandwiches, salads, specialty CHAIR meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is Tiffany Moss open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. COMMITTEE Eric Berlinberg Erica Gomez Brittany Boulding Eric Jacobs Duncan Carey Jason Perkizas Samantha DeLuna Talia Silveri CONTACT US Jackie Ernst Saul Spady
TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | P.O. Box 2108, Seattle, WA 98111-2108
GROUP SALES: [email protected] | 206.215.4818
SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music lovers like you. Learn more and make your gift for symphonic music at seattlesymphony.org/give. You can also call us at 206.215.4832 or mail your gift to P.O. Box 21906, Seattle, WA 98111-3906.
42 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt
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2 3 4 5 Photos: Courtney Martin Photos: Courtney
IN THE COMPANY OF FRIENDS On September 23 the Seattle Symphony’s Musical Legacy Intermezzo events occur each season to celebrate Seattle Society presented an Intermezzo in-home recital, recognizing Symphony patrons who have made the Symphony a part of their longtime subscribers and donors for their support. Symphony lives through long-term attendance and support. Dedicated Board member Dr. Susan Detweiler hosted the event at patrons, along with members of the Musical Legacy Society her lovely home. Associate Vice President of Development who have included the Seattle Symphony in their will or estate Renee Duprel and Director of Major Gifts & Planned Giving plans, help ensure the continued financial stability and artistic Becky Kowals welcomed guests and thanked them for their excellence of the orchestra through their commitment. dedication to ensuring a vibrant future for the orchestra. For information on future Intermezzo events or on joining Seattle Symphony First Violin Timothy Garland performed the Musical Legacy Society, please contact Becky Kowals Poème by Ernest Chausson, accompanied by pianist Li-Tan Hsu. at 206.215.4852 or [email protected]. Following the recital guests were invited to ask questions and meet the musicians. The Seattle Symphony’s Musical Legacy Society is generously sponsored by Laird Norton Wealth Management.
PHOTOS: 1 First Violin Timothy Garland performed Chausson’s Poème with accompaniment by pianist Li-Tan Hsu 2 Lisa James, Dr. Susan Detweiler, Frankie Bottinelli and Renee Duprel 3 James and Jane Rasmussen 4 Patricia Rosen, Lisa James, Board member Molly Gabel, Dolores Uhlman and Major Gift Officer Nicholas Walls 5 Bruce Amundsen with Dr. Susan Detweiler
encoremediagroup.com/programs 43 B:8.625” T:8.375” S:7.375” C M Y K BELLEVUE SQUARE T:10.875” S:9.875” B:11.125”
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