FEBRUARY 2017

SYMPHONIC STARS JOSHUA BELL EMANUEL AX HILARY HAHN LEONIDAS KAVAKOS YUJA WANG MORLOT C O N D U C T S BEETHOVEN, PROKOFIEV & DVOŘÁK

ALL OF US BELONG: THE IVES PROJECT CONTENTS

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EAP full-page template.indd 1 9/6/16 11:17 AM CONTENTS FEBRUARY 2017

4 / CALENDAR

6 / THE ORCHESTRA

8 / SIMPLE GIFTS

10 / NOTES

FEATURE

12 / ALL OF US BELONG A Contemporary Retelling of Ives’ New England Holidays

CONCERTS 17 / February 2 & 4 EMANUEL AX BEETHOVEN EMPEROR

21 / February 9, 11 & 12 HILARY HAHN BRUCH VIOLIN CONCERTO NO. 1

24 / February 10 LEONIDAS KAVAKOS & YUJA WANG IN RECITAL

29 / February 13 JOSEPH ADAM

33 / February 17 & 18 JOSHUA BELL TCHAIKOVSKY VIOLIN CONCERTO

37 / February 21 SCHUBERT OCTET

17 / EMANUEL AX

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: 40 / February 24 & 25 BACH & HANDEL

54 / GUIDE TO THE SEATTLE SYMPHONY

55 / THE LIS(Z)T

24 / YUJA WANG 24 / LEONIDAS KAVAKOS Photo: Norbert Kniat Norbert Photo: Borggreve Marco Photo:

ON THE COVER: Joshua Bell (p. 33) by P. Knott COVER DESIGN: Helen Hodges EDITOR: Heidi Staub

© 2017 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.

encoreartsseattle.com 3 ON THE DIAL: Tune in to February Classical KING FM 98.1 every & March 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

■ FEBRUARY 7:30pm 7:30pm EMG 10am & 12pm Emanuel Ax presents Seattle Sensory Friendly 10am Friends Open Beethoven Emperor Baroque Orchestra: Concerts: Two Cats Rehearsal* Le Mozart Noir 8pm Emanuel Ax Beethoven Emperor 7:30pm Seattle Arts 7:30pm CAF & Lectures presents presents Masters of 8pm Seattle Music Helen Macdonald 1 2 Scottish Arts 3 Exchange Project 4

10am & 12pm 7:30pm 7:30pm Northwest 8pm Sensory Friendly Hilary Hahn Bruch Sinfonietta: Hilary Hahn Bruch Concerts: Two Cats Violin Concerto No. 1 Prokofiev & Violin Concerto No. 1 Tchaikovsky 8pm 8pm Leonidas Andre Feriante Kavakos & Yuja 5 6 7 8 9 Wang in Recital 10 11

2pm 7:30pm 7:30pm 10:30am Tiny Tots: 9:30, 10:30 & 11:30am Hilary Hahn Bruch Joseph Adam Live @ Benaroya Mother Goose Goes Tiny Tots: Mother Goose Violin Concerto No. 1 Hall: Taylor Hicks to the Symphony Goes to the Symphony 2 & 8pm Joshua Bell 7pm 7:30pm 8pm Joshua Bell Tchaikovsky Violin Concerto Byron Schenkman Beijing Chinese Tchaikovsky Violin 7:30 pm Seattle & Friends: Russians Orchestra Concerto Repertory Jazz & Jews 12 13 14 HILARY HAHN15 16 17 Orchestra 18

12 & 5:30pm 7:30pm 10am 8pm 8pm WA Music Educators Schubert Octet Friends Onstage Bach & Handel Bach & Handel Association Rehearsal* Concerts 7:30pm 8pm Live @ Benaroya Hall Live @ Benaroya RAIN: A TRIBUTE Hall: Hot Tuna TO THE BEATLES 19 20 21 22 23 24 25

2pm National 7:30pm 7:30pm 7:30pm 8pm 11am Family Concerts: Geographic Live: National Geographic National Geographic Seattle Arts & Bugs Bunny at the Dr. Seuss Green Eggs The Risky Science of Live: The Risky Live: The Risky Lectures presents Symphony II & Ham Exploration Science of Science of Ben Fountain 7:30pm SCGS 2pm Pacific Exploration Exploration presents Michael MusicWorks presents Partington Handel’s Tenor: 8pm Bugs Bunny at Beard’s Beauties 26 27 28 1 2 3 the Symphony II 4

2pm Bugs Bunny at 7:30pm Ensign 8pm the Symphony II Symphony & Chorus Showtunes presents presents Good News: The Unsinkable 7pm Byron Rejoicing and Praising Molly Brown in Schenkman & Concert Friends: Bach’s 7:30pm Northwest Sinfonietta: Goldberg Variations Havana Heat II 5 6 7 8 9 10 11

2pm Showtunes 7:30pm 12pm 7:30pm Seattle presents The Beethoven “Pastoral” Beethoven “Pastoral” Baroque Orchestra: Unsinkable Molly Symphony Symphony Bach Brandenburg Brown in Concert Celebration

3pm SYSO: Berlioz’s 8pm Beethoven Symphonie “Pastoral” Symphony Fantastique 12 NATIONAL13 GEOGRAPHIC LIVE14 15 16 17 18

2pm 7:30pm 7:30pm 7:30pm 7pm 2pm Philharmonia NW: National Geographic National Geographic National Geographic Beethoven Beethoven Untuxed An Afternoon of P.D.Q. Live: Beauty and the Live: Beauty and the Live: Beauty and the Symphony No. 5 Bach Bizarre Bizarre Bizarre 4 & 8pm A New World: intimate music from FINAL FANTASY 8pm Beethoven 19 20 21 22 23 24 Symphony No. 5 25

4pm 12:30pm Wajten 7:30pm 9am 7:30pm 12pm Distant Worlds: Concert Organ Seattle Arts & Friends Open Dausgaard Conducts Dausgaard Conducts music from FINAL Recital – Free Lectures presents Rehearsal & Rachmaninov Rachmaninov FANTASY with the Demonstration Bryan Stevenson Discussion* Seattle Symphony 7:30pm 7:30pm King’s Northwest College Choir Sinfonietta: Art for 26 27 28 29 30 Arts’ Sake 31

LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information

Hilary Hahn (February 9, 11 & 12) by Michael Patrick O’Leary; 4 SEATTLESYMPHONY.ORG National Geographic Live (March 19–21) by Anand Varma

SSO067-Calendar.indd 1 1/19/17 1:24 PM ■ ON THE BEAT See Who’s Here to Hear Photo: James Holt James Photo:

What music do you listen to?

“I listen to a lot of rock, hip-hop, but I also listen to a lot of EDM too. I surprisingly find myself interested in symphonic music, I’m not going to lie. I just like to listen to it. It’s calming and puts my mind to rest. It’s nice, I enjoy it.” — Ramou

Is this your first time here?

“We came to a show in January and we were surprised, we really enjoyed it. There’s really talented people doing real music here. I mean, I love EDM, but it’s completely different, and there’s a different side to orchestra music. You have to practice all day and all night to

perform like the musicians here.” © Philip Newton — Jennifer CAPTIVATING DRAMA A New Seattle Opera Production In Czech with English subtitles. Recently awakened to true love, sheltered Evenings 7:30 PM CONNECT WITH US: Katya longs to be free of her dreary Sunday Matinee 2:00 PM Share your photos using #SeattleSymphony arranged marriage and dominating mother- and follow @seattlesymphony on Facebook, in-law. Can her fragile world survive when Featuring the Seattle Opera Chorus and members of Instagram and Twitter. Download the Listen pent-up passions finally burst forth? Seattle Symphony Orchestra. Boldly app to easily purchase tickets, skip the Janáček, a contemporary of Puccini, takes Ticket Office lines and receive exclusive offers. inspiration from Slavic folk songs to weave FEB. 25-MAR. 11 a dreamlike story of isolation, longing, MCCAW HALL and provincial oppression. Don’t miss this 206.389.7676 Seattle Opera premiere. SEATTLEOPERA.ORG/KATYA seattlesymphony.org SEASON SPONSOR: SEATTLE OPERA GUILD TICKETS: 206.215.4747 PRODUCTION SPONSORS: SEATTLE OPERA FOUNDATION, CITY OF SEATTLE OFFICE OF ARTS & CULTURE, KREIELSHEIMER ENDOWMENT FUND GIVE: 206.215.4832

encoreartsseattle.com 5 LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

French conductor Ludovic will also see the release of several more recordings on the Morlot has been Music Director Orchestra’s label, Seattle Symphony Media. A box set of of the Seattle Symphony music by Dutilleux was recently released to mark the 100th since 2011. Amongst the anniversary of the composer’s birth. many highlights of his tenure, the orchestra has won two Ludovic Morlot was Chief Conductor of La Monnaie for Grammy Awards and gave an three years (2012–14). During this time he conducted several exhilarating performance at new productions including La Clemenza di Tito, Jenu°fa Carnegie Hall in 2014. and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by During the 2016–2017 season Beethoven, Stravinsky, Britten, Webern and Bruneau. Morlot and the Seattle Symphony will continue to Trained as a violinist, Morlot studied conducting at the invite their audiences to Royal Academy of Music in London and then at the Royal “listen boldly,” presenting College of Music as recipient of the Norman del Mar

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: Ravel’s L’enfant et les Conducting Fellowship. Morlot was elected a Fellow of sortilèges, completing their the Royal Academy of Music in 2014 in recognition of his cycle of Beethoven symphonies and piano concertos and several significant contribution to music. He is Chair of Orchestral world premieres including compositions by Agata Zubel and Gabriel Conducting Studies at the University of Washington School Prokofiev. All of this will be complemented by the Seattle Symphony’s of Music and lives in Seattle with his wife, Ghizlane, and highly innovative series, Sonic Evolution and [untitled]. This season their two children.

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 Judy Washburn Kriewall HORN HARP Open Position Timothy Hale Zartouhi Dombourian-Eby Jeffrey Fair Valerie Muzzolini Gordon David & Amy Fulton Concertmaster Vincent Comer Charles Simonyi Principal Horn Principal Open Position Penelope Crane PICCOLO Mark Robbins Supported by Eliza and Brian Shelden Clowes Family Associate Concertmaster Wesley Anderson Dyring Zartouhi Dombourian-Eby Associate Principal Cordula Merks Sayaka Kokubo Robert & Clodagh Ash Piccolo Jonathan Karschney KEYBOARD Assistant Concertmaster Rachel Swerdlow Assistant Principal Kimberly Russ, piano +** Simon James Julie Whitton OBOE Jenna Breen Joseph Adam, organ + Second Assistant Concertmaster Mary Lynch John Turman PERSONNEL MANAGER Jennifer Bai CELLO Principal Adam Iascone Mariel Bailey Efe Baltacıgil Supported by anonymous donors Scott Wilson Cecilia Poellein Buss Marks Family Foundation Principal Cello Ben Hausmann TRUMPET ASSISTANT PERSONNEL Ayako Gamo Meeka Quan DiLorenzo Associate Principal David Gordon MANAGER Timothy Garland Assistant Principal Chengwen Winnie Lai The Boeing Company Principal Trumpet Supported by their children in memory of Keith Higgins Leonid Keylin Stefan Farkas Alexander White Helen and Max Gurvich Mae Lin Assistant Principal Eric Han LIBRARY Mikhail Shmidt ENGLISH HORN Geoffrey Bergler Bruce Bailey Clark Story Stefan Farkas Patricia Takahashi-Blayney John Weller Roberta Hansen Downey TROMBONE Principal Librarian Walter Gray Robert Olivia Jeannie Wells Yablonsky CLARINET Ko-ichiro Yamamoto Vivian Gu Associate Librarian Arthur Zadinsky Benjamin Lulich Principal Joy Payton-Stevens Jeanne Case Mr. & Mrs. Paul R. Smith Principal David Lawrence Ritt SECOND VIOLIN David Sabee Librarian Clarinet Stephen Fissel Elisa Barston Laura DeLuca Rachel Swerdlow Principal BASS Assistant Librarian Dr. Robert Wallace Clarinet BASS TROMBONE Michael Miropolsky Jordan Anderson Eric Jacobs Stephen Fissel John & Carmen Delo Mr. & Mrs. Harold H. Heath TECHNICAL DIRECTOR Assistant Principal Second Violin Principal String Bass Joseph E. Cook E-FLAT CLARINET TUBA Kathleen Boyer Joseph Kaufman ARTIST IN ASSOCIATION Assistant Principal Laura DeLuca Christopher Olka** Gennady Filimonov Dale Chihuly Evan Anderson Ted Botsford Principal BASS CLARINET Natasha Bazhanov Jonathan Burnstein HONORARY MEMBER Brittany Boulding Jennifer Godfrey Eric Jacobs TIMPANI Cyril M. Harris † Stephen Bryant Travis Gore Michael Crusoe Linda Cole Jonathan Green BASSOON Principal + Resident Xiao-po Fei Seth Krimsky Matthew Decker Artur Girsky FLUTE Principal Assistant Principal † In Memoriam Andrew Yeung Open Position Paul Rafanelli ** On Leave Principal Mike Gamburg PERCUSSION VIOLA Supported by David J. and Shelley Michael A. Werner Hovind Susan Gulkis Assadi CONTRABASSOON Principal Jeffrey Barker PONCHO Principal Viola Mike Gamburg Michael Clark Associate Principal Arie Schächter Matthew Decker Assistant Principal

6 SEATTLESYMPHONY.ORG ■ MEEKA QUAN DILORENZO Assistant Principal Cello

TOWN MUSIC Project Trio Photo: James Holt James Photo:

“I spend a lot of time reading,” says Meeka Quan DiLorenzo. “It’s my big passion in life, but I don’t get to do as much of it as I would like.” Her favorite recent books include Purity by Jonathan Franzen and Nutshell by Ian McEwan. Right now, she is finishing Infinite Jest by David Foster Wallace. Sometimes referred to as an “encyclopedic novel,” the book is a little over 1,000 pages and includes 388 endnotes. “It’s been a good project for me,” she laughs.

Meeka shares her love of reading with her nine-year-old son, Luca, and her husband, Tony. “Our family spends a lot of time at the library,” says Meeka. “Our branch is in Broadview, but we love the downtown branch. It’s Luca’s favorite.”

Balancing the career demands of a professional cellist with the needs of her family can be difficult, she says. “I’ve missed every single science fair,” says Meeka. “Luca has done extra things at school in the evenings and they’re almost always on a Thursday during our concerts. I think every working mom struggles with home and work balance, however. That’s just a universal issue.” Genre-busting

Would she trade her career for more stable hours? “I love what I do,” says Meeka. “I really chamber music abhor the idea that symphonic music is some bourgeoisie, outdated art form for the rich. I think what we do is a community service for everyone, and I like that this orchestra, more than others, takes that on as part of their mission.” April 19, 2017

For more on the Seattle Symphony, visit seattlesymphony.org/stories. TOWNHALLSEATTLE.ORG

encoreartsseattle.com 7 ■ SIMPLE GIFTS Compass Housing Alliance

The Seattle Symphony partners with Compass Housing Alliance, a leading provider and developer of essential services and affordable housing for men, women, veterans and families who are low-income or experiencing homelessness in the Puget Sound region. Services include day services, emergency shelter, transitional housing and affordable housing at 23 locations.

This season, community members from Compass Housing Alliance are working with Seattle Symphony Teaching Artist Becky Joy Aitken to reinterpret and reimagine two of the holidays represented in Charles Ives’ New England Holidays through the lens of their own experiences. The resulting visual narratives will be presented alongside poetry by Seattle’s Civic Poet Claudia Castro Luna during the Masterworks Season concerts on February 2 and 4, 2017.

Compass Housing Alliance is one of 17 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those

Photo: James Holt James Photo: who previously or are currently experiencing homelessness.

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

SEATTLE SYMPHONY BOARD OF DIRECTORS

Jon Rosen Kjristine Lund Dick Paul Secretary* Vice Chair, Audiences & Communities* Vice Chair, Governance* LESLIE JACKSON CHIHULY Chair* Michael Slonski Woody Hertzog Stephen Whyte Treasurer* Vice Chair, Development* Vice Chair, Finance*

DIRECTORS Jeff Hussey DESIGNEES Cynthia Bayley Marilyn Morgan Marco Abbruzzese Walter Ingram Robin Denis Alexandra Brookshire Isa Nelson Rebecca Layman Amato Susan Johannsen President, Seattle Symphony Phyllis Byrdwell Marlys Palumbo René Ancinas Nader Kabbani Chorale Phyllis Campbell Sally G. Phinny Claire Angel Elizabeth Ketcham Ryan Douglas Mary Ann Champion James Raisbeck

Sherry Benaroya Ryo Kubota President, WolfGang Advisory Robert Collett Sue Raschella Council James Bianco Ned Laird* David Davis Bernice Rind Carmen Spofford Rosanna Bowles Paul Leach* Dorothy Fluke Jill Ruckelshaus President, Seattle Symphony Renée Brisbois Jeff Lehman David Fulton H. Jon Runstad Volunteers Paul Brown Dawn Lepore Jean Gardner Martin Selig Valerie Muzzolini Gordon Susan Detweiler Brian Marks* Ruth Gerberding John Shaw Orchestra Representative Kathy Fahlman Dewalt Michael Mitrovich James Gillick Langdon Simons, Jr.+ Zartouhi Dombourian-Eby Larry Estrada Hisayo Nakajima Barbara Goesling Charles Z. Smith+ Orchestra Representative Cookie Neil Gerald Grinstein Linda Stevens Nancy Evans Simon Woods Nancy Neraas Cathi Hatch Patricia Tall-Takacs Jerald Farley President & CEO Judith Fong Laurel Nesholm* Steven Hill Marcus Tsutakawa Brian Grant Sheila Noonan LIFETIME DIRECTORS Ken Hollingsworth Cyrus Vance, Jr. Martin L. Greene Jay Picard* Llewelyn Pritchard Pat Holmes Karla Waterman Jeremy Griffin Dana Reid Chair David Hovind Ronald Woodard Patty Hall Elisabeth Beers Sandler Richard Albrecht Henry James Arlene Wright Terry Hecker Bayan Towfiq Susan Armstrong Hubert Locke Jean-François Heitz* Nicole Vogel Robert Ash J. Pierre Loebel * Executive Committee Member Robert Wallace Kenneth Martin Joaquin Hernandez William Bain + In Memoriam Parul Houlahan Bruce Baker Yoshi Minegishi

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

JEAN-FRANÇOIS HEITZ Kathleen Wright James Bianco J. Pierre Loebel Muriel Van Housen President Vice President Brian Grant Laurel Nesholm Rick White Michael Slonski Treasurer Leslie Jackson Chihuly David Tan

BENAROYA HALL BOARD OF DIRECTORS

NED LAIRD President Mark Reddington Vice President Dwight Dively Chris Martin Leo van Dorp Nancy B. Evans Secretary Zartouhi Dombourian-Eby Tom Owens Simon Woods Michael Slonski Treasurer Jim Duncan Fred Podesta

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Lauren Eastman, Francis Ho, DEVELOPMENT FEB Simon Woods Brendan McCullen Shaina Shepherd President & CEO Discovery Coordinators Development Officer (Assistant to VP of 8 Leslie Jackson Chihuly Chair Development & Grants) Charlie Wade COMMUNICATIONS Renee Duprel Senior Vice President of Marketing Heidi Staub Associate Vice President of Development & Business Operations Editor & Publications Manager (Campaign) Jennifer Adair James Holt Betsy Wohlers Vice President & General Manager Digital Content Manager Development Officer (Campaign) Maureen Campbell Melville Andrew Stiefel Becky Kowals Vice President & Chief Financial Officer Social Media & Content Manager Director of Major Gifts and Planned Giving Rosalie Contreras Nicholas Walls, Marsha Wolf Vice President of Communications MARKETING Major Gift Officers Elena Dubinets Christy Wood Amy Bokanev Vice President of Artistic Planning Director of Marketing Gift Officer Faculty Piano Recital: Cristina Valdés Jane Hargraft Rachel Spain Jessica Lee Sourced Marketing Manager Vice President of Development Development Coordinator (Major Gifts) Composers inspired by composers. Works by Kristen NyQuist Kyle Painter Paul Gjording Director of Board Relations Marketing Operations Coordinator Senior Major Gift Officer Richard Karpen, Joël-François Durand, Olivier & Strategic Initiatives Barry Lalonde (Foundations & Government Relations) Messiaen, and Kotoka Suzuki. Laura Reynolds Director of Digital Products Megan Hall 7:30 pm Meany Theater Director of Education & Community Jason Huynh Director of Development Operations Engagement Digital Marketing Manager Alicia Archambault Herb Burke Stewardship Manager EXECUTIVE OFFICE Tessitura Manager Martin K. Johansson Rachel Moore Gerry Kunkel Development Communications Manager Executive Assistant to the President & CEO and Corporate & Concierge Accounts Manager FEB Senior Vice President Jacob Roy Jessica Forsythe Data Operations Manager 23 ARTISTIC PLANNING Art Director Maery Simmons Data Entry Coordinator Paige Gilbert Helen Hodges Assistant Artistic Administrator Graphic Designer Tami Horner Senior Manager of Special Events Rose Gear Forrest Schofield & Corporate Development Personal Assistant to the Music Director Group Services Manager Zoe Funai Dmitriy Lipay Joe Brock Special Events Manager Director of Audio & Recording Retail Manager Ryan Hicks Blaine Inafuku Christina Hajdu Corporate Development Manager Artist Services, Media & Chorale Manager Sales Associate Brent Olsen FINANCE & FACILITIES ORCHESTRA & OPERATIONS Ticket Sales Manager David Nevens Kelly Woodhouse Boston Aaron Gunderson Faculty Piano Recital: Craig Sheppard Controller Director of Operations Assistant Sales Manager Clem Zipp All-Chopin Recital Ana Hinz Nina Cesarrato, Molly Gillette Assistant Controller Fantasy in F Minor, Opus 49; Sonata #2 in B Production Manager Ticket Office Coordinators Lance Glenn Flat Minor, Opus 35; Three Mazurkas, Opus Scott Wilson Asma Ahmed, Mary Austin, Information Systems Manager 59; and Sonata #3 in B Minor, Opus 58. Personnel Manager Melissa Bryant, Yasmina Ellis, Carla Moar, Mike Obermeyer, Megan Spielbusch 7:30 pm Meany Theater Keith Higgins James Bean, CaraBeth Wilson, Accounting Manager Assistant Personnel Manager Elizabeth Ylaya Jacqueline Moravec Patricia Takahashi-Blayney Ticket Services Associates Payroll/AP Accountant Principal Librarian Marwa Aliwi Robert Olivia VENUE ADMINISTRATION Staff Accountant Associate Librarian Matt Laughlin MAR Bernel Goldberg Jeanne Case Director of Facility Sales General Counsel Librarian James Frounfelter, Adam Moomey 9 David Ling Joseph E. Cook Event & Operations Managers Facilities Director Technical Director Sophia El-Wakil Kevin Baker Mark Anderson, Jeff Lincoln Facilities Sales & Operations Coordinator Facilities Manager Assistant Technical Directors Keith Godfrey Bob Brosinski Chris Dinon, Don Irving, Aaron House Manager Lead Building Engineer Gorseth, John Roberson, Michael Tanya Wanchena Aaron Burns, Damien De Witte Schienbein, Ira Seigel Assistant House Manager & Usher Scheduler Stage Technicians Building Engineers Milicent Savage, Patrick Weigel Rodney Kretzer Assistant House Managers EDUCATION & Facilities & Security Coordinator COMMUNITY ENGAGEMENT Dawn Hathaway, Lynn Lambie, Mel Longley, Ryan Marsh, Markus Rook Kristin Schneider, Becky Spiewak HUMAN RESOURCES Faculty Piano Recital: Robin McCabe Head Ushers Education & Community Engagement Managers Kathryn Osburn Performing Mussorgsky’s landmark cycle Laura Banks, Everett Bowling, Katie Hovde Human Resources Generalist Veronica Boyer, Evelyn Gershen Program Associate “Pictures at an Exhibition,” and Schumann’s Assistant Head Ushers Karya Schanilec Jessica Andrews-Hall, Lena Console, Receptionist/Marketing Assistant magisterial Concerto Without Orchestra. Ron Hyder Sonya Harris, Jesse Harvey, Rafael 7:30 pm Meany Theater Howell, Zachary Kambour, Shelby Technical Coordinator Leyland, Leslie McMichael, Rebecca Morhlang, Dana Staikides Teaching Artists

CONTACT US MORE AT: WWW.MUSIC.WASHINGTON.EDU TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 ArtsUW TICKET OFFICE: 206.543.4880 VISIT US ONLINE: seattlesymphony.org | FEEDBACK: [email protected]

encoreartsseattle.com 9 ■ Q&A WITH NEWS FROM: REGINALD LUDOVIC MORLOT, MUSIC DIRECTOR MOBLEY Welcome to Benaroya Hall! Reginald We have much to look forward to in (“Reggie”) Mobley is a countertenor, February, and it begins with an innovative which means his presentation of Charles Ives’ New England vocal range is Holidays incorporating elements of poetry and similar to those of visual storytelling. I am excited to bring this female altos and groundbreaking collaboration with local artists mezzo-sopranos.

Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: to the main stage alongside Beethoven’s Stars like Michael

“Emperor” Concerto with pianist Emanuel Ax. Linder Liz Photo: Jackson and You can read more about this project, All of Us Belong, and the Symphony’s Prince shared Simple Gifts homelessness initiative, on page 12. a similar voice range, but Mobley defies expectations. “It must be said from the beginning that one of the joys of seeing It’s a pleasure to welcome so many superstar artists to Benaroya Hall this Mobley is hearing his beautiful alto coming month! I am thrilled to share the stage with pianist Emanuel Ax, and to out of a big, tall man who looks more like perform the Bruch’s Violin Concerto No. 1 with our Featured Artist, violinist a linebacker for the Miami Dolphins than Hilary Hahn. To top things off, violinist Joshua Bell casts his intoxicating the P.G. Wodehouse party guest his name spells with Tchaikovsky’s Violin Concerto while pianist Yuja Wang and might suggest,” writes one reviewer. violinist Leonidas Kavakos deliver a duo recital that is sure to be stunning. We sat down with Mobley to learn a little This March I am privileged to bring you the World Premiere of American more about him ahead of his debut with the Seattle Symphony on February 24 and 25. composer Aaron Jay Kernis’ Violin Concerto, played by incredible violinist James Ehnes. I know you’ll enjoy Kernis’ animated and eclectic musical What misconceptions do you encounter language paired with Beethoven’s serene “Pastoral” Symphony and as a countertenor? Debussy’s Printemps — this concert is not to be missed! I still come off as a shock to many We’ll be announcing the new season this month, so be sure to check your audiences. Singers like Paul Robeson, mailboxes for the new season brochure. We have so much in store for you Willard White, Kevin Deas, Eric Owens next season! and my friend Ryan Speedo Green have set and sustained a precedent that large black men are the standard for subwoofer As always, thank you for sharing the music with us. shattering voices of God. I imagine that upon first hearing me, people sit in the halls Cordialement, waiting for me to step aside and reveal a smaller mezzo-soprano or Dickensian waif Ludovic Morlot of a countertenor!

What do you enjoy doing off stage?

I read a lot of comics. Doctor Fate and

Wonder Woman are my absolute favorites, with Wonder Woman being the greatest of

the two. I daresay I’m obsessed with her. Nothing pleased me more than when the UN declared my birthday as International NOTA BENE { Wonder Woman Day!

WE ARE ALL HERE Join us March 8 for the culminating celebration and performance Why do you love singing? of Path with Art’s yearlong We Are All Here project. Seattle Symphony musicians and

Path with Art students will perform. For more on this project and performance, visit It’s the joy of knowing that what I do seattlesymphony.org/stories. can make a difference in someone’s { { life on many different levels. And no one can explain how or why it works. ORGAN RECITALS The Fluke/Gabelein Organ Recital series returns February 13 with a It’s everyday magic. recital from Seattle’s own Joseph Adam. This series gives audiences the opportunity to hear world-class organists on the magnificent Watjen Concert Organ, a marvel of old Read the full interview with Reginald { world craftsmanship and modern technology. Mobley at seattlesymphony.org/stories. 10 SEATTLESYMPHONY.ORG PRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA

MASTERWORKS SEASON SPONSOR OF THE SEATTLE SYMPHONY

OFFICIAL AIRLINE OF THE SEATTLE SYMPHONY ORCHESTRA

EAP full-page template.indd 1 10/19/16 3:56 PM ALL OF US BELONG A Contemporary Retelling of Ives’ New England Holidays BY ANDREW STIEFEL

PHOTOS BY JAMES HOLT

“When you’re out on the ocean, one minute you’re on top of the world and the next you’re plunging below the waves,” says Susan. She works with charcoal and tracing paper, drawing a small sailboat awash in boiling waves. “It’s like being tossed around like a cork.”

Susan has experienced some of life’s waves. Not long ago, she had nowhere to call home.

Today as one of three residents at Cascade Women’s Program in South Lake Union, Susan works with Becky Joy Aitken, Seattle Symphony Teaching Artist, to share her stories and experiences through art. As the program provides a safe place to live and support for women experiencing homelessness in Seattle, the Seattle Symphony provides a means of expression.

“To convey my message to the audience is a hugely complicated thing,” muses Susan as she works. “It makes it even worse because I’m trans, that’s a story all in itself.”

Susan is a highly creative artist, though she modestly calls herself a “technician.” During the group session with Aitken, she absently fiddles with a thumb piano she crafted from a scrap of wood, a carabiner and broken bristles from city street sweepers, plucking out melodies and chords.

Susan learned how to play violin while growing up in Los Angeles. She moved on Lisa, a resident at Compass Housing Alliance, shows off the results of the day: messy fingers and a new drawing. to running sound boards at concerts and

12 SEATTLESYMPHONY.ORG ALL OF US BELONG Music Made of Community Spirit

A Contemporary Retelling of Ives’ New England Holidays The movements of New England BY ANDREW STIEFEL Holidays portray four quintessentially American holidays: Washington’s Birthday PHOTOS BY JAMES HOLT (President’s Day), Decoration Day (Memorial Day), The Fourth of July and Thanksgiving and Forefathers’ Day. Each holiday coincides with a season: Winter, Spring, Summer and Fall, respectively.

“These are the most meaningful holidays celebrated by the entire country,” says Elena Dubinets, Seattle Symphony Vice President of Artistic Planning. “Each holiday means something different for each person.”

How do we see ourselves? Participants traced photographs by Aitken to create self-portraits. Ives wrote each movement based on memories of his father, George Ives, and later worked on a tugboat in the Gulf of Mexico, the inspiration for her current drawing. memories of growing up in the town of Danbury, Connecticut. Specifically, Ives said “I think the humanness is the message that I would like to convey more than anything else,” he wanted his music to celebrate “common says Susan. “My life has been nothing but an adventure and I embrace every moment of it. events in the lives of common people.” Being what I am, however, tends to invoke a certain attitude from people that separates me from them. He borrowed music from hymns and popular dances, layering them together “I want people to know that I’m human.” to create complex textures that express multiple, conflicting emotions at once — the Home Is Where the Art Is essence of memory. (See program notes on pages 17 to 20.) Homelessness impacts approximately 10,000 people on any given night in King County. 10,000 people, however, is a statistic. People like Susan are not statistics. Their stories are “Ives was very interested in the idea of heartbreaking, funny, human. They are mothers, children, veterans and neighbors. Their community, and in particular, amateur stories will now be shared at Benaroya Hall on February 2 and 4 in All of Us Belong, a music-making,” says Larry Starr, Professor presentation of the Seattle Symphony’s Simple Gifts initiative. of American Music Studies at the University of Washington. “When you think about The Symphony is collaborating with three community partners — Catholic Housing music by Mozart, or Beethoven, their Services, Compass Housing Alliance and Mary’s Place — to give people experiencing compositions typically are like framed homelessness tools to express themselves through music and art-making. In All of Us portraits, with everything in place. Ives Belong, the participants will reimagine and reflect on Charles Ives’ New England Holidays. takes away the frame to invoke the informal, spontaneous, even unruly spirit of A piece written in rural Connecticut more than 100 years ago might seem like an community music.” unconventional choice to represent the rapidly transforming urban world of Seattle, but, as Seattle Symphony Music Director Ludovic Morlot shared with participants, “Music that is real It was Ives’ interest in community music- will always be contemporary. making that inspired the Seattle Symphony to choose this piece to spark conversation, “Sometimes as artists we forget how much we can learn from others,” says Morlot. inspire reflection and amplify the voice “Through this project we want to tell a story that is true to the emotions and the story of of the participants, while building deeper living in Seattle today.” connections with the Symphony audience. All of Us Belong continued

Susan, a resident at Cascade Women’s Program, putting the final touches on La’Deisha, a resident at Mary’s Place, shares her artwork with her son. her artwork.

“Ives celebrated the amateur musician as a way of celebrating in a military hospital after being severely injured in Afghanistan,” what it means to be human: to make mistakes, to make art shared one participant from Mary’s Place. “But that’s not what I want enthusiastically and to experience a range of emotion,” my son to remember. says Aitken. “I found my strength living in the park and I want him to know he The Seattle Symphony has been serving the homeless community has that strength too.” since 2013 when the organization first partnered with Mary’s Place to help mothers write lullabies for their children. The artwork from Aitken’s discussions helped participants turn their memories these creative residencies hasn’t previously been presented on the and stories into visual art. The process began with a portrait that orchestra’s main subscription concerts. became the foundation for the rest of their artwork.

“Now,” says Morlot, “we want to put that collaboration center stage “The portraits reinforce the identity of the storyteller,” says Aitken. and bring the voices of our community into our art.” “I wanted to keep the individuality of all the participants as visible as possible.” Portraits of the Artists Using tracing paper and charcoal pencils, the participants illustrated Each creative residency began with reflections and discussions their stories. The final product is a layered video of their portraits inspired by listening to Ives’ music. and artwork. Each video provides a brief glimpse into their stories and experiences. “I was surprised by how well the music fits my moods in past and present for this season,” writes Denise, a participant from Catholic “I was continually blown away, not just by the stories the Housing Services. “I hear my voice in it.” participants had to tell, but by their storytelling and art choices,” says Aitken. “They came to the workshops sometimes reluctantly, The discussions are raw but filled with laughter as participants sometimes enthusiastically, but everyone dug in and engaged the shared their best and worst memories of the holidays. creative process.

“We were kicked out on Independence Day while my son’s dad was “Their resiliency, laughter, sorrow and love have inspired me.”

14 SEATTLESYMPHONY.ORG Art’s Missing Pieces … and Seattle’s

Claudia Castro Luna, Seattle’s Civic Poet, will provide the final About Simple Gifts piece of the project in a poem about each holiday, her words guided by the stories and art from the workshops. During the Our city is experiencing a homelessness crisis which is project, she asked participants to reflect on what voices were profound in its complexity. This is a problem that impacts missing in the music. 10,000 people in King County on any given day. Among those 10,000 are 3,000 Seattle Public School students. “Every piece of artwork is missing something,” says Luna. “We can never include it all.” In response, the Seattle Symphony’s Community Connections program has expanded to an organization-wide commitment Now at least a few of those voices will be included when the to share the power of music to spark joy, alleviate trauma and music, poetry and artwork come together on stage for the connect individuals with their creativity. The “gifts” refer to first time. the simple dignity, joy and hope that music and the creative process can bring to others, and what the Seattle Symphony “I want to create a momentary connection with the audience,” says hopes to bring to all members of its community through: Susan. At the far edge of her drawing is a white island, brilliant and solid against the dark, shifting lines of the water. Creative Community Projects In-depth creative partnerships that give people experiencing “I want them to feel a little of what I’ve experienced in life.” homelessness the tools to express themselves through music and art-making

Strategic Residencies Bringing music-making and creativity to our community partners

Community Service Musicians, staff and board volunteering together to support the needs of our community partners

Raising Awareness Leveraging our communications and social media to increase community consciousness of the crisis

Of our 60 Community Connections partners, these partners specifically focus on those experiencing homelessness: Accelerator YMCA, Catholic Housing Services of Western Washington (Aloha Inn, Dorothy Day House and Frederic Portraits of residents from Dorothy Day House mingle with drawing supplies. Ozanam House), Compass Housing Alliance, FareStart, Jubilee Women’s Center, Mary’s Place, Mockingbird Society, Path with Art, Plymouth Housing Group, Prospect Enrichment The Seattle Symphony’s Family, School & Community programs Preschool, ROOTS Young Adult Shelter, New Futures, Seattle are supported by 4Culture, the Ann and Gordon Getty Founda- Education Access, Street Youth Ministries, Wellspring Family tion, The Boeing Company, Chihuly Garden + Glass, Citi Com- Services, Youth in Focus and YouthCare. munity Capital, The Clowes Fund, Inc., the Elizabeth McGraw Foundation, KeyBank Foundation, the League of American We’d like extend a special thank you to our community Orchestras, Richard and Francine Loeb, Kjristine Lund, D.V. and partners for their partnership and collaboration these last five Ida J. McEachern Charitable Trust, Music4Life, Music Works years. And thank you to Symphony supporters who make this Northwest, the National Endowment for the Arts, New Music deeply meaningful work possible. We could not embark on USA, Peach Foundation, the Peg and Rick Young Foundation, these important endeavors without you at our side. Russell Investments, Seattle Pacific University, the Seattle Office of Arts & Culture, The Sheri and Les Biller Family Foundation, To support Simple Gifts, visit seattlesymphony.org/give or Christine and Michel Suignard, Ten Grands Seattle, Tulalip Tribes call Donor Relations at 206.215.4832. Every gift makes Charitable Fund, the U.S. Bank Foundation, UW Autism Center, a difference! Weill Music Institute, Wells Fargo Foundation, the Wilson Sonsini Goodrich & Rosati Foundation and the Wyman Youth Trust. February 2017 FRoM tHE tonY AwARd-winning Volume 30, No. 6 wRitER And lYRiCist oF FUn HoME

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning, Rob Scott Seattle Area Account Executives Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator Sara Keats Jonathan Shipley Online Editors by Lisa Kron directed by braden abraham FEBRUARY 10 - MARCH 5 season sponsor Leah Baltus seattlerep.org | 206.443.2222 Editor-in-Chief Paul Heppner Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Barry Johnson Associate Digital Editor

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16 SEATTLESYMPHONY.ORG Thursday, February 2, 2017, at 7:30pm PROGRAM NOTES Saturday, February 4, 2017, at 8pm

A MESSAGE FROM MUSIC EMANUEL AX DIRECTOR LUDOVIC MORLOT My love for the music of Ives should be BEETHOVEN EMPEROR no secret given that we’ve recorded three of his symphonies and performed his music quite regularly in the past few years. This score may seem complex and Ludovic Morlot, conductor | Emanuel Ax, piano | Seattle Symphony overwhelming at first, but I know you’ll all recognize hymns and folksongs that CHARLES IVES A Symphony: New England Holidays, S. 5 50’ have been in your ears from a young /ed. James B. Sinclair Washington’s Birthday, No. 1 age. I am thrilled to be partnering with /ed. James B. Sinclair Decoration Day, No. 2 Claudia Castro Luna and three community /ed. Wayne D. Shirley The Fourth of July, No. 3 organizations to present what is in some /ed. Jonathan Elkus Thanksgiving and Forefathers’ Day, No. 4 ways the American Four Seasons, albeit in an unconventional format. Ives wrote that these holiday movements “are attempts to INTERMISSION make pictures in music of common events LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, 38’ in the lives of common people (that is, of Op. 73, “Emperor” fine people).” Allegro Adagio un poco mosso— Who could be more welcome to close Rondo: Allegro our cycle of Beethoven’s piano concertos EMANUEL AX, PIANO than pianist Emanuel Ax? Very few concertos sit well in the second half of Special thanks to visual artist and Seattle Symphony Teaching Artist Becky Joy Aitken, the program, and those that do are more Seattle’s Civic Poet Claudia Castro Luna, and the following participants of All of Us Belong, like symphonies with a soloist. In this who contributed to the performance of Charles Ives’ A Symphony: New England Holidays: work we can hear Beethoven pushing the Dorothy Day House: Mary’s Place: Cascade Women’s Compass Housing limits and walls in every direction as he Tamara Bell Bear Program: Veterans: experiments with form and harmony. Denise Dodge La’Deisha Browne Anna Elmore Lisa Galarneau Carolyn Ehrlichman Alice Englin Susan Temple Ryan Mielcarek See Ludovic Morlot’s biography on page 6. Ivory Pinkney Dawna Hurst Stephanie Thomas Anthony Vincent Velveeta Williams Megan Salmons Anthony Wolfly Sherrill Vaughan Marion Vaughan Beethoven and Ives For a more in-depth look at this project, see feature on page 12. The authors of the music we hear during this concert seem, on casual Pre-concert Talk one hour prior to performance. consideration, an unlikely pairing. Speaker: Dr. Larry Starr, University of Washington Chair of American Music Studies and Ludwig van Beethoven is one of the Waters Endowed Professor most famous and frequently performed of all composers. He resided in Vienna, Front Row Center conversation with KUOW’s Marcie Sillman and Music Director Ludovic Morlot on Thursday, February 2 in the Samuel & Althea Stroum Grand Lobby following a city famous for its musical traditions, the concert. and consorted with the Austrian aristocracy. His compositions are Ask the Artist on Saturday, February 4 in the Samuel & Althea Stroum Grand Lobby sophisticated and cosmopolitan, as following the concert. “classical” music is widely expected to Guests: Ludovic Morlot, Claudia Castro Luna (Seattle’s Civic Poet), Becky Joy Aitken be. And his single-minded devotion to (Teaching Artist & visual artist), and Simple Gifts Community Partners his work established the popular notion Moderator: Dr. Larry Starr of what it is to be a genius.

Emanuel Ax’s performances are generously underwritten by the Dan and Martine Drackett By contrast, Charles Ives, who lived Family Foundation. and worked a century after and an Media Sponsor: Classical KING FM 98.1 ocean apart from Beethoven, still awaits proper recognition as one of Please note that the timings provided for this concert are approximate. America’s greatest artists. His harmonic Please turn off all electronic devices and refrain from taking photos or video. and rhythmic freedom are unusual, and Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording only one of his pieces, The Unanswered equipment, and any other use of such copying devices during a performance is prohibited. Question, is performed with any

encoreartsseattle.com 17 PROGRAM NOTES

regularity. The rest remain little known and personality as much as on his 1913 and described them as “attempts even to us, his countrymen. (Though music. A native of Connecticut, Ives was to make pictures in music of common not necessarily to Seattle Symphony steeped in the history and culture of events in the lives of common people audiences. Under Ludovic Morlot, the New England. As a boy, he observed (that is, of fine people) ...” Although orchestra has performed and recorded the life and activities of the small town he eventually united them to create a three symphonies and several other in which he was raised. Later he came four-movement symphony, the work works by Ives.) Born in the small town to know the work of Emerson, whose was not played as such during Ives’ of Danbury, Connecticut, Ives retained transcendentalist philosophy deeply lifetime, and performances of the a lifelong fondness for rural America influenced him, and other writers of the entire symphony remain rare. Ours and its people, which he celebrated Concord, Massachusetts, school (Thoreau, includes visual and poetic components in his music. He never sought to be Hawthorne, the Alcotts). And although designed to complement the music. a professional composer. Instead, he became wealthy in the insurance (For more on this, see page 12.) he earned his living as an insurance business, Ives was born into a family executive and wrote his music on of modest means and never lost his The order of the four movements reflects weekends and holidays. respect for working and farming folk. that of the holidays within a calendar year. First comes Washington’s Birthday. Ives Yet for all their dissimilarities, All this and more helped shape Ives’ explained that he meant its initial section Beethoven and Ives had much in music. Some of his pieces, including the “to give the picture of the dismal, bleak, common. Both were exceptionally New England Holidays symphony, look cold weather of a February night” in New original, true musical innovators. It back nostalgically to his boyhood. Others, England, weather he experienced each is easy for us to forget that most of especially the impressionistic Three year while growing up. By contrast, the Beethoven’s early listeners found his Places in New England, memorialize central section brings a lively barn dance. compositions baffling and off-putting, physical aspects of New England. On “As I remember some of these dances as a the same reaction that greeted Ives’ the metaphysical side, the Concord boy,” Ives recalled, “and also from father’s music during his lifetime. But each writers, Emerson especially, inspired the description ... [i]n some parts of the hall a composer stood his ground, refusing magisterial Concord Sonata. And Ives’ group would be dancing a polka, while in to write down to contemporary taste egalitarian regard for his fellow citizens another a waltz, with perhaps a quadrille and, instead, pursued his musical found reflection in his appropriation, in ... going on in the middle.” He went on to ideals with fierce determination. And even his grandest compositions, of folk say that in “these changing and sometimes each held music to be more than just tunes, hymns, Civil War songs and ragtime simultaneous playing of different things, diverting, wanted it to be morally and rhythms. I remember distinctly catching a kind of spiritually uplifting. It was for this that music that was natural and interesting, In this, the composer bears comparison Ives held Beethoven in high regard, as and which was decidedly missed when to Walt Whitman, who lived and worked we know not only from his writings and everybody came down ‘blimp’ on the same half a century earlier, and whose place conversations but through his music. beat again.” The scoring includes Jew’s in American letters approximates Ives’ Ives’ greatest composition probably harp, whose twanging sound Ives recalled in our music. Whitman’s poetry, like Ives’ is his Concord Sonata for solo piano. from his youth. After the dance ends, Ives music, was expansive and visionary yet Throughout that work’s granitic first explained, the revelers make their ways rooted in the lived experience of our movement, the famous four-note motif home singing “the sentimental songs of citizens generally, those of low as well as of Beethoven’s Fifth Symphony sounds those days.” repeatedly like a call from the past, high station. Both men had to devise new from one soul to another. means of expression to convey their ideas: The second movement commemorates Whitman his pioneering adoption of free Decoration Day, which we now call verse; Ives his expansive harmonic palette Memorial Day, and which, during Ives’ CHARLES IVES — which included what were traditionally boyhood, was dedicated to honoring A Symphony: New England thought of as dissonances — and his use those lost to the Civil War. This movement Holidays, S. 5 of irregular rhythms, musical collage and also follows a narrative program, one other innovations. And both men reached that progresses from townsfolk gathering through their art toward a transcendental flowers in the quiet of morning to a slow BORN: October 20, 1874, in Danbury, union of past and present, physical and march to the cemetery and a much livelier Connecticut spiritual, mundane and sublime, individual return to town. DIED: May 19, 1954, in New York and universal. The third movement, Ives remarked, WORK COMPOSED: 1897–1913 As its collective title and those of its captures “a feeling of freedom as a boy WORLD PREMIERE (COMPLETE): April 9, 1954, four constituent movements indicate, has, on the Fourth of July, who wants to do in Minneapolis, Minnesota. The Minneapolis the work that opens our program is a anything he wants to do, and that’s his one Symphony (now the Minnesota Orchestra) musical evocation of American holidays day to do it. And I wrote this, feeling free played under the direction of Antál Dorati. — specifically, of those holidays as to ... put [in] as many feelings and rhythms Ives experienced them as a boy. Ives as I wanted to put together.” Among Charles Ives’ status as the quintessentially composed New England Holidays as the sounds he included are exploding American composer rests on his life four separate pieces between 1897 and fireworks. Ives recalled that “I worked out

18 SEATTLESYMPHONY.ORG combinations of tones and rhythms very Soon brass instruments give out a after hearing that Napoleon had assumed carefully” to create them. fragment of a hymn tune, the first of several the throne, changed the title of his Third such melodies that Ives weaves through Symphony from its original homage, Thanksgiving and Forefathers’ Day, the the piece. The music grows energetic, Buonapart, to the anonymous Sinfonia final movement, originated as a Prelude quoting the hymn “Duke Street.” A gospel eroica (“Heroic Symphony”). and Postlude for a Thanksgiving Service song, “The Shining Shore,” forms the basis for organ that Ives composed in November But despite the unfortunate political for a quiet interlude at the center of the 1897, while still a student at Yale, and connotation, “Emperor” does not seem piece. The music then builds in a long played at the Center Church in New an inappropriate title for the E-flat Piano crescendo to a triumphant restatement Haven, where he worked as organist. Concerto. In 1809, when Beethoven of “Duke Street.” It then recedes toward The church’s choirmaster, Cornelius composed it, this work far surpassed all silence and finally evaporates into a starry Griggs, hardly a devotee of new music, other concertos in its expression of majesty night of violin trills. nevertheless approved the piece. “Dr. and heroism. During the first decade of Griggs said it had something of the Puritan the 19th century, Beethoven transformed Scored for 2 flutes and piccolo; 2 oboes character,” Ives recalled, “a stern but the piano concerto as thoroughly as he and English horn; 3 clarinets and E-flat outdoors strength, and something of the had the symphony. His first two keyboard clarinet; 2 bassoons and contrabassoon; pioneering feeling.” concertos, like his First Symphony, were 4 horns; 4 trumpets (including one off- cast along classical lines defined by Haydn WHAT TO LISTEN FOR: Ives scored the stage) and cornet; 3 trombones and tuba; and Mozart. These were attractive, skillfully wintery Washington’s Birthday movement 2 timpani and percussion (including 4 constructed compositions, but they spoke for a small orchestra dominated by amplified Jew’s harps); piano and celeste; the relatively restrained musical language strings and bells. These instruments strings (including 2 off-stage violins). of the previous generation. In his Third suggest, in the opening part of the piece, and Fourth Piano Concertos, however, a hushed, frozen landscape. The central LUDWIG VAN BEETHOVEN Beethoven created works more sweeping barn-dance episode has various dance in scope and more grand in sonority than melodies jostling each other in different Piano Concerto No. 5 in E-flat major, any previous concerto. The Fifth, his final keys and tempos. The dispersal after the Op. 73, “Emperor” piano concerto, crowned his endeavors dance ends with a quotation of the song in this field, and it retains an imperious “Goodnight Ladies,” and the movement BORN: December 16, 1770, in Bonn position among compositions in its genre ends with a final evocation of the chill and DIED: March 26, 1827, in Vienna even today. dark of the winter night. WORK COMPOSED: 1809 Ironically, this composition, which is today Like this first movement, the second begins WORLD PREMIERE: November 28, 1811, in so widely admired, began its career on with quiet, atmospheric music, here meant the Leipzig Gewandhaus. Friedrich Schneider a decidedly inauspicious note. Of its first to convey a spring morning when thoughts performed as soloist, and Johann Schulz performance, which took place in Leipzig turn to the war dead. A solemn march to conducted the famed Gewandhaus Orchestra. in 1811, little is known. The Vienna premiere the cemetery brings quotations of the Civil was given two years later. Contemporary War song “Battle Cry of Freedom” and the reviews report a poor reception. One hymn “Adestes Fideles.” The playing of The title “Emperor,” by which Beethoven’s journalist observed that “Beethoven, full “Taps” precedes the exuberant return to Fifth Piano Concerto has been known of proud confidence in himself, never town, done to the strains of a regimental since the early 19th century, probably writes for the multitude; he demands march. The quiet conclusion echoes the stems from one of the many apocryphal understanding and feeling, [which] he mood of the opening measures. anecdotes that have come to us concerning the composer. According to can receive only at the hands of the Ives proposed that a boy’s Fourth of this story, a French army officer stationed knowing.” A public sufficiently “knowing” to July “festivities start in the quiet of the in Vienna attended the first performance appreciate this work did not emerge until midnight before, and grow raucous of the work in the Austrian capital and was the middle of the 19th century. Only thanks with the sun.” Accordingly, the third so moved by the grandeur of Beethoven’s to pianists like Clara Schumann and Franz movement also begins softly and slowly, music that he cried out: “C’est l’Empereur!” Liszt, who made a point of performing but it quickly grows animated and, before (“It is the Emperor!”) Beethoven’s final concerto, did it finally long, gloriously chaotic. The main part of receive proper recognition. the movement combines fragments of Even if this story were true, and even WHAT TO LISTEN FOR: Beethoven “Columbia the Gem of the Ocean,” the Civil if Beethoven was able to hear the establishes the lordly character of the War anthem “The Battle Cry of Freedom,” exclamation — he was, by this time, “Emperor” Concerto in its opening and much more in a fantastic collage that nearly deaf — the comparison with moments, as three sonorous orchestral culminates with sonic fireworks. Napoleon would hardly have flattered the composer. Once an ardent admirer chords each give way to cadenza-like The rugged character of the Puritan of Bonaparte, Beethoven had become flourishes from the piano. This serves as a settlers who gave us Thanksgiving informs bitterly disenchanted as the French ruler’s prelude to the usual orchestral paragraph, the finale from its opening measures, ambition revealed itself. The most famous one of the grandest and longest in any where different instrumental lines push evidence of this change of heart is the concerto. The tone established here against each other in harsh counterpoint. well-known account of how the composer, places the music in the Classical-period

encoreartsseattle.com 19 EMANUEL AX BECKY JOY AITKEN PROGRAM NOTES Piano Teaching Artist & visual artist continued BACKGROUND & Becky Joy Aitken is a AWARDS: Born in Seattle-based artist, modern day Lvov, illustrator and educator. tradition of concerto openings of quasi- Poland, Emanuel Ax In her own art, she martial character, a tradition to which moved to Winnipeg, enjoys transforming several of Mozart’s keyboard concertos, Canada, with his family found objects into as well as Beethoven’s own early Piano when he was a young quirky illustrations. As Concerto in C, Op. 15, also belong. We boy. He is a winner of an art educator, she Photo: John Keatley John Photo: have not heard the last of the magisterial Mazzucco Lisa-Marie Photo: the Young Concert loves walking with her flourishes that opened the concerto, Artist Award, Arthur Rubinstein International students through the creative process in however. They sound again late in the Piano Competition, Michaels Award and hopes of helping them discover their own movement at a key juncture: the return to the Avery Fisher Prize. creative joy. In her work as a Teaching the tonic key of E-flat major, following much Artist for the Seattle Symphony, she has harmonic peregrination and an inventive, at SEASON HIGHLIGHTS: Always a the privilege to combine the joys of music times turbulent development of the proud committed exponent of contemporary and visual art as a means of inviting a main subject. composers with works written for him diverse community to participate with the by John Adams, Christopher Rouse, Symphony in experiencing the power of The Adagio second movement is a serene Krzysztof Penderecki, Bright Sheng and music. Aitken holds a Master of Fine Art in and deeply devout meditation, one of Melinda Wagner already in his repertoire, Illustration from Savannah College of Art Beethoven’s most beautiful and tender the 2016–2017 season will feature two and Design. Her illustration and animation creations. It concludes with a final musing newly commissioned works. With the work has won awards from American by the piano that evolves seamlessly into New York Philharmonic conducted by Illustration, Applied Arts Annual and the principal theme of the third movement. Alan Gilbert, January will bring the world International Motion Art Awards. The music that follows fits the description premiere of HK Gruber’s Piano Concerto of the eminent English conductor and followed in March by the European commentator Donald Francis Tovey, premiere with the Berlin Philharmonic CLAUDIA CASTRO LUNA who extolled “this most spacious and and Sir Simon Rattle. As a regular triumphant of concerto rondos.” Seattle’s Civic Poet visitor he will return to the orchestras of Scored for solo piano; pairs of winds, Chicago, Cincinnati, Detroit, Los Angeles, Claudia Castro Luna is horns and trumpets; timpani and strings. Milwaukee, San Francisco, Seattle and Seattle’s Civic Poet, the Toronto. recipient of a King © 2017 Paul Schiavo County 4Culture grant DISCOGRAPHY: A Sony Classical and a Jack Straw exclusive recording artist since 1987, Fellow. Born in recent releases include Mendelssohn El Salvador, she came Trios with Yo-Yo Ma and Itzhak Perlman, to the United States in Strauss’ Enoch Arden narrated by Patrick Photography Aguero Timothy Photo: 1981. She has an MA in Stewart, and discs of two-piano music Urban Planning, a teaching certificate and by Brahms and Rachmaninov with Yefim an MFA in poetry from Mills College. She is Bronfman. In 2015 Deutche Grammophon the author of the chapbook This City, released a duo recording with Perlman published by Floating Bridge Press. Her of Sonatas by Fauré and Strauss which poems have appeared in Poetry the two artists presented on tour during Northwest, La Bloga, City Arts and Taos the 2015–2016 season. A frequent and Journal of International Poetry and Art, committed partner for chamber music, he among others. Living in English and has worked regularly with such artists as Spanish, Luna writes and teaches in Seattle Young Uck Kim, Jaime Laredo, Cho-Liang where she gardens and keeps chickens Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin with her husband and their three children. and the late Isaac Stern.

RESIDENCE & HONORS: Ax resides in New York City with his wife, pianist Yoko Nozaki, with whom he has two children. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities.

20 SEATTLESYMPHONY.ORG Thursday, February 9, 2017, at 7:30pm PROGRAM NOTES Saturday, February 11, 2017, at 8pm Sunday, February 12, 2017, at 2pm A MESSAGE FROM MUSIC DIRECTOR LUDOVIC MORLOT HILARY HAHN Debussy explodes the harmonic language in Prélude à l’après-midi d’un faune, BRUCH VIOLIN written for a ballet choreographed by Vaslav Nijinsky for the Ballets Russes. CONCERTO NO. 1 This performance is a warm up for our celebration of the 100th anniversary of Debussy’s passing in 2018, and a wonderful opportunity to spotlight our Ludovic Morlot, conductor Associate Principal Flute Jeffrey Barker. Hilary Hahn, violin We are so lucky to have Hilary Hahn as our Seattle Symphony Featured Artist this year! She will perform a concerto that I have always been very CLAUDE DEBUSSY Prélude à l’après-midi d’un faune, L. 86 10’ fond of for its incredibly simple craft and (“Prelude to the Afternoon of a Faun”) powerful effect.

MAX BRUCH Violin Concerto No. 1 in G minor, Op. 26 24’ Prokofiev often wrote for the ballet, and Prelude: Allegro moderato— while most of his symphonies are based Adagio on material from his operas, his Fifth Finale: Allegro energico Symphony is more ballet-focused. You’ll HILARY HAHN, VIOLIN recognize themes from the composer’s ballet scores, including Romeo and Juliet. INTERMISSION Indeed, Prokofiev has a special gift for writing melodies that go on for miles. SERGEY PROKOFIEV Symphony No. 5 in B-flat major, Op. 100 46’ Andante Allegro marcato See Ludovic Morlot’s biography on page 6. Adagio Allegro giocoso Three by Three The three compositions performed by the Seattle Symphony this week represent as many compositional Pre-concert Talk one hour prior to performance. styles and periods in music’s history. Romanticism, the dominant artistic Speaker: Dr. Gary D. Cannon, Artistic Director of the Emerald Ensemble, Cascadian outlook of the 19th century, is manifest Chorale and Vashon Island Chorale. in the Violin Concerto in G minor of Max Bruch. Although he was a prolific composer, Bruch is remembered Hilary Hahn’s 2016–2017 residency is generously supported by the Judith Fong Music through only a handful of compositions. Director’s Fund. Of these, the G-minor Concerto is his Media Sponsor: Classical KING FM 98.1 masterpiece.

The second half of our concert takes us into the realm of modernism, though perhaps not so much as we might think. Sergey Prokofiev began his career writing in a sometimes aggressively modern idiom, one that earned him a reputation as a musical enfant terrible in his native Russia. But even during his youth Prokofiev had a noticeable gift for melody, and this Please note that the timings provided for this concert are approximate. trait became more pronounced as he Please turn off all electronic devices and refrain from taking photos or video. matured. Moreover, he often crafted his Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording music within venerable compositional equipment, and any other use of such copying devices during a performance is prohibited. genres such as the symphony, sonata

encoreartsseattle.com 21 PROGRAM NOTES

and concerto, and in his loyalty to So wrote the composer and conductor himself was pleased with how Debussy’s these he remained essentially a Pierre Boulez of Claude Debussy’s Prélude work “draws out the emotion of my poem,” traditionalist. à l’après-midi d’un faune. Boulez in no way as he told the composer, though the novel overstates the freshness of this remarkable qualities of the music surprised him. Prokofiev’s Fifth Symphony reveals composition. When it appeared, in 1894, it WHAT TO LISTEN FOR: The famous flute solo these more conservative aspects of sounded like nothing ever heard before. that begins the work concludes with a chord, his musical persona. It is a deeply Yet Debussy’s tone poem hardly fits the surrounded by a halo of harp tones, that melodious piece, its various themes profile of a revolutionary work. There seems paused in mid-air, unsure where to being mostly lyrical in character and is nothing brash or vehement about it. turn. The ensuing horn call does nothing to always well defined. Complex rhythms Rather than smashing the musical norms clarify the matter. Further statements of the of the kind other modern composers of its day, it quietly effaced them through flute’s melody are imaginatively extended, devised are nowhere in evidence, and unprecedented suppleness, sensuousness with oboe, clarinet and solo violin playing the work follows a well-established and tantalizing ambiguity. four-movement symphonic format. prominent roles. Eventually, Debussy More particularly, it pays more than This work was inspired by the poem elongates the melody’s rhythms, and the a glancing respect to the tradition of L’après-midi d’un faune, (“Afternoon of a music grows more sonorous, more ardent. the heroic symphony, a tradition that Faun”) by the Symbolist poet Stephane Restatements of the “faun” melody, by flute originated with Beethoven. Mallarmé. In verses notorious as much and oboe in turn, bring laughing retorts. The for their languid eroticism as for their music then settles into a serene and dream- But we begin our concert in a middle sometimes obscure imagery, Mallarmé like closing passage. ground between Romanticism and describes what may or may not be the daydreams of a young faun, a mythical modernism. The music of Claude Scored for 3 flutes; 2 oboes and English horn; creature half man and half goat. On a Debussy has often been described, 2 clarinets; 2 bassoons; 4 horns; percussion; warm afternoon, this satyr encounters — through analogy with painters such as 2 harps and strings. Monet and Renoir, as “Impressionist.” or perhaps only imagines — woodland Debussy reportedly disliked the nymphs, whom he caresses and kisses but label, but the comparison with his cannot possess, for they always slip away MAX BRUCH counterparts in pictorial art is not from him. Violin Concerto No. 1 in G minor, Op. 26 fanciful. For just as the Impressionist Mallarmé’s poem abounds with musical painters blurred line and shape references, most notably that of the title BORN: January 6, 1838, in Cologne while emphasizing color and texture, character playing upon a reed flute. so Debussy blurred conventional Debussy’s musical response to L’après- DIED: October 20, 1920, in Friedenau, near Berlin harmonies with rich and original midi d’un faune evokes that activity in WORK COMPOSED: 1864–68 ones, and drew his melodic phrases its opening measures. But more than WORLD PREMIERE: January 5, 1868, in Bremen. decidedly “outside the lines.” At transforming a poetic image into an Joseph Joachim was the soloist, and Karl the same time, he achieved a new aural one, the celebrated flute solo that Reinthaler conducted. sensuousness in instrumental sonority. begins the piece establishes a sense We hear all this in his first masterwork, of musical enigma that permeates the Tradition recognizes five great violin concertos Prélude à l’après-midi d’un faune. entire composition and parallels the by composers of the 19th century: those allusiveness of the poem. Just as Mallarmé of Beethoven, Mendelssohn, Brahms and CLAUDE DEBUSSY maintains uncertainty about the reality of Tchaikovsky, along with the Violin Concerto his faun’s experiences, the flute melody No. 1 in G minor by Max Bruch. The inclusion Prélude à l’après-midi d’un faune, subtly subverts conventional harmonic of Bruch’s name in this illustrious company L. 86 (“Prelude to the Afternoon verities. Debussy maintains this procedure might seem surprising. While the first four of a Faun”) throughout his Prélude, whose chords of the above-mentioned composers are rarely form or resolve in a manner that universally recognized as musical creators of leaves us assured that we know where the BORN: August 22, 1862, in Saint Germaine-en- the first rank, Bruch, despite the high quality of music has arrived, or where it is going next. Laye, near Paris his work, has been relegated to the status of minor master, especially outside Germany. DIED: March 25, 1918, in Paris Suggestive though Debussy’s music WORK COMPOSED: 1892–94 is, it offers nothing like a line-by-line Two reasons for the composer’s comparatively WORLD PREMIERE: December 22, 1894, in representation of Mallarmé’s text. Instead, modest standing present themselves. One Paris. Gustave Doret conducted the orchestra it conveys the general character and is that Bruch did most of his best work in the of the Société National de Musique. atmosphere of L’après-midi d’un faune. field of choral music, and very few choral This approach seems fitting for a musician pieces from the 19th century have achieved with whom the term “impressionism” has “The flute of the Faun brought new breath a wide audience. The other is that Bruch and been strongly associated; and in view of to the art of music; … the reservoir of his music were, even in his day, remarkably the deliberate uncertainties of the poem’s youth in that piece defies depletion and uncontroversial. Living in an age defined narrative, it is perhaps the only musical exhaustion.” largely by Romantic revolt, Bruch worked in procedure suited to the verses. Mallarmé fairly traditional forms and with a relatively

22 SEATTLESYMPHONY.ORG conservative harmonic palette. His goal was Soviet Composers’ Retreat near the city of involves different thematic fragments not innovation but mastery, and he attained this Ivanovno. “I conceived it,” the composer set against each other in counterpoint. with the first of his two violin concertos. This is later said, “as a symphony of the grandeur Although Prokofiev achieves a variety of by far Bruch’s most popular work, a favorite of of the human spirit.” moods, colors and textures, the overall violinists and audiences alike. impression is one of epic grandeur. We can be more specific about the impulse WHAT TO LISTEN FOR: Bruch adheres to the behind this work. Prokofiev was famously The scherzo-like second movement is standard three-movement concerto format but apolitical and self-absorbed, but even he a throwback to the style of Prokofiev’s telescopes the first and second movements was deeply affected when Hitler invaded pre-Soviet period. We hear not only into a single large, two-part section. He the Soviet Union in June 1941. Now, three his characteristic humor in the opening also replaces the orchestral exposition that years later, the tide of the conflict had clarinet solo but the brittle textures, driving traditionally opens a concerto with a brief turned decisively. Although Ivanovo lies rhythms and colorful orchestration that prologue in which a repeated three-note well east of Moscow and therefore escaped gained the composer notoriety during the motif alternates with rhapsodic statements by the devastation that the war had inflicted on 1920s. the violin. The third of these solos continues much of the Soviet Union, Prokofiev could There follows a lyrical Adagio whose as the movement’s principal theme, an not have been unmindful of the military principal melody first appears over an impassioned melody in demanding double- struggle still going on, nor of the triumph accompaniment of steady triplet rhythms stops, which require the soloist to bow across that was at last in sight. Both the accessible in the strings. A contrasting central two strings simultaneously. A second subject style of the Fifth Symphony and its section moves toward darker thoughts, offers a lyrical contrast. Following a stormy unmistakable feeling of optimism suggest culminating in wrenching discords and orchestral passage, the development of this that the “human spirit” it extols is that of the anguished cries plummeting from the movement is cut short by a return to the music Russian people in their hour of victory. upper registers of the woodwinds. The of the prologue. This, in turn, leads directly This notion received a kind of uncanny abrupt and seemingly effortless return to into the tender Adagio that forms the second confirmation when Prokofiev conducted the initial idea seems a sudden flood of movement. the premiere performance, in Moscow, on sunlight over a cloud-darkened landscape. The dream-like character of this central January 13, 1945. Sviatoslav Richter, the A brief prelude in slow tempo, built movement is established by the long initial great Soviet pianist, was present on the around recollections of the symphony’s theme, played by the solo instrument. The occasion and remembered that “when opening measures, introduces the finale. finale awakens us, however, with an orchestral Prokofiev had taken his place on the This movement also uses two principal introduction that swells in an excited podium and silence reigned in the hall, subjects: a melody presented at the outset crescendo, anticipating the appearance of artillery salvos suddenly thundered forth. by Prokofiev’s favorite instrument, the the movement’s principal melody. That theme, His baton was raised. He waited and began clarinet, and a more pastoral idea played presented by the soloist, has something of the only after the cannons had stopped. There by flute and clarinet. These light-hearted rustic flavor of Hungarian gypsy music. There was something very significant in this, themes alone might have imparted too follows a broad and majestic second theme, something symbolic. It was as if all of us — carefree a character here, but Prokofiev introduced by the orchestra. Bruch develops including Prokofiev — had reached some balances them with a more sober thought both melodies with virtuoso passagework for kind of shared turning point.” that rises hymn-like from the low strings the soloist during the ensuing episodes, and The cannonade that delayed the midway through the movement. the concerto closes with that sure-fire device, performance that day was ceremonial, a coda that accelerates in exciting fashion to signaling that the Red Army had begun Scored for 2 flutes and piccolo; 2 oboes the work’s final moments. crossing the Vistula into Nazi Germany. For and English horn; 2 clarinets, E-flat the Soviet people, it marked the regaining clarinet and bass clarinet; 2 bassoons Scored for solo violin; pairs of winds; 4 horns; of their country. The same might be said for and contrabassoon; 4 horns; 3 trumpets; 2 trumpets; timpani and strings. Prokofiev. The Fifth Symphony proved his 3 trombones and tuba; timpani and most successful work since his return to the percussion; harp, piano and strings. SERGEY PROKOFIEV Soviet Union in the mid-1930s, after some © 2017 Paul Schiavo Symphony No. 5 in B-flat major, Op. 100 fifteen years of living in western Europe and America. In this work he reached out to a large audience of his compatriots on a high BORN: April 23, 1891, in Sontsovka, Ukraine artistic level, creating his most successful DIED: March 5, 1953, in Moscow symphonic composition. WORK COMPOSED: 1944 WHAT TO LISTEN FOR: Without fanfare or WORLD PREMIERE: January 13, 1945, in Moscow. introduction, the main theme of the opening The composer conducted the USSR State movement sounds in the flute and bassoon. Symphony Orchestra. Prokofiev explores this melody at length before presenting a second, rather more Prokofiev wrote his Fifth Symphony during intimate subject in the oboes and flutes. the summer of 1944, which he spent at the The development of these ideas frequently

encoreartsseattle.com 23 HILARY HAHN Violin Friday, February 10, 2017, at 8pm FORTE: In the more than two decades since her professional debut, three-time Grammy LEONIDAS KAVAKOS Award-winning violinist Hilary Hahn has brought her virtuosity, & YUJA WANG expansive Photo: Michael Patrick O’Learly Patrick Michael Photo: interpretations and IN RECITAL creative repertoire to diverse global DISTINGUISHED ARTISTS SERIES audiences. Her ever-evolving approach to music-making and her curiosity about the Leonidas Kavakos, violin world have made her a fan favorite. Yuja Wang, piano

BACKGROUND & EDUCATION: Hahn took her first lessons in the Suzuki program LEOŠ JANÁČEK Violin Sonata, JW VII/7 15’ at 3. She completed her university Con moto requirements at the Curtis Institute of Ballada: Con moto Allegretto Music at 16 — having already made Adagio her solo debuts with the Baltimore and Pittsburgh symphony orchestras, the FRANZ SCHUBERT Fantasie in C major, D. 934 21’ Philadelphia and Cleveland orchestras, Andante molto and the New York Philharmonic — but Allegretto stayed to continue her violin studies and Andantino— take additional courses in languages, Tempo primo—Allegro vivace— literature and writing. When she Allegretto—Presto graduated at 19, Hahn was a full-time touring musician. She also holds honorary doctorates from Ball State University and INTERMISSION Middlebury College.

RECORDINGS: Hahn has released 16 CLAUDE DEBUSSY Violin Sonata in G minor, L. 140 14’ albums on the Deutsche Grammophon Allegro vivo and Sony labels, in addition to three Intermède: Fantasque et léger DVDs, an Oscar-nominated movie Finale: Très animé soundtrack, an award-winning recording for children and various compilations. BÉLA BARTÓK Violin Sonata No. 1 in C-sharp minor, Sz. 75 33’ Encompassing a range of repertoire Allegro appassionato including Bach, Barber, Beethoven, Adagio Bernstein, Elgar, Higdon, Ives, Mozart, Allegro Paganini, Schoenberg, Spohr, Stravinsky, Tchaikovsky, Vaughan Williams and many others, her recordings have received every critical prize in the international press and have met with equal popular success. All have debuted in the top ten of the Billboard classical chart. Media Sponsor: Encore Media Group

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 ©2017 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.

24 SEATTLESYMPHONY.ORG PROGRAM NOTES

LEOŠ JANÁČEK FRANZ SCHUBERT CLAUDE DEBUSSY Violin Sonata, JW VII/7 Fantasie in C major, D. 934 Violin Sonata in G minor, L. 140

BORN: July 3, 1854, in Hukvaldy, Moravia BORN: January 31, 1797, in Vienna BORN: August 22, 1862, in Saint-Germain-en- DIED: August 12, 1928, in Moravská, Ostrava DIED: November 19, 1828, in Vienna Laye, France WORK COMPOSED: 1914–21 WORK COMPOSED: 1827 DIED: March 25, 1918, in Paris WORK COMPOSED: 1916–17 The generation of Czech composers Schubert’s Fantasie for Violin and Piano WORLD PREMIERE: May 5, 1917 in Paris, Gaston following Dvořák included Leoš Janáček, dates from the penultimate year of his Poulet on violin, Debussy at the piano who like his forebear was an ardent cultural tragically short life, and was probably nationalist. Much of his music, be it within composed for two well-known artists of the Though Debussy wrote in all genres, his the confines of opera, orchestral canvasses day, violinist Josef Slavik (likened by Chopin chamber canon consists of his stunningly or chamber works, abounds in dance to a “second Paganini”) and pianist Karl original string quartet of 1893, a staple rhythms, melodic shapes and harmonies Maria von Bocklet (one of the most talented since its premiere, followed by nearly a drawn from central and Eastern European musicians in Vienna, again according to the quarter-century of silence until shortly cultures. generally none-too-charitable Chopin). before his painful death from colon cancer in 1918. The outbreak of World War I had Janáček’s sonata for violin and piano Though cast as one movement the work greatly disturbed him, adding fire to his gestated slowly throughout World War I and weaves through a number of interlinking already fierce anti-German views on for several years thereafter. Reflecting the sections. An Andante molto serves as an music (long after a youthful embrace of horror of the war years, the sonata radiates introduction in which quiet piano tremolo ardent Wagnerism). Too ill from cancer to unease and an atmosphere fraught with and shifting harmonies add an appealing participate as a combatant, life seemed suspense. The opening Con moto reminds degree of mystery to the yearning theme especially bleak to Debussy. Yet following one of the anxiety and restive nature of uttered by the violin. surgery in 1915, he felt physically and Carl Nielsen’s relatively synchronous Fifth spiritually rejuvenated — eager to meet the Symphony. Declamatory passages on The ensuing Allegretto’s crisp rhythms challenge of renewed composition. the violin, punctuated by a nervous piano do not fully lighten the mood, despite a accompaniment, suggest the upheaval glimmer of major tonality in this otherwise With more optimism than realism, he set of the war, while a contrasting plaintive minor-mode episode. The third section, out to produce six varied chamber works. theme recalls the quiet, but debilitating grief Andantino finds Schubert spinning Sadly, lasting health failed to materialize. wrought by that conflict. variations on his 1821 song, Sei mir gegrüsst Through sheer determination he was able (“Receive my Greetings”). After a modified to complete two superb chamber works A sense of repose is posited in the next reprise of the Fantasie’s opening material a in 1915 — a sonata for cello and piano and movement, titled Ballada, a gently rocking rousing and energetic finale, Allegro vivace another for flute, viola and harp. Weakened pastorale. Marked Allegretto, the third brings the music to a brilliant close. by the effort, he needed a year to recover movement weaves a folk-like tune against his failing strength. In October 1916 he felt a texture of left-hand trills, both by the Oddly, given its immediacy of appeal, sound enough to resume composition and piano, while the violin interlaces a series one might be puzzled by the comment of began working on a sonata in G minor for of descending scales. The violin does, an early critic: “The Fantasia takes rather violin and piano. By February 1917 he had however, enjoy an opportunity to wax lyrical longer than the Viennese are prepared to completed the first two movements but had before a return to the opening material. spend on esthetic pleasures. Little by little difficulty pinning down the finale, which he the auditorium emptied, and the reporter completed just in time for the premiere — The concluding Adagio opens with an must confess that he, too, is unable to the very day, actually. unequivocally bold series of passages discuss the conclusion of this composition.” marked “ferocious” in the violin part. Perhaps Beethoven was accurate when A palpable sense of melancholy infuses Eventually the violin intones a majestic he castigated the Viennese at roughly this the first movement, Allegro vivo. Classic chorale tune soaring over a trill in the time for their lack of taste. And, of course, French understatement blends with piano’s upper register that depicts, in decades later a French critic assailed Eastern harmony. The sounds evoked Janáček’s words, “the Russian armies Bizet’s Carmen for its alleged lack of good are kaleidoscopic, reflecting his still fresh entering Hungary.” tunes! memories of hearing Javanese gamelan at the Paris Exhibition while incorporating a new world of sounds ushered in by 20th- century technology. Eerie arabesques for the violin soar above shifting sonorities from

encoreartsseattle.com 25 PROGRAM NOTES

the keyboard. At times, sustained violin was dissonant, lean and acerbic. By the The opening movement of the first sonata, tones are punctuated by a continuo-like last years of his life he had re-embraced Allegro appassionato starts with waves line in the piano’s middle registers. a more comfortable tonal vocabulary as of upwardly rippling figures from the exemplified by the Concerto for Orchestra piano, with instructions for heavy pedaling The ensuing Intermède: Fantasque and Piano Concerto No. 3. that serve to create a cloud of harmonic et léger opens with effervescent and vagueness. The violin enters with a virtuosic phrases from the violin. Debussy’s The confluence of these forces helped long-breathed and virtually independent unrivalled ear for color is apparent in the shape his response in musical terms, melodic line, a trait characteristic of the weird and wonderful sounds emanating most powerfully, perhaps, in the two entire piece. Strong shared rhythmic from the stringed instrument. Pizzicatos sonatas for violin and piano of 1921 and impulses derived from Hungarian folk dance above spiky asides from the piano. 1922 respectively. For the next several music unify the two parts. Subtle hints of decades Bartók’s name and music were other influences can be heard throughout Material from the opening movement synonymous with cacophony, yet much the movement, ranging from quasi-twelve- kicks off the Finale: Très animé before a of his music has proven quite amenable tone Schoenbergian elements back to new animated motive pushes the music to contemporary tastes, sweetened and Debussyian impressionism. forward. The rapidly fluttering violin line spiced as it is by Hungarian folk elements. has been likened to the purposive flutter Though these same elements can be An Adagio follows initiated by an extended of the butterfly. Though cast in three discerned in the violin/piano sonatas, and forlorn violin theme eventually joined separate movements, the constant shifting these works have remained tougher by gently uttered chords from the piano, of textures and moods imparts a dreamy nuts to crack. There is no doubt that they redolent of Debussy (whose music had ambience to the whole work, as if it were exude the stringent, acerbic atmosphere had a profound impact on Bartók’s early in reality one seamless tripartite work — a of Stravinsky and Schoenberg far more works). If rhythmic verve catapulted the characteristic of much 20th-century music. strongly than the immediately appealing opening movement, here Bartók creates Like the mysterious man who wrote it, the aroma of paprika, and require more than a spare landscape of haunting beauty that sonata abounds in light and shadow, and a casual listening to absorb the invention corresponds to the often-noted “night draws its unity from the unfailing sense and musical ingenuity that lie within. It is music” of his third string quartet and many of decorative beauty that never failed the not surprising that the works garnered later works. About half-way through the composer. emphatic support from many fellow Adagio a series of repeated bass notes composers while less adventuresome on the piano underscores a section of BÉLA BARTÓK audiences have slowly come to grips with growing anxiety before sustained piano their challenges. chords and improvisatory-sounding violin Violin Sonata No. 1 in C-sharp minor, figurations draw the movement to a close. Sz. 75 It should be noted parenthetically that Bartók composed three violin/ Stringent and insistent piano chords piano sonatas that predate the “official” introduce the wild, gypsy-like fervor of the BORN: March 25, 1881, in Nagyszentmiklós, numbers 1 and 2. Even before he began concluding Allegro, which strongly evokes Hungary formal studies at the Academy of Music the energy of a spirited dance. More than DIED: September 26, 1945, in New York City in Budapest he wrote a pair of Brahms- in the first two movements, the violin and WORK COMPOSED: 1921 influenced sonatas in 1895 and 1897, piano are more overtly joined in common both of which have remained outside of cause. From 1904 through the end of the First the repertoire. In 1903, during his final World War, Bartók’s music was infused year at the Academy, he wrote the third © 2017 Steven Lowe with Hungarian and other Eastern unnumbered work for the same pair of European musical blood. By 1920 or instruments, published at long last in 1970. thereabouts, Bartók had sniffed the unmistakable fragrances of Stravinsky’s Bartók composed both numbered sonatas polytonalism and Schoenberg’s ardent for the noted Hungarian violinist Jelly serialism; his own music could not but d’Arányi, the gifted young woman for be affected by these powerful breezes. whom Ravel composed his diabolically Simultaneously, Hungary — like the rest difficult Tzigane. Arányi’s talent was “in her of Europe — was reeling from the horrors blood,” so to speak: she was the great- of the Great War, and was struggling to niece of the eminent 19th-century violinist/ establish a new system to fill the vacuum composer Joseph Joachim. Bartók had created by the dissolution of the defunct been on close terms with the Arányi family Austro-Hungarian Empire. Bartók, too, since 1902 and thought very highly of grappled with the challenge of coping Jelly’s abilities, gladly responding to her with the cataclysmic changes about him, request to him for a violin sonata. Indeed, thrown into even higher relief by his first he composed the second numbered marriage and subsequent divorce in sonata for her as well. August 1923. His music from that period

26 SEATTLESYMPHONY.ORG LEONIDAS KAVAKOS YUJA WANG Violin Piano

FORTE: Leonidas “Hers is a nonchalant, Kavakos is recognized brilliant keyboard across the world as a virtuosity that would violinist and artist of have made ... even the rare quality, known at fabled Horowitz jealous” the highest level for his – Los Angeles Times virtuosity, superb musicianship and the BACKGROUND: Yuja Photo: Kirk Edwards Kirk Photo: Photo: Marco Borggreve Marco Photo: integrity of his playing. Wang was born into a He works with the world’s greatest musical family in Beijing. After childhood orchestras and is an exclusive recording piano studies in China, she received artist with Decca Classics. advanced training in Canada and at Philadelphia’s Curtis Institute of Music BACKGROUND: Kavakos was born and under Gary Graffman. Her international raised in a musical family in Athens and by breakthrough came in 2007 when she the age of 21 had already won three major replaced Martha Argerich as soloist with competitions: the Sibelius (1985), Paganini the Boston Symphony Orchestra. Two years and Naumburg competitions (1988). This later she signed an exclusive contract with success led to his recording the original Deutsche Grammophon and has since Sibelius Violin Concerto (1903/‘04), the established her place among the world’s first recording of this work in history. It won leading artists with a succession of critically Gramophone Concerto of the Year Award acclaimed performances and recordings. in 1991. The three important mentors in his Wang has been named as Musical life are Stelios Kafantaris, Josef Gingold America’s Artist of the Year for 2017. and Ferenc Rados. UPCOMING HIGHLIGHTS: Wang, celebrated CURRENT WORK: Kavakos is the Artist in for her charismatic artistry and captivating AlanaJewelry.com 206.362.6227 Residence at the New York Philharmonic stage presence, is ready to register fresh Northgate Mall Seattle, WA for the 2016–2017 season, which will achievements during 2016–2017 when feature him in solo, play-conduct and she returns to China’s National Centre recital performances. He also appears as for the Performing Arts (NCPA) as Artist soloist with the Philadelphia Orchestra and in Residence. In addition to performing EAP 1_6 V template.indd 1 9/20/16 11:26 AM play-conducts the Houston Symphony, six concerts, Wang will also lead master and embarks on a recital tour with pianist class sessions and participate in outreach Yuja Wang in both Europe and the U.S. projects. Her NCPA residency promises to Other highlights this season include a connect one of today’s finest artists with European tour with the Budapest Festival new audiences in Beijing and beyond. Orchestra and a tour to Switzerland Other highlights of Yuja Wang’s calendar with the Mariinsky Orchestra, as well as include appearances at the 2016 Salzburg, performances with the Berlin Philharmonic, Tanglewood and Verbier Festivals, a return Royal Concertgebouw Orchestra, to the Hollywood Bowl, season-opening Tonhalle-Orchester Zürich, Philharmonia performances with the Philadelphia Orchestra, Vienna Symphony Orchestra, Orchestra and Yannick Nézet-Séguin, and Danish National Symphony, Orchestra major tours of Asia and Europe with the dell’Accademia Nazionale di Santa Cecilia San Francisco Symphony Orchestra and and State Academic Symphony Orchestra the Orchestra dell’Accademia Nazionale di of Russia, among others. Santa Cecilia, respectively.

DISCOGRAPHY: Kavakos’ first release REPERTOIRE: Wang’s forthcoming schedule on Decca Classics, the complete embraces a strikingly broad range of Beethoven Violin Sonatas with Enrico repertoire, encompassing everything Pace (January 2013), resulted in the from Chopin and Shostakovich to Ravel ECHO Klassik award Instrumentalist of and Schubert. Bartók’s three piano the Year, followed by the Brahms Violin concertos stand as focal points throughout Concerto with the Gewandhausorchester her 2016–2017 season, programmed Leipzig and Riccardo Chailly (October individually for performances in Cleveland, 2013), and Brahms Violin Sonatas with Dallas, Guangzhou, Stockholm, Taiwan and Yuja Wang (March 2014). His most recent Toronto, and as a group for concerts in May recording Virtuoso was released in April and June with the Los Angeles Philharmonic 2016. Kavakos was named Gramophone and Gustavo Dudamel. Artist of the Year 2014.

encoreartsseattle.com 27 Business, meet bassoons.

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There is perhaps no other composer who JOSEPH ADAM occupies such an important place in the FLUKE/GABELEIN ORGAN RECITALS SERIES repertoire of any instrument as Johann Sebastian Bach and the organ. He was unrivaled throughout his lifetime as the Joseph Adam, organ foremost organist of the era, based largely on his legendary ability to improvise for hours at a time. Although these ephemeral JOHANN SEBASTIAN BACH Toccata, Adagio and Fugue in C major, 15’ performances are lost to us, Bach’s BWV 564 surviving compositions give us more Toccata than ample evidence of his phenomenal Adagio mastery. Dating from all periods of his Fugue professional life, these works form the most extensive and important collection of JOHANN SEBASTIAN BACH Sonata No. 6 in G major, BWV 530 13’ compositions of any single composer for Vivace the organ. Lente Allegro From my own perspective, it is impossible to exaggerate the centrality of Bach’s organ JOHANN SEBASTIAN BACH Praeludium and Fugue in E minor, BWV 548 14’ works to my development as an organist. They were an overwhelming inspiration as a young organist; I still have vivid memories INTERMISSION of how particular works — including several on tonight’s program — became milestones of achievement as I studied and practiced. JOHANN SEBASTIAN BACH Partite diverse sopra il Corale: 20’ Of all musicians, an organist is challenged “Sei gegrüßet, Jesu gütig” constantly in the uniqueness of each (“Hail to you, compassionate Jesus”), organ we play, as no two instruments are BWV 768 alike. Bach’s organ works transcend the limitations that any individual instrument JOHANN SEBASTIAN BACH Fugue in G major, BWV 577 4’ can place in front of an organist; it is a journey of constant discovery to prepare JOHANN SEBASTIAN BACH Praeludium and Fugue in E-flat major, 16’ and perform these works on the great BWV 552 organs that we encounter.

Bach’s employment as court organist in Weimar from 1708–17 was a period of intensive activity as a composer and performer of a wide range of music. Bach was extraordinarily cosmopolitan in his musical tastes, and must have been keenly interested in the collection of Italian string concertos by Vivaldi, Marcello and others that his employer brought back from a journey to Amsterdam in 1713. Bach was remarkably adept at incorporating various national styles of composition into his own works; the two works that open and close the first half of tonight’s recital are particularly fine examples of the effectiveness of Bach’s approach in adapting contemporary Italian forms and figuration to the organ. The Toccata, Adagio and Fugue combines the tripartite structure of an Italian concerto with the Please note that the timings provided for this concert are approximate. virtuoso passagework for pedals typical of Please turn off all electronic devices and refrain from taking photos or video. the north German praeludium. Following Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording the concertate opening movement, the equipment, and any other use of such copying devices during a performance is prohibited. Adagio provides a calm respite before the fugue. The melismatic solo, accompanied

encoreartsseattle.com 29 JOSEPH ADAM PROGRAM NOTES continued Organ

FORTE: Joseph Adam by an Italianate pizzicato bass, leads to a Curiously, they occupy only a small place is Resident Organist of series of expressive chords; the following in his own works, and probably date from the Seattle Symphony. fugue utilizes one of Bach’s most jagged his years as a student in Lüneburg when He has been Cathedral subjects, punctuated by dramatic silences he was influenced by Georg Böhm, whose Organist at St. James which recall the opening gestures of the own partitas provided the models for Bach Cathedral in Seattle toccata. to emulate. The partita on “Sei gegrüßet, since 1993, and is Jesu gütig” (“Hail to you, compassionate serving as Interim The Prelude and Fugue in E minor is Jesus”) is an overwhelming example of Director of Music at clearly a product of Bach’s maturity, given the Bach surpassing the earlier models St. James Cathedral as the extraordinary incorporation of the and his own initial efforts through later of January 2015. He has been a faculty Italianate ritornello form and balance refinements. Each of the ten variations member at the University of Puget Sound in subject matter and its subsequent develops the chorale melody in a wide in Tacoma for the past 15 years. development; it is certainly the longest and variety of compositional approaches; HIGHLIGHTS IN THE HALL: As part of the technically demanding of Bach’s preludes they are introduced by a rather sober 10th anniversary celebration of the Seattle and fugues. The prelude is a concerto- setting, and conclude with a more richly Symphony’s Watjen Concert Organ in type movement of large scale, based on harmonized version. October 2010, Adam performed organ one primary subject and two secondary concertos by Handel and Hanson with subjects. The rocking nature of the fugue The Fugue in G major (the “Jig”) is one of Conductor Laureate Gerard Schwarz subject has given the work its popular only a handful of stand-alone examples and the orchestra. Adam also performed nickname (“the Wedge”), and is a highly by Bach, as most of Bach’s fugues are organ concertos by Handel with conductor developed combination of strict fugal associated with a prelude or toccata of Nicholas McGegan in January 2010. He writing combined with virtuoso toccata-like some form, and was probably inspired has given annual recitals at Benaroya Hall episodes; indeed, the discipline which by one of the gigue fugues by Dieterich since 2003. Bach achieves this extraordinary synthesis Buxtehude or another northern German is without precedence, and results in a master. It is one of the more unusual AROUND THE WORLD: Adam has massive structure of absolute clarity and works in Bach’s output, especially in performed at Chartres Cathedral, inevitableness. the contrasting echo devices within the St. Thomas Church in Leipzig, the fugue subject itself, and has long been an Bavokerk and the Basilica of St. Bavo in The six trio sonatas that Bach wrote for audience favorite. Haarlem (Netherlands); and at cathedrals the organ have always retained a pride in St. Albans, Newcastle and Chester, of place throughout history, not only as In Bach’s later years, he devoted England; Mainz, Magdeburg and Erfurt, they are the summit of trio writing, but also substantial efforts towards the organization Germany; Pecs, Hungary; and Vienna that nothing even remotely comparable of many of his early works, including the and Graz, Austria. His U.S. performances has been written since. Bach was able to publication of numerous keyboard works. include Disney Hall in Los Angeles, achieve absolute equality between the The third part of the Clavierübung, or Grace Cathedral in San Francisco, St. left and right hands as well as the pedal, keyboard study, was published in 1739 Paul’s Cathedral in Pittsburgh, Holy Cross without once sacrificing contrapuntal and represented Bach’s published organ Cathedral in Boston and the National independence and thematic unity. It is works. This substantial collection of Shrine in Washington, D.C. In July 2004 generally believed that Bach wrote them twenty-one chorale settings is framed by Adam was one of three organists to take for his eldest son, Wilhelm Friedemann, an opening Praeludium and closing Fugue part in the inaugural performances of the and date from the late 1720s during Bach’s (both in E-flat major) most often performed Glatter-Gotz/Rosales Organ at Disney Hall service as Kapellmeister in Cöthen. As together. The Praeludium is a five-part in Los Angeles, which was also part of the with Chopin’s piano etudes, their musical baroque concerto which alternates National Convention of the American Guild values transcend their pedagogical between the French overture style and a of Organists. purposes; nearly three centuries later, more flowing fugal approach. The Fugue they continue to instruct and reward is based on three subjects of strikingly RECORDINGS: Available on the Loft, Gothic those organists who take up their great dissimilar character, each developed in and Ambassador labels. challenges. Though most of the sonatas separate sections before being combined contain movements that are a part of other in a masterful conclusion. BACKGROUND: Adam received compositions (Bach certainly was not alone undergraduate and graduate degrees in in borrowing his own work for another © 2017 Joseph Adam piano from the University of Iowa, and a composition), this final sonata stands apart Performer’s Certificate in Organ from the in that it was originally conceived for the Eastman School of Music. He won First organ; its extreme technical demands, Prize in the St. Albans International Organ engaging musical subjects and mirthful Competition in 1991. spirit make it a suitable apex of the set.

Chorale variation sets were among the most common types of chorale settings in central Germany during Bach’s youth.

30 SEATTLESYMPHONY.ORG A SYMPHONY FOR TODAY AND TOMORROW Your Gift to the Seattle Symphony Endowment

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EAP full-page template.indd 1 12/19/16 11:04 AM Friday, February 17, 2017, at 8pm Saturday, February 18, 2017, at 2 & 8pm CONCERT JOSHUA BELL SPONSOR TCHAIKOVSKY Wells Fargo Private Bank is VIOLIN CONCERTO delighted and honored to sponsor Joshua Bell’s performance with the Seattle Symphony.

Ludovic Morlot, conductor Like the Seattle Symphony, Wells Joshua Bell, violin Fargo has long been a part of Seattle Symphony Washington State’s history, serving the financial needs of families and BEDŘICH SMETANA Dance of the Comedians from 6’ business since 1852. With nearly The Bartered Bride 5,000 team members, we are one of the region’s largest employers and PIOTR ILYICH TCHAIKOVSKY Violin Concerto in D major, Op. 35 34’ are grateful for the contribution that Allegro moderato the Seattle Symphony makes to the Canzonetta: Andante— Puget Sound’s vibrancy, economy Finale: Allegro vivacissimo and quality of life. JOSHUA BELL, VIOLIN Our commitment to the Symphony, INTERMISSION and to so many other excellent organizations around the region, ANTONÍN DVOŘÁK Symphony No. 8 in G major, Op. 88, B. 163 34’ is reflected in our corporate and Allegro con brio Adagio team member giving, community Allegretto grazioso—Molto vivace development investments, and Allegro, ma non troppo the tens of thousands of volunteer hours contributed by Wells Fargo team members. This corporate commitment represents a legacy of leadership for which we are quite proud, both as employees and as Pre-concert Talk one hour prior to performance. members of this community. Speaker: Claudia R. Jensen, Affiliate Instructor at the University of Washington’s Slavic On behalf of Wells Fargo Private Languages Department. Bank, our team members and their families, thank you for Sponsored by Wells Fargo Private Bank. supporting the Seattle Symphony. We hope that you thoroughly enjoy the performance.

Marco Abbruzzese Regional Managing Director, Washington and Alaska

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 ©2017 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.

encoreartsseattle.com 33 PROGRAM NOTES

A MESSAGE FROM MUSIC mastery of the large-scale musical Europe. But it was not until the middle of the DIRECTOR LUDOVIC MORLOT architecture and inherent drama that 19th century that a distinctly Czech school those genres offered elevated his of composition emerged as an important We open the concert with a little bonbon use of folkloric melodic ideas to a presence in European music. by Smetana from his operetta, The level of musical eloquence few other Bartered Bride. It is a joy to return to this composers have attained. This development was intimately related world of Slavic music that is so dear to me, to the burgeoning of patriotic feeling and and to revisit Dvořák’s Symphony No. 8 Our concert begins and concludes with desire for independence that dominated with the orchestra. This work will showcase examples of Smetana’s and Dvorˇák’s Czech politics at the time. Accordingly, the our beautiful cello section and allow our complementary yet fundamentally musical style forged by the most ambitious principal winds to shine with melodies that different evocations of Bohemian folk Czech composers embodied unmistakable we all cherish. music. The former openly celebrates expressions of nationalist pride — often that music in the Dance of the through the appropriation of melodic and I am excited to welcome back Joshua Comedians from his opera The Bartered rhythmic inflections characteristic of Czech Bell, who last appeared with the Seattle Bride. Dvorˇák, by contrast, transmutes folk music. The first important musician to Symphony when we performed Bernstein’s it into symphonic thought in his give vibrant expression to Czech nationalist Serenade together at the Opening Night masterful Eighth Symphony. sentiment was Bedřich Smetana. Gala in 2012. I know Mr. Bell’s gorgeous sound will intoxicate. I particularly look Between these works we hear from Smetana’s musical nationalism found forward to his rendition of the second the two Czech composers’ Russian particularly happy expression in his most movement of Tchaikovsky’s Violin contemporary, Piotr Tchaikovsky. famous work, The Bartered Bride. This opera Concerto, a Canzonetta, which I am certain In broad terms, Tchaikovsky’s appeared in 1866 and quickly won enormous he will play to its simple and true potential. achievement is comparable to Dvorˇák’s. popularity not only in Prague but throughout While he brought a distinctly Russian Europe. Its story centers on a young village See Ludovic Morlot’s biography on page 6. flavor to many of his compositions couple, Mařenka and Jeník, whose love is by using folk melodies, or folk-like threatened when the local marriage broker melodies, as thematic material, arranges a financially advantageous match From Bohemia and Russia Tchaikovsky never rejected the forms that would pair the girl with the awkward, and procedures of Western European half-witted son of a rich landowner. After The emergence of distinct national music. In particular, he retained a various twists of plot, however, all ends well, styles in countries on the periphery of deep interest and involvement in the as Jeník finds himself unexpectedly wealthy Europe was one of the most important symphony and concerto, and in the and true love triumphs. musical developments of the 19th traditions of compositional design and century. Nowhere was this more character associated with those genres. The Bohemian flavor of The Bartered Bride is true than in Bohemia (today’s Czech Tchaikovsky’s creative use of classical especially evident in three orchestral dances Republic), where patriotic yearnings forms and procedures is evident in his that punctuate the opera. We hear the last brought on by centuries of Austrian brilliant Violin Concerto. of these, the Dance of the Comedians. This domination gave rise to a particularly accompanies a performance by a troupe vital school of nationalist music. The BEDŘICH SMETANA of circus clowns who entertain the villagers founder of this school was Bedrˇich in the opera’s final act. Its fast and colorful Smetana, the first major composer Dance of the Comedians from The music makes the number a great orchestral to create a distinctly Czech musical Bartered Bride showpiece. voice. Drawing his inspiration from the legends, history, landscape and WHAT TO LISTEN FOR: Smetana opens by BORN: March 2, 1824, in Litomyšl, Bohemia national character of his native country, quickly sounding three strong chords. The DIED: May 12, 1884, in Prague Smetana combined sophisticated first theme, which follows immediately, compositional technique with the WORK COMPOSED: 1863–66 begins as a running moto perpetuo idea. It rhythms and melodic inflections of WORLD PREMIERE: May 30, 1866, at the concludes with a phrase punctuated by the Bohemian folk music. National Theater in Prague. three-chord motif of the opening measures, and this brief passage recurs between Following in Smetana’s footsteps came Bohemia, the country that corresponds statements of several new themes, each a composer who achieved greater to the present-day Czech Republic, has imbued with the flavor of Czech folk dance. fame: Antonín Dvorˇák. More prolific a long and abundant musical tradition. The orchestration includes, improbably but than Smetana, Dvorˇák was also more Its folk songs and dances are melodious effectively, a brief dialogue between strings cosmopolitan in essential ways. For and highly expressive, and it developed a and timpani. while he, too, appropriated elements distinctive style of liturgical music during of Bohemian folk music, he used the Middle Ages. In the Baroque and Scored for 2 flutes and piccolo; 2 oboes; 2 these in the contexts of symphonies, Classical periods, Bohemian musicians clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 concertos and other venerable formats worked as composers, instrumentalists trombones; timpani, percussion and strings. that Smetana largely ignored. Dvorˇák’s and conductors throughout central

34 SEATTLESYMPHONY.ORG Bischofberger Violins est. 1955

PIOTR ILYICH TCHAIKOVSKY replaced it with the Canzonetta that Professional now occupies the central portion of the Violin Concerto in D major, Op. 35 Repairs composition. He reportedly wrote it in a single day. Appraisals BORN: May 7, 1840, in Kamsko-Votkinsk, Russia & Sales WHAT TO LISTEN FOR: The concerto opens DIED: November 6, 1893, in Saint Petersburg with an orchestral statement that we might WORK COMPOSED: 1878 1314 E. John St. expect to be the start of the traditional WORLD PREMIERE: December 4, 1881, in Seattle, WA thematic exposition. This proves, however, 206-324-3119 Vienna. Adolf Brodsky was the soloist, and Hans only a preamble to the entry of the solo Richter conducted the Vienna Philharmonic instrument, which joins the proceedings www.bviolins.com Orchestra. with a bit of rhapsodic musing before presenting the first of the movement’s BV 071811 repair 1_12.pdf The most famous Russian composer of principal subjects. A sprightly transitional An Afternoon the 19th century, Piotr Tchaikovsky wrote idea, practically a theme in its own right, his Violin Concerto in the spring of 1878, leads to the second major subject. Like of P.D.Q. Bach immediately after completing his Fourth the first, it is a ravishing tune that testifies Featuring Jeffrey Biegel, piano Symphony, a work of strongly tragic cast. to Tchaikovsky’s talent as a melodist. The Yet the concerto reveals no sense of development of these themes during the Saturday, March 25 the anguish and struggle that mark the course of the movement entails passages at 2:00 PM symphony. Indeed, Tchaikovsky wrote of of blazing virtuosity for the soloist. Benaroya Hall the new piece: “The first movement of the The orchestral woodwinds begin the Violin Concerto is ready; tomorrow I begin Canzonetta with a pensive phrase, which the second. From the day I began to write it the solo violin takes up and spins into [a] favorable mood has not left me. In such a long melody of pronounced Russian a spiritual state composition loses all aspect accent. A brighter second theme follows. of labor — it is a continuous delight.” Its influence on the music’s complexion is relatively slight, however, for the initial Completion of the concerto progressed idea soon returns. Now decorated with quickly, thanks in part to assistance from a echoing phrases from the woodwinds, it fine violinist, Yosif Kotek, who played over re-establishes the movement’s prevailing the solo part as Tchaikovsky composed sense of melancholy dreaming. Finally, Concerto for Simply it. But, perhaps daunted by the music’s Tchaikovsky recalls the introductory music Grand Piano and Orchestra New Commission! challenges, neither Kotek nor the famous of the woodwinds and extends this to form Hungarian-born virtuoso Leopold Auer, to a transition passage leading directly into plus Selected choral works whom Tchaikovsky intended to dedicate the finale. the concerto, would perform it in public. Tchaikovsky was more than a little Scored for solo violin; pairs of winds; 4 dismayed at their reluctance, which he horns; 2 trumpets; timpani and strings. feared would have “the effect of casting this unfortunate child of my imagination into ANTONÍN DVOŘÁK hopeless oblivion.” At last, however, the piece was rescued by the Russian violinist Symphony No. 8 in G major, Op. 88, Photo © Peter Schaaf Adolph Brodsky, who in 1881 gave its first B. 163 performance.

The work follows the conventional concerto BORN: September 8, 1841, in Nelahozeves, form of three movements, arranged in a Bohemia fast–slow–fast sequence. The outer panels DIED: May 1, 1904, in Prague WORK COMPOSED: 1889 of the composition call for some formidable Home of Kaleidoscope Dance Company feats of virtuosity on the part of the soloist. WORLD PREMIERE: February 2, 1890, in Prague. In the first movement, the exceptionally The composer conducted the Czech National Early Childhood • Children musical cadenza, the traditional passage Orchestra. Teens • Adults for the soloist alone, is entirely by the CREATIVE DANCE • BRAINDANCE composer, rather than created with a Antonín Dvořák was born into a poor family MODERN • BALLET • HIP HOP collaborating violinist, as is often the in Bohemia, the largest part of what is today ® • case. Both Kotek and Tchaikovsky’s the Czech Republic. He spent the early ZUMBA YOGA brother Modest were dissatisfied with the part of his career struggling to support WORKSHOPS original slow movement and persuaded himself as a church organist and by playing 206.363.7281 • creativedance.org the composer to discard it. Tchaikovsky

encoreartsseattle.com 35 JOSHUA BELL PROGRAM NOTES continued Violin

FORTE: With a career viola with café and theater orchestras in section, as in classical symphonic practice. spanning more than 30 Prague. (The pinnacle of his career as a A long, energetic transition leads to the years as a soloist, performer came with his appointment, second subject, which emerges from the chamber musician, in 1862, as violist with the orchestra of dying tone of a brief horn solo. Here we recording artist and the newly established National Theater find two distinct melodic ideas, both of conductor, Joshua Bell in Prague. There he played often under which display a common characteristic is one of the most Smetana, including in the initial production of Czech folk music: the initial phrase celebrated violinists of of The Bartered Bride.) Only after years which is begun three times, as if to his era. Named the of perseverance did the success of his gather momentum. A rather heroic final Music Director of the Academy of St. enormously popular Slavonic Dances theme then leads seamlessly into the Martin in the Fields in 2011, he is the only at last establish him as a successful movement’s central development section. person to hold this post since Sir Neville composer and place him and his family in When the principal subject makes its Marriner formed the orchestra in 1958. comfortable circumstances. definitive return, we find it transformed into a blazing trumpet call. RECORDINGS & AWARDS: An exclusive Recognition and fortune, when they finally Sony Classical artist, Bell has recorded came his way, did not turn Dvořák’s head. The ensuing Adagio is exceptionally more than 40 CDs garnering Grammy, Although he visited the musical capitals of rich in moods and ideas. Moving fluidly Mercury, Gramophone and ECHO Klassik Europe, and soon sojourned in America between intimate and grandiose awards and is recipient of the Avery as well, the composer remained deeply expression, it is by turns grave and Fisher Prize. In September 2016 Sony attached to his native Bohemia and the playful. Although the rhythms and clear Classical released Bell’s newest album simple lifestyle he had always known. A–B–A design of the following movement with cellist Steven Isserlis, titled For the It is not surprising, then, that one of the indicate a scherzo, its relaxed pace and Love of Brahms, with the Academy of first expressions of Dvořák’s new-found wistful tone are more in character with St. Martin in the Fields, cellist Steven prosperity was the purchase of a modest the intermezzo movements that Brahms, Isserlis and pianist Jeremy Denk. country house in the rural village of Dvořák’s friend and mentor, favored for his Vyoská. There he lived with his family for symphonies. RECOGNITION: In 2013 Bell was honored many years, and there, in 1889, during a by the New York Chapter of The particularly cheerful period in his life, he An arresting trumpet fanfare then heralds Recording Academy; in 2012 by the composed his Eighth Symphony. Its music the finale. Once again Dvořák enlists National YoungArts Foundation. In 2011 reflects both Dvořák’s contented frame of the cellos, who present a broad theme he received the Paul Newman Award mind and the Czech countryside in which related not only to the preceding trumpet from Arts Horizons and the Huberman it was created. It is one of the composer’s call but also to the flute melody of the Award from Moment Magazine. Bell was happiest creations, and it is infused with first movement. Several variations of this named the 2010 Instrumentalist of the unmistakable local color in the form of melody follow. Suddenly, however, we Year by Musical America and received melodic inflections that mirror those of find ourselves in a minor key as the oboes the Humanitarian Award from Seton Hall Czech folk music. lead a march that manages to be both University. In 2009 he was honored by mournful and gay. It, in turn, dissolves into Education Through Music and received Dvořák had by this time achieved a frenzied development episode. This the Academy of Achievement Award in an effective blend of sophisticated wildly inventive central section emerges 2008. He inducted into the Hollywood compositional technique and melodic at last at a restatement of the trumpet Bowl Hall of Fame in 2005. writing based on the inflections of Czech fanfare and, shortly, the cello theme. folk music. Among the fruits of that The variations on the latter subject now BACKGROUND: A native of Bloomington, union were some of his finest orchestral resume in a tranquil vein. But Dvořák Indiana, Bell performs on the 1713 works, including the Eighth Symphony, a has no intention of ending the symphony Huberman Stradivarius violin with a composition in which Dvořák’s synthesis quietly, and a rousing coda passage Francois Tourte bow. In 1989 Bell received of folkloric and symphonic elements found bursts upon us without warning. an Artist Diploma in Violin Performance perhaps its most fruitful expression. Here from Indiana University where he currently the thorough command of large-scale Scored for 2 flutes and piccolo; 2 oboes serves as a senior lecturer at the Jacobs orchestral writing the composer had by and English horn; 2 clarinets; 2 bassoons; School of Music. His alma mater honored this time attained beautifully complements 4 horns; 2 trumpets; 3 trombones and him with a Distinguished Alumni Service his use of themes redolent of folk tunes. tuba; timpani and strings. Award; he has been named an Indiana Living Legend and is the recipient of the © 2017 Paul Schiavo Indiana Governor’s Arts Award. WHAT TO LISTEN FOR: The first movement will unfold predominately in the bright key of G major, but Dvořák begins in the minor mode with a melody that exploits the rich timbre of the cellos. This passage serves as a prelude to the movement’s principal theme (announced by the flute), but without being a distinctly separate

36 SEATTLESYMPHONY.ORG Tuesday, February 21, 2017, at 7:30pm PROGRAM NOTES Illsley Ball Nordstrom Recital Hall

In the 1960s and ‘70s, when most aspiring American composers adopted rigorous SCHUBERT OCTET and highly academic techniques, William CHAMBER SERIES Bolcom (b. 1938) went against the current and embraced jazz, ragtime and other Mary Lynch, oboe | Eric Jacobs, clarinet | Paul Rafanelli, bassoon | vernacular styles. While there are no Mark Robbins, horn | Mae Lin, violin | Cordula Merks, violin | specific references to popular Americana in the three Serenades he composed across Susan Gulkis Assadi, viola | Arie Schächter, viola | Eric Han, cello | a 40 year span of his career, the very Travis Gore, double bass idea of a Serenade tapped into a similar tradition from another time and place. For WILLIAM BOLCOM Serenata Notturna for Oboe and 21’ Mozart and other Europeans of the late String Quartet 1700s, Serenades (and Divertimentos and Gently—Allegro Nocturnes) were party music, created Grazioso simply to entertain and delight their Scherzo di medianotte patrons, and not for the concert hall or Andante—Allegro for posterity. Bolcom’s third Serenade MARY LYNCH, OBOE shares its title, Serenata Notturna, with an CORDULA MERKS, VIOLIN example of casual night music by Mozart, MAE LIN, VIOLIN and it carries that breezy, relaxed attitude ARIE SCHACHTER, VIOLA into the more focused setting of a chamber ERIC HAN, CELLO music concert. As Bolcom explained in an interview, the work reflects “Classical INTERMISSION restraint, with a Romantic heart beating inside it.”

FRANZ SCHUBERT Octet in F major, D. 803 60’ Bolcom composed Serenata Notturna in Adagio—Allegro—Più allegro 2005 for Richard Woodhams, Principal Andante un poco mosso Oboe of the Philadelphia Orchestra, who Scherzo: Allegro vivace introduced the work with the Guarneri Andante Quartet. The four movements follow a Menuetto: Allegretto typical Classical structure, beginning with Andante molto—Allegro a pensive introduction that segues into the ERIC JACOBS, CLARINET fast body of the first movement. One of that PAUL RAFANELLI, BASSOON section’s central motives, first heard in the MARK ROBBINS, HORN cello, returns as a plucked cello theme in CORDULA MERKS, VIOLIN the graceful second movement. The third MAE LIN, VIOLIN movement is a quick and cheeky scherzo SUSAN GULKIS ASSADI, VIOLA that interrupts itself twice for a pastoral ERIC HAN, CELLO TRAVIS GORE, DOUBLE BASS contrast smeared with a few “wrong” notes. To counterbalance the opening movement, the finale again starts with a slow introduction (marked “tragic”) that Musician biographies may be found at seattlesymphony.org. gives way to a fast and “joyous” tempo. The “tragic” mood butts in again, but an even faster coda restores the lively mood.

As of his 20th birthday, Franz Schubert (1797–1828) had not been published, mentioned in a newspaper or performed publicly in Vienna a single time, even though he had already composed some 300 songs and a large body of orchestral and chamber music. Just as his adult life began in earnest, his purported Please note that the timings provided for this concert are approximate. sexual excesses caught up with him: He Please turn off all electronic devices and refrain from taking photos or video. contracted syphilis in late 1822 or early Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording 1823, and he died of the infection in 1828, equipment, and any other use of such copying devices during a performance is prohibited. at the age of 31.

encoreartsseattle.com 37 PROGRAM NOTES continued

Schubert relied on the friends and patrons The slow second movement features within his private circle to provide outlets the clarinet in the initial statement of a for his music and to generate income. gorgeous melody, which soon becomes Such was the case in 1824, when Count a duet with the first violin. The swaying Ferdinand Troyer, an amateur clarinetist, and pulsing accompaniments from the commissioned a large work of chamber second violin and viola resemble the music. Troyer asked for something in the textures Schubert mastered in the piano vein of Beethoven’s wildly popular Septet accompaniments for his songs. for clarinet, horn, bassoon, violin, viola, cello and bass. (Besides the self-evident A shorter work would typically have a charms of that Septet, there was also scherzo or a minuet as a palette-cleansing a personal connection to Beethoven; movement, but the Octet follows the Troyer worked for the Archduke Rudolph, lead of Beethoven’s Septet and includes NOW HIRING ACCOUNT Beethoven’s former student and lifelong both (with their placement swapped). REPRESENTATIVES friend.) This structure aligns both works with the • 20 hours weekly tradition of Mozart’s Serenades and their • Day and evening shifts Schubert obliged with the Octet, diverse and colorful movements. Schubert D. 803, which added a second violin to played up the humor in his Allegro vivace • Hourly plus commissions Beethoven’s ensemble while keeping the movement that serves as a scherzo, • Perks and bonuses same configuration of six movements. The using sudden harmonic shifts and abrupt • Excellent earning hour-long score took Schubert only about dynamic changes to keep the music potential a month to compose, and apparently unpredictable. his work habits were unflappable in that EMAIL [email protected] period. As one friend related to a mutual The fourth movement is a well-mannered acquaintance in a letter, “Schubert has set of variations, with the tune lifted from WITH “MUSIC TALKER” IN now long been at work on an octet, with one of Schubert’s failed operas. Again the SUBJECT LINE. the greatest enthusiasm. If you go and see clarinet and first violin are placed most him during the day he says ‘Hello. How are often in the foreground, which surely you?’ and carries on working, whereupon satisfied the work’s clarinetist-patron while you leave.” making the most of the famous violinist involved. Other variations featuring horn Schubert finished the Octet on March 1, and cello spread the attention out to the 1824, and that April it received a public ensemble’s deeper voices. performance in Vienna. Besides Troyer on clarinet, the ensemble included the As a bookend to the earlier scherzo, a distinguished violinist Ignaz Schuppanzigh, regal minuet in a slower Allegretto tempo who had led the premiere of Beethoven’s provides another refreshing diversion. Septet 24 years earlier. Even after a positive newspaper review for that high- At the start of the finale, the rumbling profile premiere, no publisher took up the tremolo and wandering harmonies of the Octet, and it did not appear in print until slow introduction hint at a much darker Schubert had been dead for a quarter- world under the cheerful façade of the century. previous 50 minutes, something closer to the wrenching Death and the Maiden Just like Beethoven’s Septet, the Octet String Quartet that Schubert composed sets the stage with a slow introduction. in the weeks after the Octet. The tension The fast body of the first movement vanishes with the arrival of the Allegro makes the most of the large ensemble’s section, providing a suitably grand and range and power, coming close to the boisterous conclusion to this ambitious musical territory of a symphony. Schubert work of chamber music writ large. acknowledged that March, “Of songs I have not written many new ones, but I © 2017 Aaron Grad have tried my hand at several instrumental works, for I wrote two quartets … and an octet, and I want to write another quartet; in fact I intend to pave my way towards a grand symphony in this manner.” Scholars have connected this thought to the Symphony in C major (“The Great”) that Schubert finished two years later.

38 SEATTLESYMPHONY.ORG A BLOCKBUSTER MARCH AWAITS YOU! 2016/17SEASON MARCH 16–18 MARCH 23 & 25 BEETHOVEN BEETHOVEN “PASTORAL” SYMPHONY SYMPHONY NO. 5

Ludovic Morlot, conductor Ludovic Morlot, conductor James Ehnes, violin Bertrand Chamayou, piano DEBUSSY: Printemps BEETHOVEN: Prometheus Overture AARON JAY KERNIS: Violin Concerto BARTÓK: Piano Concerto No. 2 (U.S. Premiere) James MARTINŮ: Memorial to Lidice Ehnes BEETHOVEN: Symphony No. 6, “Pastoral” BEETHOVEN: Symphony No. 5 Get an early jump on spring with sweetly The culmination of a two-year exploration MARCH 3–5 blossoming music from Debussy and the of Beethoven’s symphonies and piano BUGS BUNNY great “Pastoral” Symphony of Beethoven, an concertos, Ludovic Morlot puts his unique ode to nature. Composer Aaron Jay Kernis, stamp on Beethoven’s fateful Fifth AT THE SYMPHONY II known for his effervescent Air for violin, Symphony. Bartók’s Piano Concerto No. 2 SEATTLE POPS SERIES Title Sponsor: offers a new Violin Concerto, commissioned is a brilliant work of rhythmic complexity George Daugherty, conductor by the Seattle Symphony for James Ehnes. and musical muscle. This side-splitting tribute features Warner The commission by Aaron Jay Kernis is generously Bertrand Chamayou’s performances are generously supported by Patricia Tall-Takacs and Gary Takacs. Bros.’ greatest classic Looney Tunes — underwritten by James and Sherry Raisbeck. James Ehnes’ performances are generously underwritten Audience Development supported by including What’s Opera, Doc?, Rabbit of by Dana and Ned Laird. This concert is part of the Seattle The Wallace Foundation. Seville, Corny Concerto and Rhapsody Rabbit Symphony’s New Music WORKS initiative, supported in Saturday performance sponsored by — all projected on a huge screen with the part by a grant from the National Endowment for the Arts. Seattle Symphony playing the original scores Media Sponsor: MARCH 30, 31 & APRIL 1 live! Created by George Daugherty and David Ka Lik Wong. DAUSGAARD CONDUCTS RACHMANINOV

Thomas Dausgaard, conductor Alexander Melnikov, piano Cappella Romana, vocal ensemble Russian Orthodox Chants Thomas RACHMANINOV: Piano Concerto No. 1 Dausgaard RACHMANINOV: Symphony No. 2 ™ & © Warner Bros. Entertainment Inc. (s16) No one steals your heart like Rachmaninov! From the dazzling brilliance of the First Piano Concerto to the seductive beauty of the Second Symphony this is a night devoted to the ultimate Russian Romantic and his influences. Alexander Melnikov’s performances are generously underwritten by Ilene and Woody Hertzog. FOR TICKETS Media Sponsor: 206.215.4747 | SEATTLESYMPHONY.ORG Friday, February 24, 2017, at 8pm PROGRAM NOTES Saturday, February 25, 2017, at 8pm

JEAN-PHILIPPE RAMEAU BACH & HANDEL Suite from Naïs, RCT 49 BAROQUE & WINE SERIES

Pablo Rus Broseta, conductor | Reginald Mobley, countertenor | BORN: September 25, 1683, in Dijon Seattle Symphony Chorale | Seattle Symphony DIED: September 12, 1764, in Paris WORK COMPOSED: 1749 JEAN-PHILIPPE RAMEAU Suite from Naïs, RCT 49 19’ WORLD PREMIERE: April 22, 1749, in Paris. /edited Nicholas McGegan Ouverture—Vif Entrée majestueuse des Dieux et des Peuples de la terre— French composers, far more than their Sarabande German and Italian counterparts, have Première Rigaudon always treated timbre or sonority as a Deuxième Rigaudon central component in music. If German music Entrée des lutters— excelled in counterpoint, and Italian in vocally Chaconne— derived melody (even in instrumental works), Air de Triomphe the French treated “sound” as supreme. One finds this true of Berlioz in the early and GEORGE FRIDERIC HANDEL “Fammi combattere” (“Let me fight”) 4’ middle of the 19th century, Debussy at the /text Carlo Sigismondo Capece from Orlando, HWV 31 fin de siècle, Messiaen in the 20th, and so REGINALD MOBLEY, COUNTERTENOR forth. It may be that the French Baroque has JOHANN SEBASTIAN BACH “Widerstehe doch der Sünde” 7’ only recently come to wider representation in /text Georg Christian Lehms (“Stand steadfast against transgression”) concert and recordings because of the early from Cantata No. 54 music movement, which has attempted to REGINALD MOBLEY, COUNTERTENOR replicate the sound world of the 18th century in performance of music from that hitherto JOHANN SEBASTIAN BACH Agnus Dei (“Lamb of God”) 6’ neglected era. We are beneficiaries of their from Mass in B minor, BWV 232 efforts, if for no other reason that we can now REGINALD MOBLEY, COUNTERTENOR hear with increasing regularity the music of INTERMISSION Jean-Philippe Rameau, near contemporary of

Handel and J.S. Bach and a great composer JEAN BAPTISTE LULLY Le bourgeois gentilhomme, LWV 43 11’ of opera, chamber music and colorful works (“The Bourgeois Gentleman” or for keyboard. “The Middle-Class Aristocrat”) Ouverture: Grave—Allegro His father, organist at Dijon, recognized early Air: La Gavotte— on his son’s extraordinary musical talent, and Canarie allowed him to withdraw from Jesuit studies Marche pour la Cérémonie des Turcs at 16 years of age to pursue music. As was Chaconne des Scaramouche, Trivelins common, Rameau père sent him to Italy et Arlequins for study and experience, but unlike most GEORGE FRIDERIC HANDEL Ode for the Birthday of Queen Anne, 25’ visitors from outside “the boot” (from Albrecht /text Ambrose Philips HWV 74 Dürer through Handel, Mozart and Wagner), “Eternal source of light divine” Rameau could not wait to return to France. “The day that gave great Anna birth” He met with only sporadic success over the “Let all the winged race with joy” next several decades until introduced to “Let flocks and herds their fear forget” Voltaire in the early 1730s, which certainly “Let rolling streams their gladness show” helped his cause. It was, however, the “Kind health descends on downy wings” public’s appetite for his operas that put him “The day that gave great Anna birth” on the map. “Let envy then conceal her head” “United nations shall combine” The plot of Rameau’s opera Naïs is cut from CHRISTINA SIEMENS, SOPRANO the same cloth as numberless Baroque REGINALD MOBLEY, COUNTERTENOR stage works, i.e., it is based on ancient MARTIN ROTHWELL, BARITONE myth. God of the sea Neptune disguises SEATTLE SYMPHONY CHORALE himself in human form to woo the object of his affections, Naïs. Rivals abound and plan Please note that the timings provided for this concert are approximate. to attack the master of the sea, who uses Please turn off all electronic devices and refrain from taking photos or video. Performance ©2017 Seattle Symphony. Copying of any performance by camera, audio or video recording his considerable powers to drown them via equipment, and any other use of such copying devices during a performance is prohibited. huge waves he conjures. Successful in the venture, he reveals himself to Naïs who joins

40 SEATTLESYMPHONY.ORG PROGRAM NOTES

him in his deeply submerged water palace; to spent several years in Italy, absorbing that JOHANN SEBASTIAN BACH consummate the affair, the god turns her into country’s vocal style. His skill at investing Agnus Dei (“Lamb of God”) from Mass a goddess. Presumably they live — literally his music with emotional richness drew the in B minor, BWV 232 “forever after.” rapt approval of Beethoven.

Many delectable instrumental dances dot the The story centers on Orlando, a fearless WORK COMPOSED: 1733–1748 musical landscape in the Suite from the opera, soldier in the employ of no less than the prefaced by an energetic Ouverture marked emperor Charlemagne who falls in love The creation of the B-minor Mass occupied by initial skittishness swept aside by emphatic with the pagan princess Angelica who, Bach for a decade and a half, an enterprise timpani that impart a festive and military wouldn’t you know, is in love with another that left his all-embracing stamp on the demeanor. Several phrases are interrupted suitor, Medoro. Unable to cope with this question of how to write arguably the by brief silences. The following Musette development, poor Orlando loses his mind greatest setting of the Catholic liturgy we seems laid back and gentle, especially after and is saved by the intercession of the have — all the more compelling given Ouverture. Listed as the “Majestic entry of sorcerer Zoroastro, who restores his sanity. Bach’s staunch Lutheranism. Like the Art the Gods,” the music is appropriately regal of Fugue, the Mass summarizes everything and effortlessly stately. Dotted (long/short) The countertenor aria “Fammi combattere he could do in setting liturgical texts, using rhythms prevail. mostri e tifei” from Act I, Scene I begins with all the techniques known to him. The a furious — the source of the opera was the countertenor aria Agnus Dei (“Lamb of Two Gavottes, both gentle, offer restful much-used play, Ariosto’s “Orlando furioso” God”) was among the last written and is the contrast to the preceding movements. The — orchestral intro that is perfectly mirrored penultimate number in the B-minor Mass. old Spanish dance, the Sarabande, follows, by the equally feverish and virtuosic all courtly grace and even wistful. One of vocal part. Orlando therein summons his Slowly paced, tender and reverent, the the most engaging sections is the “Entry of vehement passion of this quest to claim his aria begins with lengthy instrumental the lutenists” and Chaconne. The “Entry” inamorata. introduction — strings and organ — that is all of 10 seconds long and reprises the leads into the ravishing and deeply military atmosphere of the Ouverture before JOHANN SEBASTIAN BACH touching aria (“Lamb of God, who takes the initiating the Chaconne, a highly sectionalized sin of the world, have mercy on us”) with sequence of variants, at times jaunty and “Widerstehe doch der Sünde” (“Stand long-held notes followed by ascents and vivacious, offset by minor key episodes, steadfast against transgression”) from descents in the vocal line. paragraphs and disparate tempos, and one Cantata No. 54 section boasting a fine horn part (which must have been difficult to play well on early JEAN BAPTISTE LULLY BORN: March 21, 1685, in Eisenach, Germany horns). Other dances add to the luster of DIED: July 28, 1750, in Leipzig Le bourgeois gentilhomme, LWV 43 Rameau’s genius and his ability to entertain (“The Bourgeois Gentleman” or “The WORK COMPOSED: 1711–14 his audiences that consisted of widely varying Middle-Class Aristocrat”) degrees of musical sophistication. WORLD PREMIERE: probably July 15, 1714, in Weimar GEORGE FRIDERIC HANDEL BORN: November 28, 1632, in Florence, Grand More than 200 cantatas by J.S. Bach Duchy of Tuscany “Fammi combattere” (“Let me fight”) from have survived the ravages of time and the DIED: March 22, 1687, in Paris Orlando, HWV 31 carelessness of his children and publishers. WORK COMPOSED: 1670 Their BWV numbers (“Bach-Werke- Verzeichnis”) are in no way a guide to BORN: February 23, 1685, in Halle, Saxony Born in Florence, Jean Baptiste Lully chronology, unlike opus numbers adopted DIED: April 14, 1759, in London lived and thrived in France, dominating all by most composers ever since. The church WORK COMPOSED: 1733 aspects of musical life under the banner of cantata “Widerstehe doch der Sünde” is an Louis Quatorze whose famous boast, “L’état WORLD PREMIERE: January 27, 1733, King’s early work, the first of many composed for c’est moi,” could have been Lully’s mantra in Theatre, London a soloist. Euterpe’s realm. No doubt the composer’s lasting fame is notoriously kept alive by the England’s greatest musical import, Handel, An introductory series of appropriately way he died — of gangrene following his thrived in the world of opera until public taste dissonant chords prepares us for an unfortunately poor aim when he slammed turned away from that genre, prompting the extended da capo aria, “Widerstehe doch his walking stick into his foot instead of the business-savvy composer to turn to oratorio, der Sünde” (“Stand steadfast against floor while conducting in that pre-baton- which restored luster to his reputation through transgression”) that admonishes the wielding era. Messiah and other choral works. In the congregation to live free of sin lest Satan past half-century or so, the number of live deceive us, a theme elaborated upon and Still, that dubious distinction aside, he productions and recordings have brought intensified in the ensuing recitative and was a powerful figure in the Sun King’s his operas back to public view and hearing, closing aria of the brief work. entourage, distinguished by his skill in including Orlando, much to our renewed both politics and composition. A frequent pleasure. As a young man, Handel had

encoreartsseattle.com 41 luster to this engaging number. A lovely oboe theme sets up the duet of sopranos continued PROGRAM NOTES (sometimes deploying soprano and countertenor) in “Kind health descends on downy wings,” followed by a reprise of the collaborator with Molière, he composed As is typical not only of Handel’s vocal recurring “The day that…” music for the playwright’s Le bourgeois works extolling a monarch, the texts (in this gentilhomme, from which a suite of dance case by Ambrose Phillips) are embarrassing The baritone soloist’s emphatic “Let envy numbers has retained a sweet spot in the in their gagging obsequiousness (just dare then conceal her head” advises celebrants French Baroque repertoire. As early as read Bach’s groveling letter accompanying to cease from “hissing tongues” that wag March, 1653, the King had designated Lully the manuscripts of his “Brandenburg” negativity, with another aforementioned royal composer for instrumental music. Concertos to the Margrave of that court!). reprise of “The day that...” The closing The music he wrote for both vocal and Also of the day, the seven movements number for countertenor and double chorus, instrumental works, including court ballets, that constitute the Ode are sprinkled with “United nations shall combine” posits the made him virtually indispensable. Along pastoral references, a sub-genre for which notion that “Anna’s actions are divine” in the way he invented the so-called French he had a special fondness and gift, as securing a lasting peace, seconded by the Overture, used by Handel and Bach, and in the lovely Pifa from Messiah. Despite rousing and approving chorus, replete with especially by Telemann in his so-named never losing his strong (and often mocked) their several echoes of “who fix’d a lasting works numbered in the hundreds. German accent, Handel skillfully mastered peace on earth.” the art of setting the balky English language Le bourgeois gentilhomme begins with (which, of course, owes more to German © 2017 Steven Lowe — naturally — a French Overture, i.e., a than Latin and its Romance-language prefatory movement to suites that posits offspring). a stately and essentially homophonic PABLO RUS BROSETA section with dotted rhythms followed by His Ode for the Birthday of Queen Anne a contrapuntal section high on verve. extols the virtues of the monarch as well Conductor Among its several dance movements, as celebrating the essentially synchronous Following the highly the energetic Bourée is impelled by Treaty of Utrecht, which ended the War of successful opening drums while the Canarie brings dotted the Spanish Succession. Though it is not concert of Festival rhythms and an insistent tambourine to the certain that Queen ever heard the ode in Musica 2014 in colorful suite. Another dotted episode is her honor, she nonetheless granted Handel Strasbourg, where Pablo the Chaconne des Scaramouche, which a lifetime annual pension of 200 pounds. Rus Broseta conducted forsakes the frenetic mien of the Canarie. the SWR Symphony The concluding Marche pour la Cérémonie The ode maintains a supremely positive Orchestra in joint des Turcs avails itself of heavily employed atmosphere, and is a work rich in lyrical Chuck Moses Studio Lui Yuen Photo: performances with the timpani in a rousing minor-key evocation of utterance, catchy rhythms and harmonic Ensemble Modern, the young Spanish the military threat perceived at the time vis vitality. Forgoing an overture, the opening conductor became known to a wider à vis the Turkish empire. countertenor aria “Eternal source of light international audience. He has since made divine!” begins with a slow-paced solemn his successful debuts with the declaration, commented upon by a solo GEORGE FRIDERIC HANDEL WDR Symphony Orchestra Cologne, the trumpet. A jaunty Purcellian number follows, SWR Radio Symphony Orchestra Stuttgart, Ode for the Birthday of Queen Anne, a veritable duet for the singer and solo the Orquesta Filarmónica de Buenos Aires, HWV 74 trumpet (anticipating far in advance “Sound the BBC Symphony Orchestra and the the trumpet!” from Messiah), supported by Orquesta Sinfónica de Radio Televisión a jubilant chorus. WORK COMPOSED: 1713 Española. In 2016 he made his debuts with the Ensemble intercontemporain and the WORLD PREMIERE: scheduled for February The soprano aria “Let all the winged race Orquesta Sinfónica do Porto, and has been 6, 1713; no record of the performance having with joy” continues the optimistic mood re-invited to both the WDR and the SWR as taken place despite being cast in the minor; within well as Ensemble Modern. In autumn 2015 this number oboes proceed to introduce he took up the position of Assistant Shortly after permanently settling in the chorus intoning “The day that gave Conductor of the Seattle Symphony and was London, where he eventually was granted great Anna birth” with further melismatic promoted to Associate Conductor for the British citizenship and changed the material from the soprano. The following 2016–2017 season. He is rapidly building a spelling of his name to conform to (still countertenor aria “Let flocks and herds wide-ranging repertoire from Handel to John current) English usage, Handel composed their fear forget” rocks gently in supporting Adams, with a focus on the great symphonic his secular cantata, Ode for the Birthday of the florid solo line, enhanced by a solo repertoire. Queen Anne. In so doing he modelled and oboe obbligato; the soprano soloist and enlarged the instrumental forces used by chorus reprise “The day that gave great FROM THE ARTIST: his illustrious predecessor, Henry Purcell. Anna birth.” “I am very excited to do my debut in the Such odes were already a tradition in Baroque & Wine series with the Seattle Britain and would have fallen to the Master A joyful duet for baritone and countertenor Symphony. Something I have in common of the King’s (or Queen’s) Musick, a title evokes nature’s beauty in “Let rolling with Ludovic Morlot, the Music Director of held at the time by John Eccles, for all streams their gladness show.” The the Seattle Symphony, is the love for French intents and purposes today a footnote in ensemble’s sequences of octave descents repertoire. When we created this program musical history. and radiant choral part adds further

42 SEATTLESYMPHONY.ORG we thought that this was an opportunity for us to explore deeply the French Baroque TEXT & TRANSLATION repertoire, with Lully and Rameau. I believe that Rameau is the key figure to understand the development of the French tradition “Fammi combattere” (“Let me fight”) from Orlando, HWV 31 in the 18th and 19th centuries. I was Fammi combattere Let me fight fascinated when I heard the Ode for the mostri e tifei, against any monster, Birthday of Queen Anne for the first time. nuovi trofei if you want The beginning is just overwhelming! I can’t se vuoi dal mio valor. new trophies by my braveness. wait to perform this piece with the unique Muraglie abbattere Let tear down walls, Reginald Mobley and our fantastic Seattle disfare incanti, Undoing the enchantments, Symphony Chorale.” se vuoi ch’io vanti if you want me to boast darti prove d’amor. of giving you proof of love. REGINALD MOBLEY “Widerstehe doch der Sünde” (“Stand steadfast against transgression”) Countertenor from Cantata No. 54 “It must be said from the Widerstehe doch der Sünde, Stand steadfast against transgression, beginning that one of sonst ergreifet dich ihr Gift. or its poison will seize you. the joys of seeing Lass dich nicht den Satan blenden, Don’t let Satan blind you, Mobley is hearing his denn die Gottes Ehre schänden, for those who defile God’s honor, beautiful alto coming out trifft ein Fluch, der tödlich ist. will incur a curse that is deadly. of a big, tall man who looks more like a Agnus Dei (“Lamb of God”) from Mass in B minor, BWV 232 linebacker for the Miami Agnus Dei qui tollis peccata mundi, Lamb of God, who takes away the sin of the Photo: Liz Linder Liz Photo: Dolphins than the miserere nobis. world, P.G. Wodehouse party guest his name have mercy on us. might suggest.” – Palm Beach ArtsPaper Ode for the Birthday of Queen Anne, HWV 74 Countertenor Reginald L. Mobley fully intended to speak his art through watercolors Countertenor solo Soprano and Countertenor duet and oil pastels until circumstance demanded Eternal source of light divine! Kind Health descends on downy wings, that his own voice should speak for itself. with double warmth thy beams display, angels conduct her on the way. Since reducing his visual color palette to the and with distinguish’d glory shine, To’our glorious Queen new life she brings, black and white of a score, he’s endeavored to add a lustre to this day. and swells our joys upon this day. to open up a wider spectrum onstage. This refocusing led Mobley to study music at both Countertenor solo Countertenor and Soprano duet the University of Florida (in his hometown The day that gave great Anna birth, The day that gave great Anna birth, of Gainesville, FL), and then Florida State Who fix’d a lasting peace on earth. who fix’d a lasting peace on earth. University (The Capulet to UF’s Montague). It was the marriage of those two that gave Soprano solo Baritone solo him the solid musical foundation to become Let all the winged race with joy Let envy then conceal her head, a highly sought after interpreter of Baroque, their wonted homage sweetly pay, And blasted faction glide away. Classical and modern music. whilst towr’ing in the azure sky, No more her hissing tongues we’ll dread, They celebrate this happy day: secure in this auspicious day. FROM THE ARTIST: The day that gave great Anna birth The day that gave great Anna birth “The three arias being performed are all Who fix’d a lasting peace on earth. Who fix’d a lasting peace on earth. personal favorites, and have all, at one time or another, accompanied me as introductory Countertenor solo Countertenor solo arias for first appearances with ensembles. Let flocks and herds their fear forget, United nations shall combine, For an organization as storied and lions and wolves refuse their prey, to distant climes their sound convey, prestigious as Seattle Symphony, it seems and all in friendly consort meet, that Anna’s actions are divine, appropriate that I pull them all out! The first made glad by this propitious day. and this the most important day! time I performed Ode for the Birthday of The day that gave great Anna birth The day that gave great Anna birth, Queen Anne, I was a soloist in a touring/ Who fix’d a lasting peace on earth. who fix’d a lasting peace on earth. recording project of the work with the Baroque orchestra, Apollo’s Fire. It was also Baritone and Countertenor duet my first time working with a major period Let rolling streams their gladness show, ensemble. I had always hoped for the day with gentle murmurs whilst they play, that I would have a chance to sing it again. and in their wild meanders flow, A particular moment I’m looking forward to, rejoicing in this blessed day: other than the opening aria of the Ode, is The day that gave great Anna birth, the simple, yet profound way Handel word who fix’d a lasting peace on earth. paints in one of the middle arias ‘Let flocks and herds their fear forget.’”

encoreartsseattle.com 43 SEATTLE SYMPHONY CHORALE JOSEPH CRNKO The Seattle Symphony Chorale Seattle Symphony Associate serves as the official chorus of the Conductor for Choral Activities Seattle Symphony. Over the past four decades, the Chorale has grown in SEATTLE SYMPHONY: artistry and stature, establishing itself Joseph Crnko was as a highly respected ensemble. Critics appointed Associate have described the Chorale’s work Conductor for Choral as “beautiful, prayerful, expressive,” Activities for Seattle “superb” and “robust,” and have Symphony in praised it for its “impressive clarity September 2007. and precision.” The Chorale’s 120 Crnko brings a wealth Photo: Photo: VanHouten Ben volunteer members, who are teachers, of choral conducting, doctors, attorneys, musicians, students, bankers and professionals from all fields, bring arranging, recording and education not only musical excellence, but a sheer love of music and performance to their endeavor. experience to his position. He has Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale prepared the Seattle Symphony Chorale performs with the Seattle Symphony both onstage and in recorded performances. for numerous critically acclaimed performances, including Bach’s Soprano Terri Chan Andrew Magee St. Matthew Passion, Britten’s War Caitlin Anderson-Patterson Rachel Cherem Lucky James Middaugh Requiem, Handel’s Messiah and Verdi’s Laura Ash Christi Leigh Corey Ed Morris Requiem. Amanda Bender Lauren Cree Sean Morse Lolly Brasseur Paula Corbett Cullinane Alexander Oki NORTHWEST CHOIRS: Crnko is currently Ellen Cambron Aurora de la Cruz James Pham in his 33rd year as Music Director of the Emma Crew Lisa De Luca Vijay Ramani Northwest Choirs. During his tenure, he Erin M. Ellis Robin Denis Jonathan M. Rosoff has established the Northwest Choirs’ Jacquelyn Ernst Kaley Lane Eaton Bert Rutgers reputation as one of the nation’s premier Zanne Gerrard Cindy Funaro Peter Schinske children’s choirs. Crnko tours worldwide Emily Han Carla J. Gifford Spencer Small with the elite Northwest Boychoir, most Teryl Hawk Amy Gleixner Max Willis recently with concert tours throughout our Anne Hudson Kelly Goodin Caitlin Hutten Catherine Haddon Bass nation and Europe. Under his directorship, Sharon Jarnigan Shreya Joseph John Allwright the Northwest Boychoir has produced Elizabeth Johnson Inger Kirkman* Jay Bishop four top-selling Christmas recordings. Katy Kaltenbrun Sara Larson Hal Bomgardner In addition, the Northwest Boychoir is Seung Hee Kim Rachel Lieder Simeon Carl Crafts featured on Naxos’ release of Hans Kråsa’s Lori Knoebel Monica Namkung Andrew Cross children’s opera Brundibár, named by Kori Loomis Erica J Peterson Darrel Ede the Metropolitan Opera Guild as one Janelle Maroney Karis Pratt Morgan Elliott of the top classical CDs of 2007. The Megan McCormick Alexia Regner Evan Figueras Northwest Boychoir is also featured on Alyssa K. Mendlein Valerie Rice Curtis Fonger Seattle Symphony’s release of Samuel Geraldine Morris Emily Ridgway Steven Franz Kristen Nelson Dale Schlotzhauer David Gary Jones’ The Shoe Bird, which received a Helen Odom Darcy Schmidt Raphael Hadac Grammy nomination in 2009. Recently Nicolle Omiste Carreen A. Smith Kelvin Helmeid the Northwest Boychoir presented the Margaret Paul Kathryn Tewson Rob Jones world premiere of VEDEM, a new work Sasha S. Philip Paula Thomas Ronald Knoebel by composer Lori Laitman. The Boychoir’s Kirsten Ruddy JoAnn Wuitschick Tim Krivanek recording of this work was released on the Ana Ryker Mindy Yardy KC Lee Naxos label. Emily Sana Thomas C. Loomis Barbara Scheel* Tenor Bryan Lung CHORAL ARRANGEMENTS & CONDUCTING: Laura A. Shepherd Matthew Blinstrub Ken Rice Over the years, Crnko has written choral Joy Chan Tappen Joe Cook Martin Rothwell* arrangements for boy choirs, a number of Catherine Thornsley Spencer Davis Edward Sam which are now being performed by choirs Toby Trachy Anton R. du Preez Christopher Smith nationally. His Christmas arrangements Andrea Wells David P. Hoffman Jim Snyder Jim Howeth Andrew Sybesma are featured in the major motion picture Alto Neil Johnson Joseph To Millions. In addition to his work with Cynthia Beckett Kevin Kralman* Michael Uyyek the Northwest Choirs, Crnko regularly Ivy Rose Bostock Patrick Le Quere Jared White conducts orchestral and choral recording Nancy Brownstein Ian Loney Lavert Woodard sessions for movie and video game Carol Burleson James H. Lovell soundtracks, including those for the video Grace Carlson Andrew Worthen Lyon * principal of section games Halo, Medal of Honor and World of Warcraft. Some of his recent film projects include Boondock Saints, The Celestine Prophecy, The Last Stand and Let Me In.

44 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

PRINCIPAL BENEFACTORS PRINCIPAL MUSICIANS CIRCLE The Seattle Symphony acknowledges with The following donors have generously underwritten gratitude the following donors who have made the appearances of principal musicians this season. lifetime commitments of more than $1 million as of December 21, 2016. Thomas and Susan Bohn Sue and Robert Collett 4Culture William and Janice Etzold Dr.* and Mrs. Ellsworth C. Alvord, Jr. Muriel Van Housen and Tom McQuaid I GIVE BECAUSE... Andrew W. Mellon Foundation Patricia and Jon Rosen ArtsFund Anonymous ArtsWA Beethoven, A Non Profit Corporation/ SYMPHONY MUSICIANS CIRCLE Classical KING FM 98.1 The following donors have generously sponsored a Alan Benaroya section musician this season. Sherry and Larry Benaroya The Benaroya Family Dr. C. Bansbach Bill & Melinda Gates Foundation Stephen Elop and Susan Johannsen The Boeing Company Michael King and Nancy Neraas “Each time C.E. Stuart Charitable Fund Dr. Ryo and Kanori Kubota Charles Simonyi Fund for Arts and Sciences Mr. and Mrs. Richard Moore Leslie and Dale Chihuly The Nakajima Family The Clowes Fund, Inc. Cookie and Ken Neil I attend Priscilla Bullitt Collins* Gary and Susan Neumann Jane and David R. Davis Melvyn and Rosalind Poll Delta Air Lines Jane and James Rasmussen a concert Estate of Marjorie Edris Norm and Elisabeth Sandler/The Sandler Foundation Judith A. Fong and Mark Wheeler Seattle Met The Ford Foundation Anonymous Dave and Amy Fulton I marvel William and Melinda Gates Thank you to Judith A. Fong for providing matching Lyn and Gerald Grinstein funds for this new program. For more information Lenore Hanauer about musician sponsorship, please contact Becky David J. and Shelley Hovind Kowals at 206.215.4852. at how Illsley Ball Nordstrom Foundation Kreielsheimer Foundation INDIVIDUALS The Kresge Foundation The Seattle Symphony gratefully recognizes the Marks Family Foundation following individuals for their generous Annual Fund fortunate Bruce and Jeanne McNae and Special Event gifts through December 21, 2016. Microsoft Corporation If you have any questions or would like information Microsoft Matching Gifts Program about supporting the Seattle Symphony, please visit M.J. Murdock Charitable Trust we are to us online at seattlesymphony.org/give or contact National Endowment for the Arts Donor Relations at 206.215.4832. Nesholm Family Foundation The Norcliffe Foundation Thank you for your support. Our donors make it all PONCHO have such possible! James and Sherry Raisbeck Gladys* and Sam* Rubinstein STRADIVARIUS CIRCLE S. Mark Taper Foundation Platinum ($250,000+) an amazing Jeff and Lara Sanderson Seattle Office of Arts & Culture The Benaroya Family 15 Seattle Symphony Foundation Leslie and Dale Chihuly ° 15 Seattle Symphony Women’s Association Judith A. Fong and Mark Wheeler ° 5 orchestra Leonard and Patricia Shapiro Marks Family Foundation ° Samuel* and Althea* Stroum Anonymous (2) Dr. Robert Wallace Joan S. Watjen, in memory of Craig M. Watjen Gold ($100,000 – $249,999) in Seattle.” Virginia and Bagley* Wright Lenore Hanauer 15 Anonymous (6) Jean-François and Catherine Heitz ° 10 *In Memoriam Helen and Max Gurvich Advised Fund David J. and Shelley Hovind ^ 10 Martin Selig and Catherine Mayer ^ GUEST ARTISTS CIRCLE – Janice B. Eliza and Brian Shelden The following donors have generously underwritten Joan S. Watjen, in memory of Craig M. Watjen 15 the appearances of guest artists this season. Anonymous

Andrew Bertino-Reibstein, in memory of Silver ($50,000 – $99,999) David Reibstein 5 The Dan and Martine Drackett Family Foundation Dr.* and Mrs. Ellsworth C. Alvord, Jr. 15 Judith Fong Music Director’s Fund Dr. Susan Detweiler and Dr. Alexander Clowes* ° 5 Ilene and Elwood Hertzog Dave and Amy Fulton ^ 5 Hot Chocolate Fund Lynn and Brian Grant Family ° WHY DO YOU GIVE? 15 Dana and Ned Laird Dr. Kennan H. Hollingsworth ^ Paul Leach and Susan Winokur Jeffrey S. Hussey ° Dr. Pierre and Mrs. Felice Loebel Jeff Lehman and Katrina Russell ° 5 Sheila B. Noonan and Peter M. Hartley Dr. Pierre and Mrs. Felice Loebel ^ 15 Nordstrom Pamela Merriman 5 James and Sherry Raisbeck Jerry Meyer and Nina Zingale 5 Grant and Dorrit Saviers Sheila B. Noonan and Peter M. Hartley ° 15 Martin Selig and Catherine Mayer Norm and Elisabeth Sandler/The Sandler Foundation ° Douglas* and Theiline Scheumann SEATTLESYMPHONY.ORG/GIVE Elizabeth and Justus Schlichting Ms. Taylor Swift, The Taylor Swift Charitable Fund of 206.215.4832 the Community Foundation of Middle Tennessee Anonymous (4)

encoreartsseattle.com 45 SEATTLE SYMPHONY DONORS

Bronze ($25,000 – $49,999) Neil M. Gray and Meagan M. Foley 10 Susan Y. Buske ∞ 5 Tom Barghausen and Sandy Bailey Margaret Haggerty Barbara A. Cahill 5 Kris Barker Chap and Eve Alvord 15 Patty Hall ° 15 Dr. Mark and Laure Carlson 10 Carol Batchelder 15 Bob and Clodagh Ash ^ 15 Terry Hecker and Dan Savage ° Ann Chandler Leslie and Michael Bernstein 5 Sherry and Larry Benaroya ° 5 ∞ Parul and Gary Houlahan ° Min and Michael Christ Rebecca Galt Black 15 Andrew Bertino-Reibstein, in memory of Juniper Foundation 10 David Clark Matt Brannock and Claire Taylor David Reibstein Janet Wright Ketcham Foundation 5 Steven and Judith Clifford 5 Alec and Maddy Brindle 5 Clise Properties, Inc. Will and Beth Ketcham ° Jacqueline B. Coffroth Fund of the Zane and Celie Brown 10 Barney Ebsworth and Nancy Neraas and Michael King ° 5 Sacramento Region Community Steve and Sylvia Burges 10 Rebecca Layman-Amato ° 5 Dr. Ryo and Kanori Kubota ° Foundation Steven Bush and Christine Chang William O. and K. Carole Ellison Rhoady* and Jeanne Marie Lee 15 Cogan Family Foundation 5 Jonathan Caves and Foundation Everil Loyd, Jr. and Joanne DelBene Bob and Jane Cremin Patricia Blaise-Caves 5 Katharyn Alvord Gerlich 15 The Mitrovich Family ° 5 Dayna and Majdi Daher Samuel and Helen Colombo 15 Dr. Martin L. Greene and Mr. and Mrs. Richard Moore 10 Carl de Marcken and Marina Meila Rosalie Contreras and Kathleen Wright ° 5 Cookie and Ken Neil ° Calisle Dean David Trenchard + 10 Lyn and Gerald Grinstein ^ 15 Erika J. Nesholm Dr. Geoffrey Deschenes and David and Christine Cross 5 Ilene and Elwood Hertzog ° 15 John and Laurel Nesholm ° 15 Dr. Meredith Broderick 5 James and Barbara Crutcher Hot Chocolate Fund 5 Sally and Bill Neukom Liz and Miles Drake 10 Scott and Jennifer Cunningham 5 Dana and Ned Laird ° 15 Gary and Susan Neumann 15 Judith Z. Feigin and Colin Faulkner Cindy Dobrow Paul Leach and Susan Winokur ° 15 John and Deanna Oppenheimer David and Dorothy Fluke ^ 15 Dragonfish Asian Cafe Harold Matzner Melvyn and Rosalind Poll 5 Katy and Jason Garms Jim and Gaylee Duncan Linda Nordstrom 15 Jane and James Rasmussen 15 William Gates Sr. and Mimi Gardner Gates Charles Engelke and Laurie White Jay Picard ° Dana Reid and Larry Hitchon ° 5 Bob and Eileen Gilman Family Jean Gardner ^ 15 James and Sherry Raisbeck ^ 10 Rao and Satya Remala Foundation 15 Doris H. Gaudette 15 Patricia and Jon Rosen ° 5 Tom and Teita Reveley 15 D. Wayne* and Anne E. Gittinger William and Cheryl Geffon Eric and Margaret Rothchild Jon and Judy Runstad ^ 5 Phyllis Golden Erica L. Gomez Charitable Fund 5 Haim N. Schoppik Sebastian Gunningham Michele and Bob Goodmark 5 Grant and Dorrit Saviers 5 Seattle Met ° Doug and Barbara Herrington Douglas Grady Mel and Leena Sturman Frank and Harriet* Shrontz 15 Margaret M. Hess Betty Graham Muriel Van Housen and Tom McQuaid 5 Charles and Lisa Persdotter Simonyi Glen and Ann Hiner Dr. and Mrs. Theodore Greenlee, Jr. 15 Stephen and Leslie Whyte ° 5 Betty Tong 5 JNC Fund 5 Barbara Hannah and H.S. Wright III and Katherine Janeway 15 Dr. Robert Wallace ° 5 Charles and Joan Johnson 15 Ellen-Marie Rystrom 15 Virginia and Bagley* Wright 15 M. Barton Waring 5 Sally Schaake Kincaid Jane Hargraft and Elly Winer + 5 Anonymous (2) ∞ Gary and Karla Waterman ^ 5 Karen Koon 10 Michèle and Dan Heidt 5 Selena and Steve Wilson 15 Mark H. and Blanche M. Harrington Deena J. Henkins MAESTROS CIRCLE Jeffrey and Korynne Wright Foundation 15 Dick and Nora Hinton Gold ($15,000 – $24,999) Mr. and Mrs. David C. Wyman Frank and Judith Marshall Foundation Jeanne Kanach 5 Warren A. and Anne G. Anderson 5 Rick and Debbie Zajicek Chris H. Martin Michael A. Klein and Catherine A. Melfi Thomas and Susan Bohn 15 Anonymous (8) Corrinne Martin Maritta Ko Sue and Robert Collett ^ 15 Kevin McGuire Timothy Krueger 5 The Dan and Martine Drackett Family FOUNDERS CIRCLE Christine B. Mead Drs. Kotoku and Sumiko Kurachi Foundation Gold ($7,500 – $9,999) Sarah Merner and Craig McKibben Eugene and Martha Lee 15 William and Janice Etzold Richard Meyer and Susan Harmon Steve and Donna Lewis Molly and Marco Abbruzzese ° 15 15 5 Senator and Mrs. Daniel J. Evans ° 15 Carolyn R. Miller Judsen Marquardt and Constance Niva René and April Ancinas ° 10 Jerald Farley ° 15 Alison and Glen Milliman Bill and Colleen McAleer Robert Bismuth 15 Richard and Elizabeth Hedreen 15 Reid and Marilyn Morgan ^ Ashley O’Connor McCready and Rosanna Bowles ° 5 5 Charles E. Higbee, MD and Susan and Furman Moseley Mike McCready Renée Brisbois and Jay Burrell ° 15 Donald D. Benedict* 15 Dr. L. Newell-Morris Joy McNichols Jean Chamberlin 5 Chuck and Pat Holmes ^ 15 Bruce and Jeannie Nordstrom Justine and John Milberg John Delo and Elizabeth Stokes 5 15 Nader and Oraib Kabbani ° Susan and Brian Olsavsky Laina and Egon Molbak Donald G. Graham, Jr. 15 Klorfine Foundation Mark and Sally Onetto Lourdes M. Orive Joaquin and Jennifer Hernandez ° 5 Moe and Susan Krabbe 15 Path Forward Leadership Development Brian Pao and Susan Leu Dustin and Michelle Ingalls 10 15 Dawn Lepore and Ken Gladden ° 5 Tom and Sally Peyree Dr. and Mrs. Richard D. Prince Ben Kolpa and Angelisa Paladin 15 Edmund W., Jr. and Laura Littlefield Mr. and Mrs. Charles M. Pigott Chip Ragen Steve Kutz and Courtney Womack 5 15 5 Richard and Francine Loeb Mr. and Mrs. W. H. Purdy E. Paul and Gayle Robbins SoYoung Kwon and Sung Yang 5 15 15 Kjristine R. Lund ° 5 Douglass and Katherine Raff Jonathan and Elizabeth Roberts Eva and Jon LaFollette 5 10 10 Yoshi and Naomi Minegishi ^ 15 Dick and Alice Rapasky Chuck and Annette Robinson Flora Ling and Paul Sturm 15 15 Robert Moser Sue and Tom Raschella ^ John Robinson and Maya Sonenberg Bob and Annette Parks 5 The Nakajima Family ° 5 Bernice Mossafer Rind ^ Eric Robison Michael Slonski ° 10 Dick and Joyce Paul ° 10 Mr.* and Mrs. Herman Sarkowsky Mike and Marcia Rodgers Ms. Barbara Snapp and Sally G. Phinny ^ Jan and Peter Shapiro James T. and Barbara Russell Dr. Phillip Chapman 5 15 5 Seattle Symphony Volunteers Buz and Helen Smith Dr. and Mrs. Werner E. Samson ∞ Michel and Christine Suignard Patricia Tall-Takacs and Gary Takacs ^ 15 Burnley and Jim Snyder Jeffrey C. Sherman Kirsten and Bayan Towfiq ° 5 15 15 The Atsuhiko and Ina Goodwin Tateuchi John and Sherry Stilin Evelyn Simpson Hans and Joan* van der Velden 15 Foundation 5 Sympaticos Vijay Sihota Anonymous 5 Anonymous (2) S. Vadman Nepier Smith and Joan Affleck-Smith Jean Baur Viereck 10 Margaret W. Spangler 15 Silver ($5,000 – $7,499) 5 15 Silver ($10,000 – $14,999) Ronald and Devorah Weinstein Sonia Spear Jim and Catherine Allchin 15 Laurie and Allan Wenzel 5 Alexander and Jane Stevens 10 Richard and Constance Albrecht ^ 15 Elias and Karyl Alvord 5 Mr. and Mrs. Michael Werner Esther M. Su ∞ Peter Russo and Kit Bakke 5 Richard Andler and Carole Rush 5 Simon Woods and Karin Brookes + Steve Vitalich 5 Dr. C. Bansbach Claire Angel ° 5 Rosalind Horder Williams Charlie Wade and Jeanne Berwick and James Degel, Susan Y. and Charles G. Armstrong ^ 5 Martha Wyckoff-Byrne and Jerry Tone Mary-Janice Conboy-Wade + Berwick Degel Family Foundation 5 Suzanne M. Barker Marcia and Klaus Zech M. Elizabeth Warren 5 Drs. Jim and Sue Bianco ° Silas Beane and Kristin Bunce Anonymous Bryna Webber and Dr. Richard Tompkins 5 Mardi and Frank Bowles Donna Benaroya 5 Stephen and Marcia Williams Paul B. Brown and Margaret A. Watson ° 5 Capt. and Mrs. Paul Bloch 5 Bronze ($3,500 – $4,999) Kenneth and Rosemary Willman Children Count Foundation 5 Barbara BonJour 15 Larry Winn Kathy Fahlman Dewalt and John and Andrea Adams Jim and Marie Borgman 15 Wayne Wisehart Stephen R. Dewalt ° 5 Ignacio Alvarado-Cummings Phillip and Karla Boshaw 5 Keith Yedlin Henry M. Finesilver 5 Geoffrey Antos Jeffrey and Susan Brotman 15 Anonymous (5) Natalie Gendler 15 Jesus Areyano II Amy Buhrig 5 Bill and Nancy Bain ^ 5

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Conductors Club ($2,000 – $3,499) Ryan Mitrovich Geoffrey Bent and Katie Kemezis 5 Mary Lee Gowell Gary Moresky 5 Kathy Binder Maridee Gregory 5 Bill and Janette Adamucci 5 ∞ Ms. Mary Ellen Mulder Marilyn Boss Julie Gulick Harriet and Dan Alexander Mika Nakamura and Gary Wood Bob and Jane Ann Bradbury 5 Mr. and Mrs. David Hadley 10 Terry Allen Isabella and Lev Novik Herb Bridge and Edie Hilliard Bruce Haldane Mr. and Mrs. John Amaya 5 Arwa and Mohammed Obeidat S. Lori Brown Mary Stewart Hall 10 Drs. Linda and Arthur Anderson ∞ 5 Rena and Kevin O’Brien Cy and Kathleen Butler James and Darlene Halverson Dr. Larry and DeAnne Baer Jerald E. Olson 15 Alan and Ciara Byars Leslie and Nick Hanauer Charlie Barbour and Diana Lynn Kruis 5 Mr. and Mrs. Thomas Olson Frank and Phyllis Byrdwell ^ Deena C. Hanke Jane and Peter Barrett Ralph and Marlys Palumbo ^ Mary and Patrick Callan Dr. and Mrs. James M. Hanson 5 Patty and Jimmy Barrier Allan and Jane Paulson 15 April Cameron 10 Katrina Harris Dr. and Mrs. Ronald J. Beck 5 David F. Peck 15 Karen Cameron Susan and Tom Harvey Janice Berlin Nancy and Christopher Perks 10 Corinne A. Campbell Mary Heckman Ann and Bruce Blume Rosemary Peterson Craig and Jean Campbell 15 Dr. and Mrs. Robert M. Hegstrom 5 William and Beatrice Booth Hera Phung 5 Elizabeth M. Campbell Mike and Liz Hilton Bob and Bobbi Bridge Marcus Phung 5 Wally and Sally Campbell Suzanne Hittman Alexandra Brookshire and Bert Green ^ 15 Guy* and Nancy Pinkerton 5 Janitta and Bob Carithers Bob Hoelzen 5 Claire and Aaron Burnett Cary Plotkin and Marie-Therese Brincard Cory Carlson Norm Hollingshead 5 Butler’s Hole Fund Aimme Qiao Carol and John Austenfeld Bob Holtz and Cricket Morgan 5 Trish Carpenter Carrie Delaney Rhodes Charitable Trust 5 Margaret and Marc Horton Cecily Carver Ed and Marjorie Ringness 15 Benjamin Carr Carole and Rick Horwitz Jeffrey Christianson Richard and Bonnie Robbins Emily Carroll 5 Gretchen and Lyman* Hull 15 Robert E. Clapp ∞ 5 Nancy M. Robinson 15 Vicente Cartas Espinel Joni Scott and Aedan Humphreys Mr. and Mrs. Ross Comer 10 ∞ Sharon Robinson 5 Kent and Barbara Chaplin 10 Sara Hurley Donald and Ann Connolly Helen Rodgers 15 Michael and Gayle Charlesworth 5 Richard and Roberta Hyman 5 Jeffrey and Susan Cook 5 ∞ ∞ Marnie Roozen Jorge Chavez Joyce and Craig Jackson Patricia Cooke Annie and Ian Sale Gerrie Cherry Ralph E. Jackson 15 T. W. Currie Family 10 Thomas and Collette Schick 15 Mr. James Chesnutt 5 Eric Jacobs  Frank and Delores Dean 15 Eckhard Schipull 10 Michelle and Abhineet Chowdhary Randy Jahren 5 Tom DeBoer Dr. and Mrs. Jason Schneier 5 Terese Clark Mr. and Mrs. Jerry Janacek Lyle Deobald and Jessie Kim-Deobald Charles and Maria Schweizer Joshua D. Closson Megan Hall and James Janning + 5 Dr. Stella Desyatnikova ∞ Jo Ann Scott Sam and Karen Coe Lawrence Jen Aileen Dong Jeff and Kim Seely Mr. Peter Cohen and Ms. Bettina Stix Robert C. 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King 15 William Haines 15 Ms. Bethany Winham David and Helen Dichek Karol King 5 Karin and Frederic Harder Jeff Wood and Diane Summerhays Dee Dickinson 5 Virginia King 5 Ken and Cathi Hatch ^ Woodworth, Charleson Charitable Fund Brooke Benaroya Dickson Carolyn and Robert Kitchell Ken Hayashi 5 Richard and Barbara Wortley 5 Anthony DiRe Peter and Susan Knutson Frederick and Catherine Hayes 15 Carol Wright Dwight and Susan Dively 5 Vera Koch Terrill and Jennifer Hendrickson 5 Kay H. Zatine 15 Anne and Bob Doane Allan and Mary Kollar Gabriel and Raluca Hera Christian and Joyce Zobel 5 Everett and Bernie DuBois 10 Brian and Peggy Kreger 15 Harold and Mary Fran Hill 10 Igor Zverev 15 Ken Duncan and Tanya Parish 5 Dr. and Mrs. Alvin Kwiram 10 Alice and Paul Hill Anonymous (13) Jeff Eby and Zart Dombourian-Eby  5 Eric Lam 5 Candyce Hogan Mr. Scott Eby 5 Ron and Carolyn Langford 15 Bob and Melinda Hord ∞ Dr. Lewis and Susan Edelheit Peter M. Lara 15 Thomas Horsley and Cheri Brennan MUSICIANS CLUB ($1,000 – $1,999) Leo and Marcia Engstrom 5 J&J Latino O’Connell Walt Ingram, Wright Runstad Abel Family Fund Mr. David Epstein Dr. Gordon D. LaZerte 5 & Company ° Peter Aiau and Susan Ormbrek Mary and Geoffrey Evans Gregory and Mary Leach 15 Margaret and Frank Isernio John Akin and Mary Stevens Dr. and Mrs. R. Blair Evans 10 Virginia and Brian Lenker 10 Mr. Daniel Kerlee and Eddy and Osvaldo Ancinas ∞ 5 Randi Fatizzi Don and Carla Lewis 5 Mrs. Carol Wollenberg 10 Carlton and Grace Anderson Al Ferkovich and Erica Lewis and Richard Erickson, Seed Douglas Kim Richard and Dianne Arensberg Joyce Houser-Ferkovich 15 Fund of Greater St Louis Community W. M. Kleinenbroich Dr. Sharon and Vince Augenstein 15 Maria Ferrer Murdock Foundation Albert and Elizabeth Kobayashi 15 Larry Harris and Betty Azar Jerry and Gunilla Finrow 15 Henry Li Masato and Koko Koreeda Michele and Charles Bacon Gerard Fischer James Light 5 Kathleen Leahy 10 Wael Bahaa-El-Din and Ashley Myers and Andrew Fitz Gibbon Michael Linenberger and Sallie Dacey Kori Loomis Amira El Bastawissi 5 Patty Fleischmann Mark Linsey and Janis Traven Ruthann Lorentzen 5 Kendall and Sonia Baker 15 Debra and Dennis Floyd Anne and Steve Lipner Richard* and Beverly Luce 15 Tracy L. Baker Barry and JoAnn Forman Robert and Marylynn Littauer 5 Alison and James Luckman Dr. and Mrs. John Baldwin 5 Paula Fortier Sharon Lott Gunilla and Vidur Luthra Dr. and Mrs. Terrence J. Ball Dana A. Frank Lovett-Rolfe Family Trust Mark P. Lutz 15 Joel Barduson Ms. Janet Freeman-Daily 10 Fo-Ching Lu and Andrew Roberts Louisa and Scott Malatos Sarah and Rich Barton Ed and Kathy Fries Susan and Jeff Lubetkin Elliot Margul Amie Batson 15 Terri and Joseph Gaffney 5 Bryan Lung 5 Ken and Robin Martin ^ Douglas and Maria Bayer Ruth and Bill* Gerberding ^ 5 Douglas MacDonald and Lynda Mapes David Mattson Michael and Stephanie Beers Janice A. and Robert L. Gerth 15 Michael and Barbara Malone Diane Mayer Carl and Renée Behnke James and Carol Gillick ^ 10 Mary Ann and Ted Mandelkorn Brooke and Dre McKinney-Ratliff Dr. Melvin Belding and Dr. Kate Brostoff Jeffrey and Martha Golub 10 Drs. Pamela and Donald Mitchell 15 Judith and Arnold Bendich SEATTLE SYMPHONY DONORS SEATTLE SYMPHONY DONORS

Mark Litt Family DAF of the Jewish Kate and Matthew Scher To our entire donor family, thank you for Samuel Clarke, by Federation of Greater Seattle 5 Mr. and Mrs. Joseph Schocken your support. You make our mission and David Gaglione Anne and Karl Marlantes Judith Schoenecker and music a reality. Marcia Mason Christopher L. Myers 5 Marianne Cole, by Charles T. Massie ∞ 15 Susan Schroeter-Stokes and Did you see an error? Help us update Mitzi Cieslak Erika and Nathan Mattison Robert Stokes 5 our records by contacting friends@ Lois Mayer Nancy and James Schultz + 5 seattlesymphony.org or 206.215.4832. Rosalie Contreras, by Florence and Charlie Mayne Janet Sears 10 Thank you! Robert Haeger Michael and Rosemary Mayo 15 Janet and Thomas Seery 10 5 Doug and Joyce McCallum Tanya and Gerry Seligman HONORARIUM GIFTS Joseph Crnko and the Seattle Symphony John and Gwen McCaw Anne Shinoda-Mettler Chorale, by Gifts to the Seattle Symphony are a Ashley McDougall Charles Shipley 15 Norm Hollingshead wonderful way to celebrate a birthday, Diane and Scott McGee Robert and Anita Shoup Sandra and James Taylor honor a friend or note an anniversary. Hughes and Kelley McLaughlin ∞ William Shuman In addition to recognition in the Encore Karen and Rick McMichael ∞ 15 Dr. Charles Simrell and Deborah Giles 10 Samantha DeLuna, by program, your honoree will receive a card Mary McWilliams 10 Mika and Jenny Sinanan 5 Megan Hall and James Janning from the Symphony acknowledging your Mary Mikkelsen 15 Jill Singh thoughtful gift. Ronald Miller and Murl Barker 5 Randip Singh Will Dixon and Jay Picard, by Laurie Minsk and Jerry Dunietz Douglas Smith and Stephanie Ellis-Smith David Gaglione Gifts were made to the Seattle Chie Mitsui ∞ Joan Smith Symphony in recognition of those listed Charles Montange and Stephen and Susan Smith Zart Dombourian-Eby, by below between December 20, 2015 Kathleen Patterson 15 Harry Snyder Ms. Marilyn E. Garner and December 22, 2016. Please contact Alex and Nayla Morcos Kathleen and Robert Spitzer 5 Donor Relations at 206.215.4832 or Mary and Alan Morgan Doug and Katie Sprugel 5 Emily Evans, by [email protected] if you Christine B. Moss 15 Donald and Sharalyn Stabbert Ellen Hope would like to recognize someone in a Donald and Shirley Mottaz 5 Dr. and Mrs. Robert Stagman 15 future edition of Encore. Kevin Murphy 15 Craig and Sheila Sternberg Dr. Daniel Feller, by Mr. and Mrs. J. P. Naughton 15 Steve and Sandy Hill Family Fund Jeffrey Girardin Jennifer Adair, by Paul Neal and Steven Hamilton ∞ 5 at the Seattle Foundation ^ 15 Michelle Hamilton Kirsten Nesholm 5 Diane Stevens 5 Jonas Flueckiger, by Marilyn Newland 5 Ms. Heather L. Stotz 5 Shon Schmidt John Adams, by Eric Noreen and Suzi Hill Hope and Richard Stroble Mr. Roy Hughes Ken and Pearl Noreen Audrey and Jim* Stubner 15 Steve Frank’s 75th Birthday, by Sharon L. Norris Victoria Sutter 5 Patricia and Jon Rosen Afman, by Mary Odermat Lina and Lino Tagliapietra Varun Chhabra and Natasha Gupta Tim O’Keefe David Tan and Sherilyn Anderson-Tan Janice A. Gerth, Mrs. Jackie A. O’Neil 5 Mabel and Jason Tang Robert Gerth Claire Angel, by Phillip O’Reilly Ronald and Pamela Taylor 5 Lyn and Gerald Grinstein Leo Ortiz and Adriana Aguirre Bob and Mimi Terwilliger 10 Nancy Page Griffin, by Mikal and Lynn Thomsen Thomas and Cynthia Ostermann 10 Meryl and Donald* Thulean 15 Mina Miller and David Sabritt Andrea Wenet Richard and Peggy Ostrander Barbara Tober Michael Schick and Katherine Hanson Meg Owen 5 Vahe Torossian Bob Ash, by Dena and Tom Owens Elaine Tsai Augustin Hadelich, by Jeff Eby and Zart Dombourian-Eby David and Gina Pankowski Lorna Tumwebaze Norm Hollingshead Sue and Thomas Raschella Richard and Sally Parks Dolores Uhlman 15 PAS Financial Planning Sami Uotila and Tuula Rytila Patty Hall, by Jared Baeten and Mark Ruffo, by Perspectives of New Music Manijeh Vail 5 Michael and Kelly Hershey Eugene Brown Jasen Peterman Gretchen Van Meter 15 Lisa Peters and James Hattori Johanna P. VanStempvoort 15 Lenore Hanauer, by Susan and Armin Baumgartel, by Thomas Pfenning Mary Lou and Dirk van Woerden Penelope Burke Zanne and Ian Gerrard Stewart Phelps Karoline Vass Don and Sue Phillips Tara and John Verburg Harald and Jenny Hille, friends of Becky Benaroya, by Stephen Phinny Donald J. Verfurth Ludovic Morlot, by Harold Matzner Derek and Anna Pierce Doug* and Maggie Walker 5 Margaret and Andrew Gordon Beverly Schoenfeld Valerie and Stanley Piha Ralph and Virginia Wedgwood 15 Andrey Popov Ed and Pat Werner 5 Glen and Ann Hiner, by Steve Bush and Christine Chang, by Prairie Foundation Greg Wetzel 5 Eugene Leibowitz Clarius Group Lori and Bill Price Judith A. Whetzel 5 Mrs. Eileen Pratt Pringle 15 Roger and June Whitson ∞ Virginia Hunt Luce, by T.J. Callahan, by Llewelyn G. and Joan Ashby Pritchard ^ 15 Mitch Wilk Tom Luce Tim Callahan Harry* and Ann Pryde Michael Winter Ann Ramsay-Jenkins Mr. Eric Wong 5 Leila Josefowicz, by The Cello Section, Paul and Bonnie Ramsey Jessie and David Woolley-Wilson Norm Hollingshead Betty Graham Mary C. Ransdell and Keith Wong Elizabeth and Troy Wormsbecker Robert F. Ranzenbach 10 Jerry and Nancy Worsham 10 Karneia, by Stella Chernyak, by Reverend Kerry and Robin Reese 10 Talia Silveri Wright Allen R. Schwerer David Gaglione Jean A. Rhodes 5 Esther Wu Fred Richard 15 Lee and Barbara Yates 15 Sherri King, by Leslie Chihuly, by John Richardson II 5 Mrs. Sarah Yeager 5 Vince Koester The Sam and Peggy Grossman Family Deborah and Andrew Rimkus 5 Maeng-Soon Yu 10 Foundation Melissa Rivello Robert and Eileen Zube 5 Zhenlun Li, by Norm Hollingshead Ms. Jean C. Robinson 5 Anonymous (22) Esther Wu Dr. Pierre and Mrs. Felice Loebel Mike Robinson Harold Matzner Jack Rodman and Koh Shimizu 5 5 years of consecutive giving Dr. Pierre and Mrs. Felice Loebel, by The M. C. Pigott Family Joseph L. Romano 10 10 years of consecutive giving Marilyn Layton Matt Stevenson Stan and Michele Rosen 15 15 years or more of consecutive giving Dr. and Mrs. Larry Martin Barbara Tober Dr. Len and Gretchen Jane Rosoff ∞ Monthly Sustaining Donor Su-Mei Yu Michelle and Jerry Rubin  Musician Hayley Lyons, by Anonymous Don and Toni Rupchock 15 ° Board Member Sue Lyons David Sabee and Patricia Isacson Sabee  ^ Lifetime Director Terry Clark, by Sarah and Shahram Salemy Æ Staff Reid and Marilyn Morgan, by Lara Clark Matthew Salisbury * In Memoriam Mr. and Mrs. Bill Bonnett Sara Delano Redmond Fund

48 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Ludovic Morlot and the Seattle Jane and Don Abel, by Linda Stevens Milton Katims, by Symphony, by The Abel Family Fund Neal B. Abraham and Donna L. Wiley Pamela Katims Steele Norm Hollingshead Anonymous Martine and Dan Drackett David Anderson, by Yun-Kuk Kim, by Anonymous Julie L. Antle-Anderson Kent Coleman, by Douglas Kim Jan Coleman Laurel Nesholm, by Arval, by Marcy Krueger, by Moya Vazquez Dr. L. Newell-Morris S. Patricia Cook, by Amanda Budde-Sung Capt. Charles Cook Nu.Mu.Zu, by Wanda Beachell, by Laurence Lang, by Scott Siken E. A. Beachell Lucy J. Ding, by Rosalie Lang Paula Ding Llewelyn Pritchard, by Bill Beery, by Carolyn and Leroy Lewis, by Mr. and Mrs. Thomas Olson Madeline Beery Jackie Davenport, by Leslie and Dale Chihuly Nadine Miyahara Fridolf N. Lundholm, by Sue and Tom Raschella’s Jack Benaroya, by Lucy J. Ding, by Steven Lundholm 50th Wedding Anniversary, by Leslie and Dale Chihuly Paula Ding Bob and Clodagh Ash Ginny Meisenbach, by Jennifer Connors Rose and Richard Bender, by Martha Donworth, by Leslie and Dale Chihuly Jeffrey Phillippe Alan Cordova Christine Marshall John Phillippe William Joseph Nazzaro, by Donald Benedict, by Doris Dwyer, by Mary Nazzaro Stella Rolph, by Dr. Charles Higbee Jeffrey W. Smith Simone Spiess Merlyn A. Nellist, by Gertrude Bergseth, by Eugene Fisher, by Donna Nellist Jon Rosen, by Constance Trowbridge Gayden F. Carruth Joe and Linda Berkson Cascade Designs, Inc. John J. and Gertrude M. Rangstrom, by Beatrice and Arlene Berlin, by Jon Fourre Bernice Rind, by Janice Berlin Wesley Fisk, by Bob and Clodagh Ash Renate Stage David Reibstein, by Howard Moss and Pauline Shapiro Donald W. Bidwell, MD, by Andrew Bertino-Reibstein David and Julie Peha Sharon Bidwell Donald Isle Foster, by Kay Zatine Karen Laband Sam and Gladys Rubinstein, by Grandma Bosma, by Sheila B. Noonan and Peter M. Hartley Leslie and Dale Chihuly Michael Schmitt, by Andrew Emory Barbara Schlotfeldt Beulah Frankel, by Carole Sanford, by Bev Bright, by Ginny Gensler Horizon House Supported Living Seattle Symphony Volunteers, by Rita Gray Ken Abramson and Helen Santibanez Shirley H. Fuller, by Herman Sarkowsky, by Arthur Caputi, Jr., by Marise and Randy Person Leslie and Dale Chihuly Virginia Senear, by Marti Caputi David and Dorothy Fluke Kelly Schmidt William Gerberding, by Llewelyn G. and Joan Ashby Pritchard Frederic Chopin, by Leslie and Dale Chihuly Richard and Barbara Shikiar, by Xiaoxia Zhou Mr. and Mrs. David L. Fluke Walter Schoenfeld, by Sandra Smith Dr. Kennan H. Hollingsworth Leslie and Dale Chihuly Lydia Christofides, by Llewelyn G. and Joan Ashby Pritchard Peggy Spencer, by Gerald B. Folland Allen Senear, by Nancy McConnell Booker T. Gibson, by Reid and Marilyn Morgan Dr. Alexander Clowes, by Patricia and Jon Rosen Betsy and Gary Spiess, by Charles Alpers and Ingrid Peterson Julia Shaw, by Ling Chinn Bob and Clodagh Ash Billie Grande, by Bob and Clodagh Ash Dr. and Mrs. Forrest Bennett Patricia and Jim Davis Sue and Tom Raschella Rachel Swerdlow, Walter Gray, and Mardi and Frank Bowles Paul Rafanelli, by Butler’s Hole Fund Allan Granquist, by Amy Sidell, by Steven Lundholm John and Laurel Nesholm Mark Linsey and Janis Traven Barbara A. Cahill Sue and Tom Raschella Drs. Lihua Chen and Yihua Xiong Grandma Bosma, by Tuning Up!, by Leslie and Dale Chihuly Andrew Emory Nancy Simek, by Roy L. Hughes Dr. Susan Detweiler William and Janice Etzold Dan and Nancy Evans Bertram H. Hambleton, by [untitled], by David and Dorothy Fluke Ginger Campopiano Langdon Simmons, by Norm Hollingshead Dr. Kennan H. Hollingsworth Jill Palmer Llewelyn and Jonie Pritchard Becky Kowals Virginia Park Karla Waterman, by John and Nancy Lightbody Sam and Althea Stroum, by Jack and Sandy McCullough Kay H. Zatine Bill Hirschfeld, by Leslie and Dale Chihuly C. Gardner McFall and Peter Olberg Marjorie J. Levar Kathleen Wright and Martin Greene, by John and Laurel Nesholm Phyllis Stern James Stubner, by Joel Paisner Sheila B. Noonan and Peter M. Hartley Bob and Clodagh Ash Patricia and Jon Rosen Laird Norton Wealth Management David James Howe, by Bucknell Stehlik Sato & Stubner, LLP Carolyn and Michael Patterson Mary Howe Leslie and Dale Chihuly Julie Wotruba, by Susan Pazina Richard Howe Sue and Robert Collett David Gaglione Melvyn and Rosalind Poll Jane Qualia Doug and Gail Creighton Sue and Tom Raschella Cousins Pam, Tim, Terry and Julie, and MEMORIAL GIFTS Patricia and Jon Rosen Gretchen Hull, by Uncle Ron Collins Dr. and Mrs. Gilbert J. Roth Gifts were made to the Seattle Mary and Patrick Ragen Carol B. Goddard The Seattle Commissioning Club Symphony to remember those listed Robert and Rhoda Jensen Eve Gordon Anderson and Mark below between December 20, 2015 and Joseph Hylland, by Ken Kataoka Anderson December 22, 2016. For information Rebecca Benson John King Roy and Laura Lundgren on remembering a friend or loved one Richard* and Beverly Luce Dr. Alan and Mary Morgan , by Natalie Malin through a memorial gift, please contact Suzie Johnston Patricia Tall-Takacs and Gary Takacs Edgar and Linda Marcuse Doug and Joyce McCallum Donor Relations at 206.215.4832 or Ken Shapero and Dianne Aprile Dustin Miller [email protected]. Doug and Katie Sprugel Reid and Marilyn Morgan Craig and Sheila Sternberg Carole Narita

49 SEATTLESYMPHONY.ORG encoreartsseattle.com 49 SEATTLE SYMPHONY DONORS

Kenneth and Catherine Narita, Kimberly Katie Tyson, by ESTATE GIFTS and Andy Absher, Karen and Steve Elizabeth Faubell We gratefully remember the following individuals for their generosity and forethought, Shotts, and Kristen Narita and for including the Seattle Symphony in their will, trust or beneficiary designation. Leona Narita John L. Voorhees These legacy gifts provide vital support for the Symphony now and for future Ruby Narita generations. (Estate gifts since September 1, 2014.) Llewelyn G. and Joan Ashby Pritchard B. K. Walton, by Sue and Tom Raschella Penelope Yonge Barbara and Lucile Calef E. Marian Lackovich Kathleen Sesnon Robert E. and Jeanne Campbell Anna L. Lawrence Patricia Tall-Takacs and Gary Takacs Brian Weiss, by Carmen Delo Arlyne Loacker The Urner Family Sue Eriksen Sherry Fisher Olga M. McEwing John Walcott Dina Jacobson Jane B. Folkrod Peter J. McTavish Mary and Findlay Wallace Lars Sorenson Lenore Ward Forbes Norman D. Miller Wiatr & Associates Marion O. Garrison Nuckols-Keefe Family Foundation Marjorie Winter Janice T. Whittaker, by Elizabeth C. Giblin Beatrice Olson Richard and Barbara Wortley Jody Friday Carol Hahn-Oliver Carl A. Rotter Kay Zatine Harriet C. Barrett Trust John C. Rottler Richard Yarington, by Allan and Nenette Harvey Allen E. Senear Don Thulean, by Yoko Barnett Yveline Harvey Amy Sidell Todd Gordon and Susan Feder Robert E. Clapp Helen and Max Gurvich Phillip Soth Reid and Marilyn Morgan Barbara McHarg Betty L. Kupersmith Morton Stelling John and Laurel Nesholm Cheryl Jefford Ida L. Warren Sheila B. Noonan and Peter M. Hartley Charles and Joan Johnson Llewelyn G. and Joan Ashby Pritchard Margaret Kiyohara Sue and Tom Raschella MJo Jennifer Schwartz SEATTLE SYMPHONY ENDOWMENT FUND

The Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of December 21, 2016. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].

$5 MILLION + Estate of Ruth H. Hoffman Washington Mutual Estate of Virginia Iverson Anonymous (1) The Benaroya Family Estate of Peggy Anne Jacobsson Charles Simonyi Fund for Arts and Sciences $25,000 – $49,999 Robert C. Jenkins Anonymous (1) Estate of Charlotte M. Malone Edward and Pam Avedisian $1,000,000 – $4,999,999 Bruce and Jolene McCaw Estate of Bernice Baker Bruce and Jeanne McNae Estate of Ruth E. Burgess Leslie and Dale Chihuly Microsoft Corporation Estate of Barbara and Lucile Calef The Clowes Fund, Inc. National Endowment for the Arts Mrs. Maxwell Carlson Priscilla Bullitt Collins* Northwest Foundation Alberta Corkery* Judith A. Fong Peach Foundation Norma Durst* The Ford Foundation Estate of Elsbeth Pfeiffer Estate of Margret L. Dutton Dave and Amy Fulton Estate of Elizabeth Richards Estate of Floreen Eastman Kreielsheimer Foundation Jon and Judy Runstad Hugh S. Ferguson* Marks Family Foundation Estate of Joanne M. Schumacher Mrs. Paul Friedlander* Estate of Gladys and Sam Rubinstein Weyerhaeuser Company Adele Golub Leonard and Patricia Shapiro The William Randolph Hearst Patty Hall Samuel* and Althea* Stroum Foundations Thomas P. Harville Dr. Robert Wallace Estate of Helen L. Yeakel Harold Heath* $500,000 – $999,999 Estate of Victoria Zablocki George Heidorn and Margaret Rothschild* Anonymous (3) Phyllis and Bob Henigson Alex Walker III Charitable Lead Trust Michael and Jeannie Herr Mrs. John M. Fluke, Sr.* $50,000 – $99,999 Charles E. Higbee, MD and Douglas F. King Dr.* and Mrs. Ellsworth C. Alvord, Jr. Donald D. Benedict Estate of Ann W. Lawrence Estate of Mrs. Louis Brechemin Mr. and Mrs. L. R. Hornbeck The Norcliffe Foundation Estate of Edward S. Brignall Sonia Johnson* Estate of Mark Charles Paben Sue and Robert Collett The Keith and Kathleen Hallman Fund James D. and Sherry L. Raisbeck Foundation Frances O. Delaney* David and Karen Kratter Joan S. Watjen, in memory of Craig M. Watjen John and Carmen* Delo Estate of Marlin Dale Lehrman $100,000 – $499,999 Estate of Lenore Ward Forbes Estate of Coe and Dorothy Malone Estate of George A. Franz Estate of Jack W. McCoy Estate of Glenn H. Anderson Jean Gardner Estate of Robert B. McNett Andrew W. Mellon Foundation Estate of Mr. and Mrs. Irvin Gattiker Estate of Peter J. McTavish Bob and Clodagh Ash Anne Gould Hauberg* Estate of Shirley Callison Miner Alan Benaroya Richard and Elizabeth Hedreen PACCAR Foundation Estate of C. Keith Birkenfeld Estate of William K. and Estate of Elizabeth Parke Mrs. Rie Bloomfield* Edith A. Holmes Mr. and Mrs. W. H. Purdy The Boeing Company John Graham Foundation Keith and Patricia Riffle C.E. Stuart Charitable Fund Mr. and Mrs. Stanley P. Jones Rita* and Herb* Rosen and Dr. Alexander Clowes* and Estate of Betty L. Kupersmith the Rosen Family Dr. Susan Detweiler John and Cookie* Laughlin Jerry and Jody Schwarz Richard* and Bridget Cooley E. Thomas McFarlan Seafirst Bank Mildred King Dunn Estate of Alice M. Muench Seattle Symphony Women’s Association E. K. and Lillian F. Bishop Foundation Nesholm Family Foundation Security Pacific Bank Estate of Clairmont L. and Estate of Opal J. Orr Patricia Tall-Takacs and Gary Takacs Evelyn Egtvedt M. C. Pigott Family U S WEST Communications Estate of Ruth S. Ellerbeck PONCHO Estate of Dr. and Mrs. Wade Volwiler Senator and Mrs. Daniel J. Evans Estate of Mrs. Marietta Priebe Estate of Marion G. Weinthal Fluke Capital Management Seattle Symphony Volunteers Estate of Ethel Wood Estate of Dr. Eloise R. Giblett Mr. and Mrs. Paul R. Smith Anonymous (2) Agnes Gund Estate of Frankie L. Wakefield Helen* and Max* Gurvich Estate of Marion J. Waller * In Memoriam Estate of Mrs. James F. Hodges

50 SEATTLESYMPHONY.ORG MUSICAL LEGACY SOCIETY

The Musical Legacy Society honors 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 remembered 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 December 21, 2016.

Charles M. and Barbara Clanton Ackerman Marjorie J. Levar Joan P. Algarin Jeanette M. Lowen* DOWNLOAD Richard Andler and Carole Rush Thomas and Virginia Hunt Luce Ron Armstrong Ted and Joan Lundberg THE LISTEN Elma Arndt Judsen Marquardt and Constance Niva Bob and Clodagh Ash Ian and Cilla Marriott Susan A. Austin Doug and Joyce McCallum BOLDLY APP! Rosalee Ball Jean E. McTavish David W. Barker William C. Messecar Donna M. Barnes Jerry Meyer and Nina Zingale Carol Batchelder Charles N. Miller Janet P. Beckmann Elizabeth J. Miller Alan Benaroya Mrs. Roger N. Miller Rebecca Benaroya Murl G. Barker and Ronald E. Miller Donald/Sharon Bidwell Living Trust Reid and Marilyn Morgan Rosemary and Kent Brauninger George Muldrow Sylvia and Steve Burges Marr and Nancy Mullen Dr. Simpson* and Dr. Margaret Burke Isa Nelson Sue and Robert Collett Gina W. Olson Dr. Marshall Corson and Mrs. Lauren Riker Sarah M. Ovens Betsey Curran and Jonathan King Donald and Joyce Paradine Frank and Dolores Dean Dick and Joyce Paul Robin Dearling and Gary Ackerman Jane and Allan Paulson Lorraine Del Prado and Thomas Donohue Stuart N. Plumb John Delo Roger Presley and Leonard Pezzano Dr. Susan Detweiler and Dr. Alexander Clowes* Mrs. Eileen Pratt Pringle Fred and Adele Drummond Mr. and Mrs. W. H. Purdy Mildred King Dunn James and Sherry Raisbeck Sandra W. Dyer J. Stephen and Alice Reid Ann R. Eddy Bernice Mossafer Rind David and Dorothy Fluke Bill* and Charlene Roberts Gerald B. Folland Junius Rochester Judith A. Fong Jan Rogers Jack and Jan Forrest Patricia and Jon Rosen Russell and Nancy Fosmire Mary Ann Sage Ernest and Elizabeth Scott Frankenberg Thomas H. Schacht Cynthia L. Gallagher Judith Schoenecker and Christopher L. Myers Jane and Richard Gallagher Annie and Leroy Searle Jean Gardner Virginia and Allen* Senear William and Cheryl Geffon Leonard and Patricia Shapiro Natalie Gendler Jan and Peter Shapiro Carol B. Goddard John F. and Julia P.* Shaw Frances M. Golding Barbara and Richard Shikiar Jeffrey Norman Golub Valerie Newman Sils Dr. and Mrs. Ulf and Inger Goranson Evelyn Simpson Betty Graham Betty J. Smith Catherine B. Green Katherine K. Sodergren Seattle Symphony Dr. Martin L. Greene Althea C. and Orin H.* Soest Roger J.* and Carol* Hahn-Oliver Sonia Spear James and Darlene Halverson Morton A. Stelling* is now offering Barbara Hannah Diane Stevens Harriet Harburn Patricia Tall-Takacs and Gary Takacs SEAT UPGRADES Ken and Cathi Hatch Gayle and Jack Thompson Michele and Dan Heidt Art and Louise Torgerson NEW APP Ralph and Gail Hendrickson Betty Lou and Irwin* Treiger for select concerts Deena J. Henkins Muriel Van Housen Charles E. Higbee, MD Sharon Van Valin Harold and Mary Frances Hill Jean Baur Viereck through the Listen Dr. Robert Wallace FEATURES Frank and Katie Holland Dr. Kennan H. Hollingsworth Nicholas A. Walls Boldly mobile app. Chuck and Pat Holmes Judith Warshal and Wade Sowers Richard and Roberta Hyman Douglas Weisfield Janet Aldrich Jacobs James and Janet Weisman Robert C. Jenkins John and Fran Weiss Dr. Barbara Johnston Dorothy E. Wendler Norman J. Johnston* and L. Jane Hastings Johnston Gerald W. and Elaine* Millard West Atul R. Kanagat Selena and Steve Wilson Don and Joyce Kindred Ronald and Carolyn Woodard Dell King Arlene A. Wright DOWNLOAD: Douglas F. King Janet E. Wright Stephen and Barbara Kratz Rick and Debbie Zajicek Frances J. Kwapil Anonymous (44) M. LaHaise * In Memoriam Ned Laird Paul Leach and Susan Winokur Lu Leslan SEATTLESYMPHONY.ORG/APP

encoreartsseattle.com 51 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 December 21, 2016. 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 $10,000 – $14,999 GE Foundation Consulate General of the Republic of Poland Classical KING FM 98.1 ◊ Acucela Inc. Glazer’s Camera † DreamBox Learning Google Inc. † Bill & Melinda Gates Foundation Jean K. Lafromboise Foundation DSquared † John Graham Foundation Matching Gifts KeyBank Eaton Vance KEXP † Coca-Cola Company Matching Gifts NAREIG Educational Legacy Fund Laird Norton Wealth Management Foster Pepper PLLC Peg and Rick Young Foundation Four Seasons Hotel † Microsoft Corporation Fran’s Chocolates ◊ RBC Foundation Fox’s Seattle † Microsoft Matching Gifts Holland America Line ◊ Russell Family Foundation Garden Conservancy Nesholm Family Foundation Lakeside Industries Sheraton Seattle Hotel † Hard Rock Cafe Seattle † Seattle Met Magazine † Milliman † Skanska USA Norman Archibald Foundation Sullivan’s Steakhouse † Inn at the Market † KAN | Orchids Flowers † $25,000 – $49,999 Peoples Bank Vitus Group Perkins Coie LLP O Wines † Ann and Gordon Getty Foundation The Westin Hotel, Seattle † RBC Wealth Management Pacific Coast Feather Co. Bill & Melinda Gates Foundation Robert Chen Foundation $3,000 – $4,999 Sam and Peggy Grossman Family Boeing Matching Gift Program Foundation Rosanna, Inc. † CTI BioPharma Corp. Amphion Foundation Steinway & Sons Seattle/Bellevue ◊ Russell Investments The Capital Grille † Classic Pianos ◊ Talking Rain † U.S. Bank Foundation GE Foundation Matching Gifts Clowes Fund, Inc. Treveri Cellars † Weill Music Institute † Genworth Foundation Encore Media Group † Tulalip Tribes Charitable Fund Wild Ginger Restaurant † Google Matching Gifts Garvey Schubert Barer † Wilson Sonsini Goodrich Anonymous J.P. Morgan Chase & Co. IBM International Foundation & Rosati Foundation Nordstrom Music4Life $5,000 – $9,999 Seattle Cancer Care Alliance Schwabe, Williamson & Wyatt † In-Kind Support Wells Fargo Private Bank AETNA Thurston Charitable Foundation Apex Foundation Touchstone Group at Morgan Stanley ◊ Financial and In-Kind Support $15,000 – $24,999 Bank of America Wyman Youth Trust Bellevue Children’s Academy Aaron Copland Fund For Music The Benaroya Company Ann and Gordon Getty Foundation and $1,000 – $2,999 the League of American Orchestras Brown Bear Car Wash Acción Cultural Espagñola Chihuly Studio † Citi Community Capital Alfred & Tillie Shemanski Trust Fund Elizabeth McGraw Foundation Davis Wright Tremaine BNY Mellon Estates Wine Room ◊ Dover Corporation Brandon Patoc Photography † Sheri and Les Biller Family Foundation D.V. & Ida McEachern Charitable Trust Chihuly Studio EY CityBldr

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.

52 SEATTLESYMPHONY.ORG Photo: Brandon Patoc Brandon Photo:

“Symphonic music is deeply important to our society and quality of life, and should never be a luxury. We have an open door policy through free and reduced tickets, and I am proud to support our Symphony to ensure that EVERYONE can join us for a world of great music. I cannot think of a more vital time for our community to share and support our music together.” – Efe Baltacıgil, Seattle Symphony, Marks Family Foundation Principal Cello

JOIN EFE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Seattle Symphony programs that provide free and low-cost tickets to the community are only possible through the support of generous music-lovers like you.

SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 SEATTLE SYMPHONY YOUR GUIDE TO THE SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES HOW TO ORDER: HOW TO GIVE: Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our TICKET OFFICE: The concert you’re about to enjoy is possible because of donations made by generous presenting sponsors and committees who make these The Seattle Symphony Ticket Office is located events possible. Individuals who support the events music-lovers like you. at Third Ave. & Union St., downtown Seattle. below are included among the Individual Donors listings. Likewise, our corporate and foundation HOURS: Mon–Fri, 10am–6pm; Sat, 1–6pm; We invite you to join the caring community of partners are recognized for their support in the and two hours prior to performances and individuals, companies and foundations who bring Corporate & Foundation Support listings. For more through intermission. outstanding symphonic music to the community. information about Seattle Symphony events, please visit seattlesymphony.org/give/special-events. PHONE: PHONE: 206.215.4747 or 1.866.833.4747 206.215.4832 OPENING NIGHT GALA, SEPTEMBER 17, 2016 Honoring William Gates Sr. and Mimi Gardner Gates ONLINE: seattlesymphony.org. ONLINE: GALA SPONSOR seattlesymphony.org/give JP Morgan Chase & Co. GROUP SALES: GUEST ARTIST SPONSOR 206.215.4818 or MAILING ADDRESS: Nordstrom [email protected]. P.O. Box 21906, Seattle, WA 98111-3906 CO-CHAIRS MAILING ADDRESS: Renée Brisbois P.O. Box 2108, Seattle, WA 98111-2108 Nader Kabbani Betty Tong

COMMITTEE Rosanna Bowles Terry Hecker SYMPHONICA, THE SYMPHONY STORE: COUGH DROPS: Cough drops are available Meredith Broderick Hisayo Nakajima Located in The Boeing Company Gallery, Symphonica is from ushers. Leslie Jackson Chihuly Paul Rafanelli open weekdays from 11am–2pm and 90 minutes prior to Linda Cole Jon Rosen SERVICES FOR PATRONS WITH DISABILITIES: all Seattle Symphony performances through intermission. Christine Coté-Wissmann Christine Suignard Benaroya Hall is barrier-free and meets or exceeds all Kathy Fahlman Dewalt Kirsten Towfiq PARKING: Prepaid parking may be purchased criteria established by the Americans with Disabilities online or through the Ticket Office. Act (ADA). Wheelchair locations and seating for those with disabilities are available. Those with oxygen HOLIDAY MUSICAL SALUTE, DECEMBER 6, 2016 COAT CHECK: The complimentary coat check tanks are asked to please switch to continuous flow. is located in The Boeing Company Gallery. CO-CHAIRS Requests for accommodations should be made when Rebecca Layman-Amato LATE SEATING: Late-arriving patrons will be seated purchasing tickets. For a full range of accommodations, Katrina Russell at appropriate pauses in the performance, and are please visit our website at seattlesymphony.org. invited to listen to and watch performances on a monitor COMMITTEE SERVICES FOR HARD-OF-HEARING PATRONS: located in the Samuel & Althea Stroum Grand Lobby. Michelle Codd Tiffany Moss An infrared hearing system is available for patrons Roberta Downey Rena O’Brien CAMERAS, CELL PHONES & RECORDERS: who are hard of hearing. Headsets are available Kathleen Mitrovich Jill Singh The use of cameras or audio-recording equipment at no charge on a first-come, first-served basis Ghizlane Morlot Leslie Whyte is strictly prohibited. Patrons are asked to turn off all in The Boeing Company Gallery coat check and personal electronic devices prior to the performance. at the Head Usher stations in both lobbies. TEN GRANDS, MAY 13, 2017 LOST AND FOUND: Please contact the Head ADMISSION OF CHILDREN: Children under the age of Kathy Fahlman Dewalt Usher immediately following the performance or 5 will not be admitted to Seattle Symphony performances Co-Founder and Executive Director call Benaroya Hall security at 206.215.4715. except for specific age-appropriate children’s concerts. COMMITTEE EMERGENCY PHONE NUMBER: Please leave the BENAROYA HALL: Excellent dates are available for Rosanna Bowles Carla Nichols appropriate phone number, listed below, and your exact those wishing to plan an event in the S. Mark Taper Cheri Brennan Fawn Spady seat location (aisle, section, row and seat number) with Foundation Auditorium, the Illsley Ball Nordstrom Steven Dewalt Stephanie White your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Tom Horsley David Woolley-Wilson the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Nader Kabbani Jessie Woolley-Wilson Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Ben Klinger Barbara Wortley Hall, 206.215.4776. for more information. Ghizlane Morlot

CLUB LUDO, JUNE 9, 2017

CO-CHAIRS DINING AT BENAROYA HALL Ryan Mitrovich Powered by Tuxedos and Tennis Shoes Catering and Events Tiffany Moss COMMITTEE MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a few Eric Berlinberg short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place Brittany Boulding Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to ALL ticket holders Duncan Carey two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are Samantha DeLuna encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call 206.336.6699. Jackie Ernst Eric Jacobs DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring Jason Perkizas fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal before Talia Silveri a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Saul Spady Auditorium.

LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the performance to avoid waiting in line at intermission.

54 SEATTLESYMPHONY.ORG THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY seattlesymphony.org/liszt

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HOLIDAY MUSICAL SALUTE On December 6, 2016 the Seattle Symphony kicked off the This annual event benefits the Seattle Symphony’s contribution holiday season with the always-popular Holiday Musical Salute to the Players’ Pension Plan, and this year the event raised at the Westin Seattle. The event included a festive selection of over $180,000 in support of our dedicated musicians. pop-up shops with an assortment of gifts to delight everyone. A huge thank you to the many table hosts, sponsors, The highlight of the afternoon’s luncheon was a concert attendees, donors and pop-up shop vendors for making this of seasonal favorites by the Seattle Symphony, under the year’s event such a resounding success. Special thanks also direction of Associate Conductor Pablo Rus Broseta, featuring to Holiday Musical Salute Co-Chairs Rebecca Layman-Amato performances by Young Artists Stephen and Marie Leou, and and Katrina Russell and to the entire event committee for their the Seattle Girls’ Choir. leadership and dedication.

PHOTOS: 1 Karin Mital, of Karin’s Garden, one of the many pop-up shop vendors that delighted attendees 2 Nancy Hughes, Paola Diano, Kristine Shields, Julie Artz, Board member Susan Johannsen, Patricia Evanno, Agnieszka Kierner 3 Event MC Fred Northup, Jr. 4 Associate Conductor Pablo Rus Broseta 5 The Seattle Symphony performed a concert of holiday favorites 6 Symphony Board member Sherry Benaroya, Board Chair Leslie Jackson Chihuly and Rebecca Benaroya

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