8.571211 Ravel/Hovhaness Booklet 6P.Indd

SEATTLE SYMPHONY Scott Goff Seattle Symphony COLLECTION Scott Goff, Principal Flute of the Seattle Symphony and Opera for 42 seasons, recently The Seattle Symphony, founded in 1903, has gained international prominence with more than 140 recordings, retired from those organizations in 2011. For 25 years he was also Principal Flute twelve GRAMMY® nominations, two Emmys and numerous other awards. Under the leadership of Music of the Mostly Mozart Festival Orchestra in New York City, frequently appearing as Director Ludovic Morlot since September 2011, the Seattle Symphony performs in one of the world’s fi nest soloist on “Live From Lincoln Center” broadcasts. Before returning to Seattle he was concert venues – the acoustically superb Benaroya Hall – in downtown Seattle. Gerard Schwarz led the Associate Principal Flute of the Pittsburgh Symphony Orchestra. He has appeared as orchestra from 1985 to 2011, and is now Conductor Laureate. The Seattle Symphony is internationally soloist with these organizations in concert on numerous occasions and is solo fl ute for recognized for its innovative programming and extensive recording history. From September through July, the virtually all of the Seattle Symphony’s recordings to date. A student of Julius Baker at Symphony is heard live by more than 315,000 people. For more information on the Seattle Symphony, visit Juilliard, Goff’s earlier studies were at the University of Washington with then Seattle www.seattlesymphony.org. Symphony Principal Flutes Sidney Zeitlin, Felix Skowronek and long time Seattle Maurice Symphony Principal Flute Frank Horsfall. Gerard Schwarz conducts the Seattle Symphony in Benaroya Hall, Seattle Gerard Schwarz Photo courtesy of Yuen Lui Studio Gerard Schwarz has a vast repertoire that includes major commitments to Germanic, RAVEL Russian and American music. He was Music Director of the Seattle Symphony from 1985 to 2011. He currently serves as Seattle Symphony Conductor Laureate and Daphnis et Chloé Music Director of the Eastern Music Festival. Previously, he was Music Director of New York’s Mostly Mozart Festival, the Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura with the Tokyo Philharmonic. His considerable discography of over 330 releases showcases his collaborations with some of Alan the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech ©Yuen Lui Studio ©Yuen Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the Seattle Symphony, among others. Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation HOVHANESS Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the fi rst American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Meditation on Orpheus Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacifi c Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its fi rst “IMPACT” lifetime achievement award.

Seattle Symphony Chorale Scott Goff, Flute The Seattle Symphony Chorale, offi cial chorus of Seattle Symphony, was founded as the Seattle Chorale in 1953 by Leonard Moore. The Chorale began its formal affi liation as the Symphony’s offi cial chorus in 1976 and Seattle Symphony Chorale consists of approximately 120 members who together volunteer more than 30,000 hours each year. The singers are chosen by audition and perform throughout the season with Seattle Symphony. Seattle Symphony

8.571211 5 6 8.571211 Gerard Schwarz Maurice Ravel (1875-1937) unanimously declared the winner. Dorcon too comes the scene changes. Chloé represents the young nymph wandering in the until she falls, exhausted, into the arms of Daphnis. forward, but is chased away by the laughing crowd. VII. There is a dull light and the pirate camp meadow. Daphnis, as Pan, appears and declares his XI. Eventually before the altar of the Nymphs Daphnis et Chloé IV. The laughter breaks off and Daphnis and is seen, set on a rocky shore. The pirates busy love. The nymph rejects him, but the god becomes Daphnis swears faith, offering two sheep. A group of Chloé embrace. The young people move away, themselves with their plunder. Torches bring more more insistent. She disappears among the reeds. In young girls, dressed as bacchantes, with tambourines, Maurice Ravel’s symphonie choréographique, I. The opening scene is a meadow, near a taking Chloé with them. Daphnis stands motionless, light on the scene. The pirates dance, at first to a despair, he seizes some reed stems and makes a enters. Daphnis and Chloé embrace tenderly. Young Daphnis et Chloé, is based on the Greco-Roman sacred wood. There are hills in the background, as if in ecstasy. Voices are heard off-stage, receding rough accompaniment. A quieter interlude is followed flute, on which he plays a melancholy melody. Chloé men join them, and they dance in a joyful bacchanale, pastoral romance by Longus, a writer of the second and to the right a cave, at the entrance to which, cut gently into the distance. Daphnis lies flat on the by a dance of greater excitement, after which the re-appears and represents, in her dance, the sound of bringing the ballet to an end. century A.D. The love-story is set on the island of from the same rock, stand three archaic figures of grass, holding his face in his hands. Lyceion, a men fall, exhausted. Pan’s flute. Her dance becomes more and more lively Lesbos, where, after various misfortunes, the lovers nymphs. To the left, a little further back, is a large woman of greater experience, enters and, seeing VIII. Bryaxis, their leader, orders the prisoner to of the title are eventually happily re-united. The idea rock that vaguely suggests the form of the god Pan. the young goatherd, lifts his head, holding her hands be brought in. Two pirates bring Chloé in, her hands for the ballet came from the Russian choreographer On a second level sheep graze. It is a bright spring in front of his eyes. Daphnis thinks that it is Chloé. tied. Bryaxis orders her to dance. Her dance is one Michel Fokine and was his last work for Dyagilev’s afternoon. As the curtain rises, the stage is empty. A He then recognises Lyceion and tries to escape. of supplication, accompanied by the cor anglais. She Ballets Russes, brought to the stage of the Paris chord is gradually formed by the muted strings, and Lyceion, however, dances, dropping one of her tries to escape, but is roughly brought back again. Alan Hovhaness (1911-2000) Théâtre du Châtelet in difficult circumstances. a flute plays a theme of yearning, accompanied by veils, seemingly by accident. Daphnis picks it up and In despair she resumes her dance. Once more she Meditation on Orpheus Fokine had nurtured the idea of a Greek ballet on the a wordless chorus off-stage. The sound of an oboe puts it round her. She continues her dance, which tries to escape, but is brought back again, sinking subject for some years, and presented his scenario is heard, and the music increases in pace, as young grows increasingly excited. She drops another veil, into despair, as she thinks of Daphnis. Bryaxis wants Son of an Armenian father and American mother, Alan As a composer Hovhaness was immensely prolific, to the Mariinsky Theatre in St Petersburg, where men and girls appear, carrying baskets of gifts for the which Daphnis again picks up, before running off, her taken away, and he carries her off in triumph. Hovhaness was born in Somerville, Massachusetts, in with over sixty symphonies, concertos for accordion, he was principal dancer, in 1904. In 1909 he had Nymphs. The goatherd Daphnis appears, following mocking the young goatherd. The sound of weapons Suddenly the atmosphere changes. Little flames 1911, and showed an early interest in composition. He harmonica, harp, piano, saxophone and various other joined Dyagilev in Paris as principal choreographer his flock. He is joined by Chloé and they move is heard amid cries of war, coming nearer. On the appear, lit by invisible hands, and fantastic creatures studied briefly at Tufts College, continuing at the New instruments, in addition to vocal and chamber music and now saw the opportunity for the creation of towards the altar, disappearing round a corner. The second level girls are seen running away, followed are seen, crawling or leaping. Satyrs appear on all England Conservatory as a piano pupil of Adelaide and a series of works for the stage. His Meditation his greatest masterpiece. By 1910 Dyagilev had dance continues and Daphnis and Chloé re-appear by pirates. Daphnis wonders about Chloé, who may sides and encircle the pirates. The earth opens. The Proctor and Heinrich Gebhard and a composition on Orpheus was written in 1957. An evocative piece, commissioned music for Daphnis et Chloé from on the first level, and bow down before the Nymphs. be in danger, and goes out to help her. Chloé runs shadow of Pan is seen over the mountains in the student of Frederick Converse, adapting his original it is scored for a full orchestra and is characteristic of Ravel, but there were delays in the composition. The II. A violin solo leads to a livelier dance. The in, distraught, seeking to escape. She throws herself background, menacing. The pirates all flee in fear. name, Alan Vaness Chakmakjian, to the form by the composer in its play with contrasting timbres and scenario by Fokine was adjusted by Ravel, who, in girls draw the attention of Daphnis and dance around down in front of the Nymphs’ altar, begging their IX. The scene changes to that of the opening, which he has become known. From his thirties he sonorities and is innovative in its use of free rhythms. any case, saw the story through the prism of Amyot’s him, while Chloé feels the first pangs of jealousy. protection. A band of pirates bursts in, see her, and as night passes away. The only sound is that of the became fascinated by ideas of mysticism and began The music suggests the mysteries of Orpheus, the sixteenth-century French translation of Longus and The cowherd Dorcon shows interest. Daphnis looks carry her off. Daphnis returns, looking for her, and streams of dew flowing down over the rocks. Daphnis his investigations of Indian and Armenian music. He musician of ancient Greece who could move stones through a nostalgic view of the pastoral conventions angry, before all join in the dance. As this nears an sees a sandal she has dropped. Mad with despair, he is still prostrate before the Nymphs’ cave. Little by went on to study with Martinů and taught at the New and rocks by the music of his lyre, and who became of the eighteenth century. The new ballet eventually end, Dorcon tries to kiss Chloé, who innocently turns curses the gods who have failed to protect her and little day dawns. Birds sing and in the distance a England Conservatory and then in summer courses the centre of a mystic religion. closed the Paris season in 1912, but was to some her cheek towards him, but Daphnis pushes him falls fainting before the entrance to the cave. shepherd passes by with his flock. Another shepherd of the Eastman School of Music. Subsequent travel Keith Anderson extent overshadowed by the succès de scandale away. V. The countryside is covered with a strange is seen in the background. A group of herdsmen allowed him to pursue an interest in Japanese and occasioned by L’Après-midi d’un faune. III. Daphnis tenderly approaches Chloé. The light. A small flame burns on the head of one of the appear, looking for Daphnis and Chloé. They Korean music. He finally settled in Seattle, where he Daphnis et Chloé, which called for much larger young men intervene, standing in front of Chloé statues. The nymph comes to life and comes down see Daphnis and rouse him. In distress, he looks died in 2000. resources, dancers, orchestral players and singers, and gently pushing Daphnis away. One of them from her pedestal, followed by the second and around for Chloé. At last she appears, surrounded had only two performances. Fokine had quarrelled suggests a dance contest between Daphnis and third nymph. They play together, starting a slow, by shepherdesses. They throw themselves into one with Dyagilev over his relationship with Nijinsky, Dorcon, the winner to be rewarded by a kiss from mysterious dance. They see Daphnis and, leaning another’s arms. Daphnis sees Chloé’s crown; his and Dyagilev, in his turn, tried to have the ballet Chloé. Dorcon’s grotesque dance, with its brass over him, dry his tears. Reviving him, they lead him dream was prophetic; the intervention of Pan is clear. cancelled, in spite of the advertised programme. It accompaniment, causes amusement, and the young towards the rock and call on Pan. The figure of the X. The old shepherd Lammon explains that was eventually given two, instead of the expected people imitate the cowherd’s clumsy movements. god gradually appears, and Daphnis prostrates Chloé has been saved because Pan remembered four performances for any new work, but was well There is general laughter as Dorcon ends his dance. himself in supplication. All fades away. the nymph Syrinx, whom he loved. Daphnis and enough received. Daphnis answers with a graceful dance, and is VI. Distant voices are heard again, off-stage, as Chloé mime the adventure of Pan and Syrinx.

8.571211 2 3 8.571211 4 8.571211 Maurice Ravel (1875-1937) unanimously declared the winner. Dorcon too comes the scene changes. Chloé represents the young nymph wandering in the until she falls, exhausted, into the arms of Daphnis. forward, but is chased away by the laughing crowd. VII. There is a dull light and the pirate camp meadow. Daphnis, as Pan, appears and declares his XI. Eventually before the altar of the Nymphs Daphnis et Chloé IV. The laughter breaks off and Daphnis and is seen, set on a rocky shore. The pirates busy love. The nymph rejects him, but the god becomes Daphnis swears faith, offering two sheep. A group of Chloé embrace. The young people move away, themselves with their plunder. Torches bring more more insistent. She disappears among the reeds. In young girls, dressed as bacchantes, with tambourines, Maurice Ravel’s symphonie choréographique, I. The opening scene is a meadow, near a taking Chloé with them. Daphnis stands motionless, light on the scene. The pirates dance, at first to a despair, he seizes some reed stems and makes a enters. Daphnis and Chloé embrace tenderly. Young Daphnis et Chloé, is based on the Greco-Roman sacred wood. There are hills in the background, as if in ecstasy. Voices are heard off-stage, receding rough accompaniment. A quieter interlude is followed flute, on which he plays a melancholy melody. Chloé men join them, and they dance in a joyful bacchanale, pastoral romance by Longus, a writer of the second and to the right a cave, at the entrance to which, cut gently into the distance. Daphnis lies flat on the by a dance of greater excitement, after which the re-appears and represents, in her dance, the sound of bringing the ballet to an end. century A.D. The love-story is set on the island of from the same rock, stand three archaic figures of grass, holding his face in his hands. Lyceion, a men fall, exhausted. Pan’s flute. Her dance becomes more and more lively Lesbos, where, after various misfortunes, the lovers nymphs. To the left, a little further back, is a large woman of greater experience, enters and, seeing VIII. Bryaxis, their leader, orders the prisoner to of the title are eventually happily re-united. The idea rock that vaguely suggests the form of the god Pan. the young goatherd, lifts his head, holding her hands be brought in. Two pirates bring Chloé in, her hands for the ballet came from the Russian choreographer On a second level sheep graze. It is a bright spring in front of his eyes. Daphnis thinks that it is Chloé. tied. Bryaxis orders her to dance. Her dance is one Michel Fokine and was his last work for Dyagilev’s afternoon. As the curtain rises, the stage is empty. A He then recognises Lyceion and tries to escape. of supplication, accompanied by the cor anglais. She Ballets Russes, brought to the stage of the Paris chord is gradually formed by the muted strings, and Lyceion, however, dances, dropping one of her tries to escape, but is roughly brought back again. Alan Hovhaness (1911-2000) Théâtre du Châtelet in difficult circumstances. a flute plays a theme of yearning, accompanied by veils, seemingly by accident. Daphnis picks it up and In despair she resumes her dance. Once more she Meditation on Orpheus Fokine had nurtured the idea of a Greek ballet on the a wordless chorus off-stage. The sound of an oboe puts it round her. She continues her dance, which tries to escape, but is brought back again, sinking subject for some years, and presented his scenario is heard, and the music increases in pace, as young grows increasingly excited. She drops another veil, into despair, as she thinks of Daphnis. Bryaxis wants Son of an Armenian father and American mother, Alan As a composer Hovhaness was immensely prolific, to the Mariinsky Theatre in St Petersburg, where men and girls appear, carrying baskets of gifts for the which Daphnis again picks up, before running off, her taken away, and he carries her off in triumph. Hovhaness was born in Somerville, Massachusetts, in with over sixty symphonies, concertos for accordion, he was principal dancer, in 1904. In 1909 he had Nymphs. The goatherd Daphnis appears, following mocking the young goatherd. The sound of weapons Suddenly the atmosphere changes. Little flames 1911, and showed an early interest in composition. He harmonica, harp, piano, saxophone and various other joined Dyagilev in Paris as principal choreographer his flock. He is joined by Chloé and they move is heard amid cries of war, coming nearer. On the appear, lit by invisible hands, and fantastic creatures studied briefly at Tufts College, continuing at the New instruments, in addition to vocal and chamber music and now saw the opportunity for the creation of towards the altar, disappearing round a corner. The second level girls are seen running away, followed are seen, crawling or leaping. Satyrs appear on all England Conservatory as a piano pupil of Adelaide and a series of works for the stage. His Meditation his greatest masterpiece. By 1910 Dyagilev had dance continues and Daphnis and Chloé re-appear by pirates. Daphnis wonders about Chloé, who may sides and encircle the pirates. The earth opens. The Proctor and Heinrich Gebhard and a composition on Orpheus was written in 1957. An evocative piece, commissioned music for Daphnis et Chloé from on the first level, and bow down before the Nymphs. be in danger, and goes out to help her. Chloé runs shadow of Pan is seen over the mountains in the student of Frederick Converse, adapting his original it is scored for a full orchestra and is characteristic of Ravel, but there were delays in the composition. The II. A violin solo leads to a livelier dance. The in, distraught, seeking to escape. She throws herself background, menacing. The pirates all flee in fear. name, Alan Vaness Chakmakjian, to the form by the composer in its play with contrasting timbres and scenario by Fokine was adjusted by Ravel, who, in girls draw the attention of Daphnis and dance around down in front of the Nymphs’ altar, begging their IX. The scene changes to that of the opening, which he has become known. From his thirties he sonorities and is innovative in its use of free rhythms. any case, saw the story through the prism of Amyot’s him, while Chloé feels the first pangs of jealousy. protection. A band of pirates bursts in, see her, and as night passes away. The only sound is that of the became fascinated by ideas of mysticism and began The music suggests the mysteries of Orpheus, the sixteenth-century French translation of Longus and The cowherd Dorcon shows interest. Daphnis looks carry her off. Daphnis returns, looking for her, and streams of dew flowing down over the rocks. Daphnis his investigations of Indian and Armenian music. He musician of ancient Greece who could move stones through a nostalgic view of the pastoral conventions angry, before all join in the dance. As this nears an sees a sandal she has dropped. Mad with despair, he is still prostrate before the Nymphs’ cave. Little by went on to study with Martinů and taught at the New and rocks by the music of his lyre, and who became of the eighteenth century. The new ballet eventually end, Dorcon tries to kiss Chloé, who innocently turns curses the gods who have failed to protect her and little day dawns. Birds sing and in the distance a England Conservatory and then in summer courses the centre of a mystic religion. closed the Paris season in 1912, but was to some her cheek towards him, but Daphnis pushes him falls fainting before the entrance to the cave. shepherd passes by with his flock. Another shepherd of the Eastman School of Music. Subsequent travel Keith Anderson extent overshadowed by the succès de scandale away. V. The countryside is covered with a strange is seen in the background. A group of herdsmen allowed him to pursue an interest in Japanese and occasioned by L’Après-midi d’un faune. III. Daphnis tenderly approaches Chloé. The light. A small flame burns on the head of one of the appear, looking for Daphnis and Chloé. They Korean music. He finally settled in Seattle, where he Daphnis et Chloé, which called for much larger young men intervene, standing in front of Chloé statues. The nymph comes to life and comes down see Daphnis and rouse him. In distress, he looks died in 2000. resources, dancers, orchestral players and singers, and gently pushing Daphnis away. One of them from her pedestal, followed by the second and around for Chloé. At last she appears, surrounded had only two performances. Fokine had quarrelled suggests a dance contest between Daphnis and third nymph. They play together, starting a slow, by shepherdesses. They throw themselves into one with Dyagilev over his relationship with Nijinsky, Dorcon, the winner to be rewarded by a kiss from mysterious dance. They see Daphnis and, leaning another’s arms. Daphnis sees Chloé’s crown; his and Dyagilev, in his turn, tried to have the ballet Chloé. Dorcon’s grotesque dance, with its brass over him, dry his tears. Reviving him, they lead him dream was prophetic; the intervention of Pan is clear. cancelled, in spite of the advertised programme. It accompaniment, causes amusement, and the young towards the rock and call on Pan. The figure of the X. The old shepherd Lammon explains that was eventually given two, instead of the expected people imitate the cowherd’s clumsy movements. god gradually appears, and Daphnis prostrates Chloé has been saved because Pan remembered four performances for any new work, but was well There is general laughter as Dorcon ends his dance. himself in supplication. All fades away. the nymph Syrinx, whom he loved. Daphnis and enough received. Daphnis answers with a graceful dance, and is VI. Distant voices are heard again, off-stage, as Chloé mime the adventure of Pan and Syrinx.

8.571211 2 3 8.571211 4 8.571211 SEATTLE SYMPHONY Scott Goff Seattle Symphony COLLECTION Scott Goff, Principal Flute of the Seattle Symphony and Opera for 42 seasons, recently The Seattle Symphony, founded in 1903, has gained international prominence with more than 140 recordings, retired from those organizations in 2011. For 25 years he was also Principal Flute twelve GRAMMY® nominations, two Emmys and numerous other awards. Under the leadership of Music of the Mostly Mozart Festival Orchestra in New York City, frequently appearing as Director Ludovic Morlot since September 2011, the Seattle Symphony performs in one of the world’s fi nest soloist on “Live From Lincoln Center” broadcasts. Before returning to Seattle he was concert venues – the acoustically superb Benaroya Hall – in downtown Seattle. Gerard Schwarz led the Associate Principal Flute of the Pittsburgh Symphony Orchestra. He has appeared as orchestra from 1985 to 2011, and is now Conductor Laureate. The Seattle Symphony is internationally soloist with these organizations in concert on numerous occasions and is solo fl ute for recognized for its innovative programming and extensive recording history. From September through July, the virtually all of the Seattle Symphony’s recordings to date. A student of Julius Baker at Symphony is heard live by more than 315,000 people. For more information on the Seattle Symphony, visit Juilliard, Goff’s earlier studies were at the University of Washington with then Seattle www.seattlesymphony.org. Symphony Principal Flutes Sidney Zeitlin, Felix Skowronek and long time Seattle Maurice Symphony Principal Flute Frank Horsfall. Gerard Schwarz conducts the Seattle Symphony in Benaroya Hall, Seattle Gerard Schwarz Photo courtesy of Yuen Lui Studio Gerard Schwarz has a vast repertoire that includes major commitments to Germanic, RAVEL Russian and American music. He was Music Director of the Seattle Symphony from 1985 to 2011. He currently serves as Seattle Symphony Conductor Laureate and Daphnis et Chloé Music Director of the Eastern Music Festival. Previously, he was Music Director of New York’s Mostly Mozart Festival, the Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura with the Tokyo Philharmonic. His considerable discography of over 330 releases showcases his collaborations with some of Alan the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech ©Yuen Lui Studio ©Yuen Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the Seattle Symphony, among others. Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation HOVHANESS Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the fi rst American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Meditation on Orpheus Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacifi c Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its fi rst “IMPACT” lifetime achievement award.

8.571211 5 6 8.571211 Gerard Schwarz SEATTLE SYMPHONY Scott Goff Seattle Symphony COLLECTION Scott Goff, Principal Flute of the Seattle Symphony and Opera for 42 seasons, recently The Seattle Symphony, founded in 1903, has gained international prominence with more than 140 recordings, retired from those organizations in 2011. For 25 years he was also Principal Flute twelve GRAMMY® nominations, two Emmys and numerous other awards. Under the leadership of Music of the Mostly Mozart Festival Orchestra in New York City, frequently appearing as Director Ludovic Morlot since September 2011, the Seattle Symphony performs in one of the world’s fi nest soloist on “Live From Lincoln Center” broadcasts. Before returning to Seattle he was concert venues – the acoustically superb Benaroya Hall – in downtown Seattle. Gerard Schwarz led the Associate Principal Flute of the Pittsburgh Symphony Orchestra. He has appeared as orchestra from 1985 to 2011, and is now Conductor Laureate. The Seattle Symphony is internationally soloist with these organizations in concert on numerous occasions and is solo fl ute for recognized for its innovative programming and extensive recording history. From September through July, the virtually all of the Seattle Symphony’s recordings to date. A student of Julius Baker at Symphony is heard live by more than 315,000 people. For more information on the Seattle Symphony, visit Juilliard, Goff’s earlier studies were at the University of Washington with then Seattle www.seattlesymphony.org. Symphony Principal Flutes Sidney Zeitlin, Felix Skowronek and long time Seattle Maurice Symphony Principal Flute Frank Horsfall. Gerard Schwarz conducts the Seattle Symphony in Benaroya Hall, Seattle Gerard Schwarz Photo courtesy of Yuen Lui Studio Gerard Schwarz has a vast repertoire that includes major commitments to Germanic, RAVEL Russian and American music. He was Music Director of the Seattle Symphony from 1985 to 2011. He currently serves as Seattle Symphony Conductor Laureate and Daphnis et Chloé Music Director of the Eastern Music Festival. Previously, he was Music Director of New York’s Mostly Mozart Festival, the Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu Bunkamura with the Tokyo Philharmonic. His considerable discography of over 330 releases showcases his collaborations with some of Alan the world’s greatest orchestras, including the Philadelphia Orchestra, the Czech ©Yuen Lui Studio ©Yuen Philharmonic, the London Symphony, Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the Seattle Symphony, among others. Schwarz has served on the National Council on the Arts. He has received two Emmy Awards, thirteen GRAMMY® nominations, six ASCAP Awards, and numerous Stereo Review and Ovation HOVHANESS Awards. In addition, he holds the Ditson Conductor’s Award from Columbia University, was the fi rst American named Conductor of the Year by Musical America, and has received numerous honorary doctorates, including one from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Meditation on Orpheus Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacifi c Northwest branch of the National Academy of Recording Arts & Sciences gave Schwarz its fi rst “IMPACT” lifetime achievement award.

8.571211 5 6 8.571211 Gerard Schwarz Also available:

8.571208 8.571203

8.571205 8.571206 NAXOS RAVEL: Daphnis et Chloe • HOVHANESS: Meditation on Orpheus 8.571211

9:40 12:12 16:16

Derrière la scène, Derrière voix on entend des Animé et rude Bryaxis ordonne la captive d’amener du jour Lever Lammon Le vieux berger Bacchanale VI. Deuxième partie Deuxième VII. VIII. partie Troisième IX. X.

2 3 XI.

Alan Maurice (1911-2000) (1875-1937)

RAVEL 31:05 HOVHANESS Booklet notes by Keith Anderson Publisher: C.F. Peters (Hovhaness) at the Seattle Center Opera House, USA

Seattle Symphony • Gerard Schwarz Cover photo & inlay photo of Gerard Schwarz by Ben VanHouten Scott Goff, Flute* • Seattle Symphony Chorale Scott Goff, Flute* Executive Producer: Amelia S. Haygood • Recording Producer: Adam Stern Executive Producer: Amelia S. Haygood • Recording Producer: Recorded on 24 & 25 September 1990 (Ravel); 6, 7 & 12 June 1990 (Hovhaness) Recorded on 24 & 25 September 1990 (Ravel); 6, 7 & 12 evokes the mystery and charged energy of ancient Greece. Greece. of ancient energy and charged the mystery evokes Recording Engineer: John M Eargle • Assistant Engineers: Al Swanson & Li Teo (Ravel) Recording Engineer: John M Eargle • Assistant Engineers: enveloppe le paysage Une lumière irréelle Une lumière Introduction et Danse religieuse Introduction Daphnis Les jeunes filles attirent Daphnis s’approche de Chloé tendrement s’interrompent Les rires (Complete Ballet) (Complete Daphnis et Chloé* Daphnis et V. V. II. III. IV. I. Meditation on Orpheus, Op. 155 Meditation on Orpheus, Première partie Première Production Associate: Rudi Simpson (Hovhaness) • Editing: Ramiro Belgardt & John Polito (Hovhaness) Production Associate: Rudi Simpson (Hovhaness) • Editing: 4 Daphnis Daphnis ballet the with et Chloé for music write to Ravel commissioned Dyagilev Sergey This ‘choreographic Nijinsky. by danced was Daphnis Fokine: Michel by choreography a composer the from drew that romance pastoral is a words, Ravel’s in symphony’, eighteenth of the late to the France as much paying tribute scenes of beguiling succession a to luminous the from ranging masterly, is score The setting. Greek any to as century on Meditation Alan Hovhaness’s beauty. of unrivalled musical fresco , in a Bacchanale Orpheus

NAXOS RAVEL: Daphnis et Chloe • HOVHANESS: Meditation on Orpheus 8.571211