NOVEMBER 2016

SOL GABETTA PLAYS SAINT-SAËNS MORLOT CONDUCTS SONIC EVOLUTION TCHAIKOVSKY & SIBELIUS CHOR AL MASTERPIECES THIS SEASON CONTENTS

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EAP full-page template.indd 1 10/18/16 4:18 PM CONTENTS NOVEMBER 2016

4 / CALENDAR

6 / THE ORCHESTRA

8 / SIMPLE GIFTS SPOTLIGHT

10 / NOTES

FEATURES

12 / ANGELS & DEMONS Other-worldly choral and vocal masterpieces this season

14 / RIDING ALONG WITH EVELYN SIMPSON ’s first Artist Aide

CONCERTS 17 / November 3, 5 & 6 MORLOT CONDUCTS TCHAIKOVSKY

23 / November 4 DUDAMEL & THE LA PHIL

26 / November 10 & 12 PICTURES AT AN EXHIBITION

31 / November 11 SONIC EVOLUTION

35 / November 15 RAVEL & MOZART

39 / LUCAS DEBARGUE 39 / November 17, 18 & 19 Photo: Felix Broede – Entertainment – Sony Music Broede Felix Photo: RACHMANINOV PIANO CONCERTO NO. 4

54 / GUIDE TO THE SEATTLE SYMPHONY

55 / THE LIS(Z)T

31 / THE CUONG VU GROUP 23 / LOS ANGELES PHILHARMONIC Photo: Steve Korn Steve Photo: Phil Evans/LA Vern Photo:

ON THE COVER: Sol Gabetta by Marco Borggreve COVER DESIGN: Helen Hodges EDITOR: Heidi Staub

© 2016 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 November & Classical KING FM 98.1 every December 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

■ NOVEMBER 7:30pm 8pm 10:30am Holiday Morlot Conducts Dudamel & Musical Salute Tchaikovsky the LA Phil Pre-Jingle Brunch* 7:30pm Seattle Repertory Jazz Orchestra: Miles Ahead 8pm Morlot Conducts Tchaikovsky 1 2 3 4 5

12pm Lifetime 5:30pm 8pm 7:30pm 7:30pm Northwest 7:30pm EMG Directors Luncheon* AIA Seattle presents Earshot Jazz Pictures at Sinfonietta: Barber presents Sequentia: the 2016 Honor presents Vijay Iyer an Exhibition & Mozart The Monk Sings the 2pm Morlot Awards for WA & Wadada Leo Smith Pagan Conducts Architecture Duo 8pm Tchaikovsky Sonic Evolution 8pm Pictures at 7pm Music of Co-Presented with an Exhibition Remembrance 6 7 8 9 10 Earshot Jazz 11 12

2:30pm 7:30pm 7:30pm NWAA, 7:30pm Rachmaninov 12pm Rachmaninov 2pm Live @ Benaroya EMG presents Ravel & Mozart KNKX 88.5 FM Piano Concerto No. 4 Piano Concerto No. 4 Hall — Casa Patas: The Sequentia: The Monk & The Stranger Meet the Musicians 8pm Live @ Benaroya Silences of the Dance Sings the Pagan present An Evening Post-Concert Event* Hall — Casa Patas: The 2pm Cascade Youth with David Sedaris 7:30pm Live @ Silences of the Dance Symphony Orchestra 3pm Seattle Youth Benaroya Hall — Casa 8pm Luma Guild 7:30pm SCGS presents LA Guitar Quartet Symphony Orchestra Patas: The Silences of presents Mateo the Dance Messina’s “The Pageant” 8pm Rachmaninov Piano 13 14 15 16 17 18 Concerto No. 4 19

7pm ACCUMM 12:30pm FREE 8pm Foundation presents Watjen Concert Bernadette Peters Chamber Works of Organ Recital- George Enescu Demonstration

8pm Showbox presents Seu Jorge: The Life Aquatic 20 21 22 23 LUCAS DEBARGUE24 25 26

■ DECEMBER 11am Family Concerts: Rob Kapilow 7:30pm The Polar Express The Dream of 8pm SHOWTUNES Gerontius presents Leap of Faith 8pm The Dream of Gerontius 27 28 29 30 1 2 3

2pm Seattle Men’s 7:30pm PLU 10am 7pm 7pm 10:30am Tiny Tots: 9:30, 10:30 & Chorus: Silver & Soul presents In Sweet Holiday Musical Banff Mountain Banff Mountain Holiday Hooray! 11:30am Tiny Tots: Rejoicing Salute* Film Festival Film Festival Holiday Hooray! 7pm Banff Mountain 2pm SHOWTUNES Film Festival 2 & 8pm presents Leap of 8pm 7:30pm Holiday Pops Faith Chris Mitchell NWU presents 8pm 7pm presents Let It Snow Christmas Traditions Holiday Pops Banff Mountain 4 5 6 7 8 9 Film Festival 10

2pm Holiday Pops 7:30pm 7:30pm 1 & 8pm Ballard NW Senior The Coats: Annual Handel Messiah 2pm Pacific MusicWorks presents Center presents Holiday Concert Navidad: A New World The Irish Tenors’ 2 & 7:30pm Christmas Holiday Concert 8pm The Coats: Annual Handel Messiah Holiday Concert 2 & 7:30pm Seattle Men’s Chorus: Silver NORTHWEST & Soul 11 12 13 BOYCHOIR14 15 16 17

2pm 7:30pm 7:30pm 7:30pm 7:30pm Handel Messiah Ensign Symphony Ensign Symphony Seattle Men’s A Festival of Lessons 2pm & Chorus presents & Chorus presents Chorus: Silver & Soul & Carols The Coats: Annual A Joyeux Noel A Joyeux Noel Holiday Concert 7:30pm Seattle 8pm Seattle Men’s Men’s Chorus: Silver Chorus: Silver & Soul & Soul 18 19 20 21 22 23 24

7:30pm 7pm 7pm 9pm The Four Seasons Byron Schenkman Vivaldi Untuxed New Year’s Eve & Friends — Bach Classical Soul of & Corelli Motown

7:30pm The Four Seasons 25 26 27 28 29 30 31

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

Photos: Lucas Debargue (November 17–19); 4 SEATTLESYMPHONY.ORG Northwest Boychoir by Ben VanHouten (December 23)

SSO036-Calendar.indd 1 10/25/16 5:13 PM ■ ON THE BEAT See Who’s I hear that pet-friendly, Here to Hear 62+ Village Cove is open on Green Lake. Let’s Visit!

Call (206) 641-9035 or VisitVillageCove.org to RSVP or to learn more! VILLAGE COVE Living Life at Green Lake Photo: James Holt James Photo: Call (206) 641-9035 or VisitVillageCove.org 6850 Woodlawn Ave NE, Seattle, WA 98115 “I just finished hiking the Pacific Crest to RSVP or to learn more! Trail. I started April 20 and finished Village Cove is owned and operated by The Hearthstone. September 18. I spent a few days in Vancouver and now I’m here in Seattle visiting friends. They brought me to the Symphony tonight. After this I’m going home to Akron, Ohio and road tripping along the East Coast for a little bit. I plan to work on some metal sculptures and furniture projects. I made three collages before I went hiking but I’ve never really done art before. I’ve done a ton of metal work, so yeah, it’s going to be a new thing. When I have an idea, I have to get it out. Otherwise I’ll go crazy.” — Rus

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

seattlesymphony.org TICKETS: 206.215.4747 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, Jenufa 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 in London and then at the Royal “listen boldly,” presenting College of Music as recipient of the

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 Prokofiev. All of this will be complemented by the Seattle Symphony’s School of Music in Seattle and lives in Seattle with his wife, highly innovative series, Sonic Evolution and [untitled]. This season Ghizlane, and their two children.

SEATTLE SYMPHONY ORCHESTRA ROSTER

LUDOVIC MORLOT , Principal Guest Conductor Pablo Rus Broseta, Douglas F. King Associate Conductor Harriet Overton Stimson Music Director Joseph Crnko, Associate Conductor for Choral Activities , 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 Emma McGrath** 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 MUSIC ALIVE Brittany Boulding Jennifer Godfrey Eric Jacobs TIMPANI COMPOSER IN RESIDENCE Trimpin Stephen Bryant Travis Gore Michael Crusoe BASSOON Principal Linda Cole Jonathan Green HONORARY MEMBER Xiao-po Fei Seth Krimsky Matthew Decker Cyril M. Harris † Artur Girsky FLUTE Principal Assistant Principal Andrew Yeung Open Position Paul Rafanelli Principal Mike Gamburg PERCUSSION + Resident VIOLA Supported by David J. and Shelley Michael A. Werner † In Memoriam Hovind Susan Gulkis Assadi CONTRABASSOON Principal ** On Leave Jeffrey Barker PONCHO Principal Viola Mike Gamburg Michael Clark Associate Principal Arie Schächter Matthew Decker Assistant Principal

6 SEATTLESYMPHONY.ORG ■ MARK ROBBINS Associate Principal Horn

AlanaJewelry.com 206.362.6227 Northgate Mall Seattle, WA

EA 16 telatenddMUSIC 1 AT 9016 116 A ST. JAMES CATHEDRAL Photo: courtesy of Mark Robbins courtesyPhoto: of Mark

Mark Robbins is an expert at finding unusual ways to practice. Between finishing school and starting with the Seattle Symphony in 1981, he worked a mix of jobs that included performing, working construction and managing parking lots.

“Very few people would come into the lot during the day, so I could practice in the attendant’s shack,” said Robbins. Even after starting with the Symphony, he had to get inventive with his practice spaces. When his children were young, he would climb into the family van and drive out to empty parking lots for late night or early morning practice FRIDAY SUNDAY SATURDAY FRIDAY sessions. “Being a musician, you have to be creative where you practice,” said Robbins. 11.18.16 12.11.16 12.31.16 1.20.17 7:30 pm 7:30 pm 11:00 pm 7:30 pm Cathedral A Service New Organist Now that their three children are grown, Robbins enjoys traveling with his wife, an artist Brass & of Readings Year’s Eve Ken and recently retired elementary school teacher, during the summer. This year they Organ & Carols Concert Cowen traveled to Peru, visiting Lima, Arequipa, Cusco and Machu Picchu. Concert Joseph Adam, Featuring Featuring Featuring organ; Dr. Cathedral Handel’s transcriptions “She tries to get me to leave the horn at home, but this time she totally forbade me to Paul Thornock, choirs, organs, Dixit and other take a horn on the trip,” said Robbins. “I needed to keep my lips in shape, so I went to conductor and brass Dominus works the hardware store and got a section of hose and fashioned a horn that I could fit into my knapsack!” For more information visit us at www.stjames-cathedral.org/music For more on the Seattle Symphony, visit seattlesymphony.org/stories. or call 206.382.4874 804 9TH AVENUE • SEATTLE

encoreartsseattle.com 7 ■ SIMPLE GIFTS SPOTLIGHT FareStart

The Seattle Symphony began working with FareStart in 2014. FareStart provides a culinary job training and placement program for homeless and disadvantaged individuals. Many individuals from FareStart have had the opportunity to attend Seattle Symphony concerts free of charge.

FareStart is one of 15 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who previously or are currently experiencing homelessness.

“…this concert was the right thing at the right time. It provided me an opportunity to feel somewhat ‘normal’ again, a bright vignette of ordinary life. From the bottom of my heart, I thank you for that.” – Participant Photo: Clare Barboza Clare Photo:

■ 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 Ryo Kubota Valerie Muzzolini Gordon Barbara Goesling Marcus Tsutakawa Marco Abbruzzese Ned Laird* Orchestra Representative Gerald Grinstein Cyrus Vance, Jr. Rebecca Layman Amato Paul Leach* Zartouhi Dombourian-Eby Cathi Hatch Karla Waterman René Ancinas Jeff Lehman Orchestra Representative Steven Hill Ronald Woodard Claire Angel Dawn Lepore Simon Woods Ken Hollingsworth Arlene Wright Sherry Benaroya Brian Marks* President & CEO Pat Holmes SEATTLE SYMPHONY James Bianco Michael Mitrovich David Hovind LIFETIME DIRECTORS FOUNDATION BOARD Rosanna Bowles Hisayo Nakajima Henry James OF DIRECTORS Llewelyn Pritchard Renée Brisbois Cookie Neil Hubert Locke Jean-François Heitz Chair Paul Brown Nancy Neraas J. Pierre Loebel President Richard Albrecht Susan Detweiler Laurel Nesholm* Kenneth Martin Kathleen Wright Susan Armstrong Kathy Fahlman Dewalt Sheila Noonan Yoshi Minegishi Vice President Robert Ash Larry Estrada Jay Picard* Marilyn Morgan Michael Slonski William Bain Nancy Evans Dana Reid Isa Nelson Treasurer Bruce Baker Jerald Farley Elisabeth Beers Sandler Marlys Palumbo James Bianco Cynthia Bayley Judith Fong Bayan Towfiq Sally G. Phinny Brian Grant Alexandra Brookshire Brian Grant Nicole Vogel James Raisbeck Leslie Jackson Chihuly Phyllis Byrdwell Martin L. Greene Robert Wallace Sue Raschella J. Pierre Loebel Phyllis Campbell Patty Hall Bernice Rind Laurel Nesholm DESIGNEES Mary Ann Champion Terry Hecker Jill Ruckelshaus Robert Collett David Tan Robin Denis H. Jon Runstad Jean-François Heitz* Muriel Van Housen President, Seattle Symphony Chorale David Davis Joaquin Hernandez Martin Selig Ryan Douglas Dorothy Fluke Rick White Jeff Hussey John Shaw President, WolfGang Advisory David Fulton Walter Ingram Langdon Simons, Jr. * Executive Committee Member Council Jean Gardner Susan Johannsen Charles Z. Smith+ + Carmen Spofford Ruth Gerberding In Memoriam Nader Kabbani Linda Stevens President, Seattle Symphony James Gillick Patricia Tall-Takacs Elizabeth Ketcham Volunteers

BENAROYA HALL BOARD OF DIRECTORS

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

8 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM Jessica Andrews-Hall, Samantha Everett Bowling, Veronica Boyer, NOV Simon Woods Bosch, Lena Console, Sonya Evelyn Gershen Harris, Jesse Harvey, Rafael President & CEO Assistant Head Ushers Howell, Zachary Kambour, Shelby 17 Leslie Jackson Chihuly Chair Ron Hyder Leyland, Leslie McMichael, Rebecca Charlie Wade Morhlang, Dana Staikides Technical Coordinator Senior Vice President of Marketing Teaching Artists & Business Operations DEVELOPMENT Lauren Eastman, Francis Ho, Jennifer Adair Brendan McCullen, Christopher Shaina Shepherd Vice President & General Manager Mena Development Officer (Assistant to VP of Maureen Campbell Melville Discovery Coordinators Development & Grants) Vice President & Chief Financial Officer Jennifer Alley Rosalie Contreras COMMUNICATIONS Interim Campaign Director Vice President of Communications You You Xia Matt Marshall Elena Dubinets Public Relations Manager Major Gift Officer (Campaign) Vice President of Artistic Planning Heidi Staub Betsy Wohlers Jane Hargraft Editor & Publications Manager Development Officer (Campaign) Music of Today Vice President of Development James Holt Becky Kowals DXARTS: Indigo Mist Phase II Kristen NyQuist Digital Content Manager Director of Major Gifts and Planned Giving A new improvisational work by UW faculty Director of Board Relations Andrew Stiefel Nicholas Walls, Marsha Wolf Richard Karpen, Cuong Vu, Juan Pampin, & Strategic Initiatives Social Media & Content Manager Major Gift Officers Ted Poor, and guests. Laura Reynolds Amy Bokanev 7:30 pm Jones Playhouse Director of Education & Community MARKETING Gift Officer Engagement Christy Wood Jessica Lee Director of Marketing Development Coordinator (Major Gifts) EXECUTIVE OFFICE Rachel Spain Paul Gjording Rachel Moore Marketing Manager Senior Major Gift Officer Executive Assistant to the President & CEO and Kyle Painter (Foundations & Government Relations) DEC Senior Vice President Marketing Operations Coordinator Megan Hall Barry Lalonde Annual Fund Senior Manager 4 ARTISTIC PLANNING Director of Digital Products Alicia Archambault Paige Gilbert Jason Huynh Stewardship Manager Assistant Artistic Administrator Digital Marketing Manager Martin Johansson Rose Gear Herb Burke Development Communications Manager Personal Assistant to the Music Director Tessitura Manager Maery Simmons Dmitriy Lipay Gerry Kunkel Data Entry Coordinator Director of Audio & Recording Corporate & Concierge Accounts Manager Tami Horner Senior Manager of Special Events ORCHESTRA & OPERATIONS Jessica Forsythe Art Director & Corporate Development Kelly Woodhouse Boston Zoe Funai Director of Operations Helen Hodges Graphic Designer Special Events Manager Ana Hinz Intersections: Music, Words, & Ryan Hicks Production Manager Forrest Schofield Pictures Group Services Manager Corporate Development Manager Blaine Inafuku Inspired intersections of music, art, and Artist Services, Media & Chorale Manager Joe Brock literature. Hosted by Prof. Robin McCabe. Retail Manager FINANCE & FACILITIES Scott Wilson David Nevens Pre-concert lecture by UW English Prof. Christina Hajdu Personnel Manager Controller Sales Associate Leroy Searle. Keith Higgins Clem Zipp 4 pm Brechemin Auditorium Brent Olsen Assistant Personnel Manager Assistant Controller Ticket Sales Manager Patricia Takahashi-Blayney Lance Glenn Aaron Gunderson Principal Librarian Information Systems Manager Assistant Sales Manager Robert Olivia Megan Spielbusch Nina Cesarrato, Molly Gillette Associate Librarian Accounting Manager DEC Ticket Office Coordinators Jeanne Case Jacqueline Moravec Librarian Asma Ahmed, Mary Austin, 9 Melissa Bryant, Yasmina Ellis, Payroll/AP Accountant Joseph E. Cook Carla Moar, Mike Obermeyer, Marwa Aliwi Technical Director James Bean, CaraBeth Wilson, Staff Accountant Elizabeth Ylaya Mark Anderson, Jeff Lincoln Bernel Goldberg Ticket Services Associates Assistant Technical Directors General Counsel Chris Dinon, Don Irving, Aaron David Ling Gorseth, John Roberson, Michael VENUE ADMINISTRATION Facilities Director Schienbein, Ira Seigel Matt Laughlin Stage Technicians Director of Facility Sales Kevin Baker Facilities Manager James Frounfelter, Adam Moomey EDUCATION & Event & Operations Managers Bob Brosinski COMMUNITY ENGAGEMENT Lead Building Engineer Keith Godfrey Kristin Schneider, Becky Spiewak House Manager Damien De Witte, Christopher Education & Community Engagement Managers Holbrook UW Symphony Orchestra with Tanya Wanchena Katie Hovde Building Engineers Jonathan Biss, piano Assistant House Manager & Usher Scheduler Program Associate Rodney Kretzer David Alexander Rahbee, conductor Milicent Savage, Patrick Weigel Facilities & Security Coordinator Works by Beethoven and Tchaikovsky Assistant House Managers 7:30 pm Meany Theater Dawn Hathaway, Lynn Lambie, Mel HUMAN RESOURCES Longley, Ryan Marsh, Markus Rook Kathryn Osburn Head Ushers Human Resources Generalist

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 NEWS FROM: LUDOVIC MORLOT, MUSIC DIRECTOR

It is a joy to share the music with you today — we have so many incredible experiences in store for you!

Town Music One of the wonderful things about Seattle is our city’s 2016-17 Season rich and diverse musical history. We will honor two curated by Joshua Roman incredible Seattle music legends, Quincy Jones and Ernestine Anderson, during our genre-blending Sonic Evolution concert this month. Jones and Anderson both attended Garfield High School here in Seattle, so Photo: Lisa-Marie Mazzucco Lisa-Marie Photo: it’s only fitting that Garfield High School Jazz Band will perform on this program.

This December I am thrilled to welcome British conductor Edward Gardner to the podium to lead The Dream of Gerontius, a stirring oratorio by fellow Brit Edward Elgar. Gardner was a classmate of mine at the Royal Academy of Music, and I know you’ll be moved by his interpretation of Elgar’s masterwork, which explores profound themes of mortality and the meaning of life.

Next January I return to the podium for Olivier Messiaen’s colorful Trois petites liturgies de la Présence Divine and Ludwig van Beethoven’s revolutionary Symphony No. 9. It is always a pleasure to delve into the wonderfully distinct soundscape of Messiaen’s French music, with which our beloved orchestra has become so well acquainted in recent years. Of course, it’s a treat to conduct Beethoven’s timeless ode to friendship within the context of our orchestra’s two-year Beethoven cycle. Read more about the Elgar, Messiaen, Beethoven and other choral masterpieces on pages 12 to 13.

I hope you’ll join us February 2 and 4 when we partner with local organizations to present an innovative performance of Charles Ives’ New England Holidays. In a series of workshops leading up to the concert, four community partner organizations will work with visual artist Becky Aitken to reimagine the holidays represented in Ives’ composition through the lens of their own experiences. The resulting visual narratives will be presented with poetry by Claudia Castro Luna during our performance.

I am so grateful to you all for accompanying me on this musical journey.

Cordialement,

Ludovic Morlot Music Director

Daniel Bernard Roumain and Marc Bamuthi-Joseph NOTA BENE {

SENSORY FRIENDLY CONCERTS Seattle Symphony musicians and a board-certified music

“Blackbird, Fly” therapist bring to life The Three Little Pigs alongside other short works and participatory a work of movement, songs that highlight “greeting others” as a social skill on November 12 & 13. Sensory

music and Haitian folklore Friendly Concerts are designed specifically for 5–8 year olds with autism spectrum disorders and other disabilities. seattlesymphony.org/sensoryfriendly December 6 { { 7:30 PM / $10 - $20 HOLIDAY MUSICAL SALUTE On December 6 Associate Conductor Pablo Rus Broseta leads the orchestra in a concert of seasonal favorites featuring Young Artists and the TOWNHALLSEATTLE.ORG Seattle Girls’ Choir. Enjoy fabulous pop-up shops, hot cider, mimosas and a delightful luncheon, all while supporting the Seattle Symphony Players’ Pension Plan. See you { there! seattlesymphony.org/hms 10 SEATTLESYMPHONY.ORG ■ GET YOURS ONSTAGE AT BOOK-IT THIS HOLIDAY SEASON Bischofberger TODAY! Violins est. 1955 Professional Repairs Appraisals & Sales

1314 E. John St. Seattle, WA 206-324-3119 BOOK-IT.ORG www.bviolins.com

Our Grammy Award-winning Seattle BV 071811 repair 1_12.pdf Symphony Media label releases Stravinsky’s The Firebird, one of the most beloved works in music history, on November 11. As thrilling today as it was at its 1910 premiere, this live recording of Stravinsky’s complete ballet is a must have in your CD collection. IN SWEET The Sinewaveland, Russian composer Vladimir Nikolaev’s tribute to Jimi Hendrix completes the disc. REJOICING In case you missed it… Tickets on sale November 1

Celebrating the 500th anniversary of the Lutheran Reformation, In August Seattle Symphony Media Choir of the West, University Chorale and University Symphony released a commemorative box set of Orchestra will perform J.S. Bach’s advent cantata “Wachet Auf” our critically acclaimed survey of all of (Wake, Awake!). The program will also include one of Robert Henri Dutilleux’s major orchestral works. The three-disc set features Ludovic Russell Bennett’s beloved carol medleys, “The Many Moods of Morlot and the Seattle Symphony in Christmas.” Join us, In Sweet Rejoicing! immaculate and thrilling performances of some of the composer’s greatest works, Saturday, Dec. 3, at 8 p.m. Lagerquist Concert Hall and is an essential collector’s item for Sunday, Dec. 4, at 3 p.m. Lagerquist Concert Hall lovers of 20th century French music — Monday, Dec. 5, at 7:30 p.m. Benaroya Hall, Seattle or indeed anyone who loves virtuosic Friday, Dec. 9, at 8 p.m. Lagerquist Concert Hall orchestra music performed at the very Saturday, Dec. 10, at 8 p.m. Lagerquist Concert Hall highest level.

CDs may be purchased at Symphonica, The Symphony Store, at Benaroya Hall. Digital downloads and CDs are available through iTunes and Amazon. www.plu.edu/christmas 253-535-7602 Find out more about these and other Seattle Symphony Media recordings at recordings.seattlesymphony.org.

encoreartsseattle.com 11 ANGELS & DEMONS Other-worldly choral and vocal masterpieces this season

BY ANDREW STIEFEL

After Barbara Scheel finishes a long day of teaching, she doesn’t return home right away on Monday nights. Instead, as she has for 20 years, she climbs into her car and heads to rehearsal with the “Creating a performance other 120 volunteer members of the Seattle Symphony Chorale. each night that will never “I love singing with the Chorale because of the sheer joy I get be exactly the same, from singing with outstanding singers and musicians who are also my friends,” said Scheel. This year the Chorale, which is directed achieving something by Associate Conductor of Choral Activities Joseph Crnko, will together that could never perform six times with the Seattle Symphony. be achieved alone — it is a In December the Chorale will perform Elgar’s deeply moving masterpiece, The Dream of Gerontius, with British conductor transcendent experience.” Edward Gardner. Although the piece is rarely performed, it is one of Elgar’s greatest masterpieces, surpassing even the cello Elgar’s score calls for a large orchestra, double chorus, concerto and his beloved Enigma Variations. semi-chorus and three soloists. During the first part the main character, Gerontius, is preparing for death. In the second part he “I remember the first time I sang it, about 25 years ago,” recalls has passed on and is met by an angel who guides him through Scheel. “We were at Thaxted Cathedral in England, which was the afterlife. The music is richly imaginative and deeply rooted in where composer Gustav Holst was organist. It is an amazing work, the English Romantic tradition. Throughout the work, the Chorale and I’m excited to perform it again.” fills the role of mourners, demons, angels and souls banished to Purgatory. Based on a poem by John Henry Newman, the music traces the journey of the soul after death. Just after the start of the year, Music Director Ludovic Morlot brings us a joyous celebration when he conducts Beethoven’s Symphony No. 9 with its famed choral “Ode to Joy” finale. This year he is pairing the Beethoven with a work by French composer Olivier Messiaen, Trois petites liturgies de la Présence Divine.

Scored for piano solo, ondes Martenot, women’s chorus, percussion ensemble and strings, Messiaen’s Trois petites liturgies de la Présence Divine is resplendent with other-worldly harmony. Morlot has invited the Northwest Boychoir to perform instead of a women’s chorus to evoke the liturgical traditions that inspired Messiaen. Written after he was released from a German prison camp in 1941, the music is a celebration of life and God’s presence that dwells within us and binds all things together. The music glitters and shimmers with percussion and piano interjections over the sighing, searching sounds of the strings and voices. Photo: James Holt James Photo:

12 SEATTLESYMPHONY.ORG The biggest event of the season, however, might be Morlot’s semi-staged presentation of Ravel’s opera, L’enfant et les sortilèges. The libretto by French novelist Sidonie-Gabrielle Colette tells the magical story of a spoiled child whose unhappy toys come to life. Ravel’s score ingeniously blends waltz, opera, ragtime and jazz to bring a host of fairy tale characters and little animals to life. Patoc Brandon Photo: UPCOMING SEATTLE SYMPHONY CHORALE PERFORMANCES The most remarkable moment of the opera, however, isn’t the dancing chairs, Thursday, December 1, at 7:30pm Thursday, June 1, at 7:30pm flying bats or wailing cats — it’s Colette’s Saturday, December 3, at 8pm Saturday, June 3, at 8pm cry, orchestrated by Ravel, of the animals THE DREAM OF GERONTIUS RAVEL’S MAGICAL OPERA calling out “mother” in the final scene. The music builds from a shaky bass line into Edward Gardner, conductor Ludovic Morlot, conductor a rapturous, fugal chorale as the animals Sasha Cooke, mezzo-soprano Jan Lisiecki, piano summon the child’s mother to bring him Robert Murray, tenor Soraya Mafi, soprano inside to safety. David Soar, baritone Sydney Mancasola, soprano Seattle Symphony Chorale Delphine Haidan, mezzo-soprano Michèle Losier, mezzo-soprano Robin Denis, Chorale Council President, ELGAR: The Dream of Gerontius* Jean-Paul Fouchécourt, tenor summed up the experience of singing with Alexandre Duhamel, baritone the Chorale best, “Creating a performance Friday, December 16, at 8pm Anne Patterson, stage director each night that will never be exactly the Saturday, December 17, at 1 & 8pm Northwest Boychoir same, achieving something together that Sunday, December 18, at 2pm Seattle Symphony Chorale could never be achieved alone — it is a HANDEL MESSIAH BIZET: Jeux d’enfants transcendent experience.” HOLIDAY SPECIALS MOZART: Piano Concerto No. 9, “Jeunehomme” Stephen Layton, conductor RAVEL: L’enfant et les sortilèges* Visit seattlesymphony.org/stories for Eleanor Dennis, soprano a listening guide to the music being Helen Charlston, mezzo-soprano Support for Ravel’s L’enfant et les sortilèges is performed by the Seattle Symphony Gwilym Bowen, tenor generously provided by the Judith Fong Music Chorale this season. Robert Davies, baritone Director’s Fund. Concert sponsorship provided by the Seattle Symphony Chorale Nesholm Family Foundation. Audience development supported by the Wallace Foundation. HANDEL: Messiah* Thursday, June 22, at 7:30pm Friday, June 23, at 8pm Thursday, January 5, at 7:30pm Saturday, June 24 at 8pm Saturday, January 7, at 8pm Sunday, January 8, at 2pm MAHLER SYMPHONY NO. 5 BEETHOVEN SYMPHONY NO. 9 Ludovic Morlot, conductor Audrey Luna, soprano Ludovic Morlot, conductor Allyson McHardy, mezzo-soprano Mary Elizabeth Williams, soprano Seattle Symphony Chorale Rinat Shaham, mezzo-soprano Kenneth Tarver, tenor LIGETI: Requiem* Jonathan Lemalu, bass MAHLER: Symphony No. 5 Cynthia Millar, ondes Martenot Michael Brown, piano Support for Ligeti’s Requiem is generously provided Northwest Boychoir by the Judith Fong Music Director’s Fund. Audience Seattle Symphony Chorale development supported by the Wallace Foundation.

MESSIAEN: Trois petites liturgies de la Stop by the Ticket Concierge in the Grand Présence Divine Lobby (available for most performances) before BEETHOVEN: Symphony No. 9, “Choral”* your concert or during intermission to get tickets, or purchase on our Listen Boldly app, Support for Messiaen’s Trois petites liturgies de la online, in-person at the Ticket Office or by Présence Divine is generously provided by the Judith calling 206.215.4747. Fong Music Director’s Fund. Audience development supported by the Wallace Foundation. * indicates works performed by the Seattle

Photo: James Holt James Photo: Symphony Chorale

encoreartsseattle.com 13 RIDING ALONG WITH EVELYN SIMPSON Getting to know the Symphony’s first Artist Aide

BY MARTIN K. JOHANSSON

Whether arriving from across the country or around the world, What is it about the concert experience that you enjoy? Seattle Symphony guest artists are welcomed at the airport E: I just love classical music. I love to see them play, so I like to by a member of the Symphony’s volunteer Artist Aides. We sat sit up close. I’ve sat in the third tier and the sound up there is down with Evelyn Simpson to learn more about the program unbelievable, but I want to see the artists. she founded, surrounded by mementos of her years of service — autographed pictures, gifts from visiting artists with whom In addition to your service as a volunteer, you are a donor and friendships have blossomed, and photographs with musicians a member of the Musical Legacy Society. What inspires you to and composers, lovingly displayed alongside family photos. support the Orchestra in so many ways? E: It all started at home in North Dakota when I was a little kid. It How did the Symphony’s Artist Aide program get started? was always classical music in our house. Here in Seattle we have Evelyn: I’d been an Artist Aide with Seattle Opera since 1992, and one of the top symphonies and I just think anyone who can afford then in 1995 the Opera called me because the Symphony was just to help should. Classical music brings so much joy to people. frantic to have someone go out to the airport. They called me and I said, “Oh, I’d be glad to do it.” I went out to the airport, got the For more information about the Symphony’s Artist Aide program person and took him to the hotel. Then I started thinking, they’ve or to learn how you can support the Orchestra, contact got people coming every week. I approached their staff and [email protected] or call 206.215.4832. explained the program and asked if they were interested. Pretty quickly they decided that they wanted us. That’s how it got going.

Would you share some highlights from your years as an Artist Aide? E: All the top classical artists in the world who’ve come to Seattle, I’ve driven so many of them. I can’t say all, but so many of them. I keep in touch with some of them. One that comes to mind all the time — because I’m his “Seattle Mom” — is Simon Trpčeski. He made his debut in this country at the Seattle Symphony — he’s from Macedonia — and I was at the airport for him and his father that first time. They needed to get a visa because Simon was going to appear in Canada. We went to the Canadian consulate and they refused. We spent the better part of a day there, but they wouldn’t give them the visa. Thanks to the Seattle Symphony and the Chan Centre in Vancouver — Simon was opening their series that season — when he landed in Canada there was someone waiting with a visa for him. Simon has been back many times since then. His mother and his sister came one time, so I’ve met them too. Every time he comes, he brings a gift from his family. It’s wonderful. It’s made such a big difference in my life.

How did you get your start with symphonic music? E: When I was a little girl growing up in North Dakota, radio station KFYR in Bismarck played mostly classical music and so that was on all the time. And on Saturdays my mother and I listened to the Metropolitan Opera broadcasts. And then when they were over we’d listen to the Minnesota football games. [laughs]

Clockwise, from top left: Evelyn with violinist Joshua Bell;

with pianist Simon Trpčeski; and with Music Director Ludovic Morlot. Simpson courtesyPhotos of Evelyn

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EA llae telatendd 1 9616 111 A November 2016 Volume 30, No. 3

AN ELECTRIFYING NEW RELEASE! Paul Heppner STRAVINSKY’S THE FIREBIRD 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

ON SALE NOVEMBER 11, 2016 Leah Baltus Editor-in-Chief Paul Heppner Publisher Seattle Symphony Media releases Dan Paulus Stravinsky’s The Firebird, one of the Art Director Jonathan Zwickel most beloved works in music history. Senior Editor Gemma Wilson As thrilling today as it was at its 1910 Associate Editor premiere, this live recording Amanda Manitach of Stravinsky’s complete ballet is a Visual Arts Editor must have in your CD collection. The Sinewaveland, Russian composer Vladimir Nikolaev’s tribute Paul Heppner to Jimi Hendrix completes the disc. President Mike Hathaway Vice President Genay Genereux AVAILABLE AT Accounting & Office Manager SYMPHONICA, THE SYMPHONY STORE Sara Keats Marketing Manager MONDAY–FRIDAY 11AM TO 2PM Ryan Devlin AND 2 HOURS PRIOR TO PERFORMANCES Business Development Manager

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16 SEATTLESYMPHONY.ORG Thursday, November 3, 2016, at 7:30pm Saturday, November 5, 2016, at 8pm Sunday, November 6, 2016, at 2pm MORLOT CONDUCTS TCHAIKOVSKY

Ludovic Morlot, conductor Sergey Khachatryan, violin Seattle Symphony

HECTOR BERLIOZ Overture to Les francs-juges, Op. 3, H 23 12’ (“The Judges of the Secret Court”)

JEAN SIBELIUS Violin Concerto in D minor, Op. 47 31’ Allegro moderato Adagio di molto Allegro, ma non tanto SERGEY KHACHATRYAN, VIOLIN

INTERMISSION

PIOTR ILYICH TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64, TH 29 47’ Andante—Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso—Allegro vivace

Pre-concert Talk one hour prior to each performance. Speaker: Stephen Bryant, Seattle Symphony Second Violin

November 5 performance sponsored by .

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 ©2016 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 17 PROGRAM NOTES continued

A MESSAGE FROM MUSIC That is also the ultimate destination and aptly named Symphonie fantastique, of Piotr Tchaikovsky’s Fifth Symphony. DIRECTOR LUDOVIC MORLOT related through music a fabulous tale Like the most famous Fifth Symphony, of obsessive passion, opium-induced that of Beethoven, this work presents Berlioz’s Les francs-juges Overture hallucination, and a witches’ sabbath. He over the course of its four movements is tremendously difficult, thrilling and was strongly taken with the Faust legend a drama of struggle and triumph, Beethovenian in strength. Here one can — that powerful story of humanist rebellion, crisis and overcoming. That this hear the young Berlioz, with all of his doomed love and dalliance with the devil drama evidently had its source in imperfections, defying compositional rules — and composed two major works on it. Tchaikovsky’s own psyche touches to create a voice that is stunningly personal. And Berlioz himself fell into an incandescent on yet another Romantic tenet, the love affair with a beautiful actress. primacy of subjective experience. Violinist Sergey Khachatryan is a great friend of mine. We performed The composer also was attracted to Jean Sibelius’ Violin Concerto offers Shostakovich’s Violin Concerto No. 1 particular strain within the Romantic a more purely sonic quality of much together a few years ago — on the same movement that emerged before the end Romantic music: lush textures, sweeping program where John Luther Adams’ of the 18th century and found its most melodies and expressive harmonies. Become Ocean was premiered. The fact potent literary expression in the novels Ironically, it was for just these traits that that Sergey was the youngest person ever of Sir Walter Scott. This is what we know this concerto once drew harsh criticism to win First Prize at the International Jean as the Gothic Revival, whose adherents from unsympathetic commentators. Sibelius Violin Competition speaks volumes found a particular poetry in portrayals of the “Sentimental” used to be a frequently of his affinity for Sibelius’ music. medieval world, especially those telling of applied epithet, especially during dark deeds and supernatural forces. Berlioz, the 1920s and ‘30s, when Sibelius’ We continue this season’s exploration of exceptionally well-read and familiar with music drew fire in the polemical Fifth symphonies by major composers with Scott’s work, was sympathetic to the outlook battles between advocates of the Tchaikovsky’s Symphony No. 5. The French and atmosphere inherent in such stories. It new modernism and those clinging to horn solo in the second movement is one of is not surprising, then, that his first attempt the Romantic ethos. Those disputes, the most beautiful melodies ever written. I at opera took as its libretto a story with all however, are well in the past, and intend this program to serve as a prelude to the hallmarks of Gothic-Revival fiction. Sibelius’ concerto has become one of a more complete focus on the symphonies the most popular works of its genre. That story, the work of Berlioz’s friend of Tchaikovsky in the future. Humbert Ferrand, told of an imaginary kingdom whose rightful ruler has been See Ludovic Morlot’s biography on page 6. HECTOR BERLIOZ killed and his son imprisoned by the Overture to Les francs-juges, usurper of the throne. Following many Op. 3, H 23 (“The Judges of the complications, the captive prince is Aspects of Romanticism Secret Court”) brought before a secret tribunal and, in The three compositions that make up the underground cavern where it meets, the program of this Seattle Symphony sentenced to be crushed by a great BORN: December 11, 1803, in La Côte-Saint- concert represent, in their different mechanical statue. The final scene brings André, near Grenoble, France ways, the Romantic impulse that shaped a last-moment rescue, and it is the usurper DIED: March 8, 1869, in music through most of the 19th century who falls victim to the monstrous statue. WORK COMPOSED: 1826 and the into the 20th. Romanticism Berlioz composed music for Les francs- is a complex, multi-faceted concept, WORLD PREMIERE: May 26, 1828, in Paris, conducted by Nathan Bloc. juges — the title is best translated as The and no one composition can capture Judges of the Secret Court — throughout it entirely. But the trio of works we the summer of 1826, but the opera was Hector Berlioz was France’s Romantic hear highlight varied aspects of it. never produced. Officials at the Paris Opéra composer par excellence. Born early in the deemed Ferrand’s libretto convoluted and, 19th century, Berlioz came of age just as Hector Berlioz’s overture to his youthful in places, incoherent. Berlioz eventually the Romantic movement was transforming opera Les francs-juges touches on the reused some of his music in other the intellectual and artistic life of Europe. Romantic strain of Gothic mystery we works and destroyed the rest, except That movement comprised a diverse find in the writings of Sir Walter Scott the overture, which is often presented array of ideas: heroic rebellion, fascination and, in very different ways, Mary Shelley as a concert piece, as we do now. (her seminal story Frankenstein) and with the supernatural, an idealized view Edgar Allan Poe. We hear this especially of nature and the past, and the elevation WHAT TO LISTEN FOR: Berlioz begins the at the start of the piece, a long prefatory of subjective experience and emotion overture with a somber introduction that passage that hints at dark forces and over rational thought. Berlioz embraced builds in drama and intensity over the the sinister tribunal of the opera’s title. all of them in both his life and his art. He first minute. Soon, the brass sound stern At the end, however, Berlioz gives pursued a career in music against his and powerful phrases associated with us an expression of heroic triumph, father’s wishes and battled the French the opera’s titular judges. At length, the another favorite Romantic trope. musical establishment throughout his life. tempo shifts to a lively allegro, and the His first masterpiece, the extraordinary strings give out a running theme that hints

18 SEATTLESYMPHONY.ORG at the dramatic tensions of Les francs- As do many modern concertos, this juges. More memorable is a broad song- work dispenses with the convention of like melody sounded later by the violins. an orchestral exposition. Instead, the Berlioz develops each of these themes solo instrument presents the work’s and combines them in counterpoint late in initial subject. Sibelius underscores the the movement. He also recalls the brass importance of the violin by introducing figures from the introduction. In the end, the into the proceedings several cadenza bright second melody emerges triumphant. passages (virtuoso solos) for the instrument. The second movement is Scored for 2 flutes, both doubling piccolo; given over to Romantic ardor, while the 2 oboes; 2 clarinets; 2 bassoons and finale brings energetic dance music. contrabassoon; 4 horns; 2 trumpets and cornet; 3 trombones and 2 ophicleides; WHAT TO LISTEN FOR: The concerto’s first timpani, percussion and strings. theme, a long, rhapsodic idea sung by the solo violin over a gentle orchestral Handcrafting Artisan JEAN SIBELIUS murmur, entails some surprising turns Confections in Seattle of line and harmony. Both this and the for Over 34 years Violin Concerto in D Minor, Op. 47 somber theme that follows end with cadenza passages (virtuoso solos) for 1325 1st Avenue, Seattle the featured instrument. A third theme, 206.682.0168 BORN: December 8, 1865, in Hämeenlinna, Finland 2626 NE University Village Street, Seattle somewhat like a folk song, leads to a brief DIED: September 20, 1957, in Järvenpää, Finland 206.528.9969 development passage that culminates 10036 Main Street, Bellevue WORK COMPOSED: 1903–05 in a still more extended cadenza. 425.453.1698 WORLD PREMIERE: October 19, 1905, in Berlin. 5900 Airport Way South, Seattle In the second movement, Sibelius builds The German violinist Karl Halir was the soloist, and 206.508.4535 Richard Strauss conducted. the main melody into a great lyrical outpouring. The finale begins with timpani franschocolates.com Jean Sibelius was and, to a great and basses establishing a rhythmic figure extent, remains the musical voice of whose heavy-footed character prompted Finland. More than his homeland’s first the English conductor and writer Donald major composer, Sibelius managed to Francis Tovey to describe the ensuing SEATTLE express something essential about the music as “a polonaise for polar bears.” CHAMBER Finnish people, their romantic spirit and Sibelius thought it a different kind of dance. MUSIC their deep affinity with their forests, Acknowledging the somewhat sinister snow-covered fields and folklore. character of the theme played by the solo SOCIETY JAMES EHNES violin over the galumphing accompaniment, Artistic Director When one considers that Sibelius’ output he called the movement a “danse consists chiefly of orchestral music, it macabre.” However one characterizes seems surprising that he composed only it, this initial idea soon is countered by a one concerto. What is not surprising is rhythmically lively second subject, and WINTER FESTIVAL that this single work for solo instrument Sibelius juxtaposes and develops the JANUARY 20-29, 2017 and orchestra features the violin. Sibelius two themes in alternating succession. ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall himself was a more than competent Scored for solo violin; pairs of violinist. Indeed, his youthful ambition was winds; 4 horns; 2 trumpets; 3 to become a virtuoso performer on the BOX OFFICE trombones; timpani and strings. 206.283.8808 // seattlechambermusic.org instrument. Only after years of practice and a painful realization that he would not have a career as a professional PIOTR ILYICH TCHAIKOVSKY Tickets soloist did he turn to composition. Symphony No. 5 in E minor, on sale Op. 64, TH 29 now! Like many of Sibelius’ works, the Violin Concerto did not come easily into the world. The composer wrote an initial version BORN: May 7, 1840, in Kamsko-Votkins, Russia of the piece in 1903, but after conducting DIED: November 6, 1893, in Saint Petersburg the music with the Helsinki Philharmonic WORK COMPOSED: 1888 Orchestra in February of the following WORLD PREMIERE: November 17, 1888, in Saint year, he declared himself dissatisfied and Petersburg. The composer conducted. withdrew the score for revision. Not until October 1905, when it was played in Berlin Tchaikovsky composed his Fifth Symphony under the direction of Richard Strauss, did during the summer of 1888. At age 48 he the concerto assume its definitive form.

encoreartsseattle.com 19 SERGEY KHACHATRYAN PROGRAM NOTES continued Violin

Born in Yerevan, Sergey was more relaxed and confident than at in the finale. The metamorphosis over Khachatryan won First any previous period of his life. His brief the course of the symphony of a single Prize at the VIII and disastrous marriage in 1877 to a young theme from an expression of crisis International Jean conservatory student had forced him or pathos to one of exultation has its Sibelius Competition in finally to accept that union with a woman original precedent in Beethoven’s Fifth 2000, becoming the and conventional domestic happiness Symphony, which in this particular, at youngest ever winner in the history of the would never be his; and though painful, least, provided a model for Tchaikovsky. Borggreve Marco Photo: this admission seems to have relieved competition. In 2005 he the composer of a burden, allowing him WHAT TO LISTEN FOR: The first movement claimed First Prize at the Queen Elisabeth to immerse himself in his work. He had opens with a somber introduction whose Competition. Khachatryan’s most recent U.S. recently taken up residence in a country tone accords with Tchaikovsky’s description appearances included the Baltimore house outside Moscow, where the of “complete resignation.” Here we Symphony Orchestra (Jakub Hrůša), bucolic surroundings buoyed his spirits. encounter the motto theme, announced Los Angeles Philharmonic (Ludovic Morlot) “I cannot tell you what a pleasure it has by the clarinets in their low register. The and National Symphony Orchestra been to watch my flowers grow and see main body of the movement begins with Washington (Vasily Petrenko). He has also daily, even hourly, new blossoms coming a march subject introduced also by the visited the Boston Symphony, Cleveland out,” he wrote at this time. “Meanwhile I clarinets but quickly taken up by other Orchestra, New York Philharmonic, have been working with good results, for instruments. Tchaikovsky counters this Philadelphia Orchestra and San Francisco half of the symphony is orchestrated.” idea with several others of more genial Symphony, as well as the Blossom, Mostly character, the tension between them Mozart and Ravinia Festivals. Highlights this But while enjoying a period of relative and the martial first theme accounting season include returns to National contentment, Tchaikovsky could hardly for much of the movement’s interest. Symphony Orchestra Washington, the Orchestre National de France and the divorce his creative work from his The ensuing Andante cantabile unfolds own existential issues. Melancholic, Philharmonia Orchestra. Khachatryan will under the spell cast by a melody presented also make his debut with the Gulbenkian hypersensitive and self-critical, Tchaikovsky as a horn solo in its opening moments. also wrestled throughout his life with Orchestra, Nuremberg Symphony, Its mood of enchantment twice is broken, Stavanger Symphony Orchestra and the his homosexuality. His internal struggles however, by the return of the motto figure, affected especially the characters of his Ulster Orchestra. With his pianist sister now more menacing in tone. The third Lusine, Khachatryan has performed recitals last three symphonies. Composition of movement offers waltz melodies that each of these works was guided by a at Carnegie Hall and Alice Tully Hall seem borrowed from one of Tchaikovsky’s (New York) and Herbst Theater subjective program, a drama born of the fairy tale ballets. Once again, near the composer’s psychic conflicts. Tchaikovsky (San Francisco). Their recording close of the movement, the theme from “My Armenia” for Naïve Classique has been had accompanied his Fourth Symphony the introduction is heard, but it seems with a written description of tension awarded an Echo Klassik. Khachatryan plays tame and powerless in the ideally the 1740 “Ysaÿe” Guarneri violin on kind between tender longings and harsh elegant world suggested by this music. reality — tensions which, he asserted, loan from the Nippon Music Foundation. the symphony’s music embodied. With In the finale, Tchaikovsky comes to grips regard to his Fifth Symphony, he left with the persistent motto theme. Here only a short scenario concerning its he transforms the melody that opened first movement. In a brief note on the the symphony into a triumphal march, opening movement, written shortly the furious outbursts midway through before he began composing the work, the movement only serving to make its Tchaikovsky stated: “Introduction: complete final apotheosis more impressive. There resignation before Fate or, which is the is also a brief remembrance of the same thing, the unfathomable workings march subject from the first movement of Providence. Allegro: (I) Murmurs, during the closing moments. doubts, pleas, reproaches ... (II) Shall I throw myself in the embraces of faith?” Scored for 3 flutes, the third doubling piccolo; 2 oboes; 2 clarinets; 2 This is certainly vague and incomplete, bassoons; 4 horns; 2 trumpets; 3 but it is enough to establish an trombones; tuba; timpani and strings. autobiographical basis for the music. © 2016 Paul Schiavo In any event, the drama inherent in the symphony is evident in purely musical terms. Much of it concerns a “motto” theme, a subject that recurs in each of the work’s four movements. (Most commentators refer to it as the “Fate” theme.) With each reappearance, its character changes, until it sounds triumphantly

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EA llae telatendd 1 101916 56 Business, meet bassoons.

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To learn what Encore can do for your business, visit encoremediagroup.com. Friday, November 4, 2016, at 8pm PROGRAM NOTES

DUDAMEL & GUSTAV MAHLER THE LA PHIL Symphony No. 9 in D major SPECIAL PERFORMANCES BORN: July 7, 1860, in Kalischt (Kalištĕ) near Humpolec, Bohemia Gustavo Dudamel, conductor DIED: May 18, 1911, in Vienna WORK COMPOSED: 1909–10 Los Angeles Philharmonic WORLD PREMIERE: June 26, 1912, Vienna Philharmonic, conducting GUSTAV MAHLER Symphony No. 9 in D major 87’ Andante comodo Mahler’s Ninth Symphony, his final fully Im Tempo eines gemächlichen Ländlers completed orchestral essay, has often been interpreted as his “farewell to life,” a Rondo–Burleske: Allegro assai—Sehr trotzig perhaps natural assumption since he did Adagio: Sehr langsam und noch zurückhaltend not finish his Tenth. As with Tchaikovsky’s “Pathétique,” whose last movement taps into profound despair, it has been suggested that it, too, was almost a beckoning of death since the composer died but weeks after its premiere, an Note: There will be no intermission. interpretation that flies in the face of comments by those who knew them well. Mahler and Tchaikovsky, despite lives fraught with disappointment and travail, were by the times of their deaths highly esteemed by important colleagues and an increasingly enthusiastic public.

Mahler virtually immediately began working on the Tenth Symphony; friends noticed his excitement in launching his new “child.” As the composer reported to his friend and advocate, the conductor Bruno Walter, the Ninth was “a very positive enrichment of my little family.” Mahler felt another symphony was waiting to be born.

An insightful and reflective commentary by the late scientist Lewis Thomas, Late Night Thoughts on Listening to Mahler’s Ninth Symphony (1983), conveyed through Gustavo Dudamel and the LA Phil’s performance is generously underwritten by Martin Selig personal insight the dual interpretation and Catherine Mayer through the Seattle Symphony’s Guest Artists Circle. of the work, reversed, as it were, from our current understanding of the music:

“I cannot listen to Mahler’s Ninth Symphony with anything like the old melancholy mixed with the high pleasure I used to take from this music. There was a time, not long ago, when what I heard, especially in the final movement, was an open acknowledgement of death and at the same time a quiet celebration of the tranquility connected Please note that the timings provided for this concert are approximate. to the process. I took this music as a Please turn off all electronic devices and refrain from taking photos or video. metaphor for reassurance, confirming Performance ©2016 Seattle Symphony. Copying of any performance by camera, audio or video recording my own strong hunch that the dying of equipment, and any other use of such copying devices during a performance is prohibited. every living creature, the most natural of all experiences, has to be a peaceful

encoreartsseattle.com 23 PROGRAM NOTES continued

experience. I rely on nature. The long is so wrenching in its sweeping power But Mahler does not succumb so readily passages on all the strings at the end, as that one can fail to notice how brilliantly to life’s threats and the possibilities of close as music can come to expressing varied each seemingly recurrent gesture redemption or hopelessness offered silence itself, I used to hear as Mahler’s is sculpted and subtly colored by different by death. In the second movement he idea of leave-taking at its best. But always, instrumental sonorities. The dynamic leads the orchestra in a rustic Ländlers, I have heard this music as a solitary, range covers enormous sonic ground an often bumptious and lumbering private listener, thinking about death. from cataclysmic outbursts to the most country dance not too far removed intimate chamber-like scoring, enhancing from similar moments in Beethoven’s “Now I hear it differently. I cannot listen the breadth of the movement, which “Pastoral” and Ninth symphonies. to the last movement of the Mahler Ninth conveys the full spectrum of a human’s Here, too, the emotions aroused move without the door-smashing intrusion of a life. A case in point is the three-note through sentimental nostalgia, unbridled huge new thought: death everywhere, the rhythm that begins the voyage. Initially elation and whistling in the dark. As dying of everything, the end of humanity. marked piano, when it resurfaces at the Bruno Walter, who led the premiere and The easy sadness expressed with such movement’s climax as fff Mahler has regularly conducted the Ninth, opined: gentleness and delicacy by that repeated added the admonition, “with the utmost “A tragic undertone sounds in the joy, phrase on faded strings, over and over violence.” No wonder that Lewis Thomas, and one feels that ‘the dance is over.’” again, no longer comes to me as old, facing his own mortality, should expand familiar news of the cycle of living and his response to the Ninth Symphony. No greater contrast can be found than dying. All through the last notes my mind in the violent Burleske third movement swarms with images of a world in which wherein Mahler instructs the orchestra the thermonuclear bombs have begun to to play “very defiantly.” This is music of explode, in New York and San Francisco, In darkly inflected sheer mania, not in the sense of over- in Moscow and Leningrad, in Paris, in the-top happiness but rather of hysterical Paris, in Paris. In Oxford and Cambridge, music one frenzy. Yet in the midst of this emotional in Edinburgh. I cannot push away the maelstrom he takes a detour into an oasis thought of a cloud of radioactivity drifting experiences beams of enveloping serenity before ending along the Engadin, from the Moloja of light emerging this Rondo in a blast of unstoppable Pass to Ftan, killing off the part of the fury bearing a presto tempo marking. earth I love more than any other part.” from the pit, and What next? A searingly beautiful Adagio In virtually all of his music Mahler’s point so it is in the vast that begins with a painful upward motif of view seems to be operating within a landscape of the that promises more grief, and to be sure, yin-yang format: in an essentially uplifting, the movement is rife with gestures that positive frame of mind one senses hints opening movement mimic a kind of post-traumatic stress. Yet (or more) gnawing contradicting anxiety, of the Ninth as the journey continues intimations of fear and despair. In darkly inflected the numinous begin infusing themselves music one experiences beams of light Symphony… into the fabric of the music until Adagio emerging from the pit, and so it is in the becomes Adagissimo. Here in these vast landscape of the opening movement final minutes marked pppp (and carrying of the Ninth Symphony, Andante comodo. the term “esterbend” (“dying away”) the A strange and fragmentary rhythmic For Mahler the writing of the Ninth music seems free of earthly movement, kernel, likened by Symphony followed a series of of anything merely temporal. We are as a reflection of Mahler’s faltering heartbreaking events. In 1907 he resigned in the key of D-flat major, a mere half- heartbeat, reminds one of the heartbeat from his role as the artistic director of the step from D major, yet harmonically rhythm in Richard Strauss’ Death and Vienna Court Opera after a decade of in a completely different world. The Transfiguration. As Mahler leads us both widespread adulation and vicious music doesn’t seem to stop, since it has through his symphonic journey, that attacks from the anti-Semitic press and felt as if it has been outside of time’s peculiar figure recurs with frequency, from within the administration of the demands, and gradually ends in gently as if there are no true exits out of this organization. During this period he was comforting bliss and acceptance. foreboding field on the perimeter of shattered by the death of his daughter Scored for 4 flutes and piccolo; 4 oboes, mortality. Another thematic figure of three Maria (with added guilt deriving from his the fourth doubling English horn; 3 clarinets, descending notes must be reckoned perceived hubris in daring to compose E-flat clarinet and bass clarinet; 4 bassoons, as a nod to Beethoven’s Piano Sonata, Songs on the Death of Children, quoted the fourth doubling contrabassoon; 4 horns; Op. 81a, which carries the title “Lebewohl” briefly in the Symphony’s sublime 3 trumpets; 3 trombones; tuba; timpani and (“Farewell”) and suggests finality. Adagio finale). His relationship with his percussion; 2 harps; strings. wife Alma was in serious emotional © 2016 Steven Lowe Great surges of passionate hope alternate disarray, prompting a session with with — or are crushed by — equally strong Sigmund Freud. And, of course, his blasts of horror and fear, often propelled heart was failing from endocarditis. by that ominous heartbeat. The effect

24 SEATTLESYMPHONY.ORG LOS ANGELES PHILHARMONIC

Gustavo Dudamel CELLOS HORNS Music & Artistic Director Robert deMaine Andrew Bain Walt and Lilly Disney Chair Principal Principal Esa-Pekka Salonen Bram and Elaine Goldsmith Chair John Cecil Bessell Chair Conductor Laureate Ben Hong Gregory Roosa Mirga Gražinytė-Tyla Associate Principal William and Sally Rutter Chair Associate Conductor Sadie and Norman Lee Chair Amy Jo Rhine Ann Ronus Chair Dahae Kim Loring Charitable Trust Chair John Adams Assistant Principal Brian Drake Creative Chair Jonathan Karoly Reese and Doris Gothie Chair Deborah Borda Ethan Bearman Photo: Vern Evans/LA Phil Evans/LA Vern Photo: President and Chief Executive David Garrett Assistant Officer, David C. Bohnett Barry Gold Bud and Barbara Hellman Chair Presidential Chair Jason Lippmann Roger Kaza † LOS ANGELES Gloria Lum * FIRST VIOLINS Tao Ni TRUMPETS PHILHARMONIC Martin Chalifour Serge Oskotsky Thomas Hooten Principal Concertmaster Brent Samuel Principal The Los Angeles Philharmonic, under Marjorie Connell Wilson Chair Peter Myers † M. David and Diane Paul Chair the vibrant leadership of Music & Artistic Nathan Cole James Wilt Director Gustavo Dudamel, is invested in a First Associate Concertmaster BASSES Associate Principal Ernest Fleischmann Chair Dennis Trembly Christopher Still tradition of the new through a commitment Bing Wang Principal Ronald and Valerie Sugar Chair to foundational works and adventurous Associate Concertmaster Christopher Hanulik Stéphane Beaulac explorations. Both at home and abroad, Mark Baranov Principal Assistant Concertmaster Oscar M. Meza TROMBONES the Philharmonic — recognized as one Philharmonic Affiliates Chair Assistant Principal David Rejano Cantero of the world’s outstanding orchestras Akiko Tarumoto David Allen Moore Principal Michele Bovyer James Miller — is leading the way in groundbreaking Jack Cousin Associate Principal programming, offering a diverse range of Rochelle Abramson Brian Johnson Herbert Ausman programs that reflect the orchestra’s artistry Camille Avellano Peter Rofé Elizabeth Baker Joseph McFadden † BASS TROMBONE and demonstrate its vision, on stage and Minyoung Chang Max Vaclavik † John Lofton in the community. 2016–2017 marks the Vijay Gupta orchestra’s 98th season. More than 250 Mischa Lefkowitz FLUTES TUBA Edith Markman Denis Bouriakov Norman Pearson concerts are either performed or presented Judith Mass Principal by the Philharmonic at its two iconic venues: Mitchell Newman Virginia and Henry Mancini Chair TIMPANI Catherine Ransom Karoly the Frank Gehry-designed Walt Disney Stacy Wetzel Joseph Pereira Associate Principal Principal Concert Hall and the Hollywood Bowl. The SECOND VIOLINS Mr. and Mrs. H. Russell Smith Chair Cecilia and Dudley Rauch Chair organization’s commitment to the music of Lyndon Johnston Taylor Elise Shope Henry Nicholas Stoup † Principal Sarah Jackson our time is evident throughout the season Dorothy Rossel Lay Chair Lawrence Kaplan † PERCUSSION programming, as well as in the exhilarating Mark Kashper Matthew Howard Green Umbrella series and the LA Phil’s Associate Principal PICCOLO Principal Kristine Whitson Sarah Jackson James Babor extensive commissioning initiatives. Johnny Lee Perry Dreiman OBOES Dale Breidenthal Ariana Ghez * KEYBOARDS GUSTAVO DUDAMEL Ingrid Chun Principal Joanne Pearce Martin Jin-Shan Dai Marion Arthur Kuszyk Katharine Bixby Hotchkis Chair Music & Artistic Director Chao-Hua Jin Associate Principal Nickolai Kurganov Anne Marie Gabriele HARPS As an internationally renowned symphonic Guido Lamell Carolyn Hove Lou Anne Neill and operatic conductor, Gustavo Dudamel Varty Manouelian Lelie Resnick † Maria Casale † Paul Stein is motivated by a profound belief in music’s Yun Tang ENGLISH HORN LIBRARIANS power to unite and inspire. Currently in his Suli Xue Carolyn Hove Kazue Asawa McGregor * eighth season as Music & Artistic Director Aroussiak Baltaian † Kenneth Bonebrake Cheryl Norman Brick † CLARINETS Stephen Biagini * of the Los Angeles Philharmonic and 18th Jason Uyeyama † Boris Allakhverdyan season as Music Director of the Simón Principal PERSONNEL MANAGER Burt Hara Bolívar Symphony Orchestra of Venezuela, VIOLAS Jeffrey Neville Carrie Dennis Associate Principal the impact of his leadership extends from Principal Andrew Lowy CONDUCTING FELLOWS the greatest concert stages to classrooms, John Connell Chair David Howard Paolo Bortolameolli * Amanda McIntosh † cinemas and innovative digital platforms Dale Hikawa Silverman Elim Chan Associate Principal Kahchun Wong * around the world. Dudamel also appears as Ben Ullery E-FLAT CLARINET guest conductor with some of the world’s Assistant Principal Andrew Lowy * Not On Tour Dana Lawson † Extra Musician On Tour most famous musical institutions: in 2017 he BASS CLARINET tours Europe with the Berlin Philharmonic Richard Elegino David Howard The Los Angeles Philharmonic string section utilizes revolving seating on John Hayhurst and is the youngest-ever conductor to lead BASSOONS a systematic basis. Players listed Ingrid Hutman alphabetically change seats periodically. the Vienna Philharmonic’s famous New Michael Larco Whitney Crockett Principal Year’s Day Concert, watched annually by Hui Liu In those sections where there are two Shawn Mouser over 50 million people in 90 countries. A Meredith Snow * principals the musicians share the Leticia Oaks Strong Associate Principal position equally and are listed in order of Deutsche Grammophon artist since 2005, Minor L. Wetzel length of service. Michele Grego Erik Rynearson † Grammy-winner Gustavo Dudamel has Patricia Kindel The musicians of the Los Angeles numerous recordings on the label, as well Philharmonic are represented by CONTRABASSOON Professional Musicians Local 47, AFM. as many video/DVD releases. Patricia Kindel

encoreartsseattle.com 25 Thursday, November 10, 2016, at 7:30pm PROGRAM NOTES Saturday, November 12, 2016, at 8pm The Realm of the Fantastic PICTURES AT Russian composers, who are well- represented on the programs of AN EXHIBITION this season’s Seattle Symphony concerts, often drew subject matter and inspiration from fairy tales, folk Alan Buribayev, conductor legends and other sources of fantastic Sol Gabetta, cello stories. Mikhail Glinka (1804–57), widely considered the first major Seattle Symphony Russian composer, helped establish that practice with his opera Ruslan NIKOLAI RIMSKY-KORSAKOV The Tale of Tsar Saltan Suite, Op. 57a 19’ and Lyudmila, whose plot features an The Tsar’s Farewell and Departure evil dwarf, a beneficent magician, and The Tsarina in a Barrel at Sea various supernatural creatures and Flight of the Bumblebee events. Such tales continued to serve The Three Wonders Russian composers throughout the 19th century and into the 20th, when they CAMILLE SAINT-SAËNS Cello Concerto No. 1 in A minor, Op. 33 19’ provided the basis for such works as Allegro non troppo— Stravinsky’s The Firebird and Petrushka. Allegretto con moto— Allegro non troppo Two of the compositions we hear this SOL GABETTA, CELLO evening belong to this long and fertile tradition of Russian music based on INTERMISSION fantastic subjects. In addition to his MODEST MUSSORGSKY Pictures at an Exhibition 35’ famous symphonic poem Scheherazade, /orch. Maurice Ravel Introduction: Promenade a musical evocation of wondrous Gnomus—Promenade episodes from Tales of Arabian Nights, The Old Castle—Promenade Nikolai Rimsky-Korsakov wrote a Tuileries series of operas based on Russian Bydło—Promenade myths and fairy tales. The Tale of Tsar Ballet of Chicks in their Shells Saltan tells a story of banishment and Samuel Goldenberg and Schmuÿle redemption, its human characters The Market Place at Limoges— abetted by an evil witch and a magic Catacombæ (Sepulcrum romanum)— swan. Rimsky-Korsakov was a masterful Cum mortuis in lingua mortua composer for the orchestra, and this The Hut on Hen’s Legs (Baba-Yaga)— opera features several orchestral The Great Gate of Kiev interludes, four of which make up the suite that opens our program.

Pre-concert Talk one hour prior to each performance. Modest Mussorgsky’s Pictures at an Speaker: Dr. David Alexander Rahbee, University of Washington Director of Exhibition is fantasy music in several Orchestra Activities respects. Its premise — visual art transformed into music — is itself practically an alchemical notion, Sol Gabetta’s performances are generously underwritten by Grant and Dorrit Saviers through especially when accomplished so the Seattle Symphony’s Guest Artists Circle. vividly as in this work. Moreover, two of the most striking of these musical “pictures” depict supernatural subjects; several others conjure up purely imaginary scenes. Even when conveying more mundane matters, Pictures at an Exhibition is extraordinary, especially in its orchestration by Maurice Ravel. Stirring, haunting, frightening and at Please note that the timings provided for this concert are approximate. times amusing, this music is, and always Please turn off all electronic devices and refrain from taking photos or video. will be, astonishing and utterly original.

Performance ©2016 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.

26 SEATTLESYMPHONY.ORG PROGRAM NOTES Produced in association with American Conservatory Theater and Shakespeare Theatre Company

Between these two Russian compositions, we hear the Cello Concerto No. 1 in A minor by Camille Saint-Saëns. This is a piece of “pure,” or abstract, music, without any reference to the kind of narrative or poetic ideas we find in our Russian works. Yet in its unconventional approach to the concerto genre it, too, reveals a strongly original musical imagination.

NIKOLAI RIMSKY-KORSAKOV The Tale of Tsar Saltan Suite, Op. 57a

BORN: March 18, 1844, in Tikhvin, near Novgorod, Russia DIED: June 21, 1908, in Lyubensk, Russia WORK COMPOSED: 1899–1900 by MIKE WORLD PREMIERE: The opera The Tale of Tsar bARLETT Saltan, from which this suite is drawn, was first DAVID MUSE performed on November 3, 1900, in Moscow, directed by conducted by Mikhail Ippolotiv-Ivanov. OPENS NOVEMBER 11 SeASon SPonSor Concert audiences know Nikolai Rimsky‑Korsakov through a trio of seattlerep.org | 206.443.2222 orchestral showpieces: Capriccio espagnol, the Russian Easter Overture and most especially the colorful tone Fresh. Local. Seasonal. Mexican Good. poem Scheherazade, which Seattle Symphony performed last season. Yet this Russian composer’s greatest ambition lay in the theater, and he devoted most of his energies to writing operas. Rimsky- Korsakov’s finest works for the stage tell magical stories rooted in Russian legend and literature of a fantastic bent. Among them are The Snow Maiden, The Legend of the Invisible City of Kitezh, The Golden Cockerel and The Tale of Tsar Saltan.

The subject for the last of these operas derives from a story written in the style of a folktale by the great 19th-century writer Alexander Pushkin. Combining motifs from Cinderella, Snow White, Shakespeare’s The Winter’s Tale, the Russian legend of the Firebird and other sources, it tells of a young Tsar who chooses the wisest of three sisters for his wife. She bears him a son, but her jealous sisters conspire with a witch to deceive the Tsar and have both mother and child banished. The newborn prince grows into a young hero, and with help from a magical swan whose life he saves, he defeats an evil sorcerer and becomes ruler of an enchanted city. In the end, the prince and his mother are reunited with the Tsar, the 1000 E Pike St. | vivapoquitos.com

encoreartsseattle.com 27 PROGRAM NOTES continued swan becomes a beautiful woman who CAMILLE SAINT-SAËNS WHAT TO LISTEN FOR: The piece marries the prince, and all ends well. opens in dramatic fashion with a sharp Cello Concerto No. 1 in A minor, Op. 33 orchestral chord and an impassioned Rimsky-Korsakov used Russian folk theme announced at once by the solo melodies throughout The Tale of Tsar BORN: October 9, 1835, in Paris instrument. Saint-Saëns concerns himself Saltan, and he punctuated the opera with DIED: December 16, 1921, in Algiers almost exclusively with this idea during entr’actes and other orchestral numbers. the first portion of the composition. He WORK COMPOSED: 1872 Three of these make up an orchestral does introduce a gentle second subject, WORLD PREMIERE: 19, 1873, at the Paris suite the composer assembled for concert sung by the cello, and later a rather heroic presentation. It has been customary, when Conservatoire. Auguste Tolbecque was the idea for the orchestra, but these have little soloist, and Eduard Deldevez conducted. performing the work, to add a fourth impact on the work’s development. Soon, extract from the opera, Rimsky-Korsakov’s however, the music breaks off, and the instrumental evocation of a flying insect. Camille Saint-Saëns was one of the muted orchestral strings begin a minuet Our performance observes that practice. most productive and fascinating French in mock-antique style. After interjecting musicians of the 19th century. A child a few bars of solo digression, the cello WHAT TO LISTEN FOR: A trumpet fanfare prodigy of the first order — at age 12 he adds counterpoint to the dance, which heralds each of the three movements reportedly concluded his debut recital by proceeds until the concerto’s stormy that compose the original suite. The offering to play any of the 32 Beethoven opening theme abruptly reappears. first presents music to which, early in piano sonatas from memory — Saint‑Saëns the opera, the Tsar leads his soldiers went on to distinguish himself as a The return to this material proves short- off to war. The march accompanying composer, pianist, organist and conductor, lived, however, for the soloist soon this event derives much of its vibrant but didn’t confine his activities to music. launches into a mournful melody that has color from the composer’s skilled use A man of considerable intellect, he wrote been foreshadowed by the brief solo of wind instruments and percussion. A plays and poetry, studied archeology, heard during the minuet. This promises broader theme, introduced by horns and astronomy and other sciences, and wrote the equivalent of the concerto’s slow later taken up by the strings, provides treatises on philosophy and ancient music. movement, but it, too, is cut short, this time the contrasting second subject. by the onset of a section whose character Saint-Saëns particularly favored the and function corresponds to the finale The banished Tsarina and her son concerto, and two of his works of this type of a typical concerto. Saint-Saëns offers are set upon the sea in a barrel. The feature the cello as solo instrument. The here a succession of themes, including miniature tone poem that forms the first, his Cello Concerto No. 1 in A minor, the interrupted slow melody and a final suite’s second movement suggests rolling dates from 1872. In this piece, Saint-Saëns recollection of the work’s opening idea. waves, sea breezes and drifting tides. adopts a very novel approach to concerto form. Other 19th-century composers Scored for 2 flutes; 2 oboes; 2 In the opera’s third act, the swan uses wrote concertos as an unbroken stream clarinets; 2 bassoons; 2 horns; 2 her magic to turn the prince into a bee, of music. But while in compositions like trumpets; timpani and strings. thereby allowing him to avenge himself Mendelssohn’s Violin Concerto, to cite perhaps the most famous example, the by stinging the wicked sisters and the MODEST MUSSORGSKY witch responsible for his banishment. different sections correspond closely to Rimsky-Korsakov depicted this in one the classic three-movement concerto Pictures at an Exhibition of his most famous creations, Flight of plan, Saint-Saëns offers here a more the Bumblebee. That virtuoso piece innovative mosaic of recurring themes. BORN: March 21, 1839, in Karevo, Russia of onomatopoetic composition forms the third movement of our suite. Saint-Saëns had found an impressive DIED: March 28, 1881, in Saint Petersburg model for this novel formal design in WORK COMPOSED: 1874 The enchanted city where the prince rules the work of Franz Liszt. In his two piano WORK ORCHESTRATED BY: MAURICE RAVEL boasts three wonders: a magic squirrel concertos, his symphonic poems and in 1922 (really!); a company of knights who emerge his remarkable Piano Sonata in B minor, BORN: March 7, 1875, in Ciboure, southwest Liszt had dispensed with the venerable from the sea; and the swan-princess. France molds of sonata and rondo form. Instead, Rimsky-Korsakov evokes the former with DIED: December 28, 1937, in Paris he channeled his thoughts into designs a Russian folk song and the last with WORLD PREMIERE: October 19, 1922, in Paris, richly sensuous music. The fanfare heard that used thematic recurrence and conducted by Serge Koussevitzky earlier also plays a conspicuous role. variation to achieve both coherence and contrast, with a sense of evolving musical In 1874 Modest Mussorgsky was Scored for 2 flutes and piccolo; 2 oboes drama. A number of French composers immersed in composing his huge opera and English horn; 3 clarinets, the third emulated him, none so successfully Khovanshchina when he received word doubling bass clarinet; 2 bassoons and as Saint-Saëns in this concerto. of an exhibit of pictures by the artist and contrabassoon; 4 horns; 3 trumpets; architect Victor Hartmann, who had died 3 trombones; tuba; timpani and a year earlier. Hartmann had been a close percussion; celeste; harp and strings.

28 SEATTLESYMPHONY.ORG ALAN BURIBAYEV Conductor

Alan Buribayev is Chief Conductor of the friend of the composer, and after visiting The ensuing movement, Bydło (the Astana Opera House the gallery where his late companion’s title refers to a three-wheeled cattle and Principal Guest pictures were displayed, Mussorgsky cart), brings another instance of Ravel’s Conductor of the Japan resolved to write a set of piano pieces wonderfully original orchestration. Century Symphony inspired by the drawings. In June he wrote Here a Russian folk tune sounds both Orchestra in Osaka. to the art critic Vladimir Stasov, organizer ponderous and lyrical when sung in the of the exhibition: “My ‘Hartmann’ is boiling high register of tuba. Ballet of Chicks Buribayev was born ... Sounds and ideas fill the air, and I can in their Shells derives from Hartmann’s into a family of musicians; his father a barely scribble them down fast enough.” sketch of decor for a diversion by Marius cellist and conductor, and his mother a Petipa, the renowned choreographer at pianist. He graduated with honors from The finished work represented ten of the Imperial Theater in Saint Petersburg. the Kazakh State Conservatory as violinist Hartmann’s images, a format which might Samuel Goldenberg and Schmuÿle is a and conductor and continued conducting have made for a loose suite of unrelated composite of two figures Hartmann drew studies at the University of Music in movements. But Mussorgsky prefaced his near the Warsaw ghetto. Mussorgsky Vienna with Professor Uros Lajovic. musical pictures with a prelude in which represents them with, respectively, a Buribayev’s victory at the Lovro von he imagined himself, as he described, chant-like melody in the low strings and Matacic Conducting Competition in Zagreb “roving through the exhibition — now carping figures for muted trumpet. By brought him to international attention leisurely, now briskly — in order to come contrast, Hartmann’s depiction of the and invitations from several European close to a picture that has attracted [my] market in the French city of Limoges orchestras. In 2001 he reached the final attention.” The theme of this Promenade brings happily energetic music. of the Malko Conducting Competition served to unify the composition: it forms in Copenhagen and was awarded a the subject of several interludes between Catacombæ evokes a drawing of the Special Prize recognizing his “outstanding movements and reappears in two of famous Roman tombs. Its music continues talent and promise.” Buribayev went on them — mysteriously in Catacombs and directly into Mussorgsky’s meditation to win First Prize in the Antonio Pedrotti triumphantly in The Great Gate of Kiev. on an inscription there: “Cum mortis in Competition in 2001. lingua mortua” — “With the Dead in the

Pictures at an Exhibition, like so much Language of the Dead.” Baba-Yaga is a Professional highlights include of Mussorgsky’s music, was performed witch familiar in Russian folklore. She lives engagements with the Barcelona infrequently during the composer’s in a hut, adorned with human skulls, that Symphony, Basel Symphony, NHK lifetime. Mussorgsky’s then radically walks through the forest on giant chicken Symphony, Royal Philharmonic, advanced harmonies and strange melodic legs, something Mussorgsky and Ravel Stavanger Symphony and Ulster twists were scarcely appreciated in his suggest through hair-raising music at the Orchestra, as well as performances with native Russia, and even less so in the start and close. Less violent, the central the Belgrade Philharmonic, Deutsche West. But the situation changed during episode nevertheless is weird by any Symphony Orchestra in Berlin, Kyushu the first decades of the 20th century, standard. The finale depicts Hartmann’s Symphony, Russian National Orchestra, as Mussorgsky’s music found admirers design for a great stone arch to be built St. Gallen Symphony and St. Petersburg among the early modernists. In 1922 over a small chapel in Kiev. Mussorgsky’s Philharmonic. Buribayev was Chief conductor Serge Koussevitzky asked musical rendering of this image brings a Conductor of the Norrköping Symphony the French composer Maurice Ravel to Russian hymn, ringing bells and a majestic Orchestra in 2006–11, Chief Conductor of orchestrate Pictures at an Exhibition. reprise of the Promenade theme. the Brabants Orchestra in 2007–12 and Ravel’s scoring proved every bit as original Chief Conductor of the RTE Orchestra in as Mussorgsky’s composition and perfectly Scored for 3 flutes, the second and 2010–16. captured the character of each movement. third doubling piccolo; 3 oboes, the third doubling English horn; 2 clarinets FROM THE ARTIST: “The first time I WHAT TO LISTEN FOR: Ravel introduces and bass clarinet; alto saxophone; 2 the Promenade theme as a ringing bassoons and contrabassoon; 4 horns; 3 conducted Mussorgsky’s Pictures at an trumpet solo. The first “picture,” a trumpets; 3 trombones; tuba; timpani and Exhibition was in 2003 on tour in Tokyo caricature of a grotesque gnome, gives percussion; 2 harps; celeste and strings. with the St. Petersburg Philharmonic full display to the originality of both Orchestra. Since then, it remains one of © 2016 Paul Schiavo Mussorgsky’s music and Ravel’s scoring. my most favorite pieces and I perform it To point out only one instance of the latter, a lot. I prefer to conduct Maurice Ravel’s notice the combination of spooky string orchestration. He made it sound so sonorities and bell-like celesta tones about grandiose, so vivid and colourful that it is half a minute into this movement. Ravel even difficult to imagine sometimes that orchestrates nostalgia in The Old Castle, originally it was written for the solo piano. cunningly assigning the presentation If one wants to experience the symphony of a mournful melody to a saxophone. orchestra in its full glory, my advice — go Tuileries, the famous gardens in Paris, for this piece.” is portrayed with children at play, their games suggested by high woodwinds.

encoreartsseattle.com 29 SOL GABETTA Cello

Sol Gabetta achieved international acclaim upon winning the Crédit Suisse Young Artist Award in 2004 and making her debut with Wiener Philharmoniker and Valery Gergiev. Photo:Uwe Arens Photo:Uwe Born in Argentina, Gabetta won her first competition at the age of 10, soon followed by the Natalia Gutman Award as well as commendations at Moscow’s Tchaikovsky Competition and the ARD International Music Competition in Munich. A Grammy Award nominee, she received the Gramophone Young Artist of the Year Award in 2010. Gabetta was named Instrumentalist of the Year for the fifth time at the 2016 Echo Klassik Awards INDUSTRIAL. UNCONVENTIONAL. BEAUTIFUL. for her interpretation of Pēteris Vasks’ Cello Concerto No. 2. With an extensive discography with Sony she has also released a duo recital with Hélène Grimaud for Deutsche Grammophon. Gabetta performs with leading orchestras and conductors worldwide including Washington’s National Symphony fremontfoundry.com 206.588.6981 154 N. 35th St Seattle, WA Orchestra, Symphonieorchester des Bayerischen Rundfunks, Bamberger Symphoniker, Bolshoi and Finnish Radio Symphony orchestras and The Philadelphia, London Philharmonic and Philharmonia orchestras.

FROM THE ARTIST: “Every concert is a unique moment in time, an event that cannot be recreated. It is music-making at its purest and most sincere and there is an important balance to be struck by the performer between being swayed by the emotion of the piece but also in needing to keep emotions in check so as not to be overwhelmed and lose control and YOUR SYMPHONY. thus do a disservice to the music. I am always overwhelmed at the generosity of YOUR LEGACY. the musicians with whom I work around the world — some well-known to me and others whom I meet for the first time. There Making a gift through your will or estate ensures is nothing like that feeling of belonging the orchestra thrives long into the future, and the deep, innate understanding that transcends words, where the music speaks continuing to bring people together and lift the for itself and we are all playing our different human spirit through the power of music. parts but as one unit, free of compromise and released from the restrictions and constraints of daily life.”

For more information on planned giving and how you can make a future gift, contact [email protected] | 206.215.4852

30 SEATTLESYMPHONY.ORG Friday, November 11, 2016, at 8pm SONIC EVOLUTION CO-PRESENTED WITH EARSHOT JAZZ SPECIAL PERFORMANCES

Ludovic Morlot, conductor | Clarence Acox, conductor | Grace Love, vocals | Danny Quintero, vocals | Benjamin Lulich, clarinet The Cuong Vu Group: Cuong Vu, trumpet | Richard Karpen, piano | Ted Poor, percussion | Stomu Takeishi, bass Garfield High School Jazz Band | Seattle Symphony

KENJI BUNCH Groovebox Fantasy (World Premiere) 9’

SCOTT MCALLISTER Black Dog 11 BENJAMIN LULICH, CLARINET

CUONG VU One 12 THE CUONG VU GROUP

INTERMISSION Honoring Ernestine Anderson: JULE STYNE “Time After Time” ◊ 4’ /lyrics Sammy Cahn /trans. Jon Harpin GRACE LOVE, VOCALS /strings orch. Sean O’Loughlin

MARÍA GREVER, STANLEY ADAMS “What A Diff’rence A Day Makes”◊ 3’ /arr. Sean O’Loughlin GRACE LOVE, VOCALS

NESBERT JR. “STIX” HOOPER, “Never Make Your Move Too Soon” ◊ 3’ WILL JENNINGS /arr. Bill Ramsey GRACE LOVE, VOCALS /strings orch. Sean O’Loughlin

Honoring Quincy Jones: QUINCY JONES “The Midnight Sun Never Sets” * 4’

QUINCY JONES “Stockholm Sweetnin’” * 6’

DON GIBSON “I Can’t Stop Loving You” * 5’ /arr. Quincy Jones

CY COLMAN “The Best Is Yet To Come” ◊ 4’ /lyrics Carolyn Leigh/arr. Quincy Jones DANNY QUINTERO, VOCALS /prepared Rob DuBoff /strings orch. Sean O’Loughlin

JIMMY VAN HEUSEN “Come Fly With Me” ◊ 6’ /lyrics Sammy Cahn/arr. Quincy Jones DANNY QUINTERO, VOCALS /trans. Jon Harpin /strings orch. Sean O’Loughlin

BART HOWARD “Fly Me To The Moon” ◊ 3’ /arr. Quincy Jones DANNY QUINTERO, VOCALS /prepared Rob DuBoff, Jeffrey Sultanof /strings orch. Sean O’Loughlin

◊ Selections performed by the Seattle Symphony and Garfield High School Jazz Band conducted by Ludovic Morlot. * Selections performed by Garfield High School Jazz Band conducted by Clarence Acox.

Audience Development supported by The Wallace Foundation Sonic Evolution is generously sponsored by The Mitrovich Family and Delta Air Lines.

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 ©2016 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 31 PROGRAM NOTES

A MESSAGE FROM MUSIC hypnotic repeated cells of Morton as Robert Plant sings unaccompanied, DIRECTOR LUDOVIC MORLOT Feldman’s abstract minimalist music; “Hey, hey mama said the way you move and the driving, infectious grooves / Gon’ make you sweat, gon’ make you I hope you all will share the pride we feel found in the work of Quincy Jones.” groove.” In McAllister’s work, the clarinet about music in Seattle as we celebrate “takes the role of the lead singer in a hard the incredible artists Quincy Jones When the Seattle Symphony suggested rock band with its extreme range and and Ernestine Anderson. I’m thrilled to that he write music related to the legacy emotions.” This one-movement concerto collaborate for the first time with Seattle of Quincy Jones, Bunch recalled, “I begins with a cadenza of its own, Symphony clarinetist Benjamin Lulich as immediately thought of returning to my introducing the work’s main themes, and soloist. And it’s a pleasure to reconnect groove study to expand and amplify then it proceeds to a slow and melodious through a new commission with composer it with orchestral colors. The result middle section. (Here the template is less Kenji Bunch, who wrote Premonitions for is a new work, Groovebox Fantasy, Black Dog and more Stairway to Heaven our Piano Competition last season. which I offer as a humble tribute to or Queen’s Bohemian Rhapsody, to a true giant of American music.” name two rock epics that build patiently We’re fond of the idea of doing Side-by- to the final climax.) In McAllister’s Black Side Concerts with young musicians, and Bunch cited two albums produced by Dog, the clarinet guides the orchestra rejoice in the opportunity to play alongside Jones that were “in heavy rotation in my toward “a ‘head-banging’ ostinato pattern the Garfield High School Jazz Band. The listening diet” when he first conceived that leads to the final fiery cadenza.” fact that both Quincy Jones and Ernestine Groovebox. One was the 1962 record Anderson attended Garfield High School Jones arranged, conducted and released The clarinet at times channels another makes this collaboration even more special. under his own name, Big Band Bossa rock legend, Seattle native Jimi Hendrix, See Ludovic Morlot’s biography on page 6. Nova; the other was the first record he when it executes what McAllister produced for Michael Jackson, Off the describes as “pyrotechnic solos in true Wall, from 1979. As divergent as those ‘Hendrix’ fashion.” two musical projects may seem to be, they both show off Jones’ uncanny Kenji Bunch (b. 1973) is one of the most ear for detail and texture, whether respected composers in the Pacific working with an all-star big band or the In McAllister’s Northwest. He left his hometown of electronic toolkit of a recording studio. Portland for studies at The Juilliard In that same spirit, Bunch’s orchestral work, the clarinet School, and he stayed to build a score drives forward “with a relentless freelance career in New York as a groove” in which each musical cell “takes the role of composer and violist. Since moving back repeats four times, bringing extra clarity the lead singer to Portland in 2013, he has become a and emphasis to the rhythmic intricacies fixture of the local music community, that morph and grow continually. in a hard rock playing as a guest member in the Oregon Symphony viola section (for Composer and clarinetist Scott McAllister band with its whom he is also composing a new work) (b. 1969) writes concert music that rocks, extreme range and and directing the contemporary music including Freebirds (a riff on Lynyrd ensemble fEARnoMUSIC. He has also Skynyrd), X Concerto (inspired by ‘90s emotions.” made an impact on Seattle with the grunge) and the work heard here, Black piano solo he composed last year for the Dog, a clarinet concerto with a nod Seattle Symphony Piano Competition. to the band Led Zeppelin. McAllister created Black Dog for his former clarinet Composer and trumpeter Cuong Vu The Seattle Symphony commissioned teacher at Florida State University, Frank (b. 1969) has become a transformative Bunch’s latest orchestral score, Kowalsky, who actually retired to Seattle figure in Seattle, blurring the boundaries Groovebox Fantasy, as part of its Sonic and has appeared as a guest clarinetist of jazz improvisation and contemporary Evolution project that celebrates the past with the Seattle Symphony. For all the classical composition in his own and future of Seattle’s music scene. For many performances and recordings music while shaping the University of his new work, Bunch revisited a portion by college bands, this Sonic Evolution Washington jazz studies program into a of a 2002 composition titled Swing Shift: program marks the first performance of forward-thinking magnet for top talent. Music for Evening Hours, a dance score Black Dog by a professional ensemble, Born in Vietnam, Vu spent part of his for piano trio that depicted “the vibrant in the version for clarinet and orchestra. childhood in the Seattle area before activity of New York City at various hours heading to Boston for studies at the New after sundown.” When composing that Describing his “rhapsody for clarinet,” England Conservatory and ultimately work’s finale, Grooveboxes, he drew McAllister wrote, “The work is inspired by to New York. He made himself a fixture inspiration from “three very disparate classic hard rock music, particularly Led of the “downtown” music scene with elements: the Roland MC-303 Groovebox, Zeppelin’s rhapsodic-style song Black its adventurous appetite for new forms a sound module that facilitates the Dog.” Zeppelin fans may recall how that of composition and improvisation, and layering of rhythmic grooves; the song begins with a cadenza of sorts, meanwhile he toured extensively and

32 SEATTLESYMPHONY.ORG GRACE LOVE BENJAMIN LULICH Vocals Clarinet

Grace Love, the author Benjamin Lulich has and composer, is an been praised for his won two Grammy Awards with one of award-winning musical “standout the most widely beloved jazz outlets artist. She was raised performance[s]” (Santa of all time, the Pat Metheny Group. on soul music, Barbara News-Press), southern food and his “beautifully The breadth of Vu’s musicianship is self- stories about the detailed” and evident in One, composed in 2011 for south. She grew up in “remarkable playing” the very first installment of the Seattle McDaniel Larey Photo: Tacoma, just a stone’s (The Seattle Times), Symphony’s Sonic Evolution series. His throw from Seattle, which infused her R&B “expert and lush performance[s]” (The Los work was a tribute to Quincy Jones, an melodies with grit and grunge. In between Angeles Times), and his ability to “manage alumnus of Garfield High School. As performing gigs and musicals, she hopes [a] screaming clarinet solo with panache” Vu wrote at the time of the premiere, to open a food joint named after her (Orange County Register). Principal “Quincy Jones’ influence is far-reaching. mother, Nadine, while serenading her Clarinet of the Seattle Symphony and His output is vast, varied and prolific. I customers with her unique brand of soul. Seattle Opera since 2014, Lulich is one of knew, as soon as I was asked to write a the leading clarinetists of his generation. piece in tribute to Quincy, that it would be He studied at Interlochen Arts Academy, impossible to live up to it all. So, instead Cleveland Institute of Music and the Yale of trying to encompass all of his works in DANNY QUINTERO University School of Music, and attended a single 15-minute piece, I chose to focus Vocals Music Academy of the West, National on just one of Jones’ many periods of Orchestral Institute, Pacific Music Festival musical output — hence, the title One.” At just 27 years of age, and Marrowstone Music Festival. Lulich Seattle native Danny has performed on recordings with the Los One unites the orchestra with a jazz Quintero has shared Angeles Philharmonic, Pacific Symphony combo led by Vu himself, and it shifts the stage with many and Seattle Symphony (including the smoothly from group improvisation to high profile musicians. Grammy-winning Dutilleux album), as well fully notated passages for orchestra, Quintero’s keen ear for as on soundtracks for films such as including fierce runs written for the subtle nuances of the Life of Pi, Monsters University and Water orchestral trumpets that act as extensions Sinatra school of Bel for Elephants. A native of the Pacific of Vu’s own formidable trumpet playing. Canto singing, Northwest, Lulich is on faculty at the Explaining the Quincy Jones influence, Vu articulation, phrasing, dynamics and University of Washington and performs on wrote, “the period that I chose resonated breath control have brought a fresh, MoBa clarinets built by Backun Musical most with me because I grew up with it, likeable and personalized approach to the Services in Vancouver, Canada. unknowingly internalizing his influential Great American songbook. He has, and work. It’s always my aim to make any continues to, make appearances on FROM THE ARTIST: “Scott McAllister’s and all musical elements that influence Seattle radio stations, at jazz clubs Black Dog is a new piece for me, and it’s me into something I can call my own throughout the Pacific Northwest, and always exciting to work on a new piece while still blurring the connections. Listen more notably has performed several times and perform it. Black Dog is heavily carefully, however, and you may hear with the Seattle Repertory Jazz Orchestra influenced by hard rock music, especially elements from Michael Jackson’s Off at Benaroya Hall. In the summer of 2011 Led Zeppelin (whose hit song ‘Black Dog’ the Wall and Thriller records, plus a Quintero toured with the Garfield High was inspiration for McAllister’s piece). little bit of James Ingram in there.” School Jazz Band under the direction of It’s not too often we classical players Clarence Acox in Italy where he graced Garfield High School has long been an get to let our hair down and play some audiences at the Umbria Jazz Festival, incubator for exceptional musical talent, rock music, so I’m looking forward to Piazza Di Todi and in Rome at the Domus and it is quite possible that this year’s jazz the challenge of pulling off what the Talenti Hotel. In December of 2013 band includes the next Quincy Jones, composer calls ‘the clarinet equivalent to Quintero released his Christmas album, or Jimi Hendrix, or Macklemore. Another Jimi Hendrix-like guitar licks.’” luminary, the late jazz singer Ernestine Merry Christmas with acclaimed pianist Anderson, graduated from Garfield Randy Halberstadt and special guests in 1946 and embarked on a career of Clarence Acox and Katie Davi. touring and recording that spanned more than half a century. Her death earlier this year was a great loss to Seattle and the music world, and we celebrate her tonight, on what would have been her 88th birthday, with timeless jazz standards from the “Great American Songbook,” followed by selections honoring Quincy Jones. © 2016 Aaron Grad

encoreartsseattle.com 33 THE CUONG VU CLARENCE ACOX GROUP Musician, mentor and educator, Clarence Acox has infused Seattle – and the nation – with the jubilation of jazz for 30 years. A native of New Orleans, Acox came to Photo: Matthew D. Lawrence Matthew Photo: GARFIELD HIGH Seattle in 1971 from Photo: Steve Korn Steve Photo: Southern University to revive Garfield High SCHOOL JAZZ School’s music program. Under his “The voracious sweep of postmillennial tutelage, it has grown into one of the jazz has plenty of exemplars but few truer BAND preeminent youth music organizations in than the trumpeter Cuong Vu. Over the The Garfield Jazz program is led the nation. Acox was named Educator of last decade he has upheld a dreamlike by Clarence Acox, who has been nurturing the Year by Down Beat magazine in 2001. sound informed by post-bop but just as young jazz musicians for the past 37 years In 2004 the Seattle Music Educator’s rooted in noise pop, grunge and ambient at Garfield High School. Garfield Jazz is Association awarded him its Outstanding minimalism” wrote The New York Times. part of the dynamic fine arts department Music Educator Award. In 2007 he was Joined by bassist Stomu Takeishi and at Garfield High School, a diverse public awarded the Mayor’s Arts Award by fellow UW faculty colleague, Ted Poor school in Seattle, Washington. The Seattle Mayor Greg Nickels, and in 2008 on drums, the Cuong Vu Trio strives in program consists of three instrumental Seattle Met magazine named him one of its exploration of sounds and form as big bands and one vocal jazz group. The the 50 most influential musicians in the they crisscross styles and conventional three jazz ensembles are supported by the history of Seattle music. languages in pursuit of a new musical Garfield Jazz Foundation. Garfield’s Jazz language without boundaries. Their Ensemble has taken first place four times recordings have been described as “a at New York’s Essentially Ellington National beguiling tapestry of sound and motion” Jazz Band Competition and Festival at (Schwann), “hypnotic” (Jazz Times), New York City’s Lincoln Center — the “brooding and masterly...awesome and country’s most prestigious high school jazz magnificent” Jazz( Review). competition. Under Acox’s direction, the jazz ensemble has won just about every major competition on the West Coast, RICHARD KARPEN including the Lionel Hampton Jazz Festival Piano in Moscow, Idaho, and Oregon’s Mt. Hood Jazz Festival. Joining the trio on piano is special guest Richard Brandon Apodaca Josephine Koenigs Karpen, one of the Owen Boxwell Daniel Leong leading composers and Costa Colachis Ben Lindenburg researchers of Glass Maia Nelson electroacoustic music Liam Connor Will Ojemann internationally. A Gabe Curhan Joseph Poole frequent collaborator Michael Dalton Jonathan Sabath Photo: Photo: with Vu and director of Will Edgar Aidan Siemann the UW School of Music, Karpen is Ben Feldman Conrad Smith renowned not only for his pioneering Brock Fenbert Hannah Tacke compositions for live and electronic media, Emma Forman AnabellaThompson but also for developing computer Anthony Goss Marco Thompson applications for composition, live/ Jack Graves Andrew Torgelson interactive performance and sound design. Nelson Huffaker Gabriel True Jonas Hyllseth Nigel Veach Taylor Kim Yasna Vismale Ian Kirk Isabella Zito

34 SEATTLESYMPHONY.ORG PROGRAM NOTES Tuesday, November 15, 2016, at 7:30pm Illsley Ball Nordstrom Recital Hall

While Maurice Ravel (1875–1937) was establishing his reputation as a RAVEL & MOZART provocative young upstart in the early CHAMBER SERIES years of the 20th century, Claude Debussy, just 13 years older, was already well established as France’s leading Natasha Bazhanov, violin | Artur Girsky, violin | Mae Lin, violin composer. They remained rivals and Cordula Merks, violin | Susan Gulkis Assadi, viola | Allison Farkas, viola mutual admirers, if not quite friends, until Mara Gearman, viola | Meeka Quan DiLorenzo, cello | Roberta Hansen Downey, cello Debussy’s death in 1918. Two years later, Eric Han, cello | Laura DeLuca, clarinet | Jessica Choe, piano | Oksana Ezhokina, piano when a music publisher commissioned a collection of new works to commemorate Debussy, Ravel was invited to contribute MAURICE RAVEL Sonata for Violin and Cello, M. 73 22’ alongside such international stars as Béla Allegro Bartók, Igor Stravinsky and Manuel de Très vif Falla. Ravel initially submitted a single Lent movement for violin and cello under the Vif, avec entrain title Duo, but he soon he revisited that MAE LIN, VIOLIN material and expanded it into a four- ERIC HAN, CELLO movement Sonata, completed in 1922 and dedicated to the memory of Debussy. SOFIA GUBAIDULINA Piano Quintet 30’ Allegro In the Sonata for Violin and Cello, “The Andante marciale music is stripped down to the bone,” Larghetto sensibile— Ravel wrote. “The allure of harmony is Presto rejected and increasingly there is a return CORDULA MERKS, VIOLIN NATASHA BAZHANOV, VIOLIN of emphasis on melody.” To begin the first ALLISON FARKAS, VIOLA movement, the violin plays a repeating MEEKA QUAN DILORENZO, CELLO ostinato that wavers between a major and JESSICA CHOE, PIANO minor third and then ends each cycle on a flattened seventh, musical details that give INTERMISSION the figure a bluesy tinge. That gesture influences the entire Sonata, reappearing ALFRED SCHNITTKE String Quartet No. 3 21’ in the volleying plucks that begin the very Andante— lively second movement (playing again Agitato— with the oscillation of minor and major Pesante thirds) and in the austere lines of the third ARTUR GIRSKY, VIOLIN movement (superimposing the minor NATASHA BAZHANOV, VIOLIN and major thirds atop each other). The SUSAN GULKIS ASSADI, VIOLA finale channels the energy of hearty folk ROBERTA HANSEN DOWNEY, CELLO dancing while also managing to weave in sly arpeggios quoting the unifying motive. WOLFGANG AMADEUS MOZART Trio in E-flat major, K.498, “Kegelstatt” 20’ Andante Sofia Gubaidulina (b. 1931) was still Menuetto a graduate student at the Moscow Rondo: Allegretto Conservatory when she composed her MARA GEARMAN, VIOLA Piano Quintet in 1957, her first major LAURA DELUCA, CLARINET work of chamber music. She admired OKSANA EZHOKINA, PIANO Shostakovich, a fellow composer-pianist who was the dominant force in Soviet music at the time, and her Quintet Musician biographies may be found at seattlesymphony.org. followed the mold of Shostakovich’s earlier work for the same ensemble.

Gubaidulina’s Piano Quintet starts with a rustic, pounding Allegro in a Shostakovich Please note that the timings provided for this concert are approximate. vein. The second movement, a playful Please turn off all electronic devices and refrain from taking photos or video. march, instead takes its cue from the Performance ©2016 Seattle Symphony. Copying of any performance by camera, audio or video recording dry humor and dance music of another equipment, and any other use of such copying devices during a performance is prohibited. Soviet icon, Prokofiev. The longest and richest movement of the Quintet

encoreartsseattle.com 35 Classes for Adults & Youth PROGRAM NOTES continued Register TODAY comes under the heading of Larghetto sensibile, and it exhibits a tenderhearted sensitivity that continues to be one of Gubaidulina’s great strengths to this day. A Presto finale rounds out the Quintet with active music once again indebted GageAcademy.org to Shostakovich. This piece was part of the portfolio Gubaidulina presented in 1959 to her graduate committee, of which Shostakovich was a member. It was a pivotal moment in Gubaidulina’s trajectory as an artist when, after hearing her music, her hero encouraged her to “continue on your own incorrect path.”

The Russian composer Alfred Schnittke (1934–98) received his earliest musical training in Vienna, while his father served there as a translator. After his graduation from the Moscow Conservatory in HOLIDAY 1958, he made waves with the oratorio Nagasaki, which received sharp criticism from the government-backed Union of Composers. Like Shostakovich, an early MUSICAL target of the Union, Schnittke proved resilient in the face of such a rebuke, and he managed to sustain a career by scoring state-sponsored films, lecturing SALUTE and teaching. In the following decades he honed a “polystylistic” sound that TUESDAY, DECEMBER 6, AT 10AM borrowed freely from music of just about any style and era, from the holiest church music to the bawdiest songs. Join the Symphony for a festive start to the holiday season. Associate Schnittke’s idiosyncratic relationship to music of the past drives his String Conductor Pablo Rus Broseta leads Quintet No. 3 from 1983, which begins the orchestra in a concert of seasonal with paraphrases of three wildly disparate favorites featuring Young Artists sources. First, the Renaissance-style harmonies distill aspects of a sacred and the Seattle Girls’ Choir. You’ll vocal work by Lassus, a leading also enjoy fabulous pop-up shops, composer in 16th-century Europe. When the Quartet veers suddenly toward a hot cider, mimosas and a delightful more chromatic phrase, it is a reference luncheon. See you there! to Beethoven’s massive Grosse Fuge for string quartet. A third quotation, more subtle for now but emphasized TICKETS FROM $125 later, borrows the signature motive of Shostakovich: the notes D, E-flat, C, B, or HOLIDAY MUSICAL SALUTE BENEFITS THE as they are known in German parlance, SEATTLE SYMPHONY PLAYERS’ PENSION D-S-C-H, abbreviating the German PLAN. THANK YOU FOR YOUR SUPPORT! spelling of Dmitri Schostakowitsch.

After the abstractions and collisions of the first movement, the middle Agitato 206.215.4868 movement plays out as a parody of the SEATTLESYMPHONY.ORG/HMS type of quartets that were composed in the Vienna of Mozart, Beethoven and Schubert, a sound that made a lasting impression on Schnittke during his

36 SEATTLESYMPHONY.ORG PROGRAM NOTES continued 2016-2017 SEASON

Viennese upbringing. The slow and heavy third movement rehashes the borrowed material from the first movement, with particular emphasis on the echoes of Shostakovich and his four-note signature.

The music that Wolfgang Amadeus Mozart (1756–91) wrote for his friend Anton Stadler, a clarinetist and fellow freemason, was instrumental in establishing the clarinet as an equal to its older cousins in the woodwind The future has never sounded better. family. Mozart’s first composition for Stadler was the Trio in E-flat major, “Kegelstatt” from 1786, scored for clarinet, viola and piano. Later he added a Clarinet Quintet and finally a Clarinet NOVEMBER 13 AT BENAROYA HALL Concerto, completed two months before the composer’s untimely death. Maurice Ravel Alborada del Gracioso Mozart did not provide the trio’s nickname of Kegelstatt, meaning the place where one would play Kegel or Edward Elgar skittles (a form of nine-pin bowling). He Concerto for Cello and Orchestra in E Minor did note that a set of horn duets entered Kristy Park, cello soloist in his catalog a week earlier had been composed “while playing skittles,” and later publishers applied this colorful Peter Ilyich Tchaikovsky anecdote to the Trio. Still we can surmise Symphony No. 6 in B Minor “Pathetique” that Mozart was enjoying the company of his friends, bowling or otherwise, when he conceived this collegial Trio. MARCH 12 AT BENAROYA HALL It was written for the weekly salon held at the home of a distinguished botanist Benjamin Ash in Vienna, Baron Nikolaus von Jacquin, Collide-o-Scope (World Premiere) whose daughter Franziska was one of Mozart’s most talented piano students. She played the piano part, Stadler George Gershwin joined in on clarinet and Mozart had the Piano Concerto in F opportunity to play the viola, a chamber Caleb Ren, piano soloist music pastime he always relished.

In the Andante first movement, the Hector Berlioz main theme incorporates the kind of Symphonie Fantastique Op. 14 ornamental flourish that an opera singer might use to decorate an aria. All three instruments play up this vocal quality in APRIL 30 AT BENAROYA HALL the music — especially the clarinet, such a convincing surrogate for the human Gustav Mahler voice in Mozart’s hands. The central Menuetto takes a surprising turn in its Symphony No. 6 in A Minor “Tragic” contrasting trio section, moving to the related minor key and brooding over a chromatic, four-note gesture. After spending most of the Trio in support of TICKETS ON SALE NOW its two companions, the viola leads a feisty episode of the Rondo finale that adds in burly chords and chromatic runs. 206.362.2300 | syso.org © 2016 Aaron Grad

encoreartsseattle.com 37 Photo: Carlin Ma

“I’ve attended the arts all of my life. I love the community I’ve found as a Seattle Symphony volunteer, and appreciate the great quality of our orchestra. I give because I want to see the orchestra continue and thrive.” – Carmen, with husband and fellow Symphony-fan Bruce

JOIN CARMEN AND BRUCE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! Concerts like the one you are about to enjoy are only possible through the support of generous music-lovers like you.

SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 Thursday, November 17, 2016, at 7:30pm PROGRAM NOTES Friday, November 18, 2016, at 12 noon Saturday, November 19, 2016, at 8pm Russian History in Music The program for this week’s Seattle RACHMANINOV PIANO Symphony concerts is composed entirely of music by Russian CONCERTO NO. 4 composers. Two of the three works we hear were inspired by important episodes from Russia’s history. The title character of Piotr Ilyich Mikhail Agrest, conductor Tchaikovsky’s opera Mazeppa was a Lucas Debargue, piano Cossack soldier who rose to become governor of Ukraine under Tsar Peter Seattle Symphony the Great. Despite signing a treaty pledging military support to that ruler, Mazeppa turned against Russia in a PIOTR ILYICH TCHAIKOVSKY Mazeppa Overture 8’ war with its western neighbors. Even SERGEY RACHMANINOV Piano Concerto No. 4 in G minor, Op. 40 24’ when portrayed as an arch-villain, as Allegro vivace he is in Tchaikovsky’s opera, Mazeppa Largo— is a compelling character, much like Allegro vivace Shakespeare’s equally reprehensible LUCAS DEBARGUE, PIANO but fascinating Richard III.

INTERMISSION Dmitri Shostakovich evokes a more recent event in Russian history in DMITRI SHOSTAKOVICH Symphony No. 11 in G minor, Op. 103, 60’ his Symphony No. 11, subtitled “The “The Year 1905” Year 1905.” That occurrence is the The Palace Square: Adagio— infamous “palace massacre,” one The 9th of January: Allegro— of the crucial steps leading, in 1917, In Memoriam: Adagio— to the epochal Russian Revolution. The Tocsin: Allegro non troppo—Allegro This symphony, which constitutes the second half of our program, is exceptional in how vividly its music Pre-concert Talk one hour prior to each performance suggests what happened in Saint

Photo: Carlin Ma Speaker: Claudia Jensen, Affiliate Instructor at the University of Washington’s Petersburg on January 5, 1905. Slavic Languages Department Shostakovich conveys not only the somber atmosphere leading up to the clash of unarmed workers and “I’ve attended the arts all of my life. I love the peasants with the palace guard but community I’ve found as a Seattle Symphony also such details as charging horses, soldiers shooting and wielding swords, volunteer, and appreciate the great quality of and the panicked melee that ensues. our orchestra. I give because I want to see the Between these two compositions orchestra continue and thrive.” rooted in Russian history, we hear a piano concerto that makes no – Carmen, with husband and fellow Symphony-fan Bruce reference to events or ideas beyond the music itself. Unlike Shostakovich, who spent his entire life in his homeland and became one of the two great composers of Soviet Russia JOIN CARMEN AND BRUCE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY! (the other is Sergey Prokofiev), Concerts like the one you are about to enjoy are only possible through the support of Sergey Rachmaninov emigrated to the . Here he wrote music generous music-lovers like you. that extended the ethos of Russian Romanticism well into the 20th century, Please note that the timings provided for this concert are approximate. as we hear in his Piano Concerto No. 4. Please turn off all electronic devices and refrain from taking photos or video.

Performance ©2016 Seattle Symphony. Copying of any performance by camera, audio or video recording SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 equipment, and any other use of such copying devices during a performance is prohibited.

encoreartsseattle.com 39 PROGRAM NOTES

PIOTR ILYICH TCHAIKOVSKY to music of tumult and strife. A brief return he had completed his Third Symphony of the low-pitched declamation leads and the enormously successful Overture Mazeppa to dulcet music suggesting Mazeppa’s Rhapsody on a Theme of Paganini, did love interest. (In opera, even a scheming Rachmaninov return to the work, revising BORN: May 7, 1840, in Kamsko-Votkins, Russia tyrant needs a love interest.) There its first two movements and entirely DIED: November 6, 1893, in Saint Petersburg follows a melody, introduced by English rewriting the third. The new version of horn, based on a Russian folk song, and the concerto also received its inaugural WORK COMPOSED: 1883 at length an abbreviated return to the performance from The Philadelphia WORLD PREMIERE: February 15, 1884, at the dramatic sounds of the opening section. Orchestra, this time under Ormandy. Bolshoi Theater, Moscow, conducted by Ippolit Al’tani. Scored for 3 flutes the third doubling Although composed well into the 20th piccolo; 2 oboes and English horn; century, this work upholds the tradition Ivan Mazeppa was, and remains, one 2 clarinets; 2 bassoons; 4 horns; 2 of the Romantic piano concerto, updating of the most controversial personages cornets and 2 trumpets; 3 trombones; certain surface details but retaining in Russian history. A dashing soldier, tuba; timpani, percussion and strings. the essential shape and spirit of that fabled lover and skilled politician, he was genre. The first of the concerto’s three also cruel, treacherous and ruthlessly SERGEY RACHMANINOV movements juxtaposes energetic, ambitious. Mazeppa was born near Kiev, emotionally effusive music with more in 1639, to a family of Cossack soldiers. He Piano Concerto No. 4 in G minor, delicate thoughts, the latter often followed in that familial tradition and rose Op. 40 entrusted to the piano playing alone, or to become governor of a large portion almost so. The ensuing Largo gives us of Ukraine. Initially loyal to Tsar Peter Rachmaninov the melancholy Russian BORN: April 1, 1873, in Semyonovo, near I, he turned against the Russian ruler, poet. In contrast to the overall restraint siding with invading Polish and Swedish Novgorod, Russia of this central portion of the concerto, armies in the hope of achieving Ukraine’s DIED: March 28, 1943, in Beverly Hills, the finale finds the composer pulling out independence. He and his new allies California all the stops on both his instrumental were defeated in the historically important WORK COMPOSED: 1926; revised 1941 forces and his musical rhetoric. battle of Poltava, in 1709, and Mazeppa WORLD PREMIERE: The first performance of had to flee to Turkey, where he soon died. this concerto in its definitive form was given in WHAT TO LISTEN FOR: The first movement Philadelphia on October 17, 1941. Rachmaninov opens with a brief introduction from the Reviled by Russians as a traitor, was the piano soloist with The Philadelphia orchestra, after which the piano gives considered a heroic patriot by many Orchestra; conducted. out a melody — richly harmonized and Ukrainians, Mazeppa was portrayed in stated over an animated accompaniment starkly different terms by 19th-century Although he was born in Russia and — that constitutes the movement’s initial writers. Both Byron and Victor Hugo achieved his early successes there, theme. A long, harmonically ambiguous wrote narrative poems depicting him as Sergey Rachmaninov spent his final transition passage leads to a delicate a Romantic hero who suffers for love decades primarily in the United States, second subject for the piano, playing but overcomes early trials and rises to eventually settling here and becoming practically alone. Rachmaninov relaxes glory. By contrast, their great Russian an American citizen. During this time, the pace of the music during the contemporary Alexander Pushkin treated he developed a close relationship with presentation of this idea, but eventually Mazeppa as a cynical and bloody betrayer The Philadelphia Orchestra. Under he recaptures and even intensifies the of the Tsar and his own people. Puskin’s both Leopold Stokowski and Eugene movement’s original energy, pushing to poem, titled Poltava, after the famous Ormandy, that ensemble championed a sonorous climax. This achieved, the battle, formed the basis for the opera Rachmaninov’s music, giving the first music subsides enough to allow the final Mazeppa by Russia’s foremost composer performances of every orchestral measures to grow newly impassioned. of the 19th century, Piotr Tchaikovsky. piece the composer wrote during Despite some fine music, this work is the final quarter-century of his life. The principal theme on which this rarely performed outside of Russia. But central movement is based suggests a two numbers from the opera have found The first of those works was the Piano Russian folk song, even though there places in the orchestral repertory. One is Concerto No. 4 in G minor. Rachmaninov is nothing especially folkloric in what the overture, which opens our program. played the solo part in the premiere, Rachmaninov does with it. Again, there which Stokowski led with his Philadelphia is a brief introduction, after which the WHAT TO LISTEN FOR: Tchaikovsky musicians in March 1927. The composer piano introduces the theme. Soloist dispenses with the slow introduction evidently felt some reservations about and orchestra take turns musing on this that traditionally prefaces an overture. the music at this time, for he withheld the theme, which they enhance with harmonic Instead, he launches immediately into score from publication. These doubts and pianistic embellishments. A more intensely dramatic music, beginning with increased with a later performance, and vehement idea briefly punctuates their portentous declamation in the orchestra’s Rachmaninov withdrew the piece. Not meditations, but Rachmaninov soon low register, punctuated by cymbal until the summer of 1941, by which time returns to the main theme, which finally crashes and brass fanfares, and building dissolves into glittering piano sonorities

40 SEATTLESYMPHONY.ORG over a quiet tattoo from the timpani. to their barracks, an estimated 1,000 This is a popular workers’ song, one people, women and children among of several such quotations in the The finale, which follows without them, lay dead on the Palace Square. symphony. Taken up gradually by other pause, is a long, multi-sectioned instruments, it is developed during affair replete with the kind of dazzling “Bloody Sunday,” as the day of the the central portion of the movement. keyboard passagework with which massacre is known to students of Russian Shostakovich then concludes this Rachmaninov regularly mesmerized his history, marked the real beginning of the initial part of the symphony by recalling audiences. In addition to a generous Russian Revolution, which 12 years later material from the opening paragraph. complement of new melodic ideas, would topple the Tsarist regime and alter it also features the reappearance of decisively the course of modern history. The second movement opens with themes heard earlier in the concerto. Half a century later, the event provided another song melody, this time one of the programmatic subject for Dmitri Shostakovich’s own patriotic anthems Scored for solo piano, 2 flutes and Shostakovich’s Eleventh Symphony, titled titled “Bare Your Heads.” As the music’s piccolo; 2 oboes and English horn; “The Year 1905.” This work, composed in momentum builds, the bugle calls of 2 clarinets; 2 bassoons; 4 horns; 1956–57, was neither the first nor the last the first movement sound in the horns 2 trumpets; 3 trombones; tuba; of Shostakovich’s symphonies to express and then in the trumpets. At length, timpani, percussion and strings. explicitly a patriotic (i.e. revolutionary) the “Russian” theme that opened the theme. His Second and Third Symphonies symphony appears, as if to make a final DMITRI SHOSTAKOVICH were early paeans to the Revolution, and plea for compassion. It is answered by he followed the Eleventh Symphony with a the martial sounds of trumpets, drums Symphony No. 11 in G minor, Op. 103, Symphony No. 12 bearing the legend “The and a savage fugue in the strings. The “The Year 1905” Year 1917.” Of these patriotic symphonies, music builds inexorably to the cataclysm. the Eleventh is by common consensus Tam-tam crashes indicate the soldiers the most moving. Its dramatic subject firing on the crowd, the incisive fugue BORN: September 25, 1906, in Saint Petersburg drew out not only Shostakovich’s love subject suggests their slashing swords. DIED: August 9, 1975, in Moscow for his country and compatriots but also The movement ends with the “Russian” WORK COMPOSED: 1956–57 his deep and poetic sense of tragedy. theme in shimmering trills, seemingly PREMIERE: October 30, 1957, in Moscow. disembodied, while the bugle call and Nathan Rakhlin conducted the USSR State The first movement, The Palace Square, people’s songs retreat into the distance. Symphony Orchestra. sets the stage for the drama that follows. The second movement, The The third movement uses the melody On January 9, 1905, some 3,000 Russian 9th of January, presents the events of another patriotic song, “You Fell laborers and peasants gathered in the of that fateful day in 1905 through As Victims,” as the basis for a moving square facing the Winter Palace of Tsar vivid musical allusions. Shostakovich threnody. Popular songs again supply Nicholas II, in Saint Petersburg. They had follows this supremely dramatic important themes in the finale, which come to plead for bread for their hungry movement with a lament for the dead also recalls motifs heard earlier in the families, and for reform of an economy in of the 9th of January. This elegy gives symphony. A mournful English horn which they were little better than slaves way, in the finale, to an expression of solo remembers the martyrs, and the of a small and luxuriant ruling class. revolutionary fervor and resolve. whirling final passage recalls their Conditions in their factories and on their demise, promising that their deaths farms had become intolerable, they tried WHAT TO LISTEN FOR: Shostakovich will be neither forgotten nor in vain. to warn. While they toiled long hours begins the symphony with its most for wages that barely sustained them, consequential theme, hushed and Scored for 3 flutes, the third doubling the aristocracy squandered the wealth mysterious idea scored for muted piccolo; 3 oboes, the 3rd doubling English of the empire and had now blundered string choir. Its modal harmonies horn; 3 clarinets, the third doubling into a disastrous war with Japan. The evoke the ancient chants of the bass clarinet; 3 bassoons, the third unarmed marchers carried religious Russian Orthodox Church. Its stillness doubling contrabassoon; 4 horns; 3 icons and sang hymns and folk songs. suggests quiet endurance and a trumpets; 3 trombones; tuba, timpani and sense of timelessness, of sorrow percussion; 2 harps; celeste and strings. stretching back through the centuries. The assembly gained no audience with © 2016 Paul Schiavo Czar Nicholas. Instead, they were met It could hardly sound more Russian. by a detachment of his Cossack guards, which emerged suddenly from the Palace Two more active ideas intrude on the gate. For a tense moment, horsemen tense calm of this theme: a timpani and civilians faced each other across solo presenting a motif that seems to the square. Then shots rang out, and smolder with anger; and a bugle call a line of marchers crumpled onto the from a trumpet, announcing the first snow. Before the assembly could react, hint of militancy among the workers. the Cossacks rode down on it, swords Shostakovich reprises these elements, flashing. When at last they returned adding a flowing melody for flutes.

encoreartsseattle.com 41 MIKHAIL AGREST LUCAS DEBARGUE SEATTLE SYMPHONY Conductor Piano DONORS Grace & Intelligence Russian conductor Born in 1990, Lucas Mikhail Agrest studied Debargue began piano Elegance with Charm at the St. Petersburg at 11 at Compiegne State Conservatoire Conservatory in the with Ilya Musin and class of Christine Mariss Jansons, Muenier. He was followed by training at quickly fascinated by the prestigious Aspen the virtuoso repertoire, Music Festival Academy Entertainment Music Broede–Sony Felix Photo: but it wasn’t until 10 with David Zinman and Jorma Panula. Prior years later, after he had graduated from to these, he studied the violin under Josef Paris Diderot University, that he decided to Gingold at Indiana University. Agrest then return to studying piano at the professional joined the Mariinsky Theatre. In 2003 he level. In 2014 he won the First Prize at the made his Metropolitan Opera debut with ninth Gaillard International Piano the Mariinsky Theatre Orchestra, followed Competition (France). Though he placed by his Royal Opera House debut. Agrest fourth at the 15th International Tchaikovsky Brenda Senderoff has led productions at Swedish National Competition in 2015, Debargue was the Opera, Opera Australia, Finnish National only musician across all disciplines who 1955 – 2016 Opera and an award-winning production of was awarded the coveted Moscow Muisic Janáček’s Jenůfa with English National Critics’ Prize as a pianist “whose incredible Opera. During the 2016–2017 season gift, artistic vision and creative freedom We will miss you. Agrest will conduct productions of have impressed the critics as well as the Weinberger’s Švanda dudák and Verdi’s audience.” After the competition he was La traviata with Semperoper Dresden, and invited to play solo and with leading Tchaikovsky’s Eugene Onegin with Finnish orchestras in the most prestigious concert National Opera. Agrest has been invited halls in Canada, , France, Germany, back to collaborate with Bremen Italy, Japan, Mexico, Russia, South Korea, Philharmoniker and Sudwestdeutsche the U.S. and the UK and has released two Philharmonie Konstanz this season, and will CDs on Sony Classical Records. In April also make his Canadian debut with 2016 he obtained his diploma and a Vancouver Symphony Orchestra. special Prize Cortot at the Paris Cortot Music School and continues to do FROM THE ARTIST: “My first experience post-graduate work with Rena with the Seattle Symphony in 2014 was Shereshevskaya at the Cortot School. one of the most gratifying events in my musical life, so I am absolutely thrilled to FROM THE ARTIST: “The very first piece I come back. I hope this program is going performed was a rondo by Clementi when to be a strong emotional experience for I was 10 years old. Performing avoids you, from the first aggressive burst of celli many of the problems I can find in life. It NOW and basses portraying the maddening is the time when my soul rests, thanks to flight of Mazeppa on horseback, until the music. Rachmaninov’s Fourth Piano the last moments of Shostakovich’s Concerto is a wonderful piece of music SERVING Eleventh Symphony when the song “Bare from the late period of the composer, like your heads” (a ritual; saying goodbye symphonic dances. There’s such a huge BRUNCH to the dead) is played at the top of the amount of original ideas in it. It’s a blessing lungs and being transformed by 1000 to perform it, one of my favorite pieces with volts of raging percussion into just orchestra.” one note…. crushing the individual into 10am-3pm one approved standardized thought. Shostakovich’s music gave some comfort Friday-Sunday to his contemporaries during the times of total censorship, who, on hearing it, would understand that they are not alone. For the future generations, it was meant to serve as a testimony of the horrors of the totalitarian regime, to prevent it from happening again.” TheCarlile.com @thecarlileroom

42 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 September 20, 2016. William and Janice Etzold I GIVE BECAUSE... Muriel Van Housen and Tom McQuaid 4Culture Patricia and Jon Rosen Dr.* and Mrs. Ellsworth C. Alvord, Jr. Anonymous Andrew W. Mellon Foundation ArtsFund SYMPHONY MUSICIANS CIRCLE ArtsWA Beethoven, A Non Profit Corporation/ The following donors have generously sponsored a Classical KING FM 98.1 section musician this season. Alan Benaroya Sherry and Larry Benaroya Dr. C. Bansbach The Benaroya Family Stephen Elop and Susan Johannsen “I want Bill & Melinda Gates Foundation Michael King and Nancy Neraas The Boeing Company Dr. Ryo and Kanori Kubota C.E. Stuart Charitable Fund Mr. and Mrs. Richard Moore Charles Simonyi Fund for Arts and Sciences The Nakajima Family Cookie and Ken Neil the next Leslie and Dale Chihuly The Clowes Fund, Inc. Melvyn and Rosalind Poll Priscilla Bullitt Collins* Jane and James Rasmussen Jane and David R. Davis Norm and Elisabeth Sandler/The Sandler Foundation Delta Air Lines Seattle Met generation Estate of Marjorie Edris Judith A. Fong and Mark Wheeler Thank you to Judith A. Fong for providing matching The Ford Foundation funds for this new program. For more information Dave and Amy Fulton about musician sponsorship, please contact Becky to love William and Melinda Gates Kowals at 206.215.4852. Lyn and Gerald Grinstein Lenore Hanauer INDIVIDUALS David J. and Shelley Hovind Illsley Ball Nordstrom Foundation The Seattle Symphony gratefully recognizes the classical Kreielsheimer Foundation following individuals for their generous Annual Fund The Kresge Foundation and Special Event gifts through September 20, 2016. Marks Family Foundation If you have any questions or would like information Bruce and Jeanne McNae about supporting the Seattle Symphony, please visit Microsoft Corporation us online at seattlesymphony.org/give or contact music as Microsoft Matching Gifts Program Donor Relations at 206.215.4832. M.J. Murdock Charitable Trust National Endowment for the Arts Thank you for your support. Our donors make it all Nesholm Family Foundation possible! much as The Norcliffe Foundation PONCHO STRADIVARIUS CIRCLE James and Sherry Raisbeck Platinum ($250,000+) Gladys* and Sam* Rubinstein S. Mark Taper Foundation The Benaroya Family 15 I do.” Jeff and Lara Sanderson Leslie and Dale Chihuly o 15 Seattle Office of Arts & Culture Judith A. Fong and Mark Wheeler o 5 Seattle Symphony Foundation Marks Family Foundation o Seattle Symphony Women’s Association Anonymous (2) Leonard and Patricia Shapiro Samuel* and Althea* Stroum Gold ($100,000 – $249,999) – Benjamin L. Dr. Robert Wallace Lenore Hanauer 15 Joan S. Watjen, in memory of Craig M. Watjen Jean-François and Catherine Heitz o 10 Virginia and Bagley* Wright Helen and Max Gurvich Advised Fund Anonymous (6) David J. and Shelley Hovind ^ 10 *In Memoriam Martin Selig and Catherine Mayer ^ Eliza and Brian Shelden Joan S. Watjen, in memory of Craig M. Watjen 15 GUEST ARTISTS CIRCLE Anonymous The following donors have generously underwritten the appearances of guest artists this season. Silver ($50,000 – $99,999)

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

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Frank Mary Ann and Ted Mandelkorn 10 Douglas Kim Larry Harris and Betty Azar 15 Ms. Janet Freeman-Daily Mark Litt Family DAF of the Jewish 5 W. M. Kleinenbroich Michele and Charles Bacon Ed and Kathy Fries Federation of Greater Seattle 15 5 Albert and Elizabeth Kobayashi Wael Bahaa-El-Din and Terri and Joseph Gaffney Anne and Karl Marlantes 5 Masato and Koko Koreeda Amira El Bastawissi Ruth and Bill* Gerberding ^ Marcia Mason 10 15 15 Kathleen Leahy Kendall and Sonia Baker 5 Janice A. and Robert L. Gerth Charles T. Massie 10 Kori Loomis Tracy L. Baker 15 James and Carol Gillick ^ Erika and Nathan Mattison 5 10 Ruthann Lorentzen Dr. and Mrs. John Baldwin Jeffrey and Martha Golub Florence and Charlie Mayne 15 Alison and James Luckman Dr. and Mrs. Terrence J. Ball 5 Mary Lee Gowell Michael and Rosemary Mayo 5 Gunilla and Vidur Luthra Joel Barduson Maridee Gregory Doug and Joyce McCallum 15 Mark P. Lutz Jane and Peter Barrett Julie Gulick Ashley McDougall 10 Louisa and Scott Malatos Patty and Jimmy Barrier Mr. and Mrs. David Hadley Diane and Scott McGee Elliot Margul Sarah and Rich Barton Bruce Haldane Hughes and Kelley McLaughlin 10 15 Bret Marquardt and Gerald Nelms Amie Batson Mary Stewart Hall Karen and Rick McMichael 15 Frank and Judith Marshall Foundation Douglas and Maria Bayer 15 James and Darlene Halverson Mary Mikkelsen 10 Ken and Robin Martin ^ Dr. Melvin Belding and Dr. Kate Brostoff Leslie and Nick Hanauer Mary McWilliams 5 David Mattson Judith and Arnold Bendich Deena C. Hanke Ronald Miller and Murl Barker 5 5 Diane Mayer Geoffrey Bent and Katie Kemezis 5 Dr. and Mrs. James M. Hanson Bill and Shirley* Miner Brooke and Dre McKinney-Ratliff Kathy Binder Katrina Harris Laurie Minsk and Jerry Dunietz 15 Drs. Pamela and Donald Mitchell Marilyn Boss Susan and Tom Harvey Chie Mitsui Ryan Mitrovich Bob and Jane Ann Bradbury 5 Mary Heckman Charles Montange and 5 15 Gary Moresky S. Lori Brown Dr. and Mrs. Robert M. Hegstrom Kathleen Patterson Ms. Mary Ellen Mulder Cy and Kathleen Butler Mike and Liz Hilton Alex and Nayla Morcos Mika Nakamura Alan and Ciara Byars Suzanne Hittman Mary and Alan Morgan 15 Bruce and Jeannie Nordstrom Frank and Phyllis Byrdwell ^ Bob Hoelzen Christine B. Moss 5 5 Isabella and Lev Novik Mary and Patrick Callan Norm Hollingshead Donald and Shirley Mottaz 5 15 Arwa and Mohammed Obeidat April Cameron 5 Bob Holtz and Cricket Morgan Kevin Murphy 15 Rena and Kevin O’Brien Karen Cameron Margaret and Marc Horton Mr. and Mrs. J. P. Naughton 15 15 5 Jerald E. Olson Corinne A. Campbell Gretchen and Lyman* Hull Paul Neal and Steven Hamilton Mr. and Mrs. Thomas Olson Craig and Jean Campbell 15 Joni Scott and Aedan Humphreys Kirsten Nesholm 5 Ralph and Marlys Palumbo ^ Wally and Sally Campbell Sara Hurley Marilyn Newland 15 5 David F. Peck Janitta and Bob Carithers Richard and Roberta Hyman Eric Noreen and Suzi Hill 10 Nancy and Christopher Perks Cory Carlson Joyce and Craig Jackson Ken and Pearl Noreen 5 Rosemary Peterson Carol and John Austenfeld Ralph E. Jackson Sharon L. Norris 5  Hera Phung Charitable Trust 5 Eric Jacobs Tim O’Keefe 5 5 Marcus Phung Benjamin Carr Randy Jahren Phillip O’Reilly

encoreartsseattle.com 45 LISTEN BOLDLY 2016/17SEASON DECEMBER 16–18 DECEMBER 31 HANDEL MESSIAH NEW YEAR’S EVE Stephen Layton, conductor CLASSICAL SOUL OF Eleanor Dennis, soprano Helen Charlston, mezzo-soprano MOTOWN Gwilym Bowen, tenor Michael Krajewski, conductor Robert Davies, baritone Capathia Jenkins, vocals Seattle Symphony Chorale Darius de Haas, vocals Calla Graver, vocals A matchless December tradition! The DeShanna Wooden, vocals Symphony, Chorale and a strong cast of Nick Trawick, vocals soloists honor Handel’s greatest work. The astounding voices of Capathia Jenkins Media Sponsor: and her Broadway co-star Darius de Haas will revisit the kings and queens of an iconic DECEMBER 28 & 29 era, including Aretha Franklin, Marvin Gaye, THE FOUR SEASONS Tina Turner, Stevie Wonder and many more. Follow the performance with a post-concert Seattle Symphony Pablo Rus Broseta, conductor Holiday Pops party that includes a live performance Elisa Barston, violin and dancing all the way to the midnight Simone Porter, violin DECEMBER 9–11 countdown and beyond! Patricio Touceda & Eva Lucero, tango dancers HOLIDAY POPS PIAZZOLLA: The Four Seasons SEATTLE POPS SERIES Title Sponsor: of Buenos Aires Stuart Chafetz, conductor VIVALDI: The Four Seasons Nicole Parker, vocals Back by popular demand, Vivaldi’s lyrical Hugh Panaro, vocals masterpiece sings with color and beauty. University of Washington Chorale Paired with the tango-inspired work the Conductor Stuart Chafetz and the University Four Seasons of Buenos Aires by famed of Washington Chorale return after last year’s Argentinian composer Astor Piazzolla. sensational debut of the new Holiday Pops A dazzling evening that will take you from program featuring festive favorites like “It’s the most celebrated of Italian Baroque the Most Wonderful Time of Year,” “White composers to the passionate rhythms Christmas,” “Little Drummer Boy” and more. of Argentina.

Darius de Haas

TICKETS NOW ON SALE 206.215.4747 | SEATTLESYMPHONY.ORG

46 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

Thomas and Cynthia Ostermann 5 Kirsten and Bayan Towfiq o 5 Amy Sidell Steve Frank’s 75th Birthday, by Richard and Peggy Ostrander Elaine Tsai Phillip Soth Patricia and Jon Rosen Meg Owen 5 Dolores Uhlman 15 Morton Stelling Dena and Tom Owens Manijeh Vail 5 Ida L. Warren Nancy Page Griffin, by David and Gina Pankowski Gretchen Van Meter 15 Mina Miller and David Sabritt Richard and Sally Parks Johanna P. VanStempvoort 15 Michael Schick and Katherine Hanson HONORARIUM GIFTS Allan and Jane Paulson 15 Mary Lou and Dirk van Woerden Gifts to the Seattle Symphony are a Perspectives of New Music Tara and John Verburg Augustin Hadelich, by wonderful way to celebrate a birthday, Jasen Peterman Donald J. Verfurth Norm Hollingshead honor a friend or note an anniversary. Lisa Peters and James Hattori Doug* and Maggie Walker 5 In addition to recognition in the Encore Thomas Pfenning Ralph and Virginia Wedgwood 15 Patty Hall, by program, your honoree will receive a card Stewart Phelps Ed and Pat Werner 5 Michael and Kelly Hershey from the Symphony acknowledging your Don and Sue Phillips Greg Wetzel 5 thoughtful gift. Stephen Phinny Judith A. Whetzel 5 Lenore Hanauer, by Prairie Foundation Roger and June Whitson Penelope Burke Gifts were made to the Seattle Lori and Bill Price Mitch Wilk Symphony in recognition of those listed Mrs. Eileen Pratt Pringle 15 Michael Winter Harald and Jenny Hille, friends of below between September 1, 2015 and Llewelyn G. and Joan Ashby Pritchard ^ 15 Mr. Eric Wong 5 Ludovic Morlot, by September 20, 2016. Please contact Harry* and Ann Pryde Jessie and David Woolley-Wilson Margaret and Andrew Gordon Donor Relations at 206.215.4832 or Ann Ramsay-Jenkins Elizabeth and Troy Wormsbecker [email protected] if you Mary C. Ransdell and Keith Wong Jerry and Nancy Worsham 10 Glen and Ann Hiner, by would like to recognize someone in a Robert F. Ranzenbach 10 Talia Silveri Wright Eugene Leibowitz future edition of Encore. Reverend Kerry and Robin Reese 10 Esther Wu Jean A. Rhodes 5 Lee and Barbara Yates 15 Leila Josefowicz, by Jennifer Adair, by Fred Richard 15 Mrs. Sarah Yeager 5 Norm Hollingshead Michelle Hamilton John Richardson II 5 Maeng-Soon Yu 10 Deborah and Andrew Rimkus 5 Robert and Eileen Zube 5 Karneia, by John Adams, by Melissa Rivello Anonymous (19) Allen R. Schwerer Mr. Roy Hughes Ms. Jean C. Robinson 5 Mike Robinson 5 5 years of consecutive giving Sherri King, by Afman, by Jack Rodman and Koh Shimizu 10 10 years of consecutive giving Vince Koester Varun Chhabra and Natasha Gupta Joseph L. Romano 15 15 years or more of consecutive giving Stan and Michele Rosen  Musician Zhenlun Li, by Claire Angel, by Dr. Len and Gretchen Jane Rosoff o Board Member Esther Wu Lyn and Gerald Grinstein Michelle and Jerry Rubin ^ Lifetime Director Mikal and Lynn Thomsen Don and Toni Rupchock 15 Æ Staff Dr. Pierre and Mrs. Felice Loebel, by Andrea Wenet David Sabee and Patricia Isacson Sabee  * In Memoriam Marilyn Layton Sarah and Shahram Salemy Dr. and Mrs. Larry Martin Jared Baeten and Mark Ruffo, by Matthew Salisbury To our entire donor family, thank you for Eugene Brown Sara Delano Redmond Fund your support. You make our mission and Hayley Lyons, by Kate and Matthew Scher music a reality. Sue Lyons Becky Benaroya, by Dr. and Mrs. Jason Schneier 5 Harold Matzner Mr. and Mrs. Joseph Schocken Did you see an error? Help us update Reid and Marilyn Morgan, by Beverly Schoenfeld Judith Schoenecker and our records by contacting friends@ Mr. and Mrs. Bill Bonnett Christopher L. Myers 5 seattlesymphony.org or 206.215.4832. Stella Chernyak, by Susan Schroeter-Stokes and Thank you! Ludovic Morlot and the Seattle David Gaglione Robert Stokes 5 Symphony, by Nancy and James Schultz + 5 Norm Hollingshead ESTATE GIFTS Leslie Chihuly, by Janet Sears 10 Anonymous We gratefully remember the following The Sam and Peggy Grossman Family Janet and Thomas Seery 10 individuals for their generosity and Foundation Tanya and Gerry Seligman 5 Nu.Mu.Zu, by forethought, and for including the Norm Hollingshead Anne Shinoda-Mettler Scott Siken Seattle Symphony in their will, trust Dr. Pierre and Mrs. Felice Loebel Charles Shipley 15 or beneficiary designation. These Harold Matzner Robert and Anita Shoup Llewelyn Pritchard, by legacy gifts provide vital support for The M. C. Pigott Family William Shuman Mr. and Mrs. Thomas Olson the Symphony now and for future Matt Stevenson Dr. Charles Simrell and Deborah Giles 10 generations. (Estate gifts since Barbara Tober Mika and Jenny Sinanan The Oboe Section, by September 1, 2014.) Su-Mei Yu Jill Singh Mark Linsey and Janis Traven Anonymous Randip Singh Barbara and Lucile Calef Douglas Smith and Stephanie Ellis-Smith Sue and Tom Raschella’s Robert E. and Jeanne Campbell Joseph Crnko and the Seattle Symphony Joan Smith 50th Wedding Anniversary, by Carmen Delo Chorale, by Stephen and Susan Smith Bob and Clodagh Ash Sherry Fisher Norm Hollingshead Harry Snyder Jennifer Connors Jane B. Folkrod Sandra and James Taylor Kathleen and Robert Spitzer Jeffrey Phillippe Lenore Ward Forbes Doug and Katie Sprugel 5 John Phillippe Marion O. Garrison Samantha DeLuna, by Donald and Sharalyn Stabbert Elizabeth C. Giblin Megan Hall and James Janning Dr. and Mrs. Robert Stagman 15 Jon Rosen, by Helen and Max Gurvich Craig and Sheila Sternberg Joe and Linda Berkson Carol Hahn-Oliver Will Dixon and Jay Picard, by Steve and Sandy Hill Family Fund at the Harriet C. Barrett Trust David Gaglione Seattle Foundation ^ 15 Bernice Rind, by Allan and Nenette Harvey Diane Stevens 5 Bob and Clodagh Ash Yveline Harvey Zart Dombourian-Eby, by Ms. Heather L. Stotz 5 Howard Moss and Pauline Shapiro Betty L. Kupersmith Ms. Marilyn E. Garner Hope and Richard Stroble David and Julie Peha E. Marian Lackovich Audrey and Jim* Stubner 15 Kay Zatine Anna L. Lawrence Emily Evans, by Victoria Sutter 5 Arlyne Loacker Ellen Hope Lina and Lino Tagliapietra Michael Schmitt, by Peter J. McTavish David Tan and Sherilyn Anderson-Tan Barbara Schlotfeldt Norman D. Miller Dr. Daniel Feller, by Mabel and Jason Tang Nuckols-Keefe Family Foundation Jeffrey Girardin Bob and Mimi Terwilliger 10 Seattle Symphony Volunteers, by Beatrice Olson Meryl and Donald* Thulean 15 Ken Abramson and Helen Santibanez Carl A. Rotter Jonas Flueckiger, by Barbara Tober John C. Rottler Shon Schmidt Vahe Torossian

encoreartsseattle.com 47 SEATTLE SYMPHONY DONORS

Richard and Barbara Shikiar, by Drs. Lihua Chen and Yihua Xiong Grandma Bosma, by James Stubner, by Sandra Smith Leslie and Dale Chihuly Andrew Emory Bob and Clodagh Ash Dr. Susan Detweiler Bucknell Stehlik Sato & Stubner, LLP Peggy Spencer, by Dan and Nancy Evans Bertram H. Hambleton, by Leslie and Dale Chihuly Nancy McConnell David and Dorothy Fluke Ginger Campopiano Sue and Robert Collett Dr. Kennan H. Hollingsworth Jill Palmer Doug and Gail Creighton Betsy and Gary Spiess, by Becky Kowals Virginia Park Cousins Pam, Tim, Terry and Julie, and Ling Chinn John and Nancy Lightbody Uncle Ron Collins Jack and Sandy McCullough Bill Hirschfeld, by Carol B. Goddard Tuning Up!, by C. Gardner McFall and Peter Olberg Marjorie J. Levar Robert and Rhoda Jensen Roy L. Hughes John and Laurel Nesholm Phyllis Stern Ken Kataoka Sheila B. Noonan and Peter M. Hartley John King [untitled], by Laird Norton Wealth Management Joseph Hylland, by Richard* and Beverly Luce Norm Hollingshead Carolyn and Michael Patterson Rebecca Benson Natalie Malin Susan Pazina Doug and Joyce McCallum Karla Waterman, by Melvyn and Rosalind Poll Suzie Johnston, by Dustin Miller Kay H. Zatine Sue and Tom Raschella Edgar and Linda Marcuse Reid and Marilyn Morgan Patricia and Jon Rosen Carole Narita Kathleen Wright and Martin Greene, by Dr. and Mrs. Gilbert J. Roth , by Kenneth and Catherine Narita, Kimberly Joel Paisner The Seattle Commissioning Club Pamela Katims Steele and Andy Absher, Karen and Steve Patricia and Jon Rosen Eve Gordon Anderson and Mark Shotts, and Kristen Narita Anderson Yun-Kuk Kim, by Leona Narita Julie Wotruba, by Roy and Laura Lundgren Douglas Kim Ruby Narita David Gaglione Dr. Alan and Mary Morgan Llewelyn G. and Joan Ashby Pritchard Patricia Tall-Takacs and Gary Takacs Marcy Krueger, by Sue and Tom Raschella Ken Shapero and Dianne Aprile Amanda Budde-Sung Kathleen Sesnon MEMORIAL GIFTS Doug and Katie Sprugel Patricia Tall-Takacs and Gary Takacs Gifts were made to the Seattle Craig and Sheila Sternberg Laurence Lang, by The Urner Family Symphony to remember those listed Linda Stevens Rosalie Lang John Walcott below between September 1, 2015 and Neal B. Abraham and Donna L. Wiley Mary and Findlay Wallace September 20, 2016. For information Anonymous Carolyn and Leroy Lewis, by Wiatr & Associates on remembering a friend or loved one Leslie and Dale Chihuly Marjorie Winter through a memorial gift, please contact Kent Coleman, by Richard and Barbara Wortley Donor Relations at 206.215.4832 or Jan Coleman Fridolf N. Lundholm, by Kay Zatine [email protected]. Steven Lundholm S. Patricia Cook, by Don Thulean, by Jane and Don Abel, by Capt. Charles Cook Ginny Meisenbach, by Todd Gordon and Susan Feder The Abel Family Fund Leslie and Dale Chihuly Reid and Marilyn Morgan

Lucy J. Ding, by John and Laurel Nesholm David Anderson, by Paula Ding William Joseph Nazzaro, by Sheila B. Noonan and Peter M. Hartley Julie L. Antle-Anderson Mary Nazzaro Llewelyn G. and Joan Ashby Pritchard Jackie Davenport, by Sue and Tom Raschella Arval, by Nadine Miyahara Merlyn A. Nellist, by Jennifer Schwartz Dr. L. Newell-Morris Donna Nellist Martha Donworth, by Katie Tyson, by Wanda Beachell, by Christine Marshall John J. and Gertrude M. Rangstrom, by Elizabeth Faubell E. A. Beachell Jon Fourre Doris Dwyer, by John L. Voorhees Bill Beery, by Jeffrey W. Smith David Reibstein, by Madeline Beery Andrew Bertino-Reibstein B. K. Walton, by Eugene Fisher, by Penelope Yonge Jack Benaroya, by Gayden F. Carruth Sam and Gladys Rubinstein, by Leslie and Dale Chihuly Cascade Designs, Inc. Leslie and Dale Chihuly Brian Weiss, by Sue Eriksen Donald Benedict, by Wesley Fisk, by Carole Sanford, by Dina Jacobson Dr. Charles Higbee Renate Stage Horizon House Supported Living Lars Sorenson

Gertrude Bergseth, by Donald Isle Foster, by Herman Sarkowsky, by Janice T. Whittaker, by Constance Trowbridge Karen Laband Leslie and Dale Chihuly Jody Friday Sheila B. Noonan and Peter M. Hartley David and Dorothy Fluke Arlene Mildred Berlin, by Llewelyn G. and Joan Ashby Pritchard Richard Yarington, by Janice Berlin Beulah Frankel, by Yoko Barnett Ginny Gensler Walter Schoenfeld, by Robert E. Clapp Donald W. Bidwell, MD, by Leslie and Dale Chihuly Barbara McHarg Sharon Bidwell Shirley H. Fuller, by Cheryl Jefford Marise and Randy Person Allen Senear, by Charles and Joan Johnson Bev Bright, by Reid and Marilyn Morgan Margaret Kiyohara Rita Gray William Gerberding, by MJo Leslie and Dale Chihuly Julia Shaw, by Frederic Chopin, by Mr. and Mrs. David L. Fluke Bob and Clodagh Ash Xiaoxia Zhou Dr. Kennan H. Hollingsworth Sue and Tom Raschella Llewelyn G. and Joan Ashby Pritchard Lydia Christofides, by Amy Sidell, by Gerald B. Folland Booker T. Gibson, by John and Laurel Nesholm Patricia and Jon Rosen Sue and Tom Raschella Dr. Alexander Clowes, by Charles Alpers and Ingrid Peterson Billie Grande, by Nancy Simek, by Bob and Clodagh Ash Patricia and Jim Davis William and Janice Etzold Dr. and Mrs. Forrest Bennett Mardi and Frank Bowles Allan Granquist, by Sam and Althea Stroum, by Butler’s Hole Fund Steven Lundholm Leslie and Dale Chihuly Barbara A. Cahill

48 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY DONORS

A SYMPHONY FOR TODAY AND TOMORROW Your Gift to the Seattle Symphony Endowment

DID YOU KNOW? A robust endowment is the financial foundation of every A STRONG ENDOWMENT PROVIDES successful major American orchestra. An endowment is sometimes compared to a savings account SECURITY AND RESILIENCE. or seed corn. With careful investment, the principal bears fruit in perpetuity. Season after season, earnings help to ANNUAL FUND OR ENDOWMENT? fund concerts and community programs, recordings and bold Annual Fund gifts are essential to maintaining artistic artistic initiatives. A strong endowment provides security and quality and funding day-to-day operations. A healthy resilience, and, when necessary, helps the orchestra weather endowment builds a foundation for the future. economic downturns. WHAT IS THE IDEAL SIZE OF AN ENDOWMENT? To maintain a superb and enduring orchestra in our An endowment should be four times an organization’s community, please consider a Planned Gift to the annual budget. The Seattle Symphony’s endowment Seattle Symphony Endowment. needs to grow!

To learn more about the Endowment, please contact Becky Kowals at [email protected] or 206.215.4852.

encoreartsseattle.com 49 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 September 20, 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 + Sue and Robert Collett Frances O. Delaney* The Benaroya Family John and Carmen* Delo Charles Simonyi Fund for Arts and Sciences Estate of Lenore Ward Forbes Anonymous (1) I GIVE BECAUSE... Estate of George A. Franz $1,000,000 – $4,999,999 Jean Gardner Estate of Mr. and Mrs. Irvin Gattiker Leslie and Dale Chihuly Anne Gould Hauberg* The Clowes Fund, Inc. Richard and Elizabeth Hedreen Priscilla Bullitt Collins* Estate of William K. and Judith A. Fong Edith A. Holmes The Ford Foundation John Graham Foundation Dave and Amy Fulton Mr. and Mrs. Stanley P. Jones Kreielsheimer Foundation Estate of Betty L. Kupersmith Marks Family Foundation John and Cookie* Laughlin Estate of Gladys and Sam Rubinstein E. Thomas McFarlan Leonard and Patricia Shapiro Estate of Alice M. Muench Samuel* and Althea* Stroum Nesholm Family Foundation Dr. Robert Wallace “My first Estate of Opal J. Orr $500,000 – $999,999 M. C. Pigott Family PONCHO Alex Walker III Charitable Lead Trust Estate of Mrs. Marietta Priebe Mrs. John M. Fluke, Sr.* Seattle Symphony Volunteers Douglas F. King Mr. and Mrs. Paul R. Smith trip to the Estate of Ann W. Lawrence Estate of Frankie L. Wakefield The Norcliffe Foundation Estate of Marion J. Waller Estate of Mark Charles Paben Washington Mutual James D. and Sherry L. Raisbeck Foundation Anonymous (1) Symphony Joan S. Watjen, in memory of Craig M. Watjen $25,000 – $49,999 $100,000 – $499,999 Edward and Pam Avedisian Estate of Glenn H. Anderson Estate of Bernice Baker Andrew W. Mellon Foundation Estate of Ruth E. Burgess when I Bob and Clodagh Ash Estate of Barbara and Lucile Calef Alan Benaroya Mrs. Maxwell Carlson Estate of C. Keith Birkenfeld Alberta Corkery* Mrs. Rie Bloomfield* Norma Durst* The Boeing Company was seven Estate of Margret L. Dutton C.E. Stuart Charitable Fund Estate of Floreen Eastman Dr. Alexander Clowes* and Hugh S. Ferguson* Dr. Susan Detweiler Mrs. Paul Friedlander* Richard and Bridget Cooley Adele Golub changed Mildred King Dunn Patty Hall E. K. and Lillian F. Bishop Foundation Thomas P. Harville Estate of Clairmont L. and Harold Heath* Evelyn Egtvedt George Heidorn and Margaret Rothschild* Estate of Ruth S. Ellerbeck Phyllis and Bob Henigson my life.” Senator and Mrs. Daniel J. Evans Michael and Jeannie Herr Fluke Capital Management Charles E. Higbee, MD and Estate of Dr. Eloise R. Giblett Donald D. Benedict Agnes Gund Mr. and Mrs. L. R. Hornbeck Helen* and Max* Gurvich Sonia Johnson* Estate of Mrs. James F. Hodges The Keith and Kathleen Hallman Fund Estate of Ruth H. Hoffman – John G. David and Karen Kratter Estate of Virginia Iverson Estate of Marlin Dale Lehrman Estate of Peggy Anne Jacobsson Estate of Coe and Dorothy Malone Robert C. Jenkins Estate of Jack W. McCoy Estate of Charlotte M. Malone Estate of Robert B. McNett Bruce and Jolene McCaw Estate of Peter J. McTavish Bruce and Jeanne McNae Estate of Shirley Callison Miner Microsoft Corporation PACCAR Foundation National Endowment for the Arts Estate of Elizabeth Parke Northwest Foundation Mr. and Mrs. W. H. Purdy Peach Foundation Keith and Patricia Riffle Estate of Elsbeth Pfeiffer Rita* and Herb* Rosen and Estate of Elizabeth Richards the Rosen Family Jon and Judy Runstad Jerry and Jody Schwarz WHY DO YOU GIVE? Estate of Joanne M. Schumacher Seafirst Bank Weyerhaeuser Company Seattle Symphony Women’s Association The William Randolph Hearst Security Pacific Bank Foundations Patricia Tall-Takacs and Gary Takacs Estate of Helen L. Yeakel U S WEST Communications Estate of Victoria Zablocki Estate of Dr. and Mrs. Wade Volwiler Anonymous (3) Estate of Marion G. Weinthal $50,000 – $99,999 Estate of Ethel Wood Anonymous (2) Dr.* and Mrs. Ellsworth C. Alvord, Jr. Estate of Mrs. Louis Brechemin * In Memoriam SEATTLESYMPHONY.ORG/GIVE Estate of Edward S. Brignall

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 September 20, 2016.

Charles M. and Barbara Clanton Ackerman Ted and Joan Lundberg Virginia and Allen* Senear Joan P. Algarin Judsen Marquardt Leonard and Patricia Shapiro Richard Andler and Carole Rush Ian and Cilla Marriott Jan and Peter Shapiro Ron Armstrong Doug and Joyce McCallum John F. and Julia P.* Shaw Elma Arndt Jean E. McTavish Barbara and Richard Shikiar Bob and Clodagh Ash William C. Messecar Valerie Newman Sils Susan A. Austin Charles N. Miller Evelyn Simpson Rosalee Ball Elizabeth J. Miller Betty J. Smith David W. Barker Mrs. Roger N. Miller Katherine K. Sodergren Donna M. Barnes Murl G. Barker and Ronald E. Miller Althea C. and Orin H.* Soest Carol Batchelder Reid and Marilyn Morgan Sonia Spear Janet P. Beckmann George Muldrow Diane Stevens Alan Benaroya Marr and Nancy Mullen Liz Stokes Donald/Sharon Bidwell Living Trust Isa Nelson Patricia Tall-Takacs and Gary Takacs Sylvia and Steve Burges Gina W. Olson Gayle and Jack Thompson Dr. Simpson* and Dr. Margaret Burke Sarah M. Ovens Dr. and Mrs. Arthur Torgerson Sue and Robert Collett Donald and Joyce Paradine Betty Lou and Irwin* Treiger Dr. Marshall Corson and Dick and Joyce Paul Muriel Van Housen Mrs. Lauren Riker Stuart N. Plumb Sharon Van Valin Betsey Curran and Jonathan King Mrs. Eileen Pratt Pringle Dr. Robert Wallace Frank and Dolores Dean Roger Presley and Leonard Pezzano Nicholas A. Walls Robin Dearling and Gary Ackerman Mr. and Mrs. W. H. Purdy Judith Warshal and Wade Sowers Lorraine Del Prado and James and Sherry Raisbeck Douglas Weisfield Thomas Donohue J. Stephen and Alice Reid James and Janet Weisman John Delo Bernice Mossafer Rind John and Fran Weiss Dr. Susan Detweiler and Bill* and Charlene Roberts Gerald W. and Elaine* Millard West Dr. Alexander Clowes* Junius Rochester Selena and Steve Wilson Fred and Adele Drummond Jan Rogers Ronald and Carolyn Woodard Mildred King Dunn Mary Ann Sage Arlene A. Wright Sandra W. Dyer Thomas H. Schacht Janet E. Wright Ann R. Eddy Judith Schoenecker and Anonymous (44) David and Dorothy Fluke Christopher L. Myers * In Memoriam Gerald B. Folland Annie and Leroy Searle Judith A. Fong Jack and Jan Forrest Russell and Nancy Fosmire Ernest and Elizabeth Scott Frankenberg Cynthia L. Gallagher Jane and Richard Gallagher Jean Gardner William and Cheryl Geffon Natalie Gendler Carol B. Goddard Frances M. Golding TAX-WISE WAYS Jeffrey Norman Golub Dr. and Mrs. Ulf and Inger Goranson TO SUPPORT THE Betty Graham Catherine B. Green Dr. Martin L. Greene SYMPHONIC MUSIC YOU LOVE James and Darlene Halverson Barbara Hannah Harriet Harburn Ken and Cathi Hatch Donating to the Symphony through stock or via a direct transfer Michele and Dan Heidt from your IRA is both generous and tax-efficient! Ralph and Gail Hendrickson Deena J. Henkins Charles E. Higbee, MD Great year-end ways to give: Harold and Mary Frances Hill ■ Gifts of appreciated stock you’ve held over one year can result in Frank and Katie Holland Dr. Kennan H. Hollingsworth a charitable deduction and save on capital gains tax. Chuck and Pat Holmes Richard and Roberta Hyman ■ The IRA Charitable Rollover is here to stay, so if you’re 70 ½ Janet Aldrich Jacobs Robert C. Jenkins years or older, you can donate through a tax-free transfer and Dr. Barbara Johnston count it as your required minimum distribution. Norman J. Johnston* and L. Jane Hastings Johnston Atul R. Kanagat To learn more about tax-wise giving, contact Becky Kowals at Don and Joyce Kindred 206.215.4852 or [email protected]. Dell King Douglas F. King Stephen and Barbara Kratz Frances J. Kwapil M. LaHaise Ned Laird Paul Leach and Susan Winokur Lu Leslan Marjorie J. Levar Thomas and Virginia Hunt Luce

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 September 20, 2016. Thank you for your support — our donors make it all possible!

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

$50,000 – $99,999 $10,000 – $14,999 Dover Corporation Garden Conservancy

Classical KING FM 98.1 ◊ Acucela Inc. D.V. & Ida McEachern Charitable Trust Hard Rock Cafe Seattle † Google Inc. † Angelo Consulting EY Inn at the Market † John Graham Foundation Bill & Melinda Gates Foundation GE Foundation KAN | Orchids Flowers † KEXP † Matching Gifts Glazer’s Camera † Music4Life Laird Norton Wealth Management Coca-Cola Company Matching Gifts KeyBank Pacific Coast Feather Co. Microsoft Corporation Foster Pepper PLLC NAREIG Peo Tours, Inc. Microsoft Matching Gifts Fran’s Chocolates ◊ Peg and Rick Young Foundation Sam and Peggy Grossman Family Foundation Nesholm Family Foundation Holland America Line ◊ RBC Foundation Seattle Symphony Volunteers Seattle Met Magazine † Jean K. Lafromboise Foundation Russell Family Foundation Lakeside Industries Skanska USA Talking Rain † Treveri Cellars † $25,000 – $49,999 Milliman † Sullivan’s Steakhouse † Norman Archibald Foundation Tulalip Tribes Charitable Fund Ann and Gordon Getty Foundation Vitus Group Peoples Bank UBS Financial Services Inc. Bill & Melinda Gates Foundation Perkins Coie LLP $3,000 – $4,999 Wilson Sonsini Goodrich Boeing Matching Gift Program & Rosati Foundation RBC Wealth Management CTI BioPharma Corp. Amphion Foundation Rosanna, Inc. † Classic Pianos ◊ The Capital Grille † Russell Investments Clowes Fund, Inc. GE Foundation Matching Gifts † In-Kind Support U.S. Bank Foundation Encore Media Group † Genworth Foundation ◊ Financial and In-Kind Support Weill Music Institute † Garvey Schubert Barer † Google Matching Gifts Wild Ginger Restaurant † J.P. Morgan Chase & Co. IBM International Foundation Anonymous Nordstrom Thurston Charitable Foundation Seattle Cancer Care Alliance Touchstone Group at Morgan Stanley $5,000 – $9,999 Sheri and Les Biller Family Foundation Wyman Youth Trust Wells Fargo Private Bank Acción Cultural Espagñola AETNA $1,000 – $2,999 $15,000 – $24,999 Apex Foundation Alfred & Tillie Shemanski Trust Fund Bank of America Aaron Copland Fund For Music Brandon Patoc Photography † Bellevue Children’s Academy Ann and Gordon Getty Foundation and CityBldr the League of American Orchestras The Benaroya Company Consulate General of the Chihuly Studio † Bessemer Trust Republic of Poland

Crimson Wine Group ◊ Brown Bear Car Wash DreamBox Learning Elizabeth McGraw Foundation Chihuly Garden + Glass Eaton Vance Citi Community Capital Educational Legacy Fund Davis Wright Tremaine Four Seasons Hotel †

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 Photos: Brandon Patoc

THANK YOU!

During this season of thanksgiving, the Seattle Symphony extends its deepest gratitude to our Musical Legacy Society members. Each year the Seattle Symphony’s artistic, education and community programs receive critical funding through the estates of these generous individuals. We salute our Musical Legacy Society members for their dedication to the Seattle Symphony’s future. Have you already included a gift to the Seattle Symphony in your estate plan? Please let us know. We would love to thank you personally and welcome you to the Musical Legacy Society.

The Seattle Symphony’s Musical Legacy Society is generously sponsored by Laird Norton Wealth Management. FOR MORE INFORMATION CONTACT [email protected] OR CALL 206.215.4852. 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 at Third Ave. & Union St., downtown Seattle. music-lovers like you. 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 OPENING NIGHT GALA, SEPTEMBER 17, 2016 206.215.4832 Honoring William Gates Sr. and Mimi Gardner Gates ONLINE: seattlesymphony.org. ONLINE: GALA SPONSOR JP Morgan Chase & Co. seattlesymphony.org/give 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 Kathly 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 Rena O’Brien An infrared hearing system is available for patrons Roberta Downey Marnie Roozen 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 Tiffany Moss personal electronic devices prior to the performance. at the Head Usher stations in both lobbies.

LOST AND FOUND: Please contact the Head ADMISSION OF CHILDREN: Children under the age of TEN GRANDS, MAY 14, 2016 Usher immediately following the performance or 5 will not be admitted to Seattle Symphony performances Kathy Fahlman Dewalt call Benaroya Hall security at 206.215.4715. except for specific age-appropriate children’s concerts. Co-Founder and Executive Director Excellent dates are available for EMERGENCY PHONE NUMBER: Please leave the BENAROYA HALL: COMMITTEE appropriate phone number, listed below, and your exact those wishing to plan an event in the S. Mark Taper Rosanna Bowles Ghizlane Morlot seat location (aisle, section, row and seat number) with Foundation Auditorium, the Illsley Ball Nordstrom Cheri Brennan Carla Nichols your sitter or service so we may easily locate you in Recital Hall, the Samuel & Althea Stroum Grand Tom Horsley Stephanie White the event of an emergency: S. Mark Taper Foundation Lobby and the Norcliffe Founders Room. Judith Fong Jessie Woolley-Wilson Auditorium, 206.215.4825; Illsley Ball Nordstrom Recital Visit seattlesymphony.org/benaroyahall Nader Kabbani Barbara Wortley Hall, 206.215.4776. for more information. Ben Klinger

CLUB LUDO, JUNE 18, 2016

PRESENTING SPONSOR DINING AT BENAROYA HALL CTI BioPharma

Powered by Tuxedos and Tennis Shoes Catering and Events CO-CHAIRS Ryan Mitrovich MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just a few Tiffany Moss short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the nearby Pike Place COMMITTEE Market, offering delicious, inventive menus with the best local and seasonal produce available. Open to ALL ticket holders Mary Bass two hours prior to most Seattle Symphony performances and select non-Symphony performances. Reservations are Eric Berlinberg encouraged, but walk-ins are also welcome. To make a reservation, please visit opentable.com or call 206.336.6699. Chris Beza Eric Jacobs DAVIDS & CO.: Join us for a bite at Davids & Co., a cafe in The Boeing Company Gallery at Benaroya Hall. Featuring Erik Jensen fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch or a casual meal before David Johnson a show. Open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Matt Marshall Auditorium. Liz McConnell Talia Silveri LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The lobby bars Angela Wapner open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the lobby bars before the Grace Yoo 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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CLUB LUDO Continuing a tradition of defying definition, Club Ludo returned Thank you to everyone who attended Club Ludo for raising to the Chihuly Boathouse on June 18, 2016. Featuring an intimate $225,000 for the Seattle Symphony’s education and community performance by pianist Jean-Yves Thibaudet; an out-of-this- programs, providing important funding for programs that enrich world theremin recital by Lydia Kavina; an installation by sound the lives of people of all ages and circumstances. sculptor Trimpin; performances by Seattle Symphony musicians Special thanks to Presenting Sponsor CTI BioPharma, the Elisa Barston, Meeka Quan DiLorenzo, Jonathan Green, Club Ludo event committee, the many individuals and Jonathan Karschney, Cordula Merks, Mikhail Shmidt and organizations who donated auction items, and the incredible Michael A. Werner; and the incomparable Grace Love Band; sponsors whose generous support made this event possible. this was truly a night of music like no other.

PHOTOS: 1 Club Ludo Committee Co-Chair Ryan Mitrovich with siblings Connor and Jessica Mitrovich 2 Seattle Symphony First Violin Mae Lin and Cello Eric Han 3 Pianist Jean-Yves Thibaudet 4 Seattle Symphony First Violin Mikhail Shmidt 5 Dale and Leslie Jackson Chihuly with sound sculptor Trimpin 6 The Grace Love Band kept clubbers dancing long into the night 7 The Club Ludo silent auction, filled with one-of-a-kind items and experiences Laird Norton is a very proud supporter of the Seattle Symphony. Community building and the pursuit of excellence are core values shared by both the Symphony and Laird Norton. In partnership, we celebrate the relentless pursuit of innovation and musical excellence that unite our community and create lasting legacies.

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