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nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Other Seattle Symphony – Gerard Schwarz recordings: Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by AMERICAN CLASSICS Musical America, and has received numerous honorary doctorates, including from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacific Northwest Branch of the National Academy of Recording Arts & Sciences gave Schwarz its first “IMPACT” lifetime achievement award. Arthur

SEATTLE SYMPHONY 2006–2007 SEASON FOOTE First Violin Viola Flute Horn Maria Larionoff, Susan Gulkis Assadi Scott Goff John Cerminaro Concertmaster Dorothy Shapiro Judy Kriewall Mark Robbins Francesca da Rimini John Weller Arie Schachter Zartouhi Dombourian-Eby Jeffrey Fair Simon James Timothy Hale Adam Iascone Air and Gavotte • Suite in E major Jennifer Bai Vincent Comer Piccolo Susan Carroll Mariel Bailey Penelope Crane Zartouhi Dombourian-Eby Scott Wilson Cecilia Poellein Buss Wesley Anderson Dyring Four Character Pieces after the Rubáiyát of Omar Khayyám Jun Liang Du Mara Gearman Oboe Trumpet Ayako Gamo Rachel Swerdlow Nathan Hughes David Gordon Timothy Garland Ben Hausmann Geoffrey Bergler Peter Kaman Cello Stefan Farkas Richard Pressley Seattle Symphony • Gerard Schwarz Leonid Keylin Joshua Roman Mikhail Shmidt Susan Williams English Horn Trombone 8.559162 8.559317 Clark Story Theresa Benshoof Stefan Farkas Ko-ichiro Yamamoto Jeannie Wells Yablonsky Walter Gray David Lawrence Ritt Arthur Zadinsky Bruce Bailey Clarinet Roberta Hansen Downey Christopher Sereque Bass Trombone Second Violin Vivian Gu Laura DeLuca Stephen Fissel Michael Miropolsky David Sabee Larey McDaniel Kathleen Stern Amos Yang Tuba Gennady Filimonov E-Flat Clarinet Christopher Olka Stephen Bryant Bass Laura DeLuca Linda Cole Jordan Anderson Timpani Xiao-po Fei Jonathan Green Bass Clarinet Michael Crusoe Wesley Fisk Jonathan Burnstein Larey McDaniel Sande Gillette Jennifer Godfrey Percussion Artur Girsky Nancy Page Griffin Bassoon Randolph Baunton Virginia Hunt Luce Joseph Kaufman Seth Krimsky Michael Clark Eric Scott Sandra Lambert Paul Rafanelli Ron Johnson Andrew Yeung Ronald Simon Mike Gamburg Harp The revolving members of the string sections Contrabassoon Valerie Muzzolini are listed alphabetically. Mike Gamburg Keyboards Kimberly Russ, piano Joseph Adam, organ 8.559378 8.559610

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Arthur Foote (1853-1937): Francesca da Rimini, Op. 24 • Air and Gavotte Serenade, Op. 25, which also derives from earlier Prefaced by what will undoubtedly be the most Allegro comodo is followed by a movement titled in the some highly ingenious rhythmic transformations, Four Character Pieces, Op. 48 • Suite in E major for string orchestra, Op. 63 works) for performance as a pair; their probable original familiar quotation from the poem for most listeners – published score in German Pizzicato und Adagietto. suggestive at times of the finale fugue in Brahms’s composition dates are 1889 for the Air and, for the Characteristically resourceful in its rhythmic variety, the Handel Variations. Like all of the music recorded here, The notion that American music began with Aaron Some two-thirds of Foote’s copious output was Gavotte, 1866, when Foote was only thirteen years old. A Book of Verses underneath the Bough, opening and closing Pizzicato section, marked the Suite transcends what might be regarded as traditional Copland (or, depending on your tastes, with George published in his lifetime. Of the three works in this In 1900 Foote revised a set of his piano pieces to A Jug of Wine, a Loaf of Bread – and Thou Capriccioso – Allegretto, encloses an eloquent Adagietto aims to show us a composer as individual in inspiration as Gershwin or perhaps Cole Porter) dies hard, but it recording that thus carry opus numbers, the earliest is create the Four Character Pieces after the Rubáiyát of Beside me singing in the Wilderness – enhanced, like the first movement of the Air and Gavotte, he was well-schooled in technique. ignores a number of excellent composers who flourished the “Symphonic Prologue” Francesca da Rimini, based Omar Khayyám, thereby producing what has remained Oh, Wilderness, were Paradise enow! by neatly propulsive contrapuntal touches. Again titled in before any of those men were born. Even if we discount on the story of the doomed lovers Francesca and Paolo one of his most popular works. As romantic in German, the third and last movement, Fuge, treats an the musical creativity of two signers of the Declaration related by Dante in the fifth Canto of The Inferno. atmosphere as his Francesca da Rimini was classical, – the Comodo third movement evokes the trance-like Allegro giusto subject that may at first sound square to Bernard Jacobson of Independence, Francis Hopkinson and (attributively) Dating from 1890, this was the composer’s second these pieces add harp and percussion to the orchestral mystery suggested by those words with hypnotic rising Benjamin Franklin, and that of still earlier substantial published orchestra work. It is a fine example of his forces, and give much more prominence to the octave figures, coming to rest in repeated harp tones composers like John Antes and his Moravian brethren or command of broadly conceived structure as well as of atmospheric qualities of individual instruments. A enveloped by immobile A-major harmonies high in the Seattle Symphony William Billings of Boston, we should not forget the his powerfully expressive musical language. The piece chromatically inflected clarinet solo dominates the first strings. achievements of more than a dozen talented composers branches out from a dark-hued Andante sostenuto piece, an Andante comodo headed by the following The final piece is again in ternary form. The outer Photo courtesy of Yuen Lui Studio Seattle Symphony, founded in 1903, has been under the ranging in date from Louis Moreau Gottschalk (1829- opening in C minor to incorporate Allegro assai sections verse from the Rubáiyát: sections, Andantino ben marcato, offer some teasingly artistic leadership of Music Director Gerard Schwarz since 1869) and John Knowles Paine (1839-1906) to Charles punctuated by forceful passages in recitative style. The unpredictable variations on a seemingly simple 6/8 1985. In 1998, the Orchestra began performing in the Tomlinson Griffes (1884-1920), and including such scoring, for a standard symphony orchestra with double Iram indeed is gone with all his Rose, pulse. The poetic heading here is: acoustically superb Benaroya Hall in downtown Seattle. The notable figures as George Whitefield Chadwick, woodwinds, four horns, two trumpets, three trombones, And Jamshyd’s Sev’n-ring’d Cup where Symphony is internationally recognized for its adventurous Edward MacDowell, Charles Martin Loeffler, Horatio tuba, timpani, and strings, is fastidiously detailed. A no one knows; Yon rising Moon that looks for us again – programming of contemporary works, its devotion to the Parker, Amy Beach, Daniel Gregory Mason, John Alden characteristic subordinate theme exults in a near- But still a Ruby kindles in the Vine, How oft hereafter will she wax and wane; classics, and its extensive recording history. Seattle Carpenter, and Carl Ruggles. It is tempting to include Elgarian succulence and grace, and demonstrates And many a Garden by the Water blows. How oft hereafter rising look for us Symphony has made more than 100 recordings, garnered 12 Charles Ives in this list also, but though he was Foote’s willingness to flout conventional tonal schemes Through this same Garden – and for one in vain! Grammy nominations and received two Emmy Awards. composing busily before Copland was born, it took by first appearing in an expectable E-flat major but Much more forceful in manner, the second movement From September through July, the Symphony is heard live by years for his work to make any substantial impact on recurring first in E major and finally, shortly before the might almost be called Foote’s answer to Brahms’s The central Molto allegro is headed by more than 315,000 people. For more information on Seattle American musical life. work’s ppp conclusion, in C major. Hungarian and Dvofiák’s Slavonic Dances. After a Symphony, visit www.seattlesymphony.org. Among those named above, Paine served at Harvard If the stylistic background of Francesca da Rimini driving first section, marked Allegro deciso, illustrating: Waste not your Hour, nor in the vain pursuit as the first music professor in the United States, and the is to be found in Brahms, the pieces that follow it on this Of This and That endeavor and dispute; composer who concerns us here, Arthur Foote, studied disc, the Air and Gavotte for strings, take their They say the Lion and the Lizard keep Better be jocund with the fruitful Grape Gerard Schwarz with him and graduated in 1875 with the first MA degree inspiration from a much earlier source. The Air, in The Courts where Jamshyd gloried and drank deep: Than sadden after none, or bitter, Fruit. in music ever bestowed by an American university. particular, can be heard as a conscious study based on And Bahrám, that great Hunter – the Wild Ass One of the leading conductors of his generation, Gerard Schwarz has a vast repertoire Foote was born in Salem, Massachusetts, and spent most the corresponding movement in Bach’s Third Suite for Stamps o’er his Head, but cannot break his Sleep Starting with muted strings framing a sinuous oboe solo, that includes a major commitment to American music. Schwarz has been Music of his life in Boston, though he also served as a guest orchestra. Foote always wrote superbly for strings, and this section builds to a powerful climax before reining Director of the Seattle Symphony since 1985, and also serves as Music Director of the lecturer at the University of California, Berkeley, in in this exquisite movement he achieved a delicate a moderately paced middle section headed by: back for a shortened reprise of the initial material, to end Eastern Music Festival. Previously, he has been Music Director of New York’s Mostly 1911. For the last sixteen years of his life he taught piano balance between harmonic richness and well-judged softly again, with high harmonics in the upper strings. Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber at the New England Conservatory. Foote was unusual touches of counterpoint, the whole supported on a Yet ah, that Spring should vanish with the Rose! It is the strings, clearly, that lie at the root of Foote’s Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu among the American composers of his time in that all of foundation of steadily descending bass notes, played That Youth’s sweet-scented manuscript feeling for orchestral color, so that the Suite in E major Bunkamura with the Tokyo Philharmonic. Schwarz’s considerable discography of some his training took place in the United States, with the first with the bow and later pizzicato. The Gavotte offers should close! for string orchestra makes an appropriate conclusion for 260 releases showcases his collaborations with some of the world’s greatest orchestras, exception of a few lessons he took with Stephen Heller an effective contrast, with its bluff yet nicely varied The Nightingale that in the branches sang, this recorded program. Though the title might lead one to including The Philadelphia Orchestra, The Czech Philharmonic, The London

in France in 1883. A number of visits to European rhythms and its exploration of pitches well above what Ah whence, and whither flown again, who knows! expect another baroque-inspired composition, the feeling Photo courtesy of Yuen Lui Studio Symphony, Berlin Radio Symphony, Orchestra National de France, Tokyo musical centers also helped to frame his style, which was would have been the norm in Bach’s time. It is not of this work, written in 1907 and revised in the following Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the firmly grounded in the classical manner of Brahms and known for certain who put together the two pieces turns the same fundamental rhythm to cleverly year, is closer to that of string-orchestra works by Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the in the tradition of the European romantics. (found also as the second and fifth movements of his transformed expressive effect. Tchaikovsky, Dvofiák, and Elgar. A Praeludium marked National Council on the Arts. He has received two Emmy Awards, 12 Grammy

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Arthur Foote (1853-1937): Francesca da Rimini, Op. 24 • Air and Gavotte Serenade, Op. 25, which also derives from earlier Prefaced by what will undoubtedly be the most Allegro comodo is followed by a movement titled in the some highly ingenious rhythmic transformations, Four Character Pieces, Op. 48 • Suite in E major for string orchestra, Op. 63 works) for performance as a pair; their probable original familiar quotation from the poem for most listeners – published score in German Pizzicato und Adagietto. suggestive at times of the finale fugue in Brahms’s composition dates are 1889 for the Air and, for the Characteristically resourceful in its rhythmic variety, the Handel Variations. Like all of the music recorded here, The notion that American music began with Aaron Some two-thirds of Foote’s copious output was Gavotte, 1866, when Foote was only thirteen years old. A Book of Verses underneath the Bough, opening and closing Pizzicato section, marked the Suite transcends what might be regarded as traditional Copland (or, depending on your tastes, with George published in his lifetime. Of the three works in this In 1900 Foote revised a set of his piano pieces to A Jug of Wine, a Loaf of Bread – and Thou Capriccioso – Allegretto, encloses an eloquent Adagietto aims to show us a composer as individual in inspiration as Gershwin or perhaps Cole Porter) dies hard, but it recording that thus carry opus numbers, the earliest is create the Four Character Pieces after the Rubáiyát of Beside me singing in the Wilderness – enhanced, like the first movement of the Air and Gavotte, he was well-schooled in technique. ignores a number of excellent composers who flourished the “Symphonic Prologue” Francesca da Rimini, based Omar Khayyám, thereby producing what has remained Oh, Wilderness, were Paradise enow! by neatly propulsive contrapuntal touches. Again titled in before any of those men were born. Even if we discount on the story of the doomed lovers Francesca and Paolo one of his most popular works. As romantic in German, the third and last movement, Fuge, treats an the musical creativity of two signers of the Declaration related by Dante in the fifth Canto of The Inferno. atmosphere as his Francesca da Rimini was classical, – the Comodo third movement evokes the trance-like Allegro giusto subject that may at first sound square to Bernard Jacobson of Independence, Francis Hopkinson and (attributively) Dating from 1890, this was the composer’s second these pieces add harp and percussion to the orchestral mystery suggested by those words with hypnotic rising Benjamin Franklin, and that of still earlier substantial published orchestra work. It is a fine example of his forces, and give much more prominence to the octave figures, coming to rest in repeated harp tones composers like John Antes and his Moravian brethren or command of broadly conceived structure as well as of atmospheric qualities of individual instruments. A enveloped by immobile A-major harmonies high in the Seattle Symphony William Billings of Boston, we should not forget the his powerfully expressive musical language. The piece chromatically inflected clarinet solo dominates the first strings. achievements of more than a dozen talented composers branches out from a dark-hued Andante sostenuto piece, an Andante comodo headed by the following The final piece is again in ternary form. The outer Photo courtesy of Yuen Lui Studio Seattle Symphony, founded in 1903, has been under the ranging in date from Louis Moreau Gottschalk (1829- opening in C minor to incorporate Allegro assai sections verse from the Rubáiyát: sections, Andantino ben marcato, offer some teasingly artistic leadership of Music Director Gerard Schwarz since 1869) and John Knowles Paine (1839-1906) to Charles punctuated by forceful passages in recitative style. The unpredictable variations on a seemingly simple 6/8 1985. In 1998, the Orchestra began performing in the Tomlinson Griffes (1884-1920), and including such scoring, for a standard symphony orchestra with double Iram indeed is gone with all his Rose, pulse. The poetic heading here is: acoustically superb Benaroya Hall in downtown Seattle. The notable figures as George Whitefield Chadwick, woodwinds, four horns, two trumpets, three trombones, And Jamshyd’s Sev’n-ring’d Cup where Symphony is internationally recognized for its adventurous Edward MacDowell, Charles Martin Loeffler, Horatio tuba, timpani, and strings, is fastidiously detailed. A no one knows; Yon rising Moon that looks for us again – programming of contemporary works, its devotion to the Parker, Amy Beach, Daniel Gregory Mason, John Alden characteristic subordinate theme exults in a near- But still a Ruby kindles in the Vine, How oft hereafter will she wax and wane; classics, and its extensive recording history. Seattle Carpenter, and Carl Ruggles. It is tempting to include Elgarian succulence and grace, and demonstrates And many a Garden by the Water blows. How oft hereafter rising look for us Symphony has made more than 100 recordings, garnered 12 Charles Ives in this list also, but though he was Foote’s willingness to flout conventional tonal schemes Through this same Garden – and for one in vain! Grammy nominations and received two Emmy Awards. composing busily before Copland was born, it took by first appearing in an expectable E-flat major but Much more forceful in manner, the second movement From September through July, the Symphony is heard live by years for his work to make any substantial impact on recurring first in E major and finally, shortly before the might almost be called Foote’s answer to Brahms’s The central Molto allegro is headed by more than 315,000 people. For more information on Seattle American musical life. work’s ppp conclusion, in C major. Hungarian and Dvofiák’s Slavonic Dances. After a Symphony, visit www.seattlesymphony.org. Among those named above, Paine served at Harvard If the stylistic background of Francesca da Rimini driving first section, marked Allegro deciso, illustrating: Waste not your Hour, nor in the vain pursuit as the first music professor in the United States, and the is to be found in Brahms, the pieces that follow it on this Of This and That endeavor and dispute; composer who concerns us here, Arthur Foote, studied disc, the Air and Gavotte for strings, take their They say the Lion and the Lizard keep Better be jocund with the fruitful Grape Gerard Schwarz with him and graduated in 1875 with the first MA degree inspiration from a much earlier source. The Air, in The Courts where Jamshyd gloried and drank deep: Than sadden after none, or bitter, Fruit. in music ever bestowed by an American university. particular, can be heard as a conscious study based on And Bahrám, that great Hunter – the Wild Ass One of the leading conductors of his generation, Gerard Schwarz has a vast repertoire Foote was born in Salem, Massachusetts, and spent most the corresponding movement in Bach’s Third Suite for Stamps o’er his Head, but cannot break his Sleep Starting with muted strings framing a sinuous oboe solo, that includes a major commitment to American music. Schwarz has been Music of his life in Boston, though he also served as a guest orchestra. Foote always wrote superbly for strings, and this section builds to a powerful climax before reining Director of the Seattle Symphony since 1985, and also serves as Music Director of the lecturer at the University of California, Berkeley, in in this exquisite movement he achieved a delicate a moderately paced middle section headed by: back for a shortened reprise of the initial material, to end Eastern Music Festival. Previously, he has been Music Director of New York’s Mostly 1911. For the last sixteen years of his life he taught piano balance between harmonic richness and well-judged softly again, with high harmonics in the upper strings. Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber at the New England Conservatory. Foote was unusual touches of counterpoint, the whole supported on a Yet ah, that Spring should vanish with the Rose! It is the strings, clearly, that lie at the root of Foote’s Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu among the American composers of his time in that all of foundation of steadily descending bass notes, played That Youth’s sweet-scented manuscript feeling for orchestral color, so that the Suite in E major Bunkamura with the Tokyo Philharmonic. Schwarz’s considerable discography of some his training took place in the United States, with the first with the bow and later pizzicato. The Gavotte offers should close! for string orchestra makes an appropriate conclusion for 260 releases showcases his collaborations with some of the world’s greatest orchestras, exception of a few lessons he took with Stephen Heller an effective contrast, with its bluff yet nicely varied The Nightingale that in the branches sang, this recorded program. Though the title might lead one to including The Philadelphia Orchestra, The Czech Philharmonic, The London

in France in 1883. A number of visits to European rhythms and its exploration of pitches well above what Ah whence, and whither flown again, who knows! expect another baroque-inspired composition, the feeling Photo courtesy of Yuen Lui Studio Symphony, Berlin Radio Symphony, Orchestra National de France, Tokyo musical centers also helped to frame his style, which was would have been the norm in Bach’s time. It is not of this work, written in 1907 and revised in the following Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the firmly grounded in the classical manner of Brahms and known for certain who put together the two pieces turns the same fundamental rhythm to cleverly year, is closer to that of string-orchestra works by Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the in the tradition of the European romantics. (found also as the second and fifth movements of his transformed expressive effect. Tchaikovsky, Dvofiák, and Elgar. A Praeludium marked National Council on the Arts. He has received two Emmy Awards, 12 Grammy

8.559365 23 8.559365 4 8.559365 559365 bk Foote US 3/5/09 12:18 PM Page 2

Arthur Foote (1853-1937): Francesca da Rimini, Op. 24 • Air and Gavotte Serenade, Op. 25, which also derives from earlier Prefaced by what will undoubtedly be the most Allegro comodo is followed by a movement titled in the some highly ingenious rhythmic transformations, Four Character Pieces, Op. 48 • Suite in E major for string orchestra, Op. 63 works) for performance as a pair; their probable original familiar quotation from the poem for most listeners – published score in German Pizzicato und Adagietto. suggestive at times of the finale fugue in Brahms’s composition dates are 1889 for the Air and, for the Characteristically resourceful in its rhythmic variety, the Handel Variations. Like all of the music recorded here, The notion that American music began with Aaron Some two-thirds of Foote’s copious output was Gavotte, 1866, when Foote was only thirteen years old. A Book of Verses underneath the Bough, opening and closing Pizzicato section, marked the Suite transcends what might be regarded as traditional Copland (or, depending on your tastes, with George published in his lifetime. Of the three works in this In 1900 Foote revised a set of his piano pieces to A Jug of Wine, a Loaf of Bread – and Thou Capriccioso – Allegretto, encloses an eloquent Adagietto aims to show us a composer as individual in inspiration as Gershwin or perhaps Cole Porter) dies hard, but it recording that thus carry opus numbers, the earliest is create the Four Character Pieces after the Rubáiyát of Beside me singing in the Wilderness – enhanced, like the first movement of the Air and Gavotte, he was well-schooled in technique. ignores a number of excellent composers who flourished the “Symphonic Prologue” Francesca da Rimini, based Omar Khayyám, thereby producing what has remained Oh, Wilderness, were Paradise enow! by neatly propulsive contrapuntal touches. Again titled in before any of those men were born. Even if we discount on the story of the doomed lovers Francesca and Paolo one of his most popular works. As romantic in German, the third and last movement, Fuge, treats an the musical creativity of two signers of the Declaration related by Dante in the fifth Canto of The Inferno. atmosphere as his Francesca da Rimini was classical, – the Comodo third movement evokes the trance-like Allegro giusto subject that may at first sound square to Bernard Jacobson of Independence, Francis Hopkinson and (attributively) Dating from 1890, this was the composer’s second these pieces add harp and percussion to the orchestral mystery suggested by those words with hypnotic rising Benjamin Franklin, and that of still earlier substantial published orchestra work. It is a fine example of his forces, and give much more prominence to the octave figures, coming to rest in repeated harp tones composers like John Antes and his Moravian brethren or command of broadly conceived structure as well as of atmospheric qualities of individual instruments. A enveloped by immobile A-major harmonies high in the Seattle Symphony William Billings of Boston, we should not forget the his powerfully expressive musical language. The piece chromatically inflected clarinet solo dominates the first strings. achievements of more than a dozen talented composers branches out from a dark-hued Andante sostenuto piece, an Andante comodo headed by the following The final piece is again in ternary form. The outer Photo courtesy of Yuen Lui Studio Seattle Symphony, founded in 1903, has been under the ranging in date from Louis Moreau Gottschalk (1829- opening in C minor to incorporate Allegro assai sections verse from the Rubáiyát: sections, Andantino ben marcato, offer some teasingly artistic leadership of Music Director Gerard Schwarz since 1869) and John Knowles Paine (1839-1906) to Charles punctuated by forceful passages in recitative style. The unpredictable variations on a seemingly simple 6/8 1985. In 1998, the Orchestra began performing in the Tomlinson Griffes (1884-1920), and including such scoring, for a standard symphony orchestra with double Iram indeed is gone with all his Rose, pulse. The poetic heading here is: acoustically superb Benaroya Hall in downtown Seattle. The notable figures as George Whitefield Chadwick, woodwinds, four horns, two trumpets, three trombones, And Jamshyd’s Sev’n-ring’d Cup where Symphony is internationally recognized for its adventurous Edward MacDowell, Charles Martin Loeffler, Horatio tuba, timpani, and strings, is fastidiously detailed. A no one knows; Yon rising Moon that looks for us again – programming of contemporary works, its devotion to the Parker, Amy Beach, Daniel Gregory Mason, John Alden characteristic subordinate theme exults in a near- But still a Ruby kindles in the Vine, How oft hereafter will she wax and wane; classics, and its extensive recording history. Seattle Carpenter, and Carl Ruggles. It is tempting to include Elgarian succulence and grace, and demonstrates And many a Garden by the Water blows. How oft hereafter rising look for us Symphony has made more than 100 recordings, garnered 12 Charles Ives in this list also, but though he was Foote’s willingness to flout conventional tonal schemes Through this same Garden – and for one in vain! Grammy nominations and received two Emmy Awards. composing busily before Copland was born, it took by first appearing in an expectable E-flat major but Much more forceful in manner, the second movement From September through July, the Symphony is heard live by years for his work to make any substantial impact on recurring first in E major and finally, shortly before the might almost be called Foote’s answer to Brahms’s The central Molto allegro is headed by more than 315,000 people. For more information on Seattle American musical life. work’s ppp conclusion, in C major. Hungarian and Dvofiák’s Slavonic Dances. After a Symphony, visit www.seattlesymphony.org. Among those named above, Paine served at Harvard If the stylistic background of Francesca da Rimini driving first section, marked Allegro deciso, illustrating: Waste not your Hour, nor in the vain pursuit as the first music professor in the United States, and the is to be found in Brahms, the pieces that follow it on this Of This and That endeavor and dispute; composer who concerns us here, Arthur Foote, studied disc, the Air and Gavotte for strings, take their They say the Lion and the Lizard keep Better be jocund with the fruitful Grape Gerard Schwarz with him and graduated in 1875 with the first MA degree inspiration from a much earlier source. The Air, in The Courts where Jamshyd gloried and drank deep: Than sadden after none, or bitter, Fruit. in music ever bestowed by an American university. particular, can be heard as a conscious study based on And Bahrám, that great Hunter – the Wild Ass One of the leading conductors of his generation, Gerard Schwarz has a vast repertoire Foote was born in Salem, Massachusetts, and spent most the corresponding movement in Bach’s Third Suite for Stamps o’er his Head, but cannot break his Sleep Starting with muted strings framing a sinuous oboe solo, that includes a major commitment to American music. Schwarz has been Music of his life in Boston, though he also served as a guest orchestra. Foote always wrote superbly for strings, and this section builds to a powerful climax before reining Director of the Seattle Symphony since 1985, and also serves as Music Director of the lecturer at the University of California, Berkeley, in in this exquisite movement he achieved a delicate a moderately paced middle section headed by: back for a shortened reprise of the initial material, to end Eastern Music Festival. Previously, he has been Music Director of New York’s Mostly 1911. For the last sixteen years of his life he taught piano balance between harmonic richness and well-judged softly again, with high harmonics in the upper strings. Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber at the New England Conservatory. Foote was unusual touches of counterpoint, the whole supported on a Yet ah, that Spring should vanish with the Rose! It is the strings, clearly, that lie at the root of Foote’s Orchestra and New York Chamber Symphony, as well as Artistic Advisor to Tokyu among the American composers of his time in that all of foundation of steadily descending bass notes, played That Youth’s sweet-scented manuscript feeling for orchestral color, so that the Suite in E major Bunkamura with the Tokyo Philharmonic. Schwarz’s considerable discography of some his training took place in the United States, with the first with the bow and later pizzicato. The Gavotte offers should close! for string orchestra makes an appropriate conclusion for 260 releases showcases his collaborations with some of the world’s greatest orchestras, exception of a few lessons he took with Stephen Heller an effective contrast, with its bluff yet nicely varied The Nightingale that in the branches sang, this recorded program. Though the title might lead one to including The Philadelphia Orchestra, The Czech Philharmonic, The London

in France in 1883. A number of visits to European rhythms and its exploration of pitches well above what Ah whence, and whither flown again, who knows! expect another baroque-inspired composition, the feeling Photo courtesy of Yuen Lui Studio Symphony, Berlin Radio Symphony, Orchestra National de France, Tokyo musical centers also helped to frame his style, which was would have been the norm in Bach’s time. It is not of this work, written in 1907 and revised in the following Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and the firmly grounded in the classical manner of Brahms and known for certain who put together the two pieces turns the same fundamental rhythm to cleverly year, is closer to that of string-orchestra works by Seattle Symphony, among others. Born to Viennese parents, Schwarz has served on the in the tradition of the European romantics. (found also as the second and fifth movements of his transformed expressive effect. Tchaikovsky, Dvofiák, and Elgar. A Praeludium marked National Council on the Arts. He has received two Emmy Awards, 12 Grammy

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nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Other Seattle Symphony – Gerard Schwarz recordings: Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by AMERICAN CLASSICS Musical America, and has received numerous honorary doctorates, including from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacific Northwest Branch of the National Academy of Recording Arts & Sciences gave Schwarz its first “IMPACT” lifetime achievement award. Arthur

SEATTLE SYMPHONY 2006–2007 SEASON FOOTE First Violin Viola Flute Horn Maria Larionoff, Susan Gulkis Assadi Scott Goff John Cerminaro Concertmaster Dorothy Shapiro Judy Kriewall Mark Robbins Francesca da Rimini John Weller Arie Schachter Zartouhi Dombourian-Eby Jeffrey Fair Simon James Timothy Hale Adam Iascone Air and Gavotte • Suite in E major Jennifer Bai Vincent Comer Piccolo Susan Carroll Mariel Bailey Penelope Crane Zartouhi Dombourian-Eby Scott Wilson Cecilia Poellein Buss Wesley Anderson Dyring Four Character Pieces after the Rubáiyát of Omar Khayyám Jun Liang Du Mara Gearman Oboe Trumpet Ayako Gamo Rachel Swerdlow Nathan Hughes David Gordon Timothy Garland Ben Hausmann Geoffrey Bergler Peter Kaman Cello Stefan Farkas Richard Pressley Seattle Symphony • Gerard Schwarz Leonid Keylin Joshua Roman Mikhail Shmidt Susan Williams English Horn Trombone 8.559162 8.559317 Clark Story Theresa Benshoof Stefan Farkas Ko-ichiro Yamamoto Jeannie Wells Yablonsky Walter Gray David Lawrence Ritt Arthur Zadinsky Bruce Bailey Clarinet Roberta Hansen Downey Christopher Sereque Bass Trombone Second Violin Vivian Gu Laura DeLuca Stephen Fissel Michael Miropolsky David Sabee Larey McDaniel Kathleen Stern Amos Yang Tuba Gennady Filimonov E-Flat Clarinet Christopher Olka Stephen Bryant Bass Laura DeLuca Linda Cole Jordan Anderson Timpani Xiao-po Fei Jonathan Green Bass Clarinet Michael Crusoe Wesley Fisk Jonathan Burnstein Larey McDaniel Sande Gillette Jennifer Godfrey Percussion Artur Girsky Nancy Page Griffin Bassoon Randolph Baunton Virginia Hunt Luce Joseph Kaufman Seth Krimsky Michael Clark Eric Scott Sandra Lambert Paul Rafanelli Ron Johnson Andrew Yeung Ronald Simon Mike Gamburg Harp The revolving members of the string sections Contrabassoon Valerie Muzzolini are listed alphabetically. Mike Gamburg Keyboards Kimberly Russ, piano Joseph Adam, organ 8.559378 8.559610

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nominations, six ASCAP Awards, and numerous Stereo Review and Ovation Awards. In addition, he holds the Other Seattle Symphony – Gerard Schwarz recordings: Ditson Conductor’s Award from Columbia University, was the first American named Conductor of the Year by AMERICAN CLASSICS Musical America, and has received numerous honorary doctorates, including from his alma mater, The Juilliard School. In 2002, the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award, and, in 2003, the Pacific Northwest Branch of the National Academy of Recording Arts & Sciences gave Schwarz its first “IMPACT” lifetime achievement award. Arthur

SEATTLE SYMPHONY 2006–2007 SEASON FOOTE First Violin Viola Flute Horn Maria Larionoff, Susan Gulkis Assadi Scott Goff John Cerminaro Concertmaster Dorothy Shapiro Judy Kriewall Mark Robbins Francesca da Rimini John Weller Arie Schachter Zartouhi Dombourian-Eby Jeffrey Fair Simon James Timothy Hale Adam Iascone Air and Gavotte • Suite in E major Jennifer Bai Vincent Comer Piccolo Susan Carroll Mariel Bailey Penelope Crane Zartouhi Dombourian-Eby Scott Wilson Cecilia Poellein Buss Wesley Anderson Dyring Four Character Pieces after the Rubáiyát of Omar Khayyám Jun Liang Du Mara Gearman Oboe Trumpet Ayako Gamo Rachel Swerdlow Nathan Hughes David Gordon Timothy Garland Ben Hausmann Geoffrey Bergler Peter Kaman Cello Stefan Farkas Richard Pressley Seattle Symphony • Gerard Schwarz Leonid Keylin Joshua Roman Mikhail Shmidt Susan Williams English Horn Trombone 8.559162 8.559317 Clark Story Theresa Benshoof Stefan Farkas Ko-ichiro Yamamoto Jeannie Wells Yablonsky Walter Gray David Lawrence Ritt Arthur Zadinsky Bruce Bailey Clarinet Roberta Hansen Downey Christopher Sereque Bass Trombone Second Violin Vivian Gu Laura DeLuca Stephen Fissel Michael Miropolsky David Sabee Larey McDaniel Kathleen Stern Amos Yang Tuba Gennady Filimonov E-Flat Clarinet Christopher Olka Stephen Bryant Bass Laura DeLuca Linda Cole Jordan Anderson Timpani Xiao-po Fei Jonathan Green Bass Clarinet Michael Crusoe Wesley Fisk Jonathan Burnstein Larey McDaniel Sande Gillette Jennifer Godfrey Percussion Artur Girsky Nancy Page Griffin Bassoon Randolph Baunton Virginia Hunt Luce Joseph Kaufman Seth Krimsky Michael Clark Eric Scott Sandra Lambert Paul Rafanelli Ron Johnson Andrew Yeung Ronald Simon Mike Gamburg Harp The revolving members of the string sections Contrabassoon Valerie Muzzolini are listed alphabetically. Mike Gamburg Keyboards Kimberly Russ, piano Joseph Adam, organ 8.559378 8.559610

8.559365 5 6 8.559365 American Classics tray insert 24/10/2003 9:01 am Page 1

CMYK CMYK NAXOS Playing Arthur Time: 59:20 FOOTE

8.559365 (1853-1937) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 1 Francesca da Rimini, Op. 24 (1890) 14:41 AMERICAN CLASSICS Air and Gavotte Born in Massachusetts, Arthur Foote (from Serenade, Op. 25) 12:19 was unusual among 19th century 2 Air (1889) 8:42 American composers in that practically

all of his training took place in the FOOTE: 3 Gavotte (1866) 3:37 United States. His individualistic style

Four Character Pieces after the Rubáiyát recalls the classical structure of Brahms

& of Omar Khayyám, Op. 48 (1900) 16:37 while reveling in exotic harmonies and 4 colorful orchestrations typical of late

2009 Naxos Rights International Ltd. No. 1 Andante comodo 3:41

5 No. 2 Allegro deciso – Più moderato 3:42 romanticism. Foote’s ‘Symphonic Francesca da Rimini 6 No. 3 Comodo 3:53 Prologue,’ Francesca da Rimini, based on the story of the doomed lovers 7 No. 4 Andante ben marcato – Molto allegro 5:21 Francesca and Paolo as immortalized in Suite in E major, Op. 63 (1907) 15:43 Dante’s Inferno, is a thrillingly original 8 Praeludium: Allegro comodo 3:41 musical vision, and offers a fascinating

Francesca da Rimini 9 Pizzicato and Adagietto: comparison to Tchaikovsky’s well- Capriccioso – Allegretto 7:48 known tone poem of the same name. 0 Fugue: Allegro giusto 4:14 Also featured on this CD are exquisite character pieces inspired by the poetry Seattle Symphony • Gerard Schwarz of the medieval Persian mystic Omar Khayyám. FOOTE: Recorded at Seattle Center Opera House, Washington, USA, on February 24, 1997 (tracks 1, 4-7), and at Benaroya Hall, This recording was made possible with Seattle, on January 5, 2007 (tracks 2 and 3), and on generous support from Paul Leach November 12, 2004 and February 11, 2005 (tracks 8-10) and Susan Winokur. Producers: Adam Stern, Al Swanson and Dmitriy Lipay Engineers: Al Swanson and Dmitriy Lipay www.naxos.com 8.559365 8.559365 Editor: Dmitriy Lipay • Publisher: Arthur P. Schmidt Booklet notes: Bernard Jacobson Cover image: Francesca da Rimini by Ary Scheffer (1795-1858) (Wallace Collection, London / The Bridgeman Art Library ) NAXOS