1. art and entertainment
2. shows and events
3. classical concert

APRIL 2015
PIANO STAR POWER
INGRID FLITER
MARC-ANDRÉ HAMELIN
& YUJA WANG
AT LINK UP
KIDS PLAY TOO
SHOSTAKOVICH
“LENINGRAD” SYMPHONY
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Seattle Symphony 2014–2015 Season
APRIL 2015
I N T H I S I SS U E
4 / CALENDAR
Plan your next visit
6 / THE ORCHESTRA
Meet the musicians
8 / NOTES
See what’s new at the
Seattle Symphony
10 & 12 / FEATURES
Stalin, Shostakovich and the
“Leningrad” Symphony
At Link Up, Kids Join In
15 / CONCERTS
Learn about the music
you’re here to hear
50 / GUIDE
Information on Benaroya Hall
51 / THE LIS(Z)T
Seen and heard at the
Seattle Symphony
APRIL 2015
PIANO STAR POWER
INGRID FLITER
MARC-ANDRÉ HAMELIN
& YUJA WANG
AT LINK UP
KIDS PLAY TOO
SHOSTAKOVICH
“LENINGRAD” SYMPHONY
ON THE COVER: Ingrid Fliter
by Gary Houlder
AT LEFT: Preservation Hall Jazz Band
by Shannon Brinkman
EDITOR: Heidi Staub
COVER DESIGN: Jessica Forsythe
Preservation Hall Jazz Band, p. 29
© 2014–2015 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.
encore art sseattle.com 3
CALENDAR
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
APRIL
SPOTLIGHT: Tune in to
April
& May
Classical KING FM 98.1 every
Wednesday at 8pm for a
Seattle Symphony spotlight
THURSDAY
7:30pm London
Symphony Orchestra
FRIDAY
8pm Chopin Piano
Concerto No. 2
7pm Untuxed:
Chopin Piano
Concerto No. 2
7:30pm Chopin
Piano Concerto
No. 2
1
SATURDAY
2
3
10:30am Tiny Tots
8pm Preservation
Hall Jazz Band
5
2pm Preservation
Hall Jazz Band
2pm National
Geographic Live:
Chasing Rivers
NATIONAL GEOGRAPHIC
LIVE
6
13
8
7:30pm Art Wolfe
presents Earth is My
Witness
7:30pm National
Geographic Live:
Chasing Rivers
7:30pm National
Geographic Live:
Chasing Rivers
12
7
14
7pm Byron Schenkman
& Friends: Handel &
Telemann
19
20
21
27
8pm Preservation Hall
Jazz Band
10
16
22
28
8pm Live @ Benaroya
Hall: BoDeans
11
7:30pm Seattle
Repertory Jazz
Orchestra
8pm Shostakovich
Leningrad Symphony
17
7:30pm Grieg
Piano Concerto
6pm Maestros Circle
Celebration*
26
9:30, 10:30 & 11:30am
Tiny Tots
12pm Shostakovich
Leningrad Symphony
7:30pm Ensign
Symphony & Chorus
7:30pm
Shostakovich
Leningrad
Symphony
15
9am Donor Open
Rehearsal*
2pm Cantaré Vocal
Ensemble: Carmina
Burana
9
4
18
8pm Grieg Piano
Concerto
23
24
25
7:30pm Yefim
Bronfman Plays
Beethoven
29
30
YEFIM BRONFMAN
10pm [untitled 3]
MAY
7:30pm Seattle Classic
Guitar Society presents
Marcin Dylla
8pm Yefim Bronfman
Plays Beethoven
1
3
4
YO-YO MA
2pm Tchaikovsky String
Quartet No. 1
7:30pm Organ Recital:
Douglas Cleveland
3pm Seattle Youth
Symphony Orchestra
7:30pm Music of
Remembrance presents
After Life
10
2pm Romantic Untuxed
2pm National
Geographic Live: Spirit
of the Wild
5
6
8
7:30pm Northwest
Sinfonietta: The
Taiwanese Connection
9
10 & 11:30am Elisa
Barston and Friends
2pm Bellevue Youth
Symphony Orchestra
8pm Handel, Vivaldi
& More
12
13
14
15
18
19
20
IMOGEN COOPER 21
22
7:30pm Violinist
Pinchas Zukerman
25
7:30pm Mozart
Violin Concerto
No. 5
26
8pm Handel, Vivaldi
& More
31
Photo Credits: Peter McBride in the Sea of Cortez by Peter McBride, Yefim
Bronfman by Dario Acosta, Yo-Yo Ma by Stephen Danelian, Imogen Cooper
by Sussie Ahlburg
Visit seattlesymphony.org for more detailed concert information.
SEATTLESYMPHONY.ORG
16
27
23
2pm Seattle
Philharmonic Orchestra:
Heirs and Rebels
8pm Mozart Violin
Concerto No. 5
28
29
LEGEND:
2pm Mozart Violin
Concerto No. 5
7
7:30pm National
Geographic Live:
Spirit of the Wild
7:30pm National
Geographic Live:
Spirit of the Wild
24
11am Family Concert: The
Orchestra Rocks
8pm Mozart Piano
Concertos Nos. 17 & 24
8pm True West
presents Stephin
Merritt
11
17
4
7pm Ten Grands
7:30pm Mozart
Piano Concertos
Nos. 17 & 24
2pm Yo-Yo Ma
with the Seattle
Symphony
2
Seattle Symphony Events
Benaroya Hall Events
*Donor Events: Call 206.215.4832
for more information
30
HOW TO ORDER:
TICKET OFFICE:
The Seattle Symphony Ticket Office is located
at Third Ave. & Union St., downtown Seattle.
Mon–Fri, 10am–6pm; Sat, 1–6pm;
and two hours prior to performances and
through intermission.
HOURS:
FREE PARKING:
When visiting Benaroya Hall to purchase
tickets during regular Ticket Office hours, you
may park for free for 15 minutes in the Benaroya
Hall parking garage. Parking validated by the
Ticket Office.
PHONE:
206.215.4747 or 1.866.833.4747
(toll-free outside local area). We accept
MasterCard, Visa, Discover and American
Express for phone orders.
ONLINE:
Order online using our select-your-own-seat
feature at seattlesymphony.org.
GROUP SALES:
Discounts for groups of 10+. Call 206.215.4818.
MAILING ADDRESS:
P.O. Box 2108, Seattle, WA 98111-2108
HOW TO GIVE:
Did you know that more than 50% of the annual
revenue needed to put on the concerts you love
comes from gifts made by donors, sponsors and
special events? Here’s how you can support the
Seattle Symphony.
ONLINE:
seattlesymphony.org/give
INDIVIDUALS:
Call 206.215.4832 or email
[email protected].
CORPORATIONS:
Call 206.215.4766 or email
[email protected].
FOUNDATIONS:
Call 206.215.4838 or email
[email protected].
SPECIAL EVENTS:
Call 206.215.4868 or email
[email protected].
PLANNED AND ESTATE GIVING:
Call 206.215.4852 or email
[email protected].
MAILING ADDRESS:
P.O. Box 21906, Seattle, WA 98111-3906
CONNECT WITH US:
facebook.com/seattlesymphony
twitter.com/seattlesymphony
instagram.com/seattlesymphony
blog.seattlesymphony.org
encore art sseattle.com 5
SEATTLE SYMPHONY ORCHESTRA ROSTER
O
Greatne of Ame
ric
Youth
Orchea’s
stras
Thomas Dausgaard, Principal Guest Conductor
Jeff Tyzik, Principal Pops Conductor
Joseph Crnko, Associate Conductor for Choral Activities
LUDOVIC MORLOT
The Harriet Overton Stimson Music Director
Stilian Kirov, The Douglas F. King Associate Conductor
Wesley Schulz, Conducting Fellow
Gerard Schwarz, The Rebecca & Jack Benaroya Conductor Laureate
FIRST VIOLIN
BASS
TRUMPET
Alexander Velinzon
The David & Amy Fulton Concertmaster
Jordan Anderson
The Mr. & Mrs. Harold H. Heath
Principal String Bass
David Gordon
The Boeing Company Principal Trumpet
Emma McGrath
The Clowes Family Associate Concertmaster
Cordula Merks
Assistant Concertmaster
Simon James
Second Assistant Concertmaster
Jennifer Bai
Mariel Bailey
Cecilia Poellein Buss
Ayako Gamo
Timothy Garland
Leonid Keylin
Mikhail Shmidt
Clark Story
John Weller
Jeannie Wells Yablonsky
Arthur Zadinsky
SECOND VIOLIN
Elisa Barston
Principal
Supported by Jean E. McTavish
Michael Miropolsky
The John & Carmen Delo
Assistant Principal Second Violin
Verdi
Scenes from
“La Traviata”
Mahler
Song of the Earth
Cynthia Hanna,
Mezzo Soprano
Issachah Savage,
Tenor
Susan Gulkis Assadi
The PONCHO Principal Viola
Mara Gearman
Timothy Hale
Vincent Comer
Penelope Crane
Wesley Anderson Dyring
Sayaka Kokubo
Rachel Swerdlow
Julie Whitton
Efe Baltacıgil
Principal
Meeka Quan DiLorenzo
Assistant Principal
Theresa Benshoof
Assistant Principal
Eric Han
Bruce Bailey
Roberta Hansen Downey
Walter Gray
Vivian Gu
Joy Payton-Stevens
David Sabee
FLUTE
Open Position
Principal
Supported by David J. and Shelley Hovind
Judy Washburn Kriewall
Zartouhi Dombourian-Eby
PICCOLO
Zartouhi Dombourian-Eby
The Robert & Clodagh Ash Piccolo
OBOE
James Ross
Assistant Principal
Geoffrey Bergler
TROMBONE
Ko-ichiro Yamamoto
Principal
David Lawrence Ritt
Stephen Fissel
BASS TROMBONE
Stephen Fissel
TUBA
Christopher Olka
Principal
TIMPANI
Michael Crusoe
Principal
Mary Lynch
Principal
PERCUSSION
Ben Hausmann
Associate Principal
Michael A. Werner
Principal
Chengwen Winnie Lai
Stefan Farkas
Michael Clark
Ron Johnson †
ENGLISH HORN
HARP
Stefan Farkas
Valerie Muzzolini Gordon
Principal
CLARINET
Benjamin Lulich
The Mr. & Mrs. Paul R. Smith Principal Clarinet
Laura DeLuca
Eric Jacobs
KEYBOARD
Kimberly Russ, piano +
Joseph Adam, organ +
PERSONNEL MANAGER
E-FLAT CLARINET
Scott Wilson
Laura DeLuca
BASS CLARINET
Eric Jacobs
BASSOON
Seth Krimsky
Principal
Paul Rafanelli
Mike Gamburg
CONTRABASSOON
ASSISTANT PERSONNEL
MANAGER
Keith Higgins
LIBRARY
Patricia Takahashi-Blayney
Principal Librarian
Robert Olivia
Associate Librarian
Rachel Swerdlow
Assistant Librarian
Mike Gamburg
TECHNICAL DIRECTOR
Joseph E. Cook
HORN
ARTIST IN ASSOCIATION
Dale Chihuly
Jeffrey Fair
The Charles Simonyi Principal Horn
Mark Robbins
Associate Principal
MUSIC ALIVE
COMPOSER IN RESIDENCE
Trimpin
Jonathan Karschney*
Assistant Principal
HONORARY MEMBER
Cyril M. Harris †
Adam Iascone
Cara Kizer*
+ Resident
* Temporary Musician for 2014–2015 Season
† In Memoriam
SEATTLESYMPHONY.ORG
Encore 2014-2015 Ad Feb V2.indd 1
Jonathan Burnstein
Jennifer Godfrey
Travis Gore
Jonathan Green
Nancy Page Griffin
CELLO
MAY 10 | 3:00 PM
Benaroya Hall
6
VIOLA
Arie Schächter
Assistant Principal
Das Lied
von der Erde
Order
Tickets Today
at syso.org
Kathleen Boyer
Gennady Filimonov
Evan Anderson
Stephen Bryant
Linda Cole
Xiao-po Fei
Sande Gillette
Artur Girsky
Mae Lin
Andrew Yeung
Joseph Kaufman
Assistant Principal
2/18/15 3:03 PM
LUDOV I C MORLOT
SEATTLE SYMPHONY MUSIC DIRECTOR
g
Photo: Sussie Ahlbur
French conductor Ludovic
Morlot is now in his fourth
season as Music Director of
the Seattle Symphony.
During the 2014–2015
season he leads the Seattle
Symphony in performances
of works ranging from
Dvorˇák’s final three
symphonies, the Mozart
Requiem, Berlioz’s Roméo
et Juliette and Mahler’s
Symphony No. 3, to pieces
by Ives, Dutilleux and
Esa-Pekka Salonen, to world premieres by Sebastian Currier,
Julian Anderson and Trimpin.
From 2011 to 2014 Morlot was also Chief Conductor of La
Monnaie, one of Europe’s most prestigious opera houses. This
season saw him conduct a new production of Don Giovanni, as
well as a concert performance of Berlioz’s L’enfance du Christ.
Philharmonic. He also has a strong connection with the Boston
Symphony Orchestra, which he conducts regularly in Boston
and Tanglewood, and which he recently led on a West Coast
tour. This relationship began when he was the Seiji Ozawa
Fellowship Conductor at the Tanglewood Music Center and was
subsequently appointed Assistant Conductor to the orchestra
and Music Director James Levine (2004–2007).
Morlot has also conducted the New York Philharmonic and the
symphony orchestras of Cleveland, Philadelphia and Pittsburgh.
Elsewhere, his engagements have included the Budapest
Festival, Czech Philharmonic, Danish National Symphony
Orchestra, Dresden Staatskapelle, London Philharmonic,
Orchestre National de France, Royal Concertgebouw, RundfunkSinfonieorchester Berlin and Tokyo Philharmonic.
Trained as a violinist, Morlot studied conducting in London
and was Conductor in Residence with the Orchestre National
de Lyon (2002–2004). He was elected a Fellow of the Royal
Academy of Music in 2014. He is Chair of Orchestral Conducting
Studies at the University of Washington School of Music and
lives in Seattle with his wife, Ghizlane, and their two children.
Morlot’s orchestral engagements this season include returns
to the Chicago Symphony Orchestra and Los Angeles
SEATTLE SYMPHONY BOARD OF DIRECTORS
LESLIE JACKSON CHIHULY, Chair*
Jon Rosen
Secretary*
Kjristine Lund
Vice Chair, Marketing & Communications*
Dick Paul
Vice Chair, Governance*
Marco Abbruzzese
Treasurer*
Laurel Nesholm
Vice Chair, Development*
Michael Slonski
Vice Chair, Finance*
DIRECTORS
Elizabeth Ketcham
Ryan Douglas
Ruth Gerberding
Marcus Tsutakawa
Rebecca Amato
Stephen Kutz
James Gillick
Cyrus Vance, Jr.
Claire Angel
SoYoung Kwon
President, WolfGang Advisory
Council
Karla Waterman
Sherry Benaroya
Ned Laird*
Barbara Goesling
David Grauman+
James Bianco
Paul Leach*
Gerald Grinstein
Arlene Wright
Rosanna Bowles
Jeff Lehman*
Renée Brisbois
Dawn Lepore
Paul Brown
Eric Liu*
Amy Buhrig
Brian Marks*
Jean Chamberlin
Catherine Mayer
Alexander Clowes
Kevin Kralman
President, Seattle Symphony Chorale
Richard Mori
Bert Hambleton
Ronald Woodard
Pat Holmes
SEATTLE SYMPHONY
FOUNDATION BOARD
OF DIRECTORS
LIFETIME DIRECTORS
Henry James
Jean-François Heitz
Llewelyn Pritchard
Hubert Locke
President
Sheila Noonan
Chair
Yoshi Minegishi
Kathleen Wright
Kathy Fahlman Dewalt
Jay Picard
Richard Albrecht
Marilyn Morgan
Vice President
Larry Estrada
John Pohl
Susan Armstrong
Isa Nelson
Marco Abbruzzese
Nancy Evans
Mark Rubinstein
Robert Ash
Marlys Palumbo
Treasurer
Jerald Farley
Elisabeth Beers Sandler
William Bain
Sue Raschella
Michael Slonski
Judith A. Fong*
Linda Stevens
Bruce Baker
Bernice Rind
Secretary
Diana P. Friedman
Bayan Towfiq
Cynthia Bayley
Jill Ruckelshaus
James Bianco
Brian Grant
Leo van Dorp
Alexandra Brookshire
H. Jon Runstad
Brian Grant
Patty Hall
Nicole Vogel
Phyllis Byrdwell
Herman Sarkowsky +
Muriel Van Housen
Jean-François Heitz*
Stephen Whyte
Phyllis Campbell
Martin Selig
J. Pierre Loebel
Mary Ann Champion
John Shaw
Laurel Nesholm
Robert Collett
Langdon Simons, Jr.
David Tan
David Davis
Charles Z. Smith
Rick White
Dorothy Fluke
Patricia Tall-Takacs
David Fulton
Donald Thulean
Woody Hertzog
Ken Hollingsworth
David Hovind
Jeff Hussey
Walter Ingram
Nader Kabbani
DESIGNEES
Kathleen Boyer
Orchestra Representative
Zartouhi Dombourian-Eby
Orchestra Representative
President, Seattle Symphony
Volunteers
Cathi Hatch
Jean Gardner
* Executive Committee Member
+ in memoriam
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD, President
Mark Reddington, Vice President
Alexandra A. Brookshire
Jim Duncan
Leo van Dorp
Nancy B. Evans, Secretary
Dwight Dively
Richard Hedreen
Simon Woods
Michael Slonski, Treasurer
Zartouhi Dombourian-Eby
Fred Podesta
H.S. Wright III
encore art sseattle.com 7
NEWS FROM:
LESLIE JACKSON CHIHULY, BOARD CHAIR
I
I am thrilled to share with you some of the exciting
education and community highlights of the coming
Photo: Scott Leen
weeks.
Seattle Symphony musicians will perform at Meany
Hall alongside University of Washington students in a
Side-by-Side concert on April 24. Seattle Symphony
Music Director Ludovic Morlot will conduct this free
performance, so I invite you to join us and experience the great mentoring process
which happens when our professional orchestra members work with the next
generation of musicians.
Our Music Alive Composer in Residence, Trimpin, has been working with students
in the Young Composers Workshop. The young composers have visited Trimpin’s
studio, and are eager to explore a rare opportunity to write music for his installation
in the Samuel & Althea Stroum Grand Lobby which debuts at the May 1 [untitled]
concert. The new compositions will debut on June 1, performed by Seattle Symphony
musicians at a presentation that is free and open to the public.
On May 8, ten amazing pianists will take their place at ten grand pianos on the
Benaroya Hall stage for Ten Grands, an annual performance that benefits the
education and community programs at the Seattle Symphony including Side-by-Sides,
Young Composers Workshops and other partnerships in which we at the Seattle
Symphony invest in to nurture our young people.
I hope you’ll also read the feature story on Link Up on page 12, which brings 10,000
students to the hall.
I’d like to take the opportunity to extend my sincerest gratitude for your support.
Without your support and belief in our mission, we would not be able to provide such
quality and depth of enrichment to our community through music.
Leslie Jackson Chihuly
Seattle Symphony Board Chair
{
8
SEATTLESYMPHONY.ORG
Seattle Symphony Volunteer Endowment
has purchased new LED stand lights for the Symphony this year. The new lights are a huge
improvement over the decades-old lights they replace, both brighter and more energy
efficient. Thank you to all our volunteers for your dedication and generosity!
GIVE BIG ON MAY 5. O
n
Tuesday, May 5, the Seattle Foundation will host its annual one-day
online giving event, putting the spotlight on Seattle’s dynamic nonprofits. Between midnight
and midnight, donate to the Seattle Symphony through GiveBIG and the Foundation will
“stretch” your gift through a matching funds pool. Find out more at seattlesymphony.org/
givebig.
{
{
VOLUNTEERS LIGHT UP THE ORCHESTRA! T
he
{
NOTA BENE
In Memoriam
After a long and
courageous battle
with cancer, our
dear friend and
percussionist Ron
Johnson passed away
on March 3, 2015.
All Ron wanted to
be when he grew up
was a musician or a race car driver. He
managed to achieve both. He was hired
into the Seattle Symphony percussion
section while he was still a high school
senior, and he became not only a muchrespected musician and mentor, but a
fierce defender of contract rights for his
fellow players. Some Symphony-goers
may remember when he split the drum
head wide open at the end of Ravel’s
Boléro. His way of making cymbals sing
was unique, his artistry with the timpani
was sheer pleasure and many a concert
ended on a soul-stirring fortissimo
thanks to him.
2014–2015 SEASON
APRIL AT THE SYMPHONY
It took him longer to start racing cars, as
he first raced motorcycles for 20 years.
He also studied kendo, played local
championship tennis, took up golf and
then achieved the rank of High Master
in high-power rifle shooting competition
in near-record time. Once he got around
to buying his first race car, though, he
found his true passion.
Curious and clever, with a splendid
sense of self and style, Ron loved
dogs, Japanese art, Baroque opera,
bagpipes, World War I history, cooking
and traveling in Europe. His ability to
entertain groups of any size sprang from
his natural bravura and sense of humor.
His friendship, humor and enthusiasm
touched us all, and we are blessed to
have known him. Thank you for the
music, Ron — you will be greatly missed.
A full version of Ron’s obituary was
published in The Seattle Times on
March 8, 2015.
SEATTLE SYMPHONY
MARC-ANDRÉ HAMELIN
YEFIM BRONFMAN
LUDOVIC MORLOT
Photo by Larey McDaniel
APRIL 16–18
SHOSTAKOVICH LENINGRAD SYMPHONY
Andrey Boreyko, conductor
Alexander Velinzon, violin
Seattle Symphony
The orchestra’s full forces will be onstage for Shostakovich’s epic
“Leningrad” Symphony, the composer’s stirring tribute to his country’s
resistance to Nazi aggression. Renowned Concertmaster, Alexander
Velinzon, steps forward with Schnittke’s Violin Concerto No. 4 in this
all-Russian program.
Andrey Boreyko’s performances are generously underwritten by Marcus and Pat Meier.
Alexander Velinzon’s performances are generously underwritten by Sue and Robert Collett.
April 30 & May 2
YEFIM BRONFMAN PLAYS BEETHOVEN
Ludovic Morlot, conductor
Yefim Bronfman, piano
Immerse yourself in the powerful, emotional world of one of the greatest
composers in this all-Beethoven program, featuring the inestimable and
virtuosic Yefim Bronfman.
Media Sponsor:
APRIL 23 & 25
GRIEG PIANO CONCERTO
Ludovic Morlot, conductor
Marc-André Hamelin, piano
Seattle Symphony
Ludovic Morlot teams up with the great Marc-André Hamelin for an
all-time favorite: Grieg’s rollicking and captivating Piano Concerto.
Plus, hear Schumann’s optimistic Symphony No. 2, which radiates
with love as a gift to his wife, Clara.
Marc-André Hamelin’s performances are generously underwritten by Douglas F. King.
Media Sponsor:
FO R TI C K ETS:
2014–2015 Masterworks Season Sponsor:
2 0 6 . 2 1 5 . 4 7 4 7 | S E AT T L E SY M P H O N Y. O R G
Ticket Office at Benaroya Hall | Mon–Fri, 10am–6pm; Sat, 1–6pm
encore art sseattle.com 9
Bischofberger
Violins
est. 1955
Professional
Repairs
Appraisals
& Sales
1314 E. John St.
Seattle, WA
206-324-3119
www.bviolins.com
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GReat food.
Great Music.
A Perfect combination.
{ ARRive eARlY to dine }
D AV I D S
In the Boeing CompAnY GAlleRY
In The NoRcliffe FoundeRs Room
ReseRvAtions:
WWW.TUXEDOSANDTENNISSHOES.COM
TUXEDOS AND TENNIS SHOES
CATERING AND EVENTS
TTS 092414 SS024 1_6v.pdf
Upcoming Fine Art
& Antiques Premier
Auctions:
March 7th & April 4th
at Noon
Now Accepting
Consignments.
Pacific Galleries Auction & Antique Mall
241 South Lander St. • Seattle WA 98134 • 206.441.9990
www.PacGal.com• Online Bidding: www.Invaluable.com
10
SEATTLESYMPHONY.ORG
Deference
or Defiance?
Stalin, Shostakovich and
the “Leningrad” Symphony
by AARON GRAD
On July 20, 1 942, Dmitri Shostakovich became the first
composer to appear on the cover of TIME Magazine. “Amid
bombs bursting in Leningrad,” said the caption under a portrait
of Shostakovich in an ornate fireman’s helmet, “he hears the
chords of victory.” The publication coincided with the eagerly
awaited American debut of Shostakovich’s Symphony No. 7
— the “Leningrad” Symphony — and the latest chapter in the
high-stakes game of cat-and-mouse that played out between
Shostakovich and Joseph Stalin.
Shostakovich’s troubles began in
1936, when Stalin walked out of
Shostakovich’s opera Lady Macbeth
of the Mtsensk District. Two days later,
the newspaper Pravda published a
scathing review titled “Muddle instead
of Music.” The unnamed critic (possibly
Stalin himself) decried, “Here we have
‘leftist’ confusion instead of natural
human music. The power of good music
to infect the masses has been sacrificed
to a petty-bourgeois, ‘formalist’
attempt to create originality through
cheap clowning. It is a game of clever
ingenuity that may end very badly.”
At a time when Stalin’s enemies were
disappearing by the millions, the
warning that Shostakovich’s musical
path “may end very badly” was no
idle threat. From that point forward,
Shostakovich buried his private codes
and critiques deep within compositions
that, on the surface, obeyed the dictates
of Socialist Realism, the party’s term for
art that appealed to the everyman while
supporting the Communist agenda.
On its surface, the “Leningrad”
Symphony is the paragon of Socialist
Realism, celebrating the bravery of
a besieged city while skewering the
enemy forces. The problem with this
story, though, is that we now know that
Shostakovich conceived the symphony
before the Nazi advance on Russia even
started. So if the “Leningrad” Symphony
was not a scathing indictment of Hitler’s
invasion, then what is its true message?
Answers lie just beneath the surface of
the so-called “Invasion” theme of the
first movement, starting as an inanely
APR
25
Faculty Recital: Craig Sheppard, piano
Shostakovich: 24 Preludes and Fugues
simple tune over the rat-tat-tat of a
snare drum, and building, through sheer
force of repetition, to a raging outburst
— a thoughtless cataclysm from within.
Reading between the lines, the Seventh
Symphony can be interpreted as a
defiant stand against Stalin’s cruelty
in the years leading up to the war.
Such music could never have left
Shostakovich’s desk (and there were
plenty of finished works that lived
there until after Stalin’s death), but the
Siege of Leningrad gave Shostakovich
a viable cover story, and in turn handed
Stalin one of his greatest propaganda
weapons. The Soviets snuck a microfilm
copy of the score past the Germans,
through Iran and Africa to London. The
hundreds of performances that followed
in England and the United States served
to rally public sympathies for the
Soviets, the West’s uneasy allies in the
fight against Hitler. It was, in the end, a
strange dual victory; Shostakovich came
away more famous and indispensible
(and thus safer) than ever, while
Stalin had the great composer right
where he wanted him, playing along
as a political stooge. All these years
later, the only way to decipher their
tangled history is to listen anew to
Shostakovich’s momentous “Leningrad”
Symphony and judge for yourself.
The faculty pianist offers listeners a rare
opportunity to hear—in one sitting—the
entirety of the 24 Preludes and Fugues,
Opus 87, among the most influential in the
canon of 20th century solo piano works.
7:30 pm Meany Theater
MAY
5
Music from the War to End All Wars
Music of Debussy, Ives, and Prokofiev
Pre-Concert Lecture: Steven Morrison
This series produced by piano professor Robin
McCabe, features music composed during the
Great War, with commentary.
Lecture: 4 pm
Concert: 4:30 pm Brechemin Auditorium
At left: Dmitri Shostakovich in a firefighter’s
uniform during the Siege of Leningrad, USSR,
WWII, 1941.
See program notes on pages 19 and 30–33
for different looks at Shostakovich and the
intersection of politics and art during World
War II.
MoRe AT: WWW.MuSiC.WAShinGTon.edu
ArtsuW TiCkeT oFFiCe: 206.543.4880
encore artsseattle.com 11
LINKUP
At Link Up, Join In
Reflections from Link Up 2014:
“ It was really fun playing with
the Symphony. Not everybody
gets the chance to do that, so it
just made me very excited and
I felt all tingly inside.”
—Ben, Seattle Public Schools Student
“The music in the hall was
electrifying. I think it is the
whole sense of everyone coming
together in song. The choice
for students to be able to play
recorder or sing made them all
feel very comfortable, and that
came through as they all joined
in with their voices. It was one
of the most phenomenal things
I have ever experienced.
—Elaine, Seattle Public Schools Teacher
“Nothing brings me more joy
than seeing students have an
authentic connection to the
Symphony. That they not only are
listening and taking in, but they
themselves own the music that
they’re hearing. I definitely see it
in their faces. It’s that ‘I know this
music and I am so proud to be
sharing this with my friends and
with the Seattle Symphony.’”
—Kelly Dylla, Vice President of Education &
Community Engagement, Seattle Symphony
12
SEATTLESYMPHONY.ORG
by HEIDI STAUB
Photos on page 12 by Brandon Patoc
Photography: (top to bottom) Link
Up classroom rehearsal, students
performing at a Link Up concert in
Benaroya Hall, Link Up classroom
lesson. Photo at left by Robert Wade:
students onstage with the orchestra
at a Link Up concert.
In the past three years since its inception,
Link Up: Seattle Symphony, a music
curriculum and participatory concert
experience, has grown to serve over
10,000 students in grades 3–5 annually
with over 116 Puget Sound schools
registered to participate in this year’s
concerts in May.
Link Up invites students to learn about
orchestral repertoire throughout the school
year with hands-on music curriculum
that focuses on specific musical concepts
including rhythm, melody, tempo,
orchestration and composition. Curriculum
materials developed by Carnegie Hall’s
Weill Music Institute are provided to all
Link Up schools, and recorders donated
by Music4Life are provided to schools
participating in a five- or 10-week residency
with symphony teaching artists. Link
Up brings active music-making into the
classroom, enabling students to take part
in creative work performing repertoire on
recorder, voice and body percussion and
even composing their own pieces inspired
by the orchestral music they have studied.
All of this culminates in a live performance
at Benaroya Hall where students have the
opportunity to play- and sing-along with the
Seattle Symphony from their seats. This
performance is oftentimes the students’
first concert-going experience as well as
their concert performance debut.
Seattle Symphony has an ongoing
commitment to make arts education
accessible to communities that might not
have the capability to provide it otherwise.
60% of the schools involved in Link Up this
year are able to do so because of support
from the Symphony. This reaches a range of
schools and is enabling a variety of districts
to take part, from six schools in Marysville
to 10 out of the 20 Seattle Public Schools
participating. Of the over 116 schools
involved, 70 have 60–100% of students on
the free or reduced school lunch program.
There is no denying the lasting impact on
the lives of the students who partake in
programs such as Link Up. Studies have
shown that students who are involved in
arts education fare better academically
than those who aren't, including higher
test scores and grades, lower dropout rates
and higher likelihood to attend college.
Ongoing participation in the arts promotes
creativity, innovation, discipline and
teamwork, building a toolbox of skills that
prepare students to face the challenges
of living and working in the ever-changing
modern world.
Link Up also acts as a pipeline for
students to become interested in taking
instrumental classes or lessons provided
by organizations such as Seattle Music
Partners, who offers free music lessons
after school to students who couldn’t
otherwise afford it. Additionally, most
schools that have instrumental education
begin it in 5th grade, so programs like Link
Up and Seattle Music Partners prepare
students to enter into these programs and
set them up for success.
This year’s Link Up concerts take place on
May 12–14, 2015, at Benaroya Hall. Since the
culminating Link Up concerts are only open
to school groups, Seattle Symphony also
offers a Link Up Family Concert on May 9,
where families can make music together
along with the Seattle Symphony from
their seats. For more information about
Link Up, visit seattlesymphony.org/linkup.
Who helps make this
program possible?
“Music4Life donated $10,000 in
recorders to Link Up this year and
last due to our mission to provide
access to music regardless of ability
to acquire an instrument. Link
Up starts what for many will be a
life-long path of music participation
and enjoyment and we’re proud to
contribute to that impact.”
—David Endicott, President & CEO,
Music4Life
“The Sheri and Les Biller Family
Foundation is pleased to support
Link Up, partnering with the Seattle
Symphony to provide students with
a high-quality and hands-on musical
experience throughout the year. We
are proud of the Symphony’s efforts
to expand access to arts education
and of their broad reach to students
across the region.”
—Colleen Oliver, Executive Director,
The Sheri and Les Biller Family
Foundation
“Boeing is a proud sponsor of the
Seattle Symphony’s exciting Link
Up music education program.
Our arts education investments
foster 21st century skills such as
creativity, confidence, problem
solving, perseverance, teamwork and
collaboration — skills that will help
kids succeed in life.”
—Liz Warman, Director, Global
Corporate Citizenship, Boeing
You! Contact Donor
Relations at 206.215.4832
or [email protected] for
information on how to give to Link
Up and other Community Programs
at the Seattle Symphony.
encore artsseattle.com 13
April 2015
Volume 28, No. 8
Paul Heppner
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SEATTLESYMPHONY.ORG
April 1–25, 2015
CO N C ERTS
P. 16
P. 30
Wednesday, April 1, at 7:30pm
Thursday, April 16, at 7:30pm
Friday, April 17, at 12 noon
Saturday, April 18, at 8pm
LONDON SYMPHONY
ORCHESTRA
SPECIAL PERFORMANCES
P. 22
Yuja Wang, p. 20
SHOSTAKOVICH
LENINGRAD
SYMPHONY
DE LTA AIR LINE S
MASTERWORK S SE ASON
Thursday, April 2, at 7:30pm
Saturday, April 4, at 8pm
CHOPIN PIANO
CONCERTO NO. 2
D ELTA A IR LINE S
MASTERWORK S SE ASON
P. 26
P. 34
Thursday, April 23, at 7:30pm
Saturday, April 25, at 8pm
GRIEG PIANO
CONCERTO
DE LTA AIR LINE S
MASTERWORK S SE ASON
Friday, April 3, at 7pm
Thomas Søndergård, p. 25
CHOPIN PIANO
CONCERTO NO. 2
SYMPHONY UNTUXED SE RIES
P. 28
Friday, April 10, at 8pm
Saturday, April 11, at 8pm
Sunday, April 12, at 2pm
PRESERVATION HALL
JAZZ BAND
Andrey Boreyko, p. 33
SEATTLE POPS SE RIES
Photo credits (top to bottom): Rolex Fadil Berisha,
Andy Buchanan, Richard de Stoutz, Fran Kaufman
Marc-André Hamelin, p. 41
encore artsseattle.com 15
Wednesday, April 1, 2015, at 7:30pm
LONDON SYMPHONY
ORCHESTRA
S P E CIAL PE RFO RMA NCES
Michael Tilson Thomas, conductor
Yuja Wang, piano
London Symphony Orchestra
BENJAMIN BRITTEN “Four Sea Interludes” from Peter Grimes, Op. 33a
Dawn: Lento e tranquillo
Sunday morning: Allegro spiritoso
Moonlight: Andante comodo e rubato
Storm: Presto con fuoco
GEORGE GERSHWIN Concerto in F Allegro
Adagio—Andante con moto
Allegro agitato
YUJA WANG, PIANO
16’
29’
INTERMISSION
DMITRI SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 Moderato
Allegretto
Largo
Allegro non troppo
44’
The London Symphony Orchestra’s performance is generously underwritten by
Martin Selig and Catherine Mayer through the Seattle Symphony’s Guest Artists Circle.
Additional support is provided by Paul Leach and Susan Winokur.
Seattle Symphony violinist
Arthur Zadinsky at age 9
YOUR SUPPORT OF
MUSIC EDUCATION
TODAY IS AN INVESTMENT
IN THE ORCHESTRA
OF TOMORROW.
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 ©2015 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.
16
SEATTLESYMPHONY.ORG
DONATE.SEATTLESYMPHONY.ORG
P RO G RA M N OTES
B E N JA M I N B R I T T E N
“Four Sea Interludes” from Peter
Grimes, Op. 33a
Dawn: Lento e tranquillo
Sunday morning: Allegro spiritoso
Moonlight: Andante comodo e rubato
Storm: Presto con fuoco
BORN:
November 22, 1913, in Lowestoft,
England
DIED:
December 4, 1976, in Aldeburgh,
England
WORK COMPOSED:
Britten composed the
opera Peter Grimes in 1944 and 1945.
WORLD PREMIERE:
Reginald Goodall
Lady Macbeth of the Mtsensk District
and Berg’s Wozzeck can be felt. On
early typed libretto drafts Britten made
important marginal notes throughout,
in which he succinctly describes the
kinds of music he intended to write.
Those concerning the interludes are of
particular interest and suggest that they
were intended to have a programmatic
function within the structure, a point
made even clearer by the arrangement
of four of them into a concert suite in
which each was given a descriptive title
by the composer: Dawn (Interlude I in
the opera), Sunday morning (Interlude
III), Moonlight (Interlude V) and Storm
(Interlude II).
GEORGE GERSHWIN
Dawn, described by Britten in his
libretto marginalia as an “Everyday,
grey seascape,” comprises three ideas
operating on three levels: the highlying unison melody for flutes and
violins; the bubbling rising and falling
arpeggios on clarinets, harp and violas;
and the ominous chorale-like motif from
bassoons, brass and low strings. Sunday
morning (“Sunny, Sparkling music”) is
taken from the beginning of Act II of
the opera, where the schoolmistress
Ellen Orford sings “Glitter of waves /
And glitter of sunlight / Bid us rejoice
/ And lift our hearts on high.” Britten
superimposes overlapping chords on
the horns with (at first) a spiky idea on
the woodwind, the quality enhanced by
the bright D major tonality, brightened
further by the use of a sharpened fourth
note (G-sharp) of the scale. Ellen’s
words coincide with the second idea, an
expressive melody on violas and cellos.
Moonlight (“Summer night, seascape,
quiet” in the composer’s description)
introduces Act III of the opera. Quiet,
slow throbbing syncopations are broken
by chinks of moonlight (flutes and harp),
before reaching a tumultuous climax.
On the afternoon of February 12, 1924,
musical New York gathered at Aeolian
Hall, on 42nd Street (where the State
University College of Optometry
now stands), to witness a concert
that bandleader Paul Whiteman was
presenting under the intriguing rubric
“An Experiment in Modern Music.”
Whiteman believed that the future of
American concert music would involve
a fusion of European symphonic
traditions with jazz. Most of the program
he presented that day was far from
what could honestly be described
as “experimental” in 1924. But it did
include the premiere of one work that
exemplified his vision: George Gershwin’s
Rhapsody in Blue for piano and orchestra.
Concerto in F
Allegro
Adagio—Andante con moto
Allegro agitato
BORN:
September 26, 1898, in Brooklyn, New
York
DIED:
July 11, 1937, in Hollywood, California
WORK COMPOSED:
Between May and
November 10, 1925
WORLD PREMIERE:
December 3, 1925,
at Carnegie Hall in New York, with Walter
Damrosch conducting the New York Symphony
Society and the composer as piano soloist.
conducted the premiere of Peter Grimes
at the Sadler’s Wells Theatre in London on
June 7, 1945. Less than a week later, Britten
premiered the “Four Sea Interludes” with the
London Philharmonic in Cheltenham, on June
13, 1945.
While staying with friends near Los
Angeles during the summer of 1941,
Benjamin Britten and Peter Pears came
across an article by E. M. Forster on the
Suffolk poet George Crabbe (1754–1832)
in a back issue of The Listener. Britten
(himself born in Suffolk) was later to
comment: “I suddenly realised where I
belonged and what I lacked,” and even
more revealingly, “that I must write
an opera.” Pears discovered a copy of
Crabbe’s poems, including The Borough,
which tells the tragedy of the fisherman
Peter Grimes, in a “Rare Book Shop.” His
and Britten’s enthusiasm after making
this discovery is obvious in a letter sent
to their New York friend Elizabeth Mayer
on July 29: “We’ve just discovered the
poetry of George Crabbe (all about
Suffolk) and are very excited — maybe an
opera one day!!” The remainder of 1941
and the early part of 1942 were spent
working on a draft synopsis and libretto
for an opera based on Peter Grimes, but
it was not until reaching the UK that a
librettist was found — the left-wing writer
Montagu Slater, with whom Britten had
frequently collaborated in the 1930s —
and serious progress made.
From the outset, chief among the opera’s
distinctive features was the sequence
of orchestral interludes (six in all) that
introduce or separate scenes, a device
in which the influence of Shostakovich’s
The final interlude of the concert suite,
Storm, speaks for itself. In the opera, it
prefaces Act I Scene 2, set in The Boar,
and re-emerges throughout the scene
as characters arrive at the pub. A rondo
structure in E-flat minor, the interlude
not only provides a graphic portrayal
of the physical storm but also the
psychological storm in Grimes’ mind.
© 2015 Philip Reed
Though some critics applauded
enthusiastically, others were somewhat
guarded in their evaluations of
Gershwin’s new piece. In The New York
Times, critic Olin Downs allowed that
Rhapsody in Blue revealed “a talent and
an idiom, also rich in possibilities for that
generally exhausted and outworn form
of the classic piano concerto.” A news
report in the same paper described the
Whiteman ensemble: “Pianos in various
stages of deshabillé stood about, amid a
litter of every imaginable contraption of
wind and percussion instruments.” The
reporter concluded that the scene “would
have curdled the blood of a Stokowski or
a Mengelberg.”
As it happened, both Stokowski and
Mengelberg were in the hall that
afternoon, as were violinists Fritz Kreisler,
Jascha Heifetz, and Misha Elman; pianist
encore artsseattle.com 17
P RO G RA M N OTES
Moritz Rosenthal; composers Sergei
Rachmaninoff, Igor Stravinsky and John
Philip Sousa; and conductor Walter
Damrosch. Damrosch was one of the
city’s leading musical citizens. He had
inherited the directorship of the New
York Symphony Society when his uncle
Leopold died, in 1885, and held the
post with only brief respite until that
orchestra merged with the New York
Philharmonic in 1928.
Damrosch was so impressed with
Gershwin’s Rhapsody in Blue that he
immediately commissioned a concerto
he could introduce with his New York
Symphony. Gershwin happily accepted
the commission and then — the legend
goes — did a bit of study to find out just
what a concerto was. One suspects that
this story, which has been repeated by
biographers ever since, probably derives
from nothing more than a bon mot.
Nevertheless, Gershwin most certainly
did not come to his concerto armed with
a complete compositional technique. His
native talent was unquestionable and his
facility as a pianist unimpeachable, but
the niceties of orchestral writing were
still uncharted ground. In his Broadway
work, Gershwin had always followed the
customary practice of simply writing the
tunes and leaving the instrumentation
to an arranger. Even the Rhapsody in
Blue was not entirely his creation; the
instrumentation had been carried out
by Whiteman’s staff orchestrator Ferde
Grofé, who worked from Gershwin’s
piano score. Gershwin therefore acquired
a copy of Cecil Forsyth’s Orchestration,
a standard textbook at that time, and
learned enough from it to write the
whole orchestral score of the Concerto
in F on his own, though no doubt with
some pointers from colleagues.
Broadway obligations prevented
Gershwin from diving into his concerto
immediately, and he didn’t buckle
down to serious work on it until May
1925, while he was in London updating
material for the English production of
his musical Tell Me More. On July 22,
back in New York, he started turning
his sketches into a manageable score,
at the head of which he inscribed the
title New York Concerto. He worked on it
every day during a stay at Chautauqua
in August, and he appears to have let
the movements flow from start to finish.
18
SEATTLESYMPHONY.ORG
continued
Notations in the piano manuscript
indicate that the first movement was
written in July, the second in August
and September, and the third in
September. After that, he busied himself
for another five or six weeks with the
orchestration for full orchestra. By the
time he had completed the project, the
initial title had been replaced simply
by Concerto in F — not F major or F
minor (though the former would be
accurate) — and it has been so identified
ever since. Eliminating the referential
title was an essential step towards the
composer’s goal. “Many persons had
thought that the Rhapsody was only a
happy accident,” Gershwin remarked
later. “Well, I went out, for one thing,
to show them that there was plenty
more where that had come from. I made
up my mind to do a piece of absolute
music. The Rhapsody, as its title implies,
was a blues impression. The concerto
would be unrelated to any program.
And that is exactly how I wrote it.”
Gershwin wisely organized a run-through
of his concerto in November — he hired
the sixty-piece orchestra himself — and
Damrosch wisely attended. Everybody
was delighted with what they heard,
but Damrosch, drawing on his years of
orchestral experience, seems to have
offered some well-chosen advice. As
a result, Gershwin cut expanses from
each of the movements (in addition to
making a number of smaller changes),
yielding a tighter work for the imminent
premiere. The concert was sold out,
and the audience cheered rapturously
at the conclusion of the Concerto in F.
Critics were more reserved; they had
already heard a perfectly good example
of Gershwin’s “symphonic-jazz fusion”
when the Rhapsody in Blue was unveiled
a year before, and they found less
to be excited about the second time
around. One critic proclaimed the work
“interesting and individual,” another
found it “conventional, trite, [and] a
little dull.” Damrosch was not to be
swayed. He was a true believer in the
piece, as he made clear in the flowery
speech he delivered from the stage at
the premiere: “Lady Jazz, adorned with
her intriguing rhythms, has danced her
way around the world. . . . But for all her
travels and her sweeping popularity, she
has encountered no knight who could lift
her to a level that would enable her to
be received as a respectable member in
musical circles. George Gershwin seems
to have accomplished this miracle.
He has done it boldly by dressing this
extremely independent and up-to-date
young lady in the classic garb of a
concerto. Yet he has not detracted one
whit from her fascinating personality. He
is the prince who has taken Cinderella by
the hand and openly proclaimed her a
princess to the astonished world.”
It’s hard to follow such an effusion.
We might add that this “up-to-date
young lady” seems to have had at
least a passing acquaintance with the
virtuosic piano concertos of Franz Liszt
and Sergey Rachmaninov and that her
coming-out party was foreshadowed
in a piano prelude Gershwin sketched
about a year earlier, which he essentially
re-worked into the opening theme of
the third movement. But for a succinct
description of how the piece unfolds, we
can fortunately turn to Gershwin’s own
description, which the New York HeraldNew York Tribune printed in advance of
the premiere:
The first movement employs the
Charleston rhythm. It is quick and
pulsating, representing the young
enthusiastic spirit of American life.
It begins with a rhythmic motif given
out by the kettledrums, supported by
other percussion instruments, and with
a Charleston motif introduced by . . .
horns, clarinets and violas. The principal
theme is announced by the bassoon.
Later, a second theme is introduced by
the piano.
The second movement has a poetic
nocturnal atmosphere which has come
to be referred to as the American blues,
but in a purer form than that in which
they are usually treated. The final
movement reverts to the style of the
first. It is an orgy of rhythms, starting
violently and keeping to the same pace
throughout.
© 2015 James M. Keller, San Francisco
Symphony. Used with permission.
DMITRI
S H O S TA KOV I C H
Symphony No. 5 in D minor, Op. 47
Moderato
Allegretto
Largo
Allegro non troppo
BORN:
September 25, 1906, in Saint
Petersburg
DIED:
August 9, 1975, in Moscow
WORK COMPOSED:
1937
WORLD PREMIERE:
November 21, 1937, by
the Leningrad Philharmonic under Yevgeny
Mravinsky.
Political and artistic pressures
coincided many times in the course
of Shostakovich’s career, but never
more intensely than in the year
1937, when the Fifth Symphony was
composed. Early in 1936 his opera Lady
Macbeth of Mtsensk and the ballet
The Limpid Stream had been officially
condemned, and in consequence he
felt obliged to withdraw his Fourth
Symphony before its scheduled
premiere. These works, which are full
of a wayward, dissonant genius, made
no concession to the official doctrine
of Socialist Realism, and the bleak
endings of both opera and symphony
directly contradicted the optimism
then expected from Soviet artists.
The crisis he faced was far more than
a question of musical style: it was quite
literally a matter of life or death. By 1936
the mechanism of Stalin’s Great Terror
was lurching into motion, with show
trials, denunciations and disappearances.
Few Russians remained untouched,
particularly in the composer’s own city
of Leningrad. Shostakovich himself
lost relatives, friends and colleagues. A
particularly serious blow was the arrest
and execution in June 1937 of his highlyplaced protector Marshal Tukhachevsky;
association with such an “enemy of the
people” put Shostakovich in a highly
dangerous position.
It was in this nightmare atmosphere
that Shostakovich composed his Fifth
Symphony, between April and July 1937.
A conscious attempt at rehabilitation,
intended to re-establish his credentials
as a Soviet composer, it represents a
well-calculated combination of true
expression with the demands of the
State. Shostakovich calculated well.
The premiere, given by the Leningrad
Philharmonic under the relatively
unknown Yevgeny Mravinsky on
November 21 1937, was an unqualified
triumph, with scenes of wild enthusiasm
which were repeated at the Moscow
premiere the following January. The first
performance outside Russia took place
in Paris that June, and before long the
Symphony had been performed all over
the world and was being held up as a
model of what Soviet music could and
should be.
The Symphony certainly represents a
break with Shostakovich’s unruly musical
past, for here the language is simplified,
with few of the eccentricities that had
made him such a great satirist in the
first decade of his career. The level of
dissonance is lower and the music is
contained within a clear formal plan.
There is not, however, any radical change
of style. Shostakovich’s unmistakable
fingerprints — unexpected twists in
melody and harmony, strange scoring,
sometimes eccentric or shrill, with writing
in the extremely high or low registers —
are all present, but now absorbed into
a traditional four-movement symphonic
structure of great clarity and power.
As he would later in the first movements
of his Eighth and Tenth Symphonies,
Shostakovich immediately creates a
sense of enormous space, both brooding
and desolate, with a masterly control of
slow pacing and pared-down orchestral
textures. The first movement’s climax,
reached after a remorseless build-up
of tension (from the moment the piano
enters), bursts out into a grotesque
march, followed by a sense of numb
exhaustion. The second movement, a type
of sardonic scherzo, preserves some of
the qualities of the earlier Shostakovich
in its shrill scoring, use of wry parody
and vulgar march and dance elements,
an important part of his inheritance from
Mahler.
The brooding Largo is the expressive
heart of the symphony. Listeners who
had until then known only the witty or
irreverent side of Shostakovich would have
been surprised by the depth of feeling here:
many at the premiere were reduced to
tears by its controlled anguish. Much of
the emotional power is due to the long,
sustained melodic lines and restrained
instrumentation. The brass instruments
are all silent, even the quietly sustaining
horns.
Most of the controversy surrounding
the symphony is concerned with the
real significance of the finale and
particularly of its last few minutes,
blatant with D major brass fanfares
and battering drums. There is no doubt
about the overwhelming sense of
musical resolution here, but most verbal
commentary has done little but confuse
the issue. A constant problem with
Shostakovich is that his own remarks
should never be taken too seriously, for
he notoriously said what people wanted
to hear. The façade he presented was
that of a cool professional, an efficient
servant of the Soviet State, and on the
occasion of the Moscow premiere he
quoted an unnamed Soviet critic to the
effect that his Fifth Symphony was “the
practical creative answer of a Soviet
artist to just criticism,” a phrase that
was for many years accepted in the West
as the composer’s own subtitle.
The main outline of the post-Beethoven
Romantic symphony, opening in
conflict and arriving at a triumphant
apotheosis, certainly allows an orthodox
interpretation of the Symphony as a
description of the creation of Soviet
Man, and it was in these terms that
Shostakovich spoke of it at the time:
“I saw man with all his experiences in
the centre of the composition … In the
finale, the tragically tense impulses of
the earlier movements are resolved
in optimism and joy of living.” But in
Testimony, the reminiscences attributed
by Solomon Volkov to the sick and
embittered composer towards the end
of his life, this is all turned upside-down.
“I think that it is clear to everyone what
happens in the Fifth … it’s as if someone
were beating you with a stick and saying
‘Your business is rejoicing, your business
is rejoicing,’ and you rise, shakily, and go
off muttering ‘Our business is rejoicing,
our business is rejoicing.’”
© 2015 Andrew Huth
encore artsseattle.com 19
MICHAEL TILSON
THOMAS
Y UJA WA N G
Piano
Conductor
FORTE: Michael Tilson
Thomas is Music
Director of the San
Francisco Symphony,
Founder and Artistic
Director of the New
World Symphony and
Principal Guest
Photo: Art Streiber
Conductor of the
London Symphony
Orchestra. Born in Los Angeles, he is the
third generation of his family to follow
an artistic career.
During the
2014–2015 season, Tilson Thomas marks
his 70th birthday with a European
tour with the San Francisco Symphony
Orchestra, a west coast tour of the U.S.
with the London Symphony Orchestra,
appearances in Carnegie Hall and
Washington, DC with the New World
Symphony, and concerts with the Vienna
Philharmonic Orchestra.
SEASON HIGHLIGHTS:
His recorded repertoire
of more than 120 discs includes works
by composers such as Bach, Beethoven,
Mahler, Prokofiev and Stravinsky as well
as his pioneering work with the music
of John Cage, Elvis Costello, Ingolf Dahl,
Morton Feldman, George Gershwin,
Charles Ives, John McLaughlin, Steve
Reich and Carl Ruggles. Most recently
he completed the orchestral works of
Gustav Mahler and Bernstein’s West
Side Story, both with the San Francisco
Symphony on their label, SFS Media.
RECORDINGS:
Tilson Thomas is a
Chevalier dans l’ordre des Arts et des
Lettres of France, was Musical America’s
Musician of the Year and Conductor of
the Year, Gramophone Magazine’s Artist
of the Year and has been profiled on
CBS’s 60 Minutes and ABC’s Nightline.
He has won 11 Grammy Awards for his
recordings. In 2008 he received the
Peabody Award for his radio series
for SFS Media, The MTT Files. In 2010
President Obama awarded him with
the National Medal of Arts, the highest
award given to artists by the United
States.
HONORS & AWARDS:
20
SEATTLESYMPHONY.ORG
AROUND THE WORLD:
Pianist and Steinway
Artist Yuja Wang has
performed with
prestigious orchestras
throughout the U.S.
including those of
Boston, Chicago,
Photo: James Cheadle
Cleveland, Los
Angeles, New York,
Philadelphia, San Francisco and
Washington, D.C., and abroad with the
Berlin Staatskapelle, China
Philharmonic, Filarmonica della Scala,
Israel Philharmonic, London Symphony
Orchestra, Orchestre de Paris, Orquesta
Nacional de España, Simón Bolívar
Symphony Orchestra, NHK Symphony
Orchestra, Royal Concertgebouw
Orchestra and Santa Cecilia, among
others. Conductors with whom she has
collaborated include Abbado,
Barenboim, Dudamel, Dutoit, Gatti,
Gergiev, Franck, Inkinen, Maazel, Mehta,
Masur, Pappano, Salonen, Temirkanov
and Tilson Thomas. Wang regularly
gives recitals throughout Asia, Europe
and North America, and appears at
many summer chamber music festivals.
This season
Wang is Artist in Residence with Zurich’s
Tonhalle Orchestra; she appears for two
weeks with Lionel Bringuier and a final
week with Gustavo Dudamel. She will
also be featured in a two-week residency
with the Hong Kong Philharmonic. Last
season the London Symphony Orchestra
invited Wang to be their featured artist
in the LSO Artist Portrait series for 2014
which included performing concertos
and recitals, followed by a tour of China.
ORCHESTRAL HIGHLIGHTS:
Wang is an exclusive
recording artist for Deutsche
Grammophon; her catalogue includes
three sonata recordings, a concerto
recording with Claudio Abbado and
the Mahler Chamber Orchestra, and
a disc of Prokofiev and Rachmaninov
with Dudamel and the Simón Bolívar
Symphony Orchestra. Most recently she
recorded the Brahms violin sonatas with
Leonidas Kavakos for Decca Records.
RECORDINGS:
Wang studied at the Central
Conservatory of Music in Beijing with
Ling Yuan and Zhou Guangren, the Mount
Royal Conservatory in Calgary, and the
Curtis Institute of Music in Philadelphia
with Gary Graffman.
EDUCATION:
The
London Symphony Orchestra (LSO)
is widely regarded as one of the world’s
leading orchestras. The LSO has an
enviable family of artists, including LSO
Principal Conductor Valery Gergiev,
Michael Tilson Thomas and Daniel
Harding as Principal Guest Conductors,
and long-standing relationships with
some of the leading musicians in the
world — Yuja Wang, Leonidas Kavakos,
Anne-Sophie Mutter, Mitsuko Uchida
and Maria João Pires, amongst others.
The
LSO is proud to be Resident
Orchestra at the Barbican, where
it performs around 70 concerts a
year. The LSO also enjoys successful
residencies in New York, Paris and Tokyo.
Regular tour destinations include the
Far East, North America and all the
major European cities. In late 2014, the
Orchestra toured to Australia for the
first time in over 30 years and tonight’s
performance forms part of an extensive
tour of the United States with Michael
Tilson Thomas, celebrating his 70th
birthday with the Orchestra this year.
The
LSO is set apart from other
international orchestras by the depth
of its commitment to music education,
reaching over 60,000 people each year.
LSO Discovery enables the Orchestra to
offer people of all ages opportunities to
get involved in music-making. LSO On
Track, a long-standing project involving
young musicians from across London, has
given a platform to talented teenagers to
appear in the London Olympic Stadium,
at outdoor concerts in Trafalgar Square,
and also on Abbey Road recordings
side-by-side with LSO musicians.
The
Orchestra is a world-leader in
recording music for CD, film and events.
LSO Live is the most successful label
of its kind and last year celebrated
its hundredth release. Recordings are
available globally on CD, SACD and
online. The LSO has also recorded
music for hundreds of films, including
Philomena, The Monuments Men, four
of the Harry Potter films, Superman
and all six Star Wars movies.
LO N D O N S Y M P H O N Y O R C H E S T R A
Principal Conductor: Valery Gergiev
Principal Guest Conductors: Daniel Harding, Michael Tilson Thomas
Conductor Laureate: André Previn, KBE
Choral Director: Simon Halsey
FIRST VIOLINS
CELLOS
BASSOONS
PIANO/CELESTE
Roman Simovic, Leader
Carmine Lauri
Lennox Mackenzie
Clare Duckworth
Nigel Broadbent
Ginette Decuyper
Gerald Gregory
Jörg Hammann
Maxine Kwok-Adams
Claire Parfitt
Laurent Quenelle
Colin Renwick
Ian Rhodes
Sylvain Vasseur
Rhys Watkins
David Worswick
Rebecca Gilliver
Minat Lyons
Alastair Blayden
Jennifer Brown
Noel Bradshaw
Eve-Marie Caravassilis
Daniel Gardner
Hilary Jones
Amanda Truelove
Mary Bergin
Rachel Gough
Daniel Jemison
Joost Bosdijk
John Alley
SECOND VIOLINS
David Alberman
Thomas Norris
Miya Vaisanen
David Ballesteros
Richard Blayden
Matthew Gardner
Julian Gil Rodriguez
Naoko Keatley
Belinda McFarlane
William Melvin
Iwona Muszynska
Philip Nolte
Harriet Rayfield
Louise Shackelton
DOUBLE BASSES
Joel Quarrington
Colin Paris
Nicholas Worters
Patrick Laurence
Matthew Gibson
Thomas Goodman
Joe Melvin
Jani Pensola
FLUTES
Gareth Davies
Adam Walker
Alex Jakeman
PICCOLO
Sharon Williams
OBOES
LSO ADMIN
Kathryn McDowell,
Managing Director
CONTRA-BASSOON
Dominic Morgan
Sue Mallet,
Director of Planning
HORNS
Frankie Hutchinson,
Tours & Projects
Manager
Timothy Jones
Stephen Stirling
Angela Barnes
Benjamin Jacks
Jonathan Lipton
Jemma Bogan,
Orchestra Personnel
Manager
Iryna Goode,
Senior Librarian
TRUMPETS
Philip Cobb
Alan Thomas
Alan Goode,
Stage & Transport
Manager
Gerald Ruddock
Daniel Newell
Dan Gobey,
Stage Manager
TROMBONES
LSO website:
www.lso.co.uk
Dudley Bright
Peter Moore
James Maynard
COLUMBIA ARTISTS
MANAGEMENT LLC.
BASS TROMBONE
Paul Milner
Tour Direction
R. Douglas Sheldon,
Senior Vice President
John Roberts
Michael O’Donnell
TUBA
Patrick Harrild
Tour Coordinator
Karen Kloster
COR ANGLAIS
TIMPANI
Executive Assistant
Marcus Lalli
VIOLAS
Paul Silverthorne
Malcolm Johnston
German Clavijo
Anna Green
Julia O’Riordan
Robert Turner
Edward Vanderspar
Heather Wallington
Philip Hall
Cian O’Duill
Caroline O’Neill
Alistair Scahill
Leila Ward
CLARINETS
Andrew Marriner
Chris Richards
Chi-Yu Mo
BASS CLARINET
Lorenzo Iosco
Eb CLARINET
Chi-Yu Mo
Nigel Thomas
Antoine Bedewi
Tour Manager
Kay McCavic
PERCUSSION
Hotels
Neil Percy
David Jackson
Sam Walton
Antoine Bedewi
Jeremy Cornes
Maestro! Tour Management
Hotel Advance
Leanne Donlevy
HARP
Bryn Lewis
With special thanks to the generous supporters of the LSO’s 2015 U.S. Tour
Mr. Neil and Dr. Kira Flanzaich
Bruce and Suzie Kovner
Sir Michael Moritz KBE and Harriet Heyman
Michael Tilson Thomas and Joshua Robison
And those that wish to remain anonymous
We would also like to extend our thanks to those who support the wider work of the LSO through the American LSO Foundation:
Jane Attias, Mercedes T. Bass, Francesca & Christopher Beale, David Chavolla, Barbara G. Fleischman, The Reidler Foundation, Elena
Sardarova, Daniel Schwartz, Mrs. Ernest H Seelhorst.
encore artsseattle.com 21
Thursday, April 2, 2015, at 7:30pm
Saturday, April 4, 2015, at 8pm
CHOPIN PIANO
CONCERTO NO. 2
DE LTA AIR LIN E S MASTERWORKS SEASO N
Thomas Søndergård, conductor
Ingrid Fliter, piano
Seattle Symphony
KAROL SZYMANOWSKI Concert Overture, Op. 12 16’
FRÉDÉRIC CHOPIN Piano Concerto No. 2 in F minor, Op. 21 30’
Maestoso
Larghetto
Allegro vivace
INGRID FLITER, PIANO
INTERMIS SION
SERGEY PROKOFIEV Symphony No. 5 in B-flat major, Op. 100 Andante
Allegro moderato
Adagio
Allegro giocoso
46’
Pre-concert Talk one hour prior to performance.
Speaker: Aaron Grad, Composer and Writer
Saturday’s performance is sponsored by Microsoft.
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 ©2015 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.
22
SEATTLESYMPHONY.ORG
Microsoft and our
employees are proud
to support the Seattle
Symphony and its programs
which bring enriching
musical experiences to
people of all ages in the
Pacific Northwest.
Enjoy the performance!
PRO G RA M N OTE S
Slavic Expression
Poland and Russia have long been
bound by linguistic, historical and
cultural connections. There are, of
course, enormous differences also
between these two Slavic countries
and their peoples, but Poles and
Russians have traditionally shared
a penchant for strong emotional
expression in music. We find this in the
folk music of both countries, as well
as in compositions by such Russian
masters as Borodin, Tchaikovsky and
Rachmaninov, and those of two great
Polish composers, Frédéric Chopin and
Karol Szymanowski, both of whom are
represented on our concert.
The expressive characters of
Szymanowski’s Concert Overture and
of Chopin’s F minor Piano Concerto lie
fundamentally within the mainstream
of 19th century Romanticism. Sergei
Prokofiev, a more recent composer,
is usually thought of as a Russian
modernist. Yet his Fifth Symphony,
besides being a melodious and
accessible composition, evinces an
essentially Romantic conception: the
symphony as spiritual affirmation.
Written during the dark days of the
Second World War, this work seems,
more than anything, a celebration of
human resilience.
KAROL
S Z Y M A N OW S K I
Concert Overture, Op. 12
BORN:
DIED:
Tymoszówka, Ukraine, October 3, 1882
Lausanne, Switzerland, March 29, 1937
WORK COMPOSED:
1904–13
WORLD PREMIERE:
Initial version: February
2, 1906, in Warsaw. Grzegorz Fitelberg
conducted the Warsaw Philharmonic
Orchestra. Revised version: March 13,
1919, in Vienna. Oskar Nedbal led the
Tonkünstlerverein Orchestra.
The first two compositions we hear are
by Polish composers just beginning their
careers. Each of these musicians would
go on to create a distinctive body of
work, and these youthful pieces show
them already in possession of striking
ideas and a firm command of their craft.
by Paul Schiavo
Karol Szymanowski was born in 1882
into an old Polish family whose estate
lay in what is now Ukraine. Both his
parents were amateur musicians and
vitally interested in the arts, and they
bequeathed that enthusiasm to their
children, all five of whom became
musicians, painters or writers. After
attending the Warsaw Conservatory,
Szymanowski spent time in Vienna,
Paris, London and elsewhere,
absorbing many of the revolutionary
developments that were reshaping
music early in the last century. During
the years of World War I, he immersed
himself in the study of Byzantine art,
Islamic culture and ancient Greek
philosophy and drama, which prompted
him toward a more free and intuitive
approach to composition.
The piece that opens our concert,
however, predates those developments.
Like many of his contemporaries,
Szymanowski found an early influence
in the music of Wagner and Richard
Strauss, and his early works partake
of the late German Romanticism
epitomized by those composers.
Nowhere is this more true than in the
Concert Overture, Op. 12. Szymanowski
drafted this, his first orchestral piece, in
1904 and orchestrated it the following
year; he revised it extensively between
1910 and 1913.
The overture opens on an ecstatic
note, a wild effusion of orchestral
sound suggesting the kind of delirious
sensuality we find at the start of
Strauss’s opera Der Rosenkavalier.
Although Szymanowski soon turns to
calmer material, his restless harmonies
and lush orchestral textures maintain
a ripeness of sound and feeling even
in the quietest moments. At length the
music turns dramatic, a furious tumult
sounding throughout the orchestra,
but a cymbal crash and exultation
of trumpets signals a triumphant
resolution. Szymanowski now recalls
the main themes established in the
opening minutes and drives his music to
a transporting conclusion.
WHAT TO LISTEN FOR: Szymanowski’s
orchestration ranges from mighty
sonic eruptions to chamber-music-like
delicacy. His harmonies are constantly
in motion, lending the music irresistible
momentum, and the geyser-like
outpouring of sound in many passages
imparts a sense of unbridled ecstasy.
Scored for 3 flutes, the third doubling
on piccolo; 3 oboes, the third doubling
on English horn; 3 clarinets and bass
clarinet, the third doubling on E-flat
clarinet; 3 bassoons, the third doubling
on contrabassoon; 6 horns, 3 trumpets,
3 trombones and tuba; timpani and
percussion; harp and strings.
FRÉDÉRIC CHOPIN
Piano Concerto No. 2 in F minor,
Op. 21
Maestoso
Larghetto
Allegro vivace
BORN:
Zelazowa Wola, near Warsaw, March
1, 1810
Died: Paris, October 17, 1849
Work composed: 1829
World premiere: March 30, 1830, in Warsaw.
The composer played the solo part and
conducted from the piano.
In 1829 Frédéric Chopin was a young
graduate of the Warsaw Conservatory
seeking to establish himself in the
musical world. He was talented,
ambitious and in love, and all three
of these qualities found reflection in
his Piano Concerto in F minor, Op. 21.
Chopin wrote this composition in the
autumn and winter of 1829, and he
performed it in Warsaw in the spring
of the following year. While known
as his Second Piano Concerto, this
work pre-dates by about half a year
Chopin’s Concerto in E minor, Op. 11,
which now bears the designation “Piano
Concerto No. 1.” The two concertos
were published in reverse order of their
composition, resulting in a misleading
impression of their chronology.
Although it is a youthful work, the
F minor Concerto reveals a skilled
composer who has already found a
distinctive musical voice. Hearing this
piece, we can admire the 19-yearold’s sure grasp of the concerto form.
More impressive, we also detect at
this early juncture in his career all the
encore artsseattle.com 23
P RO G RA M N OTES
original elements of Chopin’s style: the
themes that are by turns dreamy and
passionate, the yearning melancholy of
his harmonies and the brilliant flashes
of pianistic ornamentation.
Following the procedure found in the
keyboard concertos of Mozart and
other Classical-period composers,
Chopin begins his work with an
orchestral exposition. The first theme
conveys that restless agitation so
prized by the 19th century Romantics.
A second subject, introduced by the
woodwinds, provides lyrical contrast.
With the entrance of the piano, the
orchestra retreats to a supporting
role while the solo instrument
explores these thematic ideas.
The composer once hinted in a letter
that the Larghetto second movement
was inspired by his love for Constancia
Gladkowska, a young singer he had
met at the Warsaw Conservatory.
Beginning with a long and tender
theme that appears after a brief
orchestral introduction, this portion
of the work builds to a passionate
recitative for the soloist over dramatic
tremolo figures in the strings.
The third movement juxtaposes a
bittersweet waltz melody, punctuated
by vigorous orchestral comments, with
a contrasting episode featuring the
rhythms of Poland’s national dance,
the mazurka. The distinctly Polish
flavor of this section caused Warsaw
audiences to hail the concerto as an
expression of their nationalist hopes.
One review of the work’s premiere
ventured: “More than once these tones
seem to be the happy echo of our
native harmony. Chopin knows what
sounds are heard in our fields and
woods, he has listened to the songs of
the Polish villager, he has made it his
own ...” A sudden turn to the bright
key of F major and a conspicuous
horn call then launch the brief coda
passage that closes the concerto.
Chopin is one
of the essential voices of 19th century
Romanticism in music, and the orchestra
establishes an air of Romantic ardor
with the first theme of the concerto’s
opening moment. When the piano takes
up this idea, Chopin embellishes it with
WHAT TO LISTEN FOR:
24
SEATTLESYMPHONY.ORG
continued
brilliant pianistic flourishes, a signature
trait. Chopin loved Italian opera, and
the melody featured in the second
movement could almost pass as an aria
by Bellini or Donizetti. Dance rhythms
pervade the finale.
Scored for pairs of flutes, oboes,
clarinets and bassoons; 2 horns, 2
trumpets and bass trombone; timpani
and strings.
S E R G E Y P R O KO F I E V
Symphony No. 5 in B-flat major,
Op. 100
Andante
Allegro moderato
Adagio
Allegro giocoso
BORN:
DIED:
Sontsovka, Ukraine, April 23, 1891
Moscow, March 5, 1953
WORK COMPOSED:
1944
WORLD PREMIERE:
January 13, 1945, in
Moscow. The composer conducted the USSR
State Symphony Orchestra.
Prokofiev wrote his Fifth Symphony
during the summer of 1944, which he
spent at the Soviet Composers’ Retreat
near the city of Ivanovo. “I conceived it,”
the composer later said, “as a symphony
of the grandeur of the human spirit.”
We can be more specific about the
impulse behind this work. Prokofiev
was famously apolitical and selfabsorbed, with only the most superficial
awareness of the larger events of his
day, but even he was deeply affected
when Hitler invaded the Soviet Union
in June 1941. Now, three years later,
the tide of the conflict had turned
decisively. Although Ivanovo lies
well east of Moscow and therefore
escaped the devastation that the
war had inflicted on much of the
Soviet Union, Prokofiev could not
have been unmindful of the military
struggle still going on, nor of the
triumph that was at last in sight.
Both the accessible style of the Fifth
Symphony and its unmistakable feeling
of optimism suggest that the “human
spirit” it extols is that of the Russian
people in their hour of victory.
This notion received a kind of uncanny
confirmation when Prokofiev conducted
the premiere performance, in Moscow,
on January 13, 1945. Sviatoslav Richter,
the great Soviet pianist, was present
on the occasion and remembered that
“when Prokofiev had taken his place
on the podium and silence reigned
in the hall, artillery salvos suddenly
thundered forth. His baton was raised.
He waited and began only after the
cannons had stopped. There was
something very significant in this,
something symbolic. It was as if all of
us — including Prokofiev — had reached
some kind of shared turning point.”
The cannonade that delayed the
performance that day was ceremonial,
signaling that the Red Army had begun
crossing the Vistula into Nazi Germany.
For the Soviet people, it marked the
regaining of their country. The same
might be said for Prokofiev. The Fifth
Symphony proved his most successful
work since his return to the Soviet
Union in the mid-1930s, after some
fifteen years of living in Europe and
America. In this work he reached out
to a large audience of his compatriots
on a high artistic level, creating his
most successful symphonic score.
Without fanfare or introduction, the
main theme of the opening movement
sounds in the flute and bassoon.
Prokofiev explores this melody at
length before presenting a second,
rather more intimate subject in the
oboes and flutes. The development
of these ideas frequently involves
different thematic fragments set
against each other in counterpoint.
Although Prokofiev achieves a variety of
moods, colors and textures, the overall
impression is one of epic grandeur.
The scherzo-like second movement
is a throwback to the style of
Prokofiev’s pre-Soviet period. We hear
not only his characteristic humor
in the opening clarinet solo but the
brittle textures, driving rhythms and
colorful orchestration that gained the
composer notoriety during the 1920s.
There follows a lyrical Adagio whose
principal melody first appears over a
rhythmically steady accompaniment
in the strings. A contrasting central
THOMAS
SØNDERGÅRD
Conductor
section moves toward darker thoughts,
culminating in wrenching discords
and anguished cries plummeting
from the upper registers of the
woodwinds. The abrupt and seemingly
effortless return to the initial idea
seems a sudden flood of sunlight
over a cloud-darkened landscape.
A brief prelude in slow tempo, built
around recollections of the symphony’s
opening measures, introduces the
finale. This movement also uses two
principal subjects: a melody presented
at the outset by Prokofiev’s favorite
instrument, the clarinet; and a more
pastoral idea heard in the flute and
clarinet. These light-hearted themes
alone might have imparted too carefree
a character here, but Prokofiev balances
them with a more sober thought that
rises hymn-like from the low strings
midway through the movement.
Prokofiev
introduces the initial theme of the
first movement in stark textures. Only
with subsequent statements does
he flesh out its harmonies to reveal
its essentially heroic character. By
contrast, the movement’s second
idea conveys a relaxed sensuality.
The ensuing scherzo has a rather
manic character, while the slow third
movement opens and closes with
dream-like music recalling Prokofiev’s
popular ballet Romeo and Juliet. A
varied reprise of the symphony’s
first theme precedes the finale.
WHAT TO LISTEN FOR:
Scored for 2 flutes and piccolo; 2 oboes
and English horn; 2 clarinets, E-flat
clarinet and bass clarinet; 2 bassoons
and contrabassoon; 4 horns, 3 trumpets,
3 trombones and tuba; timpani and
percussion; harp, piano and strings.
© 2015 Paul Schiavo
FORTE: Danish
conductor Thomas
Søndergård is
Principal Conductor
of BBC National
Orchestra of Wales
(BBCNOW) and also
Principal Guest
Photo: Ole Kaland
Conductor of Royal
Scottish National
Orchestra (RSNO). He was Principal
Conductor and Musical Advisor of the
Norwegian Radio Orchestra from 2009–
2012.
His 2014–2015
season includes debuts with Berlin
Konzerthaus, DSO Berlin, New Zealand
Symphony Orchestra, Philharmonia
Orchestra, Sydney Symphony, Vancouver
Symphony Orchestras, and returns to
Danish National Symphony Orchestra,
Rotterdam Philharmonic, Royal Swedish
Opera (Les dialogues des Carmelites)
and Seattle Symphony. Major projects
with his titled orchestras include
Mahler’s Symphony No. 2 (BBCNOW)
and Bartók’s Concerto for Orchestra
(RSNO). Future guest invitations include
his debuts with Deutsche Oper Berlin,
Leipzig Gewandhaus, Netherlands
Philharmonic, Norske Opera (Oslo),
Toronto Symphony and returns to
Deutsches Symphonie-Orchester Berlin,
Danish National, Houston and Sydney
Symphony Orchestras.
SEASON HIGHLIGHTS:
Highlights of
recent seasons include four contrasting
programs at BBC Proms (with BBCNOW),
and successful debuts with Atlanta,
Brussels, Gothenburg, Luxembourg
and Oslo Philharmonics, BBC, Houston
and Seattle Symphonies, European
touring with EUYO and Junge
Deutsche Philharmonie and visits to
Aspen Festival, Bamberg Symphony,
CBSO, Danish National Symphony and
Rotterdam Philharmonic.
CAREER HIGHLIGHTS:
In Spring
2015 Søndergård and BBCNOW released
their first commercial recording of
Sibelius Symphonies 2 and 7 (LINN
records). Other noteworthy recordings
include Vilde Frang’s celebrated disc on
EMI, and Ruder’s Second Piano Concerto
on Bridge Records which was nominated
for a Gramophone Award in 2011.
DISCOGRAPHY AND AWARDS:
INGRID FLITER
Piano
FORTE: Argentine
pianist Ingrid Fliter
has won the
admiration and hearts
of audiences around
the world for her
passionate yet
thoughtful and
Photo: Gary Houlder
sensitive music
making played with
an effortless technique. She is the
recipient of the 2006 Gilmore Artist
Award, one of only a handful of pianists
and the only woman to have received
this honor.
Highlights of
Fliter’s 2014–2015 season include her
debut with the New World Symphony
and re-engagements with the Atlanta,
Cincinnati, Nashville, Seattle, Toronto
and Utah symphonies as well as with
the National Arts Centre Orchestra in
Ottawa. Internationally, she works with
London’s Philharmonia Orchestra as well
as with the Danish National Symphony
and the Scottish and Swedish Chamber
Orchestras.
SEASON HIGHLIGHTS:
Equally busy as a recitalist,
Fliter has performed in New York at
Carnegie’s Zankel Hall, the Metropolitan
Museum and the 92nd Street Y, at
Chicago’s Orchestra Hall, and in Boston,
Detroit, San Francisco and Vancouver; as
well as recitals in Barcelona, Milan, Paris,
Prague, Sydney, Tokyo and in London at
both Wigmore Hall and Queen Elizabeth
Hall.
RECITALS:
In June 2013, Fliter
recorded both Chopin concertos with
the Scottish Chamber Orchestra and
Jun Mäerkl for Linn Records and in June
2014, she recorded the complete Chopin
Preludes for the same label. Her two
all-Chopin recordings for EMI earned
her the reputation as one of the preeminent interpreters of that composer
while her most recent EMI recording
is an all-Beethoven CD featuring the
Pathetique and Appassionata sonatas.
Live recordings of Fliter performing
works by Beethoven and Chopin at
the Concertgebouw in Amsterdam as
well as a DVD of a recital at the Miami
International Piano Festival are available
on the VAI Audio label.
RECORDINGS:
encore artsseattle.com 25
PROGRAM NOTES
FRÉDÉRIC CHOPIN
Friday, April 3, 2015, at 7pm
Nocturne in D-flat major, Op. 27, No. 2
Waltz in E-flat major Grande valse
brilliante, Op. 18
CHOPIN PIANO
CONCERTO NO. 2
WORKS COMPOSED:
1835 (Op. 27, No. 2) and
1831 (Op. 18)
SYM PHO NY UN TU XED S ERIES
Thomas Søndergård, conductor
Jonathan Green, host
Ingrid Fliter, piano
Seattle Symphony
KAROL SZYMANOWSKI Concert Overture, Op. 12 FRÉDÉRIC CHOPIN Nocturne in D-flat major, Op. 27, No. 2 16’
5’
INGRID FLITER, PIANO
FRÉDÉRIC CHOPIN Waltz in E-flat major, Grande valse brillante, 5’
Op. 18
INGRID FLITER, PIANO
FRÉDÉRIC CHOPIN Piano Concerto No. 2 in F minor, Op. 21 Maestoso
Larghetto
Allegro vivace
INGRID FLITER, PIANO
30’
Tonight’s program will run without intermission.
Ask the Artist with Seattle Symphony musicians in the Samuel & Althea Stroum Grand
Lobby following the concert.
Program notes for Szymanowski’s Concert Overture, Op. 12 and Chopin’s Piano Concerto No. 2
in F minor, Op. 21 may be found on pages 23–24.
Biographies for Thomas Søndergård and Ingrid Fliter may be found on page 25.
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 ©2015 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
Although Chopin produced two piano
concertos and three substantial
sonatas, by far the greatest part of his
compositional output — takes the form
of brief single-movement character
pieces for solo piano. In devoting himself
to these smaller-scale compositions,
Chopin was very much in tune with
the spirit of his age. The rise of the
character piece as an important genre
of instrumental music in the early 19th
century coincided with the ascendancy
of Romantic ideals, which valued direct
and seemingly spontaneous poetic
expression over the intricacies of more
extended forms of composition.
Of the several types of character pieces
Chopin favored, the nocturne, whose
very title implies poetic reverie, perhaps
best suited the composer’s Romantic
tendencies. Chopin cultivated this genre
throughout his career, though he did not
invent the form. Nocturnes by the Irish
pianist-composer John Field already
had gained popularity during the early
part of the 19th century. But Chopin
brought to the genre an unprecedented
sense of drama and emotional depth. In
the flowery prose of one 19th-century
critic, “Field’s nocturnes represent
a cheerful, blooming landscape
bathed in sunshine, while Chopin’s
depict a mountainous region, with
a dark background and lowering
clouds flashing forth lightning.” If this
description leaves much to be desired
in terms of precision, it nevertheless
indicates how much more arresting
Chopin’s examples seem than Field’s,
and how clearly this was recognized
even in the composer’s own era.
Chopin brought forth most of his
nocturnes in groups of two or three
pieces. The pair that comprises his
Opus 27 dates from 1835. The second
of these works, in D-flat major,
provides a good example of Chopin’s
by Paul Schiavo
conception of the genre. It features a
gentle, song-like melody that unfolds
over an accompaniment whose steady
rhythmic pulse runs unbroken from
the first moments to the last. Although
an almost magical delicacy prevails,
Chopin provides some contrast through
a turn to dark minor-key harmonies
and more impassioned utterance during
the central portion of the work. Several
glittering keyboard flourishes, a typically
Chopinesque gesture, ornament the
reprise of the melody near the close.
Chopin’s waltzes compliment his
nocturnes in musical character. In
general, this dance brought from the
composer a more robust and outgoing
type of music, with sparkle and rhythmic
momentum not so much replacing as
augmenting the quiet dreaminess that
is the signature trait of the nocturnes.
Chopin published 14 waltzes during
his lifetime. (Several others appeared
posthumously.) The first, written in
1831, was issued as his “Opus 18.”
Chopin titled this work “Grand valse
brilliante.” It is indeed both large and
brilliant. Formally, it unfolds in a series
of distinct sections, each of which
seems to flow organically out of what
has preceded it. Chopin begins with a
brief fanfare motif built on repetitions
of a single pitch, and extensions of this
idea, in the form of quick repeatednote figures, run throughout the piece
binding together its various episodes.
The music sparkles in a manner that
requires both agility and lightness of
touch. This is not easily achieved, but it
produces an almost intoxicating effect
in the hands of capable performer.
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Apr 23
Chopin maintains
a rhythmically steady accompaniment
in the background throughout his D-flat
major Nocturne, while the foreground
melody unfolds in a more free and
rhapsodic manner, lending the music
fluidity and a magical, dream-like quality.
In the Grande valse brilliante, notice
how repeated-note figures, which grow
out of the very first measures, recur in
different forms in the several sections of
the composition.
WHAT TO LISTEN FOR:
© 2015 Paul Schiavo
ANGELA HEWITT / Bach, Scarlatti, Beethoven and Liszt
206-543-4880 / UWWORLDSERIES.ORG
May 18
Inquire about
FREE YOUTH TICKETS
encore artsseattle.com 27
S ERIES
S PONSOR
Friday, April 10, 2015, at 8pm
Saturday, April 11, 2015, at 8pm
Sunday, April 12, 2015, at 2pm
PRESERVATION HALL
JAZZ BAND
S E AT T LE PO PS S ERIES
Preservation Hall Jazz Band
Ben Jaffe, creative director & tuba
Mark Braud, trumpet & vocals
Charlie Gabriel, clarinet & vocals
Clint Maedgen, saxophone & vocals
Joe Lastie, Jr., drums
Freddie Lonzo, trombone & vocals
Rickie Monie, piano
Ronell Johnson, tuba & vocals
Tonight’s program will be announced from the stage.
There will be one 20-minute intermission.
The Seattle Pops series is 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 ©2015 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.
28
SEATTLESYMPHONY.ORG
MCM welcomes you to Benaroya Hall
for Preservation Hall Jazz Band.
These talented musicians on stage
will certainly get you tapping your
toes and dancing in your seats to the
soulful sounds of New Orleans.
MCM’s vision to be significant in the
lives of our clients, our employees and
our community continues to inspire
our volunteer efforts and financial
contributions. Because we believe
music and the arts play a vital role
in our community, MCM is proud to
support the Seattle Symphony and
its dedication to enriching Seattle’s
creative culture.
Since 1961 MCM has grown to become
one of the largest privately-held
employee benefits and insurance
consulting firms in the Northwest.
Our team has unsurpassed industry
knowledge and is committed to
helping individuals and businesses
meet their goals.
We hope you enjoy the performance.
P R E S E R VAT I O N
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Photo: Shannon Brinkman
The
Preservation Hall Jazz Band (PHJB)
derives its name from Preservation Hall,
the venerable music venue located in the
heart of New Orleans’ French Quarter,
founded in 1961 by Allan and Sandra
Jaffe. The band has traveled worldwide
spreading their mission to nurture and
perpetuate the art form of New Orleans
Jazz. Whether performing at Carnegie
Hall or Lincoln Center, for British Royalty
or the King of Thailand, this music
embodies a joyful, timeless spirit. Under
the auspices of current director, Ben
Jaffe, the son of founders Allan and
Sandra, Preservation Hall continues with
a deep reverence and consciousness of
its greatest attributes in the modern day
as a venue, band and record label.
The
PHJB began touring in 1963 and for
many years there were several bands
successfully touring under the name
Preservation Hall. Many of the band’s
charter members performed with the
pioneers who invented jazz in the early
20th century including Louis Armstrong,
Buddy Bolden, Bunk Johnson and Jelly
Roll Morton. Band leaders over the
band’s history include the brothers Willie
and Percy Humphrey, husband and wife
Billie and De De Pierce, famed pianist
Sweet Emma Barrett, and in the modern
day Wendell and John Brunious. These
founding artists and dozens of others
passed on the lessons of their music to
a younger generation who now follow in
their footsteps like the current lineup.
MARCH 7 - MAY 17, 2015
Presented at ACT Theatre
(206) 625-1900 WWW.5THAVENUE.ORG
Photo by Mark Kitaoka
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encore artsseattle.com 29
PROGRAM NOTES
Thursday, April 16, 2015, at 7:30pm
Friday, April 17, 2015, at 12 noon
Saturday, April 18, 2015, at 8pm
Soviet Composers, in
War and Peace
SHOSTAKOVICH
LENINGRAD
SYMPHONY
D E LTA AIR L IN E S MASTERWORKS SEASO N
Andrey Boreyko, conductor
Alexander Velinzon, violin
Seattle Symphony
ALFRED SCHNITTKE Violin Concerto No. 4 Andante
Adagio—
Adagio—
Lento
ALEXANDER VELINZON, VIOLIN
33’
INTERMIS SION
DMITRI SHOSTAKOVICH Symphony No. 7 in C major, Op. 60,
“Leningrad”
Allegretto
Moderato—Poco allegretto
Adagio
Allegro non troppo
68’
Pre-concert Talk one hour prior to performance.
Speakers: Claudia R. Jensen, Affiliate Instructor at the University of Washington’s Slavic
Languages Department; Laura DeLuca, Seattle Symphony Clarinetist
Ask the Artist on Saturday, April 18, in the Samuel & Althea Stroum Grand Lobby following
the concert.
Guests: Andrey Boreyko
Andrey Boreyko’s appearances are generously underwritten by Marcus and Pat Meier
through the Seattle Symphony’s Guest Artists Circle.
Alexander Velinzon’s performances are generously underwritten by Sue and Robert
Collett through the Seattle Symphony’s Principal Musicians Circle.
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 ©2015 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.
30
SEATTLESYMPHONY.ORG
Next month marks the 70th anniversary
of the end of World War II in Europe,
as Berlin fell to the Red Army after
two weeks of bloody street-to-street
fighting. (The city’s defenders formally
surrendered on May 2.) The global
conflagration inspired a number of
musical compositions. None has a
more dramatic history than that of
Dmitri Shostakovich’s Seventh, or
“Leningrad,” Symphony. Shostakovich
conceived this work while living
through the initial part of the brutal
siege laid by German forces on his
native city (the former imperial capital,
Saint Petersburg). With stirring battle
music and a triumphant finale, the
composition became heard throughout
much of the world as a musical
emblem of Soviet resistance to Hitler’s
attempted conquest of Russia.
The decades after the end of the
Second World War found the Soviet
Union faced off with the West in
a new conflict, a “Cold War” that
restricted travel and the flow of
culture across what became known
as the “Iron Curtain.” As a result,
the development of a generation
of Russian composers went largely
unnoticed in the United States. In
many ways the most remarkable of
those composers was Alfred Schnittke.
Schnittke was not drawn to the kind
of patriotic statements Shostakovich
made with his “Leningrad” Symphony.
Instead, he wrestled with musical
issues, particularly how to advance
composition beyond the severe highmodernist abstraction achieved by the
Western avant-garde in the 1950s and
‘60s. His answer was surprising and
original: a post-modernist blending
of diverse musical styles to create a
new idiom greater than the sum of
its parts. His Fourth Violin Concerto
shows how creatively the composer
used his “poly-stylistic” language.
by Paul Schiavo
ALFRED SCHNITTKE
Violin Concerto No. 4
Andante
Adagio—
Adagio—
Lento
BORN:
DIED:
Engels, USSR, November 24, 1934
Hamburg, August 3, 1998
WORK COMPOSED:
1984
WORLD PREMIERE:
September 11, 1984, in
Berlin. Gidon Kremer was the soloist, and
Christoph von Dohnányi conducted the Berlin
Philharmonic.
After the passing of Dmitri Shostakovich,
in 1975, several Russian composers rose
to international prominence. Among
them, the most prolific and perhaps
the most important was the late Alfred
Schnittke.
Schnittke was born in 1934 and, like
most East European composers of
his generation, began writing in a
style indebted to Shostakovich and
Bartók. But with the cultural thaw of
the Khruschev years, many of the new
musical resources developed in the West
after the Second World War — including
electronic music, tone clusters and
microtonal harmony — became known
in the Soviet Union. While Schnittke
incorporated these into his vocabulary,
he never did so in a dogmatic manner.
Rather, he drew on many possibilities,
using them in an unorthodox and very
personal way. “I assimilated [various
avant-garde] techniques,” Schnittke
once remarked, “but a composer must
listen to his inner voice. My search is
for a synthesis of styles, juxtaposing
different elements, yet having each
retain its individuality.” His work after
1970 continued to absorb disparate ideas
— aspects of jazz and rock, minimalist
repetition, even traditional harmonies
— thereby producing an eclectic
idiom that the composer called “polystylistic.” Through all these explorations,
Schnittke’s work also retained something
of the intense lyricism that traditionally
has characterized Russian music.
Music for solo violin and orchestra
figures prominently in Schnittke’s
output, which includes four violin
concertos, among other works featuring
the instrument. Schnittke wrote the
last of these concertos in 1984, and it
exemplifies the breadth and fluency
that his poly-stylistic idiom had attained
by that time. The solo part is highly
demanding and theatrical. Saxophone,
harpsichord and prepared piano (one
whose sound is altered by fixing screws,
clips or other objects to its strings)
augment conventional orchestral forces.
preceding movements. It begins with
a long rhapsody based on the chime
motif, then progresses to other themes
whose appearances form what seems
like a parade of old friends through one’s
memory. The movement reaches a final
climax, with another “cadenza visuale,”
and the chime motif re-emerges to draw
the concerto to a serene conclusion.
WHAT TO LISTEN FOR: A
The first movement opens with
bell tones, a variant of the famous
Westminster chime. The woodwinds
then play a richly harmonized melody
suggesting a folk song. They have
scarcely begun, however, when the solo
violin enters, spoiling their mellifluous
harmony with “wrong” notes and
causing the tune to collapse into dense
dissonance. The soloist then takes up the
chime motif, extending it freely into dark
tonal regions. The winds again attempt
their folk-song-like melody, but their
formerly sunny harmonies now sound
forlorn and defeated. A final recollection
of the chime figure ends the movement.
In contrast to the lyrical vein of this first
movement, the second is extroverted
and strongly rhythmic. It begins as a
perpetual motion exercise for the soloist,
its figuration suggesting a Bach prelude
gone askew. A second idea evokes the
dramatic sound of the Romantic violin
literature. The music builds through a
series of episodes, culminating in a great
climax where the orchestra overwhelms
the violin. Schnittke makes certain of
this, instructing the soloist to mime
playing, without actually doing so, in a
“cadenza visuale.”
distorted version
of the Westminster chime melody opens
the concerto and reappears in the finale.
The second movement mimics aspects
of Baroque and Romantic-period music,
while the third appropriates the elegant
sound of the Classical era. The second
and fourth movements include “visual
cadenzas,” in which the soloist is seen
but not heard.
Scored for 3 flutes, the third doubling
on alto flute; 2 oboes and English
horn; 2 clarinets and bass clarinet;
alto saxophone; 3 bassoons, the third
doubling on contrabassoon; 4 horns,
4 trumpets, 4 trombones and tuba,
timpani and percussion; harp, celeste,
harpsichord, prepared piano and strings.
DMITRI
S H O S TA KOV I C H
Symphony No. 7 in C major, Op. 60,
“Leningrad”
Allegretto
Moderato—Poco allegretto
Adagio
Allegro non troppo
BORN:
The final two movements follow without
pause. The third begins with an air
of rococo charm, with the solo violin
accompanied mostly by a chamber
orchestra featuring harpsichord. But
this music is repeatedly interrupted
by material recalled from earlier in
the concerto: the dramatic theme of
the second movement and the folklike melody from the first, the latter
thundering forth with unexpected
vehemence late in the proceedings. Each
of these recollections casts the rococo
music into a new sonic light.
The finale is based entirely on
recollections of material from the
September 25, 1906, in Saint
Petersburg
DIED:
August 9, 1975, in Moscow
WORK COMPOSED:
1941
FIRST PERFORMANCE:
March 5, 1942, in
Kuibyshev, USSR. Samuil Samosud conducted
the Bolshoi Theater Orchestra.
In June of 1941, Adolf Hitler summarily
abandoned the non-aggression pact
he had signed with the Soviet leader
Joseph Stalin two years earlier and
ordered two hundred divisions of Nazi
soldiers into Russia. The invasion, code
named “Plan Barbarossa,” marked
the beginning of the most horrendous
chapter in the history of human warfare,
encore artsseattle.com 31
P RO G RA M N OTES
one that would eventually claim more
than twenty million Soviet lives. It
quickly became clear that one of the
Germans’ first targets was Leningrad.
The fall of this city would be a major
victory for the Nazis. It was an important
port and manufacturing center and,
as the former Czarist capital of Saint
Petersburg, held special patriotic
significance for the Russians. Although
it scarcely could have interested
Hitler, Leningrad also was the home
of the Soviet Union’s most prominent
composer, Dmitri Shostakovich.
Shostakovich had attempted to enlist
in the Red Army as soon as he heard of
the invasion but was rejected because
of his extremely poor eyesight and his
national reputation as an artist. He did,
however, serve as a fire fighter inside
Leningrad and helped organize a “Home
Guard Theater” to boost morale as the
German armies drew around the city and
began a terrible siege of bombardment
and starvation. Though less famous
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32
SEATTLESYMPHONY.ORG
continued
than the battle for Stalingrad, often
cited as the turning point of the war, the
Russian stand at Leningrad was hardly
less dramatic or heroic. For more than
two years the city’s residents endured
shelling, air raids and shortages of food,
fuel and medical supplies. It is estimated
that nearly a million of them perished
during the siege. Obstinately refusing to
surrender, Leningrad became a symbol
of resistance to Hitler for the rest of
Russia, and for the world.
It was only natural that the desperate
circumstances inside the city and the
courageous response of its populace
should have made a profound
impression on Shostakovich. What
seems extraordinary is that he
found the energy and inclination to
commemorate these in music written
during the early phase of the siege.
But then, the creation of his Seventh
Symphony, conceived as a tribute to
the people of Leningrad, clearly was
no ordinary artistic task. Rather, it was
a necessity born of the war, a release
from the turmoil in which the composer
found himself caught up. Shostakovich
wrote the music in his free moments,
composing, he later reported like a man
possessed. “Neither the raids of German
planes nor the grim atmosphere within
the beleaguered city could interrupt
the flow of ideas,” he remembered. “I
worked with an inhuman intensity I had
never before achieved.”
Shostakovich began work on his
symphony in July 1941. At the end of
September, having completed three
movements, he was ordered to evacuate
the city. With his score for the symphony
and little else in hand, he flew with his
family over enemy lines to Moscow; from
there, he retreated another 600 miles
south and east to Kuibyshev — a city now
known again by its pre-Communist name,
Samara — where the Soviet government
and much of the nation’s cultural and
intellectual establishment had taken
refuge. (Moscow, as well as Leningrad,
was in danger of falling to the Germans
during the early phase of the war.) There
Shostakovich finished the symphony
late in December. It was performed in
Kuibyshev for the first time in March
1942, before leading Soviet and foreign
dignitaries. A month later it was heard
in Moscow. This concert reportedly was
interrupted by the announcement of an
impending air-raid, but neither musicians
nor audience would take shelter until
the symphony had been concluded and
Shostakovich given a long ovation. In the
months that followed, the “Leningrad”
Symphony was heard throughout the
country and was received as an epic
patriotic anthem.
The dramatic story of this symphony
still was not finished, however. With
the fighting in Russia dominating
the war news, word of the symphony
generated tremendous interest in the
West. In the summer of 1942 the score
was photographed, like some secret
document, onto microfilm, which then
was flown from Moscow to Teheran. From
there it was driven to Egypt, flown across
North Africa to Casablanca, crossed the
Atlantic by way of Brazil, and arrived
at last in the United States. On July 19,
the famed conductor Arturo Toscanini
led the first American performance of
the symphony in a radio broadcast that
attracted national attention. During the
following year the work was performed
more than 60 times by orchestras
throughout United States.
Shostakovich declared that the
symphony is not merely battle music
but a celebration of humanity, and his
countrymen particularly. “I was guided
by a great love for the man in the
street,” he said of his work, “love for the
people who have become the bulwark
of culture, civilization and life. I have
written my symphony about them ...
because I love them from the bottom of
my heart.” The long opening movement
begins with an evocation of the heroic
character of Leningrad’s citizenry and
of the peaceful life they led before the
war. Soon, however, a distant march tune
intrudes upon our attention. It grows
louder and more menacing, leading to a
furious climax. When the initial thematic
material is recalled, it appears elegiac,
laden with sorrow.
The two middle movements,
Shostakovich declared, “express no
specific program [or] concrete facts.
They are intended to serve as a lyrical
interlude.” First comes a scherzo whose
music suggests nostalgic reverie. The
third movement brings a heartfelt
Adagio with an energetic central episode.
A N D R E Y B O R E Y KO
Conductor
Andrey Boreyko
has been Music Director
of Orchestre National de
Belgique since
September 2012,
expanding its activities
nationally and
internationally and
Photo: Archiv Kunstler
balancing traditional
repertoire with
innovative, diverse programming which
includes a number of commissions from
around the world. In September 2014,
Boreyko began his tenure as Music Director
of the Naples Philharmonic in Florida.
FORTE:
Under the circumstances in which the
“Leningrad” Symphony was conceived,
anything but a triumphal finale would
have been unimaginable. Shostakovich
provides this, but the musical victory
is not easily attained. Concise and
dramatic, the movement turns from a
dark C minor tonality to bright C major
only in its final moments.
WHAT TO LISTEN FOR: The
first
movement opens with a sturdy theme
suggesting, as the composer put it,
“people sure of themselves and their
future.” The tranquil music that follows,
he said, indicates “the simple, peaceful
life lived before the war.” But into that
serene existence comes a new and
entirely foreign element. Over a snaredrum tattoo, a march-like theme plays in
a series of varied statements. Quiet and
seemingly innocuous at first, it grows
fierce and menacing, bringing at least a
great sonic cataclysm. The fury at last
gives way to a mournful bassoon solo
and then more hopeful music scored for
strings, though the final moments make
clear that martial sounds have not been
banished.
Following the light-hearted second
movement and lyrical third, the finale
brings again a sense of strife. The
opening sounds are ominous, and
more vigorous warlike rhythms soon
overtake the music, which grows shrill
and desperate. A poignant slow episode
midway through the movement prepares
the symphony’s triumphant conclusion.
Scored for 3 flutes, the second doubling
on alto flute, the third doubling on
piccolo; 2 oboes and English horn; 3
clarinets and bass clarinet, the third
doubling on E-flat clarinet; 2 bassoons
and contrabassoon; 8 horns, 6 trumpets,
6 trombones and tuba; percussion, 2
harps, piano and strings.
© 2015 Paul Schiavo
A much sought-after
guest conductor, he has worked with
the Cleveland Orchestra, Los Angeles
Philharmonic, New York Philharmonic
and Philadelphia Orchestra; and Boston,
Chicago, Montreal, Pittsburgh and Toronto
Symphony Orchestras. Additionally, he
holds the position of Principal Guest
Conductor of the Orquesta Sinfónica
de Euskadi. In Europe, Boreyko has also
conducted orchestras such as the Berliner
Philharmoniker, Filharmonica della Scala,
Gewandhausorchester Leipzig, London
Symphony, Münchner Philharmoniker,
Orchestre de Paris, Philharmonia,
Rotterdam Philharmonic, Royal
Concertgebouw, Staatskapelle Dresden,
Tonhalle-Orchester Zürich and Wiener
Symphoniker.
GUEST CONDUCTING:
Notable amongst
Boreyko’s discography with the RadioSinfonieorchester Stuttgart des SWR (with
whom he was Principal Guest Conductor)
are Pärt’s Lamentate and Silvestrov’s
Symphony No.6 (both for ECM records)
and the premiere recording of his original
version of the Suite from Lady Macbeth of
Mtsensk for Hänssler Classics. He has also
recorded Tchaikovsky’s Manfred Symphony
with the Düsseldorfer Symphoniker and
Lutosławski’s Chain 2 with the Los Angeles
Philharmonic for Yarling Records. With the
Orchestre National de Belgique, Boreyko
continues his extensive recording project
of the complete Shostakovich symphonies,
having already recorded Nos. 1, 4, 6, 9 and
15 with Radio-Sinfonieorchester Stuttgart
des SWR.
RECORDINGS:
Boreyko was Music
Director of the Düsseldorf Symphoniker
(2009–2014) and Chief Conductor of the
Jenaer Philharmonie (of whom he is now
Honorary Conductor), Winnipeg Symphony
and Berner Sinfonieorchester.
FORMER POSTS:
ALEXANDER
VELINZON
Violin
FORTE: A violinist
with an international
reputation, Seattle
Symphony
Concertmaster
Alexander Velinzon
has performed with
such conductors as
Sir Colin Davis, James
Levine, Kurt Masur
and Michael Tilson Thomas. As a guest
concertmaster in Asia and Europe, he
has appeared with Germany’s WDR
Symphony Orchestra, the London
Philharmonic, NDR Radio Philharmonic,
Rotterdam Philharmonic and Seoul
Philharmonic. Prior to joining the Seattle
Symphony in 2012, he had served as
Assistant Concertmaster of the Boston
Symphony Orchestra since 2005.
Velinzon
made his Seattle Symphony solo
debut in 2014, performing the Brahms
Violin Concerto. Other recent solo
performances included the Tchaikovsky
Violin Concerto with the University of
Washington Symphony Orchestra and
the Cascade Symphony. A longstanding
member of the Walden Chamber Players,
Velinzon has also performed with the
Boston Symphony Chamber Players and
Seattle Chamber Music Society. In 2010
Velinzon made his critically acclaimed
debut at London’s Wigmore Hall with
the Soloists of the London Philharmonic
Orchestra. Cellist Wendy Warner and
violinists Gil Shaham and Hilary Hahn
have numbered among Velinzon’s many
chamber partners.
PERFORMANCE HIGHLIGHTS:
Born in St. Petersburg,
Russia, Velinzon began violin lessons at
the age of 6 and went on to graduate
from the Leningrad School for Gifted
Children. After moving to the U.S.
in 1990, he studied with renowned
pedagogue Dorothy DeLay at The
Juilliard School, where he earned his
bachelor’s and master’s degrees. He
made his New York recital debut at
Carnegie Hall’s Weill Recital Hall, an
occasion that prompted The Strad
magazine to praise him as “a very
musical and intensely serious” player.
His New York concerto debut came in
1999, when he performed Paganini’s
Violin Concerto No. 1 in D major with
Jupiter Symphony.
BACKGROUND:
encore artsseattle.com 33
PROGRAM NOTES
Something Old,
Something New
Thursday, April 23, 2015, at 7:30pm
Saturday, April 25, 2015, at 8pm
For many music-lovers, the style and
sound of 19th century Romanticism
is an irresistible attraction. We may
lose ourselves in the beauty of earlier
music, that of Handel, Bach or Mozart,
for example. We may marvel at the
inventiveness and originality of
Stravinsky, Bartók and other modern
masters. But what stirs the majority of
concert-goers most viscerally are the
great symphonies and concertos of the
19th century.
GRIEG PIANO
CONCERTO
D E LTA AIR L IN E S MASTERWORKS SEASO N
Ludovic Morlot, conductor
Marc-André Hamelin, piano
Seattle Symphony
SEBASTIAN CURRIER
Divisions (World Premiere)
EDVARD GRIEG Piano Concerto in A minor, Op. 16 Allegro molto moderato
Adagio—
Allegro moderato molto e marcato
MARC-ANDRÉ HAMELIN, PIANO
12’
30’
INTERMIS SION
ROBERT SCHUMANN Symphony No. 2 in C major, Op. 61 Sostenuto assai–Allegro ma non troppo
Scherzo: Allegro vivace
Adagio expressivo
Allegro molto vivace
34’
Pre-concert Talk one hour prior to performance.
Speaker: Bryce Ingmire, Seattle Symphony Teaching Artist
Marc-André Hamelin’s performances are generously underwritten by Douglas F. King through
the Seattle Symphony’s Guest Artists Circle.
Sebastian Currier’s Divisions is co-commissioned by the Seattle Symphony, the Boston
Symphony and the National Orchestra of Belgium.
Ask the Artist on Saturday, April 25, in the Samuel & Althea Stroum Grand Lobby following
the concert.
Guests: Ludovic Morlot and Marc-André Hamelin
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 ©2015 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.
34
SEATTLESYMPHONY.ORG
Our concert includes two such works.
Edvard Grieg’s Piano Concerto
melds virtuoso keyboard writing
with memorable melodic ideas and
robust orchestral sonorities. Robert
Schumann’s Second Symphony lacks
the first of those virtues but more than
makes up for it through the stirring
momentum of its fast movements and
the dream-like beauty of its Adagio.
While the great compositions of the
19th century continue to offer pleasure,
orchestral music remains a dynamic
and evolving art form, one whose
vitality depends on a regular infusion
of new works. The piece that opens
our program could not be newer, for it
receives its first performances at this
weekend’s Seattle Symphony concerts.
SEBASTIAN
CURRIER
Divisions
BORN:
Huntingdon, PA, March 16, 1959
WORK COMPOSED:
2014
FIRST PERFORMANCE:
April 23 and 25, 2015,
in Seattle. Ludovic Morlot conducted Seattle
Symphony Orchestra.
One hundred years ago, Europe was
engulfed in the cataclysm of World
War I. To mark the centenary of that
conflict, Andrey Boreyko, the Russian
conductor who currently directs the
National Orchestra of Belgium, launched
a project to commission a series of
compositions reflecting on the event.
The composers participating in this
project are of varied nationalities.
by Paul Schiavo
America’s representative is Sebastian
Currier, whose Divisions receives its
premiere performances this weekend.
The work was composed jointly for
Seattle Symphony, the Boston Symphony
and the National Orchestra of Belgium.
Sebastian Currier was an astute
choice for the assignment of creating
a work marking the centenary of
the First World War. A composer of
highly expressive music, Currier has
received performances throughout
the world and has been honored
with numerous awards, including the
Grawemeyer Prize, widely considered
music’s equivalent of the Nobel Prize.
For this first performance of Divisions,
the composer graciously provided a
program note, which is excerpted here:
I am honored to be the American
representative of [Andrey Boreyko’s
initiative] to find some form of musical
commemoration to the gruesome
destruction that gripped Europe a
century ago. That dark time in our
collective history is really the antithesis
of the creative human impulse, and it
is hard to imagine what place music
could have, except possibly to once
again mourn the dead. But it is one
hundred years later, and it seemed
to me that the piece should have a
connection to the present, or even
the future, as well as looking back to
this time of unbridled destruction. My
starting point was the rather obvious
observation that we humans are a
jumble of contradictory impulses: at
our best, so creative, insightful and
altruistic; at our worst, so inexplicably
short-sighted, destructive and selfish.
Divisions embodies this basic
contradiction. As it unfolds, the musical
material moves from fragmentation
and fracture to wholeness and
connectedness. The word “divisions”
points to this process. It first simply
refers to the destructive force whereby
we humans work against each other
instead of together. World War I is
certainly an all too familiar instance.
“Divisions” also has its military
associations, as in a “division” of
troops. But it also has a much more
benign reference in the world of
music: a “divisions” is an early form of
instrumental variations from the 16th
century. The term comes from the fact
that in each successive variation, as the
level of ornamentation increases, there
are smaller and smaller note values,
so that the beat is further “divided.”
In my piece the trajectory is from
the one meaning of the word to the
other. After an opening of disjunction
and fracture, the piece finally settles
down into a set of simple variations.
However, this movement towards
wholeness proves ephemeral. The
drum beat of war is never far off.
Scored for 3 flutes, the third doubling
on piccolo; 3 oboes; 3 clarinets, the third
doubling on bass clarinet; 3 bassoons;
4 horns, 3 trumpets, 3 trombones and
tuba; timpani and percussion; harp and
strings.
E DVA R D G R I E G
Piano Concerto in A minor, Op. 16
Allegro molto moderato
Adagio—
Allegro moderato molto e marcato
BORN:
DIED:
Bergen, Norway, June 15, 1843
Bergen, September 4, 1907
WORK COMPOSED:
1868
FIRST PERFORMANCE:
April 3, 1869, in
the Leipzig conservatory, and where the
music of Mendelssohn and Schumann
had made a strong impression on
him. The Piano Concerto, therefore,
exhibits a certain Norwegian flavor in its
themes but otherwise lies firmly within
the tradition of Romantic concerto
composition. Grieg even intimated that
he had modeled his work on Schumann’s
famous piano concerto in the same key.
The opening measures are among the
most arresting in any concerto. Following
a dramatic timpani roll, the piano
unleashes a cascade of notes followed
by a pair of surprising chords. The
cascading motif, important though it is,
is only a prelude to the initial theme of
the first movement, a melody announced
by the orchestral winds, who then hand
it over to the soloist. A lively transition
passage, conjuring an elfin dance,
leads to a warmly poetic second theme,
introduced by the cellos. Again the
piano takes up and elaborates this idea,
and the music builds to a passionate
climax. The brief development section
consists largely of fragments of these
themes given out by the orchestra
over rolling waves of figuration from
the piano. Following the reprise of the
opening section and a cadenza solo for
the featured instrument, the movement
concludes by recalling the motif of
cascading chords with which it began.
Copenhagen. Edmund Neupert, the pianist to
whom Grieg dedicated the score, played the
solo part.
Edvard Grieg was, and remains,
Norway’s pre-eminent composer, and
like other 19th century musicians
from the peripheral countries of
Europe — Smetana and Dvorˇák in
Bohemia, for example, or Glinka and
Borodin in Russia — he eventually
fashioned a strongly nationalist
style. Relinquishing the cosmopolitan
outlook of his youth, he adopted the
inflections of Norwegian folk music
to impart something of the spirit of
his homeland to his compositions.
Yet Grieg’s most frequently heard
piece, his Piano Concerto in A minor,
reveals only traces of the Nordic
character that marks his later music.
When he wrote this work, in 1868, Grieg
had only recently returned to Norway
from Germany, where he had studied at
In contrast to the bravura character of
the first movement, the central Adagio
is based on a melody sung with hushed
reverence by the muted strings. A brief
transition leads without pause to the
finale. Here the influence of Nordic
folk music, which would become so
important to Grieg’s later work, does
color the music. The principal theme,
in particular, gives the impression of
an energetic Norwegian dance. The
movement’s central section takes us
out of doors, with orchestral sonorities
intimating rustling leaves and bird song,
as well as a flute solo whose melody
might be the song of a peasant girl.
A powerful
cascade of piano sound opens the
concerto and returns twice more during
the first movement. Two other themes
figure importantly during this initial
part of the work: a song-like melody
established by the orchestral winds and
WHAT TO LISTEN FOR:
encore artsseattle.com 35
P RO G RA M N OTES
a tender idea introduced by the cellos.
The second movement juxtaposes music
of quiet ardor, played by the orchestra,
with a more animated piano part.
Melodies of folkloric character enliven
the finale.
Scored for 2 flutes, the second doubling
on piccolo; 2 oboes, 2 clarinets and 2
bassoons; 4 horns, 2 trumpets and 3
trombones; timpani and strings.
ROBERT
SCHUMANN
Symphony No. 2 in C major, Op. 61
Sostenuto assai–Allegro ma non troppo
Scherzo: Allegro vivace
Adagio expressive
Allegro molto vivace
BORN:
DIED:
Zwickau, Germany, June 8, 1810
Endenich, near Bonn, July 29, 1856
WORK COMPOSED:
1845–46
FIRST PERFORMANCE:
November 5, 1846,
in Leipzig. Felix Mendelssohn conducted the
orchestra of the Leipzig Gewandhaus.
Toward the end of September, 1845,
Robert Schumann wrote to his friend
Felix Mendelssohn: “For several days
drums and trumpets in the key of
C have been sounding in my mind. I
have no idea what will come of it.”
Schumann did not wait long to find
out. On December 12 of the same year,
the diary he kept with his wife tells
that he began composing a symphony,
one in C major, with drums and
trumpets playing conspicuous roles.
Once embarked on a composition,
Schumann often worked with great
speed. In this case, it took only five
days to draft the new symphony’s
initial movement and less than two
weeks for the remainder of the work.
But having made this rapid start, the
composer fretted over orchestrating
his piano draft, this task ultimately
costing him much of the ensuing
year. He finally completed the work
in October 1846, less than a month
before its scheduled premiere.
Shortly after its initial performance,
several reviews extolled the symphony,
36
SEATTLESYMPHONY.ORG
continued
and not just for its purely musical
merits. More than one critic heard
a lofty spiritual quality in the music,
an aspiring toward almost religious
expression. This is not entirely
fanciful. Three of the symphony’s
four movements use chorale-like
melodies, and its signature theme
seems nothing so much as a call from
on high. There are, to be sure, no
references to actual hymns, such as we
find in Mendelssohn’s “Reformation”
Symphony. But in its own abstract
way, this symphony seems a kind of
psalm, a song of praise and rejoicing.
Schumann begins the first movement
with an introduction in moderate tempo.
Its initial measures present two ideas
set against each other in counterpoint:
a flowing line for the strings and a
solemn fanfare in the brass. The latter
figure will prove a “motto” theme, one
that recurs at important junctures
throughout the symphony. (Listeners
familiar with Haydn’s last symphony,
the “London,” will note a resemblance
between its opening fanfare and the
one Schumann uses here.) Soon the
music grows more active, its rhythms
more animated, and the motto figure
sounds again before the tempo
accelerates into the Allegro that forms
the main body of the movement. There
Schumann fashions his themes using
the buoyant rhythms established in the
latter part of the introduction, and he
revisits the motto idea again during the
accelerated coda that brings this first
portion of the symphony to a close.
The second movement seems an
attempt to write a scherzo after
Mendelssohn’s style, with light, running
passagework in the violins. Yet the
result is still distinctly Schumannesque,
thanks chiefly to the restless harmonies
the violin lines trace. Balancing this fleet
music are two contrasting episodes,
the second very like a hymn. The final
statement of the scherzo music includes
another recollection of the motto idea.
Schumann builds the ensuing Adagio
on a wide-stepping melody that seems
more operatic than symphonic in
character. This theme engenders the
most beautiful slow movement among
his orchestral compositions, a romance
intimating deep poetic reverie.
From the rocketing scale of its
initial measure, the finale strikes
a triumphal note, and Schumann
maintains this for practically the full
length of the movement. Eventually
we hear recollections of the arialike melody of the slow movement,
as well as the motto theme.
WHAT TO LISTEN FOR: The
symphony’s
signature theme sounds in the
opening moments: a stately fanfare
played by the brass. It recurs late
in the first movement, and in the
second and fourth movements
also. After the second movement’s
scherzo comes one of Schumann’s
most exquisite slow movements. Its
principal theme first appears as a widestepping oboe solo, and Schumann
recalls it briefly during the finale.
Scored for pairs of flutes, oboes,
clarinets and bassoons; 2 horns,
2 trumpets and 3 trombones;
timpani and strings.
© 2015 Paul Schiavo
M A R C -A N D R É
HAMELIN
Piano
ams
dre
What are your plans for Retirement?
FORTE: “Marc-André
Hamelin ranks among
the small handful of
performers in every
generation whose
abilities defy the
imagination” praised
the Toronto Star. Alex
Photo: Fran Kaufman
Ross of The New
Yorker predicts
“Hamelin’s legend will grow — right now
there is no one like him.”
Hamelin begins
the 2014–2015 season with a round of
recitals in Aspen, New York, Verbier, La
Roque d’Anthéron, the Duszniki Festival
in Poland, Orford, and in the Montreal
Symphony’s Virée Classique. There, he
also performs Mozart’s Piano Concerto,
No. 27, K. 595, with Kent Nagano and
the Montreal Symphony, followed by
performances of Beethoven’s “Emperor”
Concerto at the Hollywood Bowl with
Stéphane Denève and the Los Angeles
Philharmonic. Engagements abroad
include a tour in France and recitals
in Amsterdam, Berlin, Birmingham,
Copenhagen, Lucerne, Moscow and
Munich.
SEASON HIGHLIGHTS:
*Resident Stu Barker
Talk to our residents. Talk to our staff. Tour
our beautiful community. With one visit, you’ll
feel inspired. Visit www.bayviewcommunity.org
Call 206.284.7330
Hamelin records
exclusively for Hyperion Records. His
most recent release is Debussy: Images
Books 1 & 2 and Préludes, Book 2. He
was honored with the 2014 ECHO Klassik
Instrumentalist of Year (Piano) and Disc
of the Year by Diapason Magazine and
Classica Magazine for his three disc
set of Busoni: Late Piano Music. Other
recent recordings include an album
of his own compositions, Hamelin:
Études, which received a 2010 Grammy
nomination (his ninth) and a First
Prize from the German Record Critics’
Association. His complete Hyperion
discography includes concertos and
works for solo piano by such composers
as Alkan, Godowsky, and Medtner, as well
as brilliantly received performances of
Brahms, Chopin, Liszt, Schumann and
Shostakovich.
RECORDINGS:
encore artsseattle.com 37
SAVE THE DATE! TUESDAY, MAY 5, 2015
GIVE
BIG
Make a gift to the Seattle Symphony on May 5, 2015 and
secure additional funds from The Seattle Foundation.
One BIG day to support the concerts and musicians you love!
seattlesymphony.org/givebig | [email protected] | 206.215.4832
S EAT T LE SYMPHONY DONORS
PRINCIPAL BENEFACTORS
PRINCIPAL MUSICIANS CIRCLE
MAESTROS CIRCLE
The Seattle Symphony acknowledges with gratitude
the following donors who have made cumulative
contributions of more than $1 million as of February
13, 2015.
The following donors have generously underwritten
the appearances of principal musicians this season.
Gold ($15,000 – $24,999)
4Culture
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Andrew W. Mellon Foundation
ArtsFund
ArtsWA
Beethoven, A Non Profit Corporation/Classical KING
FM 98.1
Alan Benaroya
The Benaroya Family
The Boeing Company
C.E. Stuart Charitable Fund
Charles Simonyi Fund for Arts and Sciences
Leslie and Dale Chihuly
Seattle Office of Arts & Culture
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
Jane and David R. Davis
Delta Air Lines
Estate of Marjorie Edris
The Ford Foundation
Dave and Amy Fulton
William and Melinda Gates
Lyn and Gerald Grinstein
Illsley Ball Nordstrom Foundation
Kreielsheimer Foundation
The Kresge Foundation
Bruce and Jeanne McNae
Microsoft Corporation
Microsoft Matching Gifts Program
M.J. Murdock Charitable Trust
National Endowment for the Arts
Nesholm Family Foundation
The Norcliffe Foundation
PONCHO
Gladys* and Sam* Rubinstein
S. Mark Taper Foundation
Jeff and Lara Sanderson
Seattle Symphony Foundation
Seattle Symphony Women’s Association
Leonard and Patricia Shapiro
Samuel* and Althea* Stroum
Joan S. Watjen, in memory of Craig M. Watjen
Arlene A. Wright
Virginia and Bagley* Wright
Anonymous (4)
*In Memoriam
GUEST ARTISTS CIRCLE
The following donors have generously underwritten
the appearances of guest artists this season.
Ilene and Elwood Hertzog
Hot Chocolate Fund
Douglas F. King
Dana and Ned Laird
Paul Leach and Susan Winokur
Jeff Lehman and Katrina Russell
Marcus and Pat Meier
Yoshi and Naomi Minegishi
Molly and Marco Abbruzzese o 10
Richard and Constance Albrecht ^ 15
Sue and Robert Collett
Chap and Eve Alvord 15
Patricia and Jon Rosen
Elias and Karyl Alvord
Bob and Clodagh Ash ^ 15
INDIVIDUAL CONTRIBUTIONS
The Seattle Symphony gratefully recognizes the
following individuals for their generous Annual Fund
and Special Event gifts through February 13, 2015.
If you have any questions or would like information
about supporting the Seattle Symphony, please visit
us online at seattlesymphony.org/give or contact
Donor Relations at 206.215.4832. Thank you for your
support — our donors make it all possible!
Larry and Sherry Benaroya o
Sue and Robert Collett ^ 15
Jane and David R. Davis ^ 15
Kathy Fahlman Dewalt and Stephen R. Dewalt o
Jerald Farley o 15
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Dr. Martin L. Greene and Toby Saks*
Richard and Elizabeth Hedreen 15
STRADIVARIUS CIRCLE
Charles E. Higbee, MD and Donald D. Benedict 15
Platinum ($250,000+)
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The Benaroya Family
Hot Chocolate Fund 5
^ 15
Susan Shanbrom Krabbe and Moe Krabbe 15
Leslie and Dale Chihuly o 15
Paul Leach and Susan Winokur
Edmund W. and Laura Littlefield
o 15
Marks Family Foundation o
Richard and Francine Loeb
Anonymous (2)
Dr. Pierre and Mrs. Felice Loebel 10
Kjristine R. Lund o
Gold ($100,000 – $249,999)
Mr. Steve Macbeth
Judith A. Fong o
Harold Matzner
5
Lenore Hanauer 15
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Jean-Francois and Catherine Heitz o
David J. and Shelley Hovind o
5
Robert Moser
5
Dick and Joyce Paul o 5
Jeff Lehman and Katrina Russell o
Patricia and Jon Rosen o 5
Joan S. Watjen, in memory of Craig M. Watjen 15
Mr.* and Mrs. Herman Sarkowsky ^ 15
Charles and Lisa Persdotter Simonyi 5
Silver ($50,000 – $99,999)
Stephen and Leslie Whyte o 5
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Cheryl and Richard Bressler
Selena and Steve Wilson 15
15
Silver ($10,000 – $14,999)
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Dr. Kennan H. Hollingsworth
o 15
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Marcus and Pat Meier 5
Berwick Degel Family Foundation 5
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Thomas and Susan Bohn 15
Martin Selig and Catherine Mayer o ^
Mr. H.S. Wright III and Ms. Katherine Janeway
Anonymous (2)
Warren A. and Anne G. Anderson 5
Drs. Jim and Sue Bianco
o
Lynn and Brian Grant Family o 5
Lyn and Gerald Grinstein ^
15
Ilene and Elwood Hertzog
o 15
Natalie Gendler 15
Dawn Lepore and Ken Gladden o
15
Rhoady* and Jeanne Marie Lee 10
The Nakajima Family
John and Laurel Nesholm o 15
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15
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10
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S EAT T LE SYMPHONY DONORS
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Carol Veatch
Mark Charles Paben
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Prairie Foundation
Donald J. Verfurth
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Llewelyn G. and Joan Ashby Pritchard ^ 15
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Harry* and Ann Pryde 15
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Ed and Pat Werner
John Richardson II
Judith A. Whetzel
Keith and Patricia Riffle
Cliff Burrows and Anna White
Catherine and J. Thurston Roach
Steve and Marci Williams
Special gifts to the Seattle Symphony are a wonderful
way to celebrate a birthday, honor a friend or note an
anniversary. In addition to recognition in the Encore
program, your honoree will receive a card from the
Symphony acknowledging your thoughtful gift.
Jean A. Robbins 10
Jerry and Nancy Worsham 5
Tom Roberts
Carol Wright
Mike Robinson
Kathleen Wright 10
Helen Rodgers 15
Keith Yedlin
Ken Rogers
Mr. Rocky Yeh
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Yellowshoe Technology
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Igor Zverev 15
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Anonymous (18)
William and Joan Potter
15
Carl A. Rotter
5
5
Gladys and Sam Rubinstein
Gifts were made to the Seattle Symphony in
recognition of those listed below between February
1, 2014, and February 13, 2015. Please contact
Donor Relations at 206.215.4832 or friends@
seattlesymphony.org if you would like to recognize
someone in a future edition of Encore.
Jordan Anderson, by
Steven Miletich and Emily Langlie
Jared Baeten and Mark Ruffo, by
Eugene Brown
Mina Miller and David Sabritt
Sarah Delano Redmond Fund at the Boston
Foundation 5
5
5 years of consecutive giving
10
10 years of consecutive giving
Eckhard Schipull 10
15
15 years or more of consecutive giving
Jessica Schneller 5

Musician
S. Andrew Schulman and Elizabeth K. Maurer
o
Board Member
Patrick and Dianne Schultheis
^
Lifetime Director
Stephen and Julie Scofield

Annie and Leroy Searle 10
Seattle Symphony Volunteers
Staff
* In Memoriam
15
Allen and Virginia Senear 15
Linda Sheely 10
Vicki Shelton
Alan Shen
Charles Shipley 10
To our entire donor family, thank you for your
support. You make our mission and music a reality.
Did you see an error? Help us update our records
by contacting [email protected] or
206.215.4832. Thank you!
Robert and Anita Shoup
Alan Brown, by
Gerald Yoshitomi
Stephen Bryant, by
John Laughlin
Leslie Chihuly, by
The Sam and Peggy Grossman Family Foundation
Dr. Pierre and Mrs. Felice Loebel
The M. C. Pigott Family
Matt Stevenson
Barbara Tober
Su-Mei Yu
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Laura DeLuca, by
Norm Hollingshead
Samantha DeLuna and Tamiko Terada, by
Annie Walters
Anne* and Langdon Simons ^ 10
ESTATE GIFTS
Dr. Charles Simrell and Deborah Giles 10
We gratefully remember the following individuals for
their generosity and forethought, and for including
the Seattle Symphony in their will, trust or beneficiary
designation. These legacy gifts provide vital support
for the Symphony now and for future generations.
(Estate gifts since September 1, 2012.)
Ryan Douglas, by
Michele Douglas
John Spear
Glenn H. Anderson
Donald and Sharry Stabbert
Almira B. Bondelid
Mickey Eisenberg, by
Jeanne Eisenberg
Dr. and Mrs. Robert Stagman 15
Barbara and Lucile Calef
Lee and Elizabeth Stanton
Robert E. and Jeanne Campbell
Jennifer Stead +
Daniel R. Davis
Craig and Sheila Sternberg
Carmen Delo
Cynthia Stroum
Robert J. Ellrich
Barbara and Stuart Sulman
Sherry Fisher
Victoria Sutter
Marion O. Garrison
Joan Smith
Stephen and Susan Smith
Nina Li Smith and Steven Smith
Barbara Snapp and Dr. Phillip Chapman
The second movement of Dvorˇák’s Seventh
Symphony, by
Norm Hollingshead
Ms. Darlene Soellner 5
5
Brian Tajuddin
Elizabeth C. Giblin
Mr. and Mrs. Ronald Taylor
Patricia Grandy
Bob and Mimi Terwilliger 10
Nancy N. Keefe
Mikal and Lynn Thomsen
Maurine Kihlman
Barbara Tober
Anna L. Lawrence
Ms. Betty Tong and Mr. Joe Miner
Marlin Dale Lehrman
Dr. and Mrs. Arthur Torgerson 5
Carolyn Lewis
William B. Troy
Arlyne Loacker
Andy Tsoi
Mary Maddox
Dolores Uhlman 15
Peter J. McTavish
Johanna P. VanStempvoort 15
Mabel M. and Henry Meyers
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Esa-Pekka Salonen’s Violin Concerto, by
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Hayley Nichols
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Michael Schick and Katherine Hanson
Susan Gulkis Assadi, by
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Larey McDaniel, by
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Stephanie Mitchell, by
Jordan Jobe
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Mike O’Leary, by
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Llewelyn Pritchard, by
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Bernice Rind, by
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Howard Moss and Pauline Shapiro
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Kay Zatine
Jon and Pat Rosen, by
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Cynthia Ryan, by
James Ryan
Arie Schächter, by
Mr. and Mrs. Betsy Maurer
Elle Simon
Seattle Symphony Chamber Series, by
Norm Hollingshead
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MEMORIALS
Gifts were made to the Seattle Symphony to
remember those listded below between February
1, 2014, and February 13, 2015. For information
on remembering a friend or loved one through a
memorial gift, please contact Donor Relations at
206.215.4832 or [email protected].
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Cesar Castro and Junichi Shinozuka
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Mary Hjorth
Joan Larson
Llewelyn G. and Joan Ashby Pritchard
William R. Collins, by
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S. Patricia Cook, by
Capt. Charles Cook
Clayton Corzatte, by
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Claudia Kay Kraft Cranbery, by
Shari Dworkin
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Carol Batchelder
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Arlene Hoffman
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Thomas and Gail James
Everil Loyd, Jr.
Richard* and Beverly Luce
James L. McDonnell
Reid and Marilyn Morgan
Dr. and Mrs. Howard Moses
Sheila B. Noonan and Peter M. Hartley
Linda Perez-King
Llewelyn G. and Joan Ashby Pritchard
Sue and Tom Raschella
Wolf and Joanne Schunter
Gregory and Jo-Ellen Smith
Jim and Audrey Stubner
Kay Zatine
$38
waived
Edward A. Hansen, by
Daniel and Roberta Downey
Mary Lee Martin, by
Donna M. Barnes
Pamela Harer, by
Jane Hargraft
Illene and Mickey Maurer, by
S. Andrew Schulman and Elizabeth K. Maurer
George C. Harris, MD, by
Louise McAllister
Elsa D. Morrison, by
Anonymous
Sally Clark Gorton, by
Carrol Steedman
46
Carolyn and Leroy Lewis, by
Tim and Edith Hynes
Doug and Joyce McCallum
Robert Loring, by
David Loring
William Gerberding, by
Mr. and Mrs. David L. Fluke
Dr. Kennan H. Hollingsworth
Llewelyn G. and Joan Ashby Pritchard
theartstudy.com
Lisa Lederer, by
Kay I. Barmore
Mary Barringer Green, by
Christina Consla
Kathleen A. Gehrt, by
John Gehrt
206.525.2400
Betty Rue Kreitinger, by
James Cavin
Maren Culter
The Family of Darlene D. Jones
Sylvia Mistry
Joan Raymond
Dr. David Grauman, by
Bob and Clodagh Ash
Mr. and Mrs. David L. Fluke
Dr. Kennan H. Hollingsworth
Mr. and Mrs. Charles Johnson
Llewelyn G. Pritchard
Mr. and Mrs. Thomas Raschella
Geraldine Newell Gayda, by
Stewart Hopkins and Nancy Werner
University
Village
John Hunnewell, by
Maya Hunnewell
Leroy Lewis, by
Bob and Clodagh Ash
Carol Batchelder
Leslie and Dale Chihuly
Sue and Robert Collett
Senator and Mrs. Daniel J. Evans
David and Dorothy Fluke
Carol B. Goddard
Dick and Marilyn Hanson
Dwight and Marlys Harris
Dr. Kennan H. Hollingsworth
Steve and Marie Hubbard
Don and Ruthie Kallander
Mary Langholz
Joan Larson
Everil Loyd, Jr.
Richard* and Beverly Luce
Reid and Marilyn Morgan
Dr. and Mrs. Howard Moses
John and Laurel Nesholm
Sheila B. Noonan and Peter M. Hartley
Llewelyn G. and Joan Ashby Pritchard
Sue and Tom Raschella
Joanne and Wolfgang Schunter
Audrey and Jim* Stubner
Richard and Barbara Wortley
Kay Zatine
Stanton W. Frederick, by
Julie Frederick
FINE ART & FRAMING
Marilyn L. Hirschfeld, by
Bill Hirschfeld, Dr. Mary L. Hirschfeld and
W. Stuart Hirschfeld
SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF
Elisabeth Niccoli, by
Anonymous
H. Stewart Ross, by
Hollis R. and Katherine B. Williams
Gladys Rubinstein, by
Bob and Clodagh Ash
Barbara and Sandy Bernbaum
Lois Buell
David and Dorothy Fluke
John and Ann Heavey
Janet W. Ketcham
William and Marlene Louchheim
Janice R. Lurie
John and Laurel Nesholm
Llewelyn G. and Joan Ashby Pritchard
Cathy Sarkowsky
Patricia S. Stein
William B. Troy
Mr. and Mrs. Harold Vhugen
Carol Wright
Kathleen Wright
Ann Wyckoff
The Wyman Youth Trust
Anonymous
Herman Sarkowsky, by
David and Dorothy Fluke
Mark Schons, by
Joanne and Frances Schons
James Stubner, by
Bucknell Stehlik Sato & Stubner, LLP
Sue and Robert Collett
Doug and Gail Creighton
Cousins Pam, Tim, Terry and Julie, and Uncle Ron
Collins
Carol B. Goddard
Robert and Rhoda Jensen
Ken Kataoka
John King
Richard* and Beverly Luce
Natalie Malin
Doug and Joyce McCallum
Dustin Miller
Reid and Marilyn Morgan
Carole Narita
Kenneth and Catherine Narita, Kimberly and Andy
Absher, Karen and Steve Shotts, and Kristen Narita
Leona Narita
Ruby Narita
Llewelyn G. and Joan Ashby Pritchard
Sue and Tom Raschella
Kathleen Sesnon
Patricia Tall-Takacs and Gary Takacs
The Urner Family
John Walcott
Mary and Findlay Wallace
Wiatr & Associates
Marjorie Winter
Richard and Barbara Wortley
Kay Zatine
Margaret Sullivan, by
Kay I. Barmore
B. K. Walton, by
Anonymous
SIMON WOODS
COMMUNICATIONS
DEVELOPMENT
President & CEO
Leslie Jackson Chihuly Chair
Rosalie Contreras
Vice President of Communications
Jane Hargraft
Vice President of Development
Rachel Moore
Executive Assistant
You You Xia
Public Relations Manager
Kristen NyQuist
Director of Board Relations & Strategic Initiatives
Heidi Staub
Editor & Publications Manager
Rick Baker
Development Officer (Assistant to the
Vice President of Development)
Bernel Goldberg
Legal Counsel
Jim Holt
Digital Content Manager
ARTISTIC PLANNING
Jenna Schroeter
Interactive Media Coordinator
Elena Dubinets
Vice President of Artistic Planning
Jennifer Stead
Campaign Director
Becky Kowals
Planned Giving Director
Tamiko Terada
Campaign Manager
MARKETING & BUSINESS
OPERATIONS
Rhemé Sloan
Campaign Coordinator
Paige Gilbert
Executive Assistant to the Music Director
Charlie Wade
Senior Vice President of Marketing & Business
Operations
Paul Gjording
Senior Major Gift Officer
(Foundations & Government Relations)
Dmitriy Lipay
Director of Audio & Recording
Christy Wood
Director of Marketing
Amy Studer
Senior Major Gift Officer (Individual)
ORCHESTRA & OPERATIONS
Rachel Spain
Marketing Manager
Matt Marshall
Major Gift Officer
Jennifer Adair
Vice President & General Manager
Natalie Soules
Marketing Coordinator
Tobin Cattolico
Gift Officer
Kelly Woodhouse Boston
Director of Operations & Popular Programming
Barry Lalonde
Digital Product Manager
Blaine Inafuku
Development Coordinator (Major Gifts)
Ana Hinz
Production Manager
Herb Burke
Tessitura Manager
Jeanne Case
Operations & Artistic Coordinator
Jessica Forsythe
Art Director
Tami Horner
Senior Manager of Special Events
& Corporate Development
Scott Wilson
Personnel Manager
Helen Hodges
Graphic Designer
Keith Higgins
Assistant Personnel Manager
Forrest Schofield, Jessica Atran
Group Sales Managers
Samantha DeLuna
Development Officer
(Special Events & Corporate Development)
Patricia Takahashi-Blayney
Principal Librarian
Joe Brock
Retail Manager
Megan Hall
Annual Fund Senior Manager
Robert Olivia
Associate Librarian
Christina Hajdu
Sales Associate
Evan Cartwright
Data Operations Manager
Joseph E. Cook
Technical Director
Brent Olsen
Ticket Sales Manager
Zoe Funai
Data Entry Coordinator
Jeff Lincoln
Assistant Technical Director
Molly Gillette, Aaron Gunderson,
Maery Simmons
Ticket Office Coordinators
Martin Johansson
Development Officer
(Communications & Volunteers)
Amy Bokanev
Assistant Artistic Administrator
Mark Anderson
Audio Manager
Chris Dinon, Don Irving, Aaron
Gorseth, John Roberson, Michael
Schienbein, Ira Seigel
Stage Technicians
FAMILY, SCHOOL &
COMMUNITY PROGRAMS
Kelly Dylla
Vice President of Education & Community
Engagement
Sophia Bona-Layton, Melissa Bryant,
Nina Cesarrato, Yasmina Ellis,
Mike Obermeyer, Melanie Voytovich,
CaraBeth Wilson
Ticket Services Representatives
Matt Laughlin
Senior Facility Sales Manager
James Frounfelter
Event & Operations Manager
Adam Moomey
Event & Operations Manager
Laura Reynolds
Family Programs Manager
Keith Godfrey
House Manager
Stephanie Rodousakis
School Partnerships Manager
Tanya Wanchena
Assistant House Manager & Usher Scheduler
Thomasina Schmitt
Community Partnerships Manager
Milicent Savage, Patrick Weigel
Assistant House Managers
Kristin Schneider
Soundbridge Coordinator
Dawn Hathaway, Lynn Lambie, Mel
Longley, Ryan Marsh, Markus Rook,
Carol Zumbrunnen
Head Ushers
Jessica Andrews-Hall, Samantha
Bosch, Aimee Hong, Deven Inch,
Bryce Ingmire, Shelby Leyland,
Rebecca Morhlang, Dana Staikides
Teaching Artists
Jessica Baloun, Lena Console,
Sonya Harris,
Danielle Valdes
Discovery Coordinators
Iva Baerlocher, Everett Bowling,
Veronica Boyer, Evelyn Gershen,
Assistant Head Ushers
Ron Hyder
Technical Coordinator
Jordan Louie
Corporate Development Manager
FINANCE & FACILITIES
Maureen Campbell Melville
Vice President of Finance & Facilities
David Nevens
Controller
Clem Zipp
Assistant Controller
Lance Glenn
Information Systems Manager
Megan Spielbusch
Accounting Manager
Karen Fung
Staff Accountant
Niklas Mollenholt
Payroll/AP Accountant
David Ling
Facilities Director
Bob Brosinski
Lead Building Engineer
Christopher Holbrook
Building Engineer 2
Aaron Burns
Building Engineer 1
HUMAN RESOURCES
Pat VandenBroek
Director of Human Resources
Ida Louko Warren, by
Kate Wilson and Ned Washburn
Kathryn Osburn
Human Resources Generalist
Howard F. Weckel, Jr., by
Jane and David Stockert
Annalies Schuster
Front Desk Receptionist
Mary Wilson, by
Thomas Bruhns
Hanako Yamaguchi, by
Nadine Miyahara
Yaeko Yoshihara, by
Jean Murakami
CONTACT US:
206.215.4747 / DONATIONS: 206.215.4832 / ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org / FEEDBACK: [email protected]
TICKETS:
encore artsseattle.com 47
SE AT T L E SYMPHONY ENDOWMENT FUN D
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 February 13, 2015. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].
$5 MILLION +
The Benaroya Family
Charles Simonyi Fund for Arts and
Sciences
Anonymous (1)
$1,000,000 – $4,999,999
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
The Ford Foundation
Dave and Amy Fulton
Kreielsheimer Foundation
Estate of Gladys and Sam Rubinstein
Leonard and Patricia Shapiro
Samuel* and Althea* Stroum
$500,000 – $999,999
Alex Walker III Charitable Lead Trust
Mrs. John M. Fluke, Sr.*
Douglas F. King
Estate of Ann W. Lawrence
The Norcliffe Foundation
Estate of Mark Charles Paben
Joan S. Watjen, in memory of Craig M.
Watjen
$100,000 – $499,999
Estate of Glenn H. Anderson
Andrew W. Mellon Foundation
Bob and Clodagh Ash
Alan Benaroya
Estate of C. Keith Birkenfeld
Mrs. Rie Bloomfield*
The Boeing Company
C.E. Stuart Charitable Fund
Dr. Alexander Clowes and Dr. Susan
Detweiler
Richard and Bridget Cooley
Mildred King Dunn
E. K. and Lillian F. Bishop Foundation
Estate of Clairmont L. and Evelyn
Egtvedt
Estate of Ruth S. Ellerbeck
Senator and Mrs. Daniel J. Evans
Fluke Capital Management
Estate of Dr. Eloise R. Giblett
Agnes Gund
Helen* and Max* Gurvich
Estate of Mrs. James F. Hodges
Estate of Ruth H. Hoffman
Estate of Virginia Iverson
Estate of Peggy Anne Jacobsson
Estate of Charlotte M. Malone
Bruce and Jolene McCaw
Bruce and Jeanne McNae
Microsoft Corporation
National Endowment for the Arts
Northwest Foundation
Estate of Elsbeth Pfeiffer
Estate of Elizabeth Richards
Jon and Judy Runstad
Weyerhaeuser Company
The William Randolph Hearst
Foundations
Estate of Helen L. Yeakel
Estate of Victoria Zablocki
Anonymous (2)
$50,000 – $99,999
Dr.* and Mrs. Ellsworth C. Alvord, Jr.
Estate of Mrs. Louis Brechemin
Estate of Edward S. Brignall
Sue and Robert Collett
Frances O. Delaney
John and Carmen* Delo
Estate of George A. Franz
Jean Gardner
Estate of Mr. and Mrs. Irvin Gattiker
Anne Gould Hauberg
Richard and Elizabeth Hedreen
Estate of William K. and Edith A.
Holmes
John Graham Foundation
Mr. and Mrs. Stanley P. Jones
Estate of Betty L. Kupersmith
John and Cookie* Laughlin
E. Thomas McFarlan
Estate of Alice M. Muench
Nesholm Family Foundation
Estate of Opal J. Orr
M. C. Pigott Family
PONCHO
Estate of Mrs. Marietta Priebe
Mr. and Mrs. Paul R. Smith
Estate of Frankie L. Wakefield
Estate of Marion J. Waller
Washington Mutual
Anonymous (1)
$25,000 – $49,999
Edward and Pam Avedisian
Estate of Bernice Baker
Estate of Ruth E. Burgess
Estate of Barbara and Lucile Calef
Mrs. Maxwell Carlson
Alberta Corkery*
Norma Durst*
Estate of Margret L. Dutton
Estate of Floreen Eastman
Hugh S. Ferguson*
Mrs. Paul Friedlander*
Adele Golub
Patty Hall
Thomas P. Harville
Harold Heath*
George Heidorn and Margaret
Rothschild*
Phyllis and Bob Henigson
Michael and Jeannie Herr
Charles E. Higbee, MD and Donald D.
Benedict
Mr. and Mrs. L. R. Hornbeck
Sonia Johnson*
The Keith and Kathleen Hallman Fund
David and Karen Kratter
Estate of Marlin Dale Lehrman
Estate of Coe and Dorothy Malone
Estate of Jack W. McCoy
Estate of Robert B. McNett
Estate of Peter J. McTavish
Estate of Shirley Callison Miner
PACCAR Foundation
Estate of Elizabeth Parke
Mr. and Mrs. W. H. Purdy
Keith and Patricia Riffle
Rita* and Herb* Rosen and the Rosen
Family
Jerry and Jody Schwarz
Seafirst Bank
Seattle Symphony Women’s
Association
Security Pacific Bank
Patricia Tall-Takacs and Gary Takacs
U S WEST Communications
Estate of Dr. and Mrs. Wade Volwiler
Estate of Marion G. Weinthal
Estate of Ethel Wood
Anonymous (2)
* In Memoriam
MU S IC A L L EG ACY 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 Planned Giving Director
Becky Kowals at 206.215.4852 or [email protected]. The following list is current as of February 13, 2015.
Charles M. and Barbara Clanton
Ackerman
Joan P. Algarin
Ron Armstrong
Elma Arndt
Bob and Clodagh Ash
Susan A. Austin
Rosalee Ball
Donna M. Barnes
Carol Batchelder
Janet P. Beckmann
Alan Benaroya
Donald/Sharon Bidwell Living Trust
Sylvia and Steve Burges
Dr. Simpson* and Dr. Margaret Burke
M. Jeanne Campbell
Dr. Alexander Clowes and Dr. Susan
Detweiler
Sue and Robert Collett
Betsey Curran and Jonathan King
Frank and Dolores Dean
Robin Dearling and Gary Ackerman
John Delo
Fred and Adele Drummond
Mildred King Dunn
Sandra W. Dyer
Ann R. Eddy
David and Dorothy Fluke
Gerald B. Folland
Judith A. Fong
Russell and Nancy Fosmire
48
SEATTLESYMPHONY.ORG
Ernest and Elizabeth Scott
Frankenberg
Cynthia L. Gallagher
Jean Gardner
Carol B. Goddard
Frances M. Golding
Jeff Golub
Dr. and Mrs. Ulf and Inger Goranson
Dr. Martin L. Greene
James and Darlene Halverson
Barbara Hannah
Harriet Harburn
Ken and Cathi Hatch
Michele and Dan Heidt
Ralph and Gail Hendrickson
Deena J. Henkins
Charles E. Higbee, MD
Frank and Katie Holland
Dr. Kennan H. Hollingsworth
Chuck and Pat Holmes
Richard and Roberta Hyman
Janet Aldrich Jacobs
Dr. Barbara Johnston
Norman J. Johnston and L. Jane
Hastings Johnston
Atul R. Kanagat
Don and Joyce Kindred
Dell King
Douglas F. King
Stephen and Barbara Kratz
Frances J. Kwapil
Ned Laird
Paul Leach and Susan Winokur
Lu Leslan
Marjorie J. Levar
Jeanette M. Lowen
Ted and Joan Lundberg
Judsen Marquardt
Ian and Cilla Marriott
Doug and Joyce McCallum
Jean E. McTavish
William C. Messecar
Elizabeth J. Miller
Mrs. Roger N. Miller
Murl G. Barker and Ronald E. Miller
Reid and Marilyn Morgan
George Muldrow
Marr and Nancy Mullen
Isa Nelson
Gina W. Olson
Sarah M. Ovens
Donald and Joyce Paradine
Dick and Joyce Paul
Stuart N. Plumb
Mrs. Eileen Pratt Pringle
Mr. and Mrs. W. H. Purdy
J. Stephen and Alice Reid
Bernice Mossafer Rind
Bill* and Charlene Roberts
Junius Rochester
Jan Rogers
Mary Ann Sage
Thomas H. Schacht
Judith Schoenecker and Christopher
L. Myers
Annie and Leroy Searle
Allen and Virginia Senear
Leonard and Patricia Shapiro
Jan and Peter Shapiro
John F. and Julia P. Shaw
Barbara and Richard Shikiar
Valerie Newman Sils
Evelyn Simpson
Betty J. Smith
Katherine K. Sodergren
Althea C. and Orin H.* Soest
Sonia Spear
Morton A. Stelling
Patricia Tall-Takacs and Gary Takacs
Gayle and Jack Thompson
Dr. and Mrs. Arthur Torgerson
Betty Lou and Irwin* Treiger
Sharon Van Valin
Dr. Robert Wallace
Douglas Weisfield
James and Janet Weisman
Gerald W. and Elaine* Millard West
Selena and Steve Wilson
Ronald and Carolyn Woodard
Arlene A. Wright
Janet E. Wright
Anonymous (43)
* In Memoriam
CO R P O RATE & FOU NDATION S UPPO RT
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 January 1, 2015. Thank you for your support — our donors make it all possible!
$500,000+
Seattle Symphony Foundation
$100,000 – $499,999
ANONYMOUS
$50,000 – $99,999
$15,000 – $24,999
Brown BearCar Wash
$1,000 – $2,999
Boeing Matching Gift Program
Aaron Copland Fund For Music
Finlandia Foundation National
A-1 Pianos
Christensen O’Connor Johnson
Kindness PLLC †
Ann and Gordon Getty Foundation and
the League of American Orchestras
Hotel Andra †
Alfred & Tillie Shemanski Trust Fund
HSBC
Bang & Olufsen
Clowes Fund, Inc.
Chihuly Studio †
Barghausen Consulting Engineers, Inc.
J.P. Morgan Chase & Co.
Coca-Cola Company Matching Gifts
Johnson & Johnson Matching
Gifts Program
KEXP †
Jean K. Lafromboise Foundation
MacDonald Hoague & Bayless †
Brandon Patoc Photography †
John Graham Foundation
Sheri and Les Biller Family Foundation
Mayflower Park Hotel †
DreamBox Learning
MulvannyG2 Architecture
Genworth Foundation
Laird Norton Wealth Management
Blanke Foundation
Microsoft Corporation
$10,000 – $14,999
Nordstrom
Hard Rock Cafe Seattle †
Nesholm Family Foundation
Fran’s Chocolates ◊
NW Audi Dealer Group
IBM International Foundation
Seattle Met Magazine †
Lakeside Industries
Leco-sho†
Peg and Rick Young Foundation
Kells Irish Restaurant & Pub †
Russell Family Foundation
KPMG
$25,000 – $49,999
Macy’s Foundation
Skanska USA
National Frozen Foods Corporation
Ann and Gordon Getty Foundation
Milliman ◊
Snoqualmie Casino
Pacific Coast Feather Co.
Bank of America Merrill Lynch
Music4Life †
Stoel Rives
Schiff Foundation
Bill & Melinda Gates Foundation
Norman Archibald Foundation
Starbucks Coffee Company †
Seattle Symphony Volunteers
BNSF Foundation
NW Cadillac Dealer Group
Umpqua Bank
Thurston Charitable Foundation
CTI BioPharma Corp.
Perkins Coie LLP
U.S. Bank Foundation
UBS Employee Giving Programs
Classic Pianos ◊
Rosanna, Inc. †
Vitalogy Foundation
UniBank
Classical King FM †
Sheraton Seattle Hotel †
Von’s †
United Health Care
Elizabeth McGraw Foundation
Washington Employers †
Wyman Youth Trust
Four Seasons Hotel †
Weill Music Institute †
Wilson Sonsini Goodrich
& Rosati Foundation
Garvey Schubert Barer †
Wild Ginger Restaurant †
$3,000 – $4,999
† In-Kind Support
Mercer †
Anonymous
Bank of America
Foundation Matching Gifts
◊ Financial and In-Kind Support
Peach Foundation
$5,000 – $9,999
RBC Wealth Management
Bill & Melinda Gates Foundation
Matching Gifts
Accountemps †
Russell Investments
Community Attributes †
Acucela Inc.
Snoqualmie Tribe
Fales Foundation
Amphion Foundation
Wells Fargo
Glazer’s Camera †
Audio Visual Factory †
Motif Hotel
Ballard Blossom, Inc. †
Nintendo of America, Inc.
Barnard Griffin Winery †
Parker Smith Feek
Barrier Motors
Schwabe, Williamson & Wyatt
Microsoft Matching Gifts
Bellevue Children’s Academy
The Benaroya Company
G OV ERN MEN T 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.
encore artsseattle.com 49
YOUR GUIDE TO BENAROYA HALL
SYMPHONICA , THE SYMPHONY STORE:
SMOKING POLICY: Smoking is not
Located in The Boeing Company Gallery, Symphonica
opens 90 minutes prior to all Seattle Symphony
performances and remains open through intermission.
permitted in Benaroya Hall. Smoking areas
are available along Third Avenue.
PARKING: You may purchase prepaid parking
appropriate phone number, listed below, and your exact
seat location (aisle, section, row and seat number) with
your sitter or service so we may easily locate you in
the event of an emergency: S. Mark Taper Foundation
Auditorium, 206.215.4825; Illsley Ball Nordstrom
Recital Hall, 206.215.4776.
for the Benaroya Hall garage when you purchase
concert tickets. Prepaid parking may be purchased
online or through the Ticket Office. If you wish
to add prepaid parking to existing orders, please
contact the Ticket Office at 206.215.4747.
The 430-space underground parking garage at
Benaroya Hall provides direct access from the
enclosed parking area into the Hall via elevators
leading to The Boeing Company Gallery. Cars
enter the garage off Second Avenue, just south
of Union Street. There are many other garages
within a one-block radius of Benaroya Hall as
well as numerous on-street parking spaces.
COAT CHECK: The coat check is located in The
Boeing Company Gallery. Patrons are encouraged
to use this complimentary service. For safety,
coats may not be draped over balcony railings.
LATE SEATING: For the comfort and listening pleasure
of our audiences, late-arriving patrons will not be
seated while music is being performed. Latecomers will
be seated at appropriate pauses in the performance,
and are invited to listen to and watch performances in
the S. Mark Taper Foundation Auditorium on a monitor
located in the Samuel & Althea Stroum Grand Lobby.
CAMERAS, CELL PHONES, RECORDERS,
BEEPERS & WATCH ALARMS: The use of
cameras or audio-recording equipment is strictly
prohibited. Patrons are asked to turn off all personal
electronic devices prior to the performance.
LOST AND FOUND: Please contact the Head
Usher immediately following the performance or
call Benaroya Hall security at 206.215.4715.
PUBLIC TOURS: Free tours of Benaroya Hall
begin at noon and 1pm on select Mondays and
Tuesdays; please visit benaroyahall.org or call
206.215.4800 for a list of available dates. Meet
your tour guide in The Boeing Company Gallery.
To schedule group tours, call 206.215.4856.
COUGH DROPS: Cough drops are
available from ushers.
EVACUATION: To ensure your safety in case of fire
or other emergency, we request that you familiarize
yourself with the exit routes nearest your seat.
Please follow the instructions of our ushers, who
are trained to assist you in case of an emergency.
EMERGENCY PHONE NUMBER: Please leave the
DOCTOR IN THE HOUSE: Virginia Mason
Medical Center physicians frequently attend
Seattle Symphony performances and are ready
to assist with any medical problems that arise.
SERVICES FOR PATRONS WITH DISABILITIES:
Benaroya Hall is barrier-free and meets or exceeds all
criteria established by the Americans with Disabilities
Act (ADA). Wheelchair locations and seating for those
with disabilities are available. Those with oxygen
tanks are asked to please switch to continuous flow.
Requests for accommodations should be made when
purchasing tickets. For a full range of accommodations,
please visit our website at seattlesymphony.org.
SERVICES FOR HARD-OF-HEARING PATRONS:
An infrared hearing system is available for patrons
who are hard of hearing. Headsets are available
at no charge on a first-come, first-served basis
in The Boeing Company Gallery coat check and
at the Head Usher stations in both lobbies.
PRESENTING SPONSOR
Laird Norton Wealth Management
Gil Shaham generously sponsored by
Friends of Gil Shaham
CO-CHAIRS
Judith A. Fong and Diana P. Friedman
COMMITTEE
Kay Addy
Susan Gulkis Assadi
Sherry Benaroya
Rosanna Bowles
Amy Buhrig
Leslie Jackson Chihuly
Kathy Fahlman Dewalt
Zart Dombourian-Eby
Jerald Farley
Valerie Muzzolini Gordon
SoYoung Kwon
Kjristine Lund
Ghizlane Morlot
Hisayo Nakajima
Laurel Nesholm
Shelia Noonan
Jon Rosen
Elisabeth Beers Sandler
Elizabeth Schultz
Kirsten Wattenberg
HOLIDAY MUSICAL SALUTE, DECEMBER 2, 2014
PRESENTING SPONSOR
Delta Air Lines
BENAROYA HALL: Excellent dates are available for
those wishing to plan an event in the S. Mark Taper
Foundation Auditorium, the Illsley Ball Nordstrom
Recital Hall, the Samuel & Althea Stroum Grand
Lobby and the Norcliffe Founders Room. Call Matt
Laughlin at 206.215.4813 for more information.
SHARE THE MUSIC THROUGH TICKET DONATION:
If you are unable to attend a concert, we encourage
you to exchange your tickets for another performance
or donate your tickets prior to the performance. When
you donate your tickets to the Seattle Symphony for
resale, you not only receive a donation tax receipt,
you also open your seat for another music lover.
If you would like to donate your tickets for resale,
please contact the Seattle Symphony Ticket Office
at 206.215.4747 or 1.866.833.4747 (toll-free outside
local area) at your earliest convenience, or call our
recorded donation line, 206.215.4790, at any time.
MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: Enjoy pre-concert dining at Muse, just
a few short steps from your seat. Muse blends the elegance of downtown dining with the casual comfort of the
nearby Pike Place Market, offering delicious, inventive menus with the best local and seasonal produce available.
Open to ALL ticket holders two hours prior to most Seattle Symphony performances and select non-Symphony
performances. Reservations are encouraged, but walk-ins are also welcome. To make a reservation, please visit
opentable.com or call 206.336.6699.
DAVIDS & CO.: Join us for a bite at Davids & Co., a brand-new cafe in The Boeing Company Gallery at Benaroya
Hall. Featuring fresh takes on simple classics, Davids & Co. offers the perfect spot to grab a quick weekday lunch
or a casual meal before a show. Open weekdays from 11am–2pm and two hours prior to most performances in the
S. Mark Taper Foundation Auditorium.
LOBBY BAR SERVICE: Food and beverage bars are located in the Samuel & Althea Stroum Grand Lobby. The
lobby bars open 75 minutes prior to Seattle Symphony performances and during intermission. Pre-order at the
lobby bars before the performance to avoid waiting in line at intermission.
SEATTLESYMPHONY.ORG
OPENING NIGHT GALA, SEPTEMBER 13, 2014
Honoring the Benaroya Family
the age of 5 will not be admitted to Seattle
Symphony performances except for specific
age-appropriate children’s concerts.
Powered by Tuxedos and Tennis Shoes Catering and Events
Special Events provide significant funding each
season to the Seattle Symphony. We gratefully
recognize our presenting sponsors and committees
who make these events possible. Individuals who
support the events below are included among the
Individual Donors listings. Likewise, our corporate and
foundation partners are recognized for their support
in the Corporate & Foundation Support listings. For
more information about Seattle Symphony events,
please visit seattlesymphony.org/give/special-events.
ADMISSION OF CHILDREN: Children under
DINING AT BENAROYA HALL
50
SEATTLE SYMPHONY
SPECIAL EVENTS
SPONSORS & DONORS
CO-CHAIRS
Claire Angel
Rena O’Brien
COMMITTEE
Rebecca Amato
Roberta Downey
Katharyn Gerlich
Ghizlane Morlot
Katrina Russell
Linda Stevens
TEN GRANDS, MAY 8, 2015
PRESENTING SPONSOR
RBC Wealth Management
Kathy Fahlman Dewalt
Co-Founder and Executive Director
COMMITTEE
Cheri Brennan
Ben Klinger
Carla Nichols
Sherrie Liebsack
Deanna L. Sigel
Stephanie White
CLUB LUDO, JUNE 6, 2015
PRESENTING SPONSOR
CTI BioPharma
CHAIR
Ryan Mitrovich
COMMITTEE
Shawn Bounds
Eric Jacobs
Alex Klein
Tiffany Moss
Grace Yoo
THE LIS(Z)T
SEEN & HEARD @ THE SEATTLE SYMPHONY
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3
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FRIENDS IN THE DESERT
On February 9 members of the Seattle Symphony traveled to
Palm Springs, California to connect with Symphony supporters
at the fourth annual Friends in the Desert event. The event was
hosted by Rebecca Benaroya at the Morningside Country Club,
in loving memory of Herman Sarkowsky. Seattle Symphony
President & CEO Simon Woods welcomed guests and shared
details about the Symphony’s inspiring education programs,
including a unique education event held that same day with
local high-school music students.
Music Director Ludovic Morlot introduced the afternoon’s
recital featuring Seattle Symphony Principal Second Violin Elisa
Barston, violinist Mikhail Shmidt, Principal Viola Susan Gulkis
Assadi and cellist Walter Gray. Guests enjoyed a performance
of Mozart’s lively “Hunt” Quartet and participated in an
extended dialogue with the musicians.
Following the performance Board Chair Leslie Jackson Chihuly
thanked guests for attending and for their ongoing, generous
support of the Symphony and its mission. She also thanked
Rebecca Benaroya for hosting, and acknowledged Faye
Sarkowsky for her and her late husband’s dedication to the
Symphony.
Read past editions of The Lis(z)t online at
seattlesymphony.org/give/liszt.
PHOTOS: 1 Rebecca Benaroya and Jean Baur Viereck 2 Leslie Jackson Chihuly and Harold Matzner
3 Pamela Steele and Ludovic Morlot 4 Seattle Symphony Board
members Amy Buhrig, Jon Rosen and Renée Brisbois 5 Ronald Weinstein 6 Seattle Symphony musicians Elisa Barston, violin; Mikhail Shmidt, violin; Walter Gray,
cello; and Susan Gulkis Assadi, viola (not pictured) Photos by Brandon Patoc Photography
encore artsseattle.com 51
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