Seattle Symphony_March_Encore Arts Seattle
MAY 2015 INTRODUCING VIOLINIST SIMONE PORTER MAJOR ARTISTS THIS MONTH: YEFIM BRONFMAN YO-YO MA PINCHAS ZUKERMAN TEN GRANDS TAKE THE STAGE Extraordinary Performances from Around the Globe Sankai Juku / Akram Khan Company / Trisha Brown Dance Company / MalPaso Dance Company / Grupo Corpo / ETHEL with special guest Robert Mirabal presents The River / Igor Levit / Youssou N'Dour / globalFEST on the Road: Creole Carnival / Vicente Amigo / The Danish String Quartet / Martha Graham Dance Company / Anonymous 4 / Sō Percussion / Béla Fleck & Abigail Washburn / Chamber Music Society of Lincoln Center / Daedalus Quartet / The Peking Acrobats / Jonathan Biss / Yulianna Avdeeva / Garrick Ohlsson / Jeremy Denk / Jane Comfort and Company / Anoushka Shankar / Gil Shaham Bach Six Solos with original films by David Michalek / Murray Perahia Special Engagement: An Evening with Yo-Yo Ma — December 8, 2015 At Meany Hall on the UW Campus SEASON TICKETS ON SALE NOW 206-543-4880 / uwworldseries.org #uwworldseries Seattle Symphony 2014–2015 Season MAY 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 / FEATURE The Footsteps of a Giant and the Birth of a Legend 13 / CONCERTS Learn about the music you’re here to hear 62 / GUIDE Information on Benaroya Hall 63 / THE LIS(Z)T Seen and heard at the Seattle Symphony MAY 2015 INTRODUCING VIOLINIST SIMONE PORTER MAJOR ARTISTS THIS MONTH: YEFIM BRONFMAN YO-YO MA PINCHAS ZUKERMAN TEN GRANDS TAKE THE STAGE ON THE COVER: Simone Porter by Jeff Fasano Photography AT LEFT: Ten Grands by Jessica Forsythe EDITOR: Heidi Staub COVER DESIGN: Helen Hodges Ten Grands, 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 May & June THURSDAY SPOTLIGHT: Tune in to Classical KING FM 98.1 every Wednesday at 8pm for a Seattle Symphony spotlight FRIDAY SATURDAY 10pm [untitled 3] MAY 7:30pm Seattle Classic Guitar Society presents Marcin Dylla 8pm Yefim Bronfman Plays Beethoven 1 GiveBIG* 2pm Yo-Yo Ma with the Seattle Symphony 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 National Geographic Live: Spirit of the Wild 5 11 17 6 7 8 7:30pm Northwest Sinfonietta: “The Taiwan Connection” 8pm Handel, Vivaldi & More 12 13 14 15 19 20 IMOGEN COOPER 21 22 9 10 & 11:30am Elisa Barston and Friends 2pm Bellevue Youth Symphony Orchestra 8pm Handel, Vivaldi & More 16 7:30pm National Geographic Live: Spirit of the Wild Planned Giving Seminar* 18 7:30pm Violinist Pinchas Zukerman 24 11am Family Concert: The Orchestra Rocks 8pm Mozart Piano Concertos Nos. 17 & 24 8pm True West presents Stephin Merritt 7:30pm National Geographic Live: Spirit of the Wild 2pm Romantic Untuxed 7pm Ten Grands 7:30pm Mozart Piano Concertos Nos. 17 & 24 2 25 7:30pm Mozart Violin Concerto No. 5 26 27 23 2pm Seattle Philharmonic Orchestra: Heirs and Rebels 8pm Mozart Violin Concerto No. 5 28 29 30 2pm Mozart Violin Concerto No. 5 31 8pm A Tribute to Ray Charles with Ellis Hall 7:30pm Seattle Arts & Lectures presents The Moth Mainstage JUNE 1 2 3 7:30pm Brahms Symphony No. 1 2pm A Tribute to Ray Charles with Ellis Hall 7:30pm World Doctors Orchestra: Shostakovich, Dvorˇák, Jones 7 8 9 2pm Brahms Symphony No. 1 10 10am Onstage Rehearsal* 14 4 ELLIS HALL 15 16 11 22 23 28 29 30 8pm A Tribute to Ray Charles with Ellis Hall 5 10:30am Tiny Tots: Teddy Bear’s Musical Picnic 7:30pm Beethoven & Brahms Untuxed 17 18 19 8pm Disney Fantasia – Live in Concert with the Seattle Symphony 24 8pm Club Ludo* 25 8pm Brahms Symphony No. 1 13 7:30pm Seattle Repertory Jazz Orchestra 8pm Mahler Symphony No. 3 Founders Circle Celebration* 20 8pm Disney Fantasia – Live in Concert with the Seattle Symphony 26 DISNEY FANTASIA LEGEND: Photo Credits: Yo-Yo Ma by Stephen Danelian, Imogen Cooper by Sussie Ahlburg Visit seattlesymphony.org for more detailed concert information. 4 SEATTLESYMPHONY.ORG 6 9:30, 10:30 & 11:30am Tiny Tots: Teddy Bear’s Musical Picnic 12 7:30pm Mahler Symphony No. 3 7:30pm Seattle Symphony at Marymoor Park 21 11am Family Concert: The Pied Piper Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4868 for more information 27 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 seattlesymphony.org encore art sseattle.com 5 SEATTLE SYMPHONY ORCHESTRA ROSTER Thomas Dausgaard, Principal Guest Conductor Jeff Tyzik, Principal Pops Conductor Joseph Crnko, Associate Conductor for Choral Activities LUDOVIC MORLOT Harriet Overton Stimson Music Director Stilian Kirov, Douglas F. King Associate Conductor Wesley Schulz, Conducting Fellow Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate FIRST VIOLIN BASS TRUMPET Alexander Velinzon David & Amy Fulton Concertmaster Jordan Anderson Mr. & Mrs. Harold H. Heath Principal String Bass David Gordon The Boeing Company Principal Trumpet Emma McGrath Clowes Family Associate Concertmaster Cordula Merks Assistant Concertmaster Simon James Second Assistant Concertmaster June 27, 2015 JOHN ADAMS’ ‘SHAKER LOOPS’ and original work from Timo Andres commissioned by Town Hall conducted by JOSHUA ROMAN Curator, Town Music Jennifer Bai Mariel Bailey Cecilia Poellein Buss Ayako Gamo Timothy Garland Leonid Keylin Mae Lin Mikhail Shmidt Clark Story John Weller Jeannie Wells Yablonsky Arthur Zadinsky SECOND VIOLIN WWW.TOWNHALLSEATTLE.ORG Tagney Jones Family Fund w Town Music Aficionados w Horizons Foundation w John O’Connell and Joyce Latino Town Music Leadership Fund Donors w Nesholm Family Foundation w Aaron Copland Fund for Music Elisa Barston Principal Supported by Jean E. McTavish Michael Miropolsky John & Carmen Delo Assistant Principal Second Violin Kathleen Boyer Gennady Filimonov Evan Anderson Stephen Bryant Linda Cole Xiao-po Fei Sande Gillette Artur Girsky Andrew Yeung VIOLA Susan Gulkis Assadi PONCHO Principal Viola Arie Schächter Assistant Principal Tickets start at $16 SEATTLE CHAMBER MUSIC SOCIETY SUMMER JULY 6– FESTIVAL AUG 1, 2015 JAMES EHNES Artistic Director ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall PURCHASE TICKETS 206.283.8808 // seattlechambermusic.org 6 SEATTLESYMPHONY.ORG Mara Gearman Timothy Hale Vincent Comer Penelope Crane Wesley Anderson Dyring Sayaka Kokubo Rachel Swerdlow Julie Whitton Joseph Kaufman Assistant Principal Jonathan Burnstein Jennifer Godfrey Travis Gore Jonathan Green Nancy Page Griffin FLUTE Open Position Principal Supported by David J. and Shelley Hovind Judy Washburn Kriewall Zartouhi Dombourian-Eby PICCOLO Zartouhi Dombourian-Eby Robert & Clodagh Ash Piccolo OBOE 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 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 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 CELLO Efe Baltacıgil Principal James Ross Assistant Principal 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 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 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 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 David Fulton 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: Photo: Ben VanHouten SIMON WOODS, PRESIDENT & CEO The month gets off to an unusual and exciting start with the premiere of composer/sculptor/sound artist Trimpin’s much-anticipated new work, Above, Below, and In Between, at the [untitled] concert on May 1. This is another example of Ludovic Morlot’s ongoing fascination with stepping out of the traditional conductor’s role — in this case working with a sound installation and some extremely progressive technology to create a new work in a completely new style. This is what the Seattle Symphony is fast becoming recognized for internationally — pushing the boundaries and taking creative risks. Trimpin’s installation will remain up throughout the month, particularly so that students taking part in the Young Composers Workshop will be able to work closely with the installation and debut their own compositions on June 1. Another inspiring project — the Lullaby Project — culminates this month. It all started in March when eight mothers who are involved in Mary’s Place programs came together with Symphony teaching artists to write personal lullabies for their children. These were recorded by Symphony musicians with the mothers’ creative direction and given to them as a keepsake. On May 9, the day before Mother’s Day, there will be a live performance of these lullabies. This is a healing and moving experience for these women who are either homeless or in transition, and this performance will serve as an opportunity for them to celebrate the music they created and experience it in a new way. We look forward to welcoming 10,000 students to take over Benaroya Hall on May 12–14 for this year’s Link Up concerts. Through this program, Puget Sound elementary school students in grades 3–5 have the opportunity to experience music through participatory curriculum, learning songs to sing and play on the recorder. All of this culminates in concerts at Benaroya Hall, where they play with the orchestra from their seats in the auditorium. It’s quite a sound! And for many of these students, this is their very first concert experience, either as an audience member or as a performer. We are hugely proud of the reach and depth of our education and community programs, but they’re only possible through your support. I invite you to join us on May 8 for Ten Grands, a unique and incredible concert benefiting our education programs. Ten grand pianos and ten amazing pianists — not much more needs to be said! This concert is a great opportunity not only to experience a unique event in Benaroya Hall, but also to support the programs that make such an impact on our community. I hope you enjoy your time at Benaroya Hall today and you’ll return again soon! Simon Woods, President & CEO Leslie Jackson Chihuly Chair NOTA BENE 8 SEATTLESYMPHONY.ORG us for an unforgettable night of music at the Chihuly Boathouse, featuring Pearl Jam’s Mike McCready, Ann Wilson of Heart, 2016 Sonic Evolution band Fly Moon Royalty and more! Kick off your summer at the hottest party of the year, all in support of the Symphony’s education and community programs. Visit seattlesymphony.org/clubludo or call 206.215.4868 for tickets. ANNOUNCING THE NEW KING FM SEATTLE SYMPHONY CHANNEL! T his new streaming channel can be accessed at king.org/sso or on the free Classical KING FM smartphone app. Listeners will continue to hear a variety of symphonic repertoire, infused with the Seattle Symphony’s artistic point of view and conversations with Seattle Symphony musicians and guests. { { { { CLUB LUDO RETURNS JUNE 6!Join The Wait is Over: The Seattle Symphony Heads Outdoors This Summer 2014–2015 SEASON A common question each summer is, “when can we hear the Symphony outdoors?” It has been 15 years since the orchestra’s last outdoor concert, and we’re pleased to announce the wait is over. The Seattle Symphony will be presented by the Marymoor Park Concert Series and AEG Live on June 24 at 7:30pm, performing the Movie Music of John Williams at Marymoor Park. Under the baton of conductor Stuart Chafetz, audiences will hear some of the most unforgettable film scores of the century, including those from Harry Potter, Jaws, Star Wars and Superman. Marymoor Park’s natural and scenic environment makes the 5,000-capacity outdoor venue a home to many memorable concerts. The best part is that this intimate outdoor concert experience is only a 15-minute trip away from downtown Seattle. Tickets are on sale now and may be purchased through AXS.com* ($39.50 General Admission Lawn or $59.50 and $69.50 Reserved). Tickets will not be available through the Seattle Symphony ticket office. *Visit marymoorconcerts.com/ box-office for more ways to buy. SIMONE PORTER Photo: Eli Brownell SEATTLE SYMPHONY UPCOMING CONCERTS MAY 28, 30 & 31 MOZART VIOLIN CONCERTO NO. 5 PROKOFIEV CINDERELLA A mere 18 years old, Seattle native and violin virtuoso Simone Porter is already earning a reputation for her impassioned energy, musical integrity and vibrant sound. Hear her performance of Mozart’s Violin Concerto No. 5 and you’ll know why the Los Angeles Times, after calling her a “future star,” wrote: “Let’s strike the word ‘future.’ She sounds ready. Now.” JUNE 11, 13 & 14 BRAHMS SYMPHONY NO. 1 JULIAN ANDERSON IN LIEBLICHER BLÄUE Echoes of Beethoven infuse Brahms’ moving Symphony No. 1. Music Director Ludovic Morlot leads this stunning program, including a crackling work by British composer Julian Anderson, who creates “vivid, transfixing sound worlds.” JUNE 18 & 20 MAHLER SYMPHONY NO. 3 Ludovic Morlot, the Seattle Symphony and the Women of the Seattle Symphony Chorale bring the 2014–2015 Season to a grand conclusion with Gustav Mahler’s formidable and majestic Symphony No. 3. Hear why Mahler said, “the Symphony must be like the world. It must embrace everything.” In his formidable and majestic Third Symphony, Mahler celebrates the natural world in all its glory. Saturday’s performance sponsored by: 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 “I shall never write a symphony!” THE FOOTSTEPS OF A GIANT AND THE BIRTH OF A LEGEND by AARON GRAD “I shall never write a symphony!” Brahms, nearing 40 and already one of Germany’s most famous composers, was adamant in the letter he wrote to a friend. “You can’t have any idea what it’s like always to hear such a giant marching behind you!” That giant was Beethoven, and the shadow he cast over Brahms was nearly inescapable. At the time when Brahms swore off symphonies, it had been almost 20 years since he had converted his first failed attempt into a piano concerto. Starting anew in 1862, he wrote and then abandoned themes for a symphony in the fateful key of C minor, the home key of Beethoven’s Fifth Symphony. When he wrote that letter in 1872, Brahms seemed ready to spare himself the anguish and humiliation of trying and failing again in the signature genre of his greatest hero. And yet, Brahms still returned to his First Symphony — it was the only way he could break out of Beethoven’s intimidating stride. Approaching the problem obliquely, Brahms made two major breakthroughs in 1873. One was the completion of his first pair of string quartets, another realm in which Beethoven’s achievements had long thwarted Brahms’ progress. The other was the release of his first major orchestral work without a soloist, the Variations on a Theme of Haydn. The novel format allowed Brahms to sidestep his symphonic hang-ups while still honing his skills of orchestration and large-scale structure. Building on that confidence, Brahms returned to his earlier draft of a C-minor Symphony, and worked on it from 1874 through 1876. He continued to tinker with the score during rehearsals for the debut that November, and he made further revisions in 1877, until he finally let his publisher release the long-awaited Symphony No. 1 in C minor, Op. 68. Brahms made no attempt to hide his charged relationship with Beethoven in the First Symphony. There are clear echoes of Beethoven’s Fifth Symphony in the harmonic journey from C minor to C major, and the unmistakable interval of a falling major third — the same drop that begins Beethoven’s Fifth — appears in particularly tense moments. In the finale, a chorale theme resembles the famous “Ode to Joy” of Beethoven’s Ninth. Brahms was hardly bashful about this public grappling with Beethoven; in response to a friend who noted the similarities, Brahms quipped, “Any[one] can see that!” The conductor Hans von Bülow was the first to call the symphony “Beethoven’s Tenth,” an honorific that acknowledges the surface-level parallels while also recognizing Brahms’ hard-earned mastery of Classical form and structure. In the end, Beethoven’s legacy acted on Brahms like a refiner’s fire, bringing out the purest and most precious aspects of his musical personality. A long time had passed since Robert Schumann, upon meeting the 20-year-old Brahms, predicted, “When once he lowers his magic wand over the massed resources of chorus and orchestra, we shall have in store for us wonderful insights into the secret of the spiritual world.” With the First Symphony, Brahms laid his demons to rest and unlocked those insights and secrets that still hold us in thrall. EAP 1_3 S template.indd 1 10/8/14 1:06 PM Seattle Symphony performs Brahms’ Symphony No. 1 coupled with Beethoven’s Egmont Overture, June 11–14. Can’t wait until June to hear Brahms? Come to the Romantic Untuxed concert on Sunday, May 17, at 2pm to hear Brahms' Academic Festival Overture, Op. 80 (see page 44). Curious about hearing all the symphonies that established Beethoven’s legacy? Starting in the 2015–2016 season, the Seattle Symphony will be taking two seasons to present performances of all nine of Beethoven’s symphonies and all five piano concertos. Subscribe now for the lowest prices and best seats to the 2015–2016 season. Visit seattlesymphony.org or call 206.215.4747 to purchase tickets and for more information. encore artsseattle.com 11 May 2015 Volume 28, No. 9 Mirabella. The people you want to know: Smart, fun, active, accomplished, and socially engaged. Mirabella Put yourself in the middle of it. The place you want to be: Surrounded by luxury, in the center of the city where everything is happening. Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Marty Griswold Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Mike Hathaway Bay Area Sales Director Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com Leah Baltus Editor-in-Chief Paul Heppner Publisher Marty Griswold Associate Publisher Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Catherine Petru Account Executive Amanda Townsend Events Coordinator www.cityartsonline.com 163-01 Paul Heppner President Mike Hathaway Vice President Erin Johnston Communications Manager Genay Genereux Accounting A not-for-profit, resident-centered community 206-254-1441 • 877-447-5658 116 Fairview Ave. N • Seattle, WA 98109 • www.retirement.org/mirabellaseattle 12 SEATTLESYMPHONY.ORG Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x113 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited. April 30–May 31, 2015 CO N C ERTS P. 14 P. 34 Thursday, April 30, at 7:30pm Saturday, May 2, at 8pm Monday, May 11, at 7:30pm YEFIM BRONFMAN PLAYS BEETHOVEN D E LTA AI R L I N E S M AST E R WO R K S S E AS O N P. 18 Yo-Yo Ma, p. 25 Friday, May 1, at 10pm DOUGLAS CLEVELAND F LUK E / GA B E L E I N O R GA N R E CI TA L S E R I E S P. 38 Friday, May 15, at 8pm Saturday, May 16, at 8pm [UNTITLED 3] HANDEL, VIVALDI & MORE [UNTITLED] SERIES B A R O Q UE & WI N E S E R I ES P. 22 P. 44 Sunday, May 3, at 2pm Sunday, May 17, at 2pm YO-YO MA WITH THE SEATTLE SYMPHONY ROMANTIC UNTUXED S UN DAY UN T UX E D S E R I E S S P E C I A L P E R F O R MA N CE S P. 46 Imogen Cooper, p. 28 P. 26 Thursday, May 7, at 7:30pm Saturday, May 9, at 8pm MOZART PIANO CONCERTOS NOS. 17 & 24 M OZ A RT GR E AT C O N C E RTO S S E R I E S P. 29 Friday, May 8, at 7pm Amanda Forsythe, p. 42 TEN GRANDS S P E C I A L P E R F O R MA N CE S P. 32 Tuesday, May 26, at 7:30pm VIOLINIST PINCHAS ZUKERMAN WITH PIANIST ANGELA CHENG D I ST I N GUI S HE D A RT I STS SE R IE S P. 49 Thursday, May 28, at 7:30pm Saturday, May 30, at 8pm Sunday, May 31, at 2pm MOZART VIOLIN CONCERTO NO. 5 D E LTA A I R L I N E S MAST E R WO R K S S E AS O N Sunday, May 10, at 2pm TCHAIKOVSKY STRING QUARTET NO. 1 CHAMBER SERIES Photo credits (top to bottom): Michael O'Neill, Sussie Ahlburg, Claire Folger, Cheryl Mazak Pinchas Zukerman, p. 48 encore artsseattle.com 13 PROGRAM NOTES Beethoven’s Rhythm Thursday, April 30, 2015, at 7:30pm Saturday, May 2, 2015, at 8pm YEFIM BRONFMAN PLAYS BEETHOVEN D E LTA AIR L IN E S MASTERWORKS SEASO N Ludovic Morlot, conductor Yefim Bronfman, piano Seattle Symphony LUDWIG VAN BEETHOVEN Piano Concerto No. 4 in G major, Op. 58 Allegro moderato Andante con moto Rondo: Vivace YEFIM BRONFMAN, PIANO 34’ INTERMIS SION LUDWIG VAN BEETHOVEN Symphony No. 7 in A major, Op. 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio 36’ Pre-concert Talk one hour prior to performance. Speaker: Aaron Grad, Composer and Writer Ask the Artist on Thursday, April 30, in the Samuel & Althea Stroum Grand Lobby following the concert. During the early years of the 19th century, Beethoven effected a startling expansion of the musical style and language of his era. This achievement is widely credited to his procedures for extending melodic ideas (often referred to as “thematic development”), and to his broadening of compositional forms to accommodate this. Music theorists have also extensively examined his harmony and other aspects of his work. Rather less attention has been paid to his treatment of rhythm. For example, The Beethoven Compendium, a useful collection of articles about the composer and his work, contains, in its discussion of Beethoven’s compositional style, sections on harmony, counterpoint, orchestration and musical form, but nothing on rhythm. Yet Beethoven’s use of rhythm often is crucial to the character of his music. Notably, his fixation on particular rhythmic figures sometimes lends his compositions considerable momentum and generates far-ranging developments. The initial movement of the Fifth Symphony, most of which derives from the familiar fournote motto (ta-ta-ta-taaahhh) of its opening measures, is the most famous example. But rhythm also animates the composer’s Fourth Piano Concerto to a considerable extent, both its initial and concluding movements beginning with rhythmic figures that pervade the music that follows. Much the same can be said of the Seventh Symphony. So essential is rhythm to its musical fabric that Richard Wagner famously extolled this composition as “the apotheosis of the dance.” LU D W I G VA N B E E T H OV E N Piano Concerto No. 4 in G major, Op. 58 Please note that the timings provided for this concert are approximate. Allegro moderato Andante con moto Rondo: Vivace 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. 14 SEATTLESYMPHONY.ORG BORN: DIED: Bonn, December 16, 1770 Vienna, March 26, 1827 by Paul Schiavo WORK COMPOSED: 1806 WORLD PREMIERE: December 22, 1808. Beethoven played the solo part and conducted from the piano Between 1798 and 1808, Beethoven completed five concertos for piano and orchestra. The last of these, known as the “Emperor” Concerto, is the most famous. But if the Fifth is an emperor, the Fourth Piano Concerto is the queen among Beethoven’s concertos. Its opening, while not so demonstrative as that of the Fifth, is no less regal in character, and its music as a whole combines grace and depth of feeling befitting a sovereign. Beethoven completed this concerto in 1806 and played the solo part in the work’s first public performance during a concert of his music given in Vienna on December 22, 1808. That event — whose program included also the premieres of the Fifth and Sixth Symphonies; the concert aria Ah, perfido!; portions of the Mass in C; and the initial performance of the Choral Fantasia, Op. 80, for solo piano, orchestra and chorus — proved a famous disaster. The under-rehearsed orchestra was no match for the long and almost entirely new program, nor for Beethoven’s idiosyncratic and temperamental conducting. Frigid temperatures in the unheated theater made matters even more difficult. Contemporary notices of the concert describe a general debacle but make no specific mention of the G major Piano Concerto. It cannot have scored any great success, for it was not performed again during Beethoven’s lifetime. The work deserved a better fate. Although not as sweeping or heroic in tone as either the composer’s Third or Fifth Piano Concertos, the Fourth is every bit as beautiful and in several respects more original. Its unorthodox opening measures and the casting of the slow movement as a dramatic dialogue were virtually unprecedented when the work appeared, and the extensions of its thematic material are accomplished with an ingenuity characteristic of Beethoven’s best music. Instead of an orchestral opening, which until this work had been the customary starting point for any concerto, Beethoven begins with a brief meditation by the piano alone. Its statement, growing out of a series of repeated notes, is answered at once by the orchestra. Only upon the conclusion of that phrase does Beethoven launch into the full and proper exposition of his thematic material. The first subject is built on the repeated-note figure of the soloist’s opening soliloquy, but this motif yields more than just the movement’s principal theme. It provides its own counterpoint, echoing in close imitation among different instruments; it is woven against the second theme, a broad, minor-key melody given out by the violins; and it forms a bridge to the re-entry of the piano. After rejoining the proceedings, the soloist works closely with the orchestra in exploring and expanding the movement’s themes. second movement. The finale begins with a rhythmic tattoo that recurs through much of the movement. Scored for flute, 2 oboes, 2 clarinets and 2 bassoons; 2 horns and 2 trumpets; timpani and strings. LU D W I G VA N B E E T H OV E N Symphony No. 7 in A major, Op. 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio WORK COMPOSED: 1811–12 WORLD PREMIERE: December 8, 1813, in Vienna, under the composer’s direction The close weaving of piano and orchestral music that marks the first movement gives way in the second to a kind of dramatic encounter unique in Beethoven’s output. In each of his other concertos, the middle movement offers hymn-like music of deep serenity. Here the piano responds lyrically to the stern statements of the orchestra, their exchanges growing increasingly urgent and eloquent. The Romantic tradition linking this music with the mythic scene of Orpheus taming the Furies of the underworld with his song seems entirely apt. A feeling of classical tragedy prevails, and the movement ends on a note of sorrowful resignation. The concluding Rondo finds Beethoven’s spirits restored. This is the most elegant of the composer’s concerto finales, for although quite exuberant, it does not convey the earthy humor that generally marks his closing movements. Rather, its delights are of a more refined sort and often surprise us, as when the violas unexpectedly emerge from the orchestral texture to sing a lyrical melody based on the recurring principal theme. (Later, the clarinets reprise the same tune.) As in the first movement, a cadenza by the solo instrument precedes the conclusion. WHAT TO LISTEN FOR: The concerto’s unusual opening, a phrase for the piano alone, establishes a motif that pervades the first movement. A dramatic dialogue between orchestra and piano forms the Beethoven embarked on his career as a symphonist at the start of the 19th century (his Symphony No. 1 appeared in 1800) and rapidly completed six diverse and original works in the genre over a span of scarcely eight years. Beginning in 1808, however, the composer brought no symphony before the public for some four years, a period during which he concentrated his creative efforts chiefly on keyboard and chamber music. Despite this hiatus, his Seventh Symphony, completed in 1812, picked up much where the “Pastoral” had left off. There are, of course, significant differences between the two works. To begin, the Seventh Symphony is not a programmatic piece of nature music. Having said his last word on that subject in the “Pastoral” Symphony, Beethoven had no reason to repeat himself, and he vehemently rejected attempts by his contemporaries to assign a program, a hidden story line, to the new work. But the Seventh Symphony does offer a feeling of relaxed spaciousness and the kind of warm, almost luxuriant orchestral sound otherwise encountered in his output only with the “Pastoral.” These symphonies are, if one may use the term in connection with so thoughtful an artist, the most sensual of Beethoven’s compositions. The two works have one other important point in common: neither expresses the drama of struggle and triumph so vividly encore artsseattle.com 15 P RO G RA M N OTES YEFIM BRONFMAN continued Piano Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding technique and Photo: Dario Acosta exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audiences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings. FORTE: implicit in Beethoven’s Third and Fifth symphonies. As a piece of “pure” music — that is, one without an explicit literary narrative — the Seventh Symphony expresses as much as anything the wonders of music itself. Forgotten for the moment are the composer’s well-known battles with fate, deafness and loneliness. One senses here — more, perhaps, than in any of Beethoven’s other orchestral works — the joy the composer could find in his own creative powers, in simply combining melody, rhythm, harmony and instrumental colors for the purpose of lucid and beautiful musical invention. The broad chords that punctuate the oboe’s melody in the symphony’s opening moments define one of the work’s important attributes: sheer sonority, a reveling in the physical reality of orchestral sound. Another element that emerges near the end of the broad introductory passage is rhythm, as repeated-note figures decelerate incrementally, then metamorphose into a tripping rhythmic motif. In terms of melody and harmony, this passage is entirely static; its only activity occurs as pure rhythm. Having established the importance of this musical parameter, Beethoven carries it into the Vivace that forms the main body of the first movement. Here the tripping rhythm introduced by the woodwinds at the end of the introduction underlies all of the principal thematic ideas. This same figure runs persistently through the instrumental dialogues that form the central development episode, and it recurs in especially conspicuous form — that is, apart from any melodic event, as in the end of the introduction — at key structural points (for example, the preparation for the return of the main theme). Beethoven’s resort to this rhythm is only slightly less obsessive than his use of the famous four-note figure in the first movement of his Fifth Symphony, and the motif serves the same end of giving cohesion to a large composition that ranges over wide harmonic terrain. rest of the symphony. From its humble beginning as a narrow melody anchored unpromisingly to a single tone, the theme upon which the movement is built soars through successive variations to unexpected heights. Reaching a sonorous climax, the movement gradually subsides toward silence, reaching at last the same luminous chord on which it began. The scherzo that follows is full of delightful commotion, and its contrasting central section, or “Trio,” whose melody is based on an old Austrian pilgrims’ hymn, attains a degree of grandeur never before encountered at this point in a symphony. In closing the movement, Beethoven toys with our expectations: a restatement of the opening bars of the Trio promises another repetition of this section until five swift chords bring matters to a decisive conclusion. The finale was described by the English conductor and commentator Donald Francis Tovey as “a triumph of Bacchic fury.” His compatriot Sir George Grove found in it “a vein of rough, hard, personal boisterousness.” However one might characterize this movement, there is no denying its very considerable energy or the fact that this quality springs in large part from rhythm. The opening measures present a sharply etched rhythmic motif, and as in the first and second movements, this provides the seed from which practically all subsequent developments spring. The slow introduction that prefaces the first movement proper concludes with a rhythmic motif that runs obsessively throughout the rest of the movement. The second movement describes a long arch of sound that rises in pitch and volume, then retreats to where it began. The finale brings a wild, boisterous dance. WHAT TO LISTEN FOR: Scored for pairs of flutes, oboes, clarinets and bassoons; pairs of horns and trumpets; timpani and strings. © 2015 Paul Schiavo The ensuing Allegretto is one of Beethoven’s most popular creations, so much so that orchestras in the 19th century indulged in the dubious practice of performing it apart from the 16 SEATTLESYMPHONY.ORG Summer festivals at Aspen, La Jolla, Tanglewood, Vail and a residency at the Santa Fe Chamber Music Festival provide the starting point for his 2014–2015 season which will include performances in the U.S. with the symphonies of Atlanta, Chicago (with whom he also appears in Carnegie Hall), Dallas, Pittsburgh, San Francisco, Seattle, St. Louis, New World Symphony, Metropolitan Orchestra and the New York and Los Angeles Philharmonics. He will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and Esa-Pekka Salonen and to Beijing, Hong Kong, Melbourne, Singapore, Sydney and Taipei. SEASON HIGHLIGHTS: Widely praised for his solo, chamber and orchestral recordings, he was nominated for a Grammy Award in 2009 for his Deutsche Grammophon recording of Esa-Pekka Salonen’s piano concerto. His most recent CD release is the 2014 Grammy-nominated Magnus Lindberg’s Piano Concerto No. 2 commissioned for him and performed by the New York Philharmonic and conducted by Alan Gilbert on the Da Capo label. DISCOGRAPHY & RECOGNITION: Born in Tashkent in the Soviet Union in 1958, Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin. BACKGROUND: FRIENDS OF THE SEATTLE SYMPHONY MONTHLY GIVING LESS TIME. LESS PAPER. LESS HASSLE. MORE TIME TO ENJOY THE MUSIC. Your life is busy. Your time is valuable. You want to support the music and keep the Seattle Symphony strong, but sometimes life gets in the way. Here’s an easy solution. Set up an ongoing monthly donation on your debit or credit card. It’s a convenient way to support the orchestra you love and enjoy exclusive donor benefits all season long. Learn more and sign up for monthly giving at seattlesymphony.org/give/monthly or call us at 206.215.4832. PROGRAM NOTES by Aaron Grad Friday, May 1, 2015, at 10pm S. Mark Taper Foundation Auditorium/ Samuel & Althea Stroum Grand Lobby George Perle (1915–2009), who would have turned 100 on May 6, shaped the course of 20th century music as a composer, scholar and teacher. Even after he retired from his long tenure at Queens College (City University of New York), Perle remained a vital mentor to younger musicians; in fact, he befriended Ludovic Morlot at the Tanglewood Music Center in 2001, when the future Music Director of the Seattle Symphony was the recipient of the Seiji Ozawa Conducting Fellowship. [UNTITLED 3] [U N TIT LED ] SE RIES Ludovic Morlot, conductor Michael Brown, piano Jessika Kenney, soprano Seattle Symphony GEORGE PERLE Molto Adagio GEORGE PERLE Critical Moments (No. 1) 12’ 7’ I • II • III • IV • V • VI MICHAEL BROWN, PIANO GEORGE PERLE Serenade No. 3 20’ Allegro Burlesco Elegy (In Memory of George Balanchine) Perpetuum Mobile Finale MICHAEL BROWN, PIANO TRIMPIN Above, Below, and In Between, A site-specific composition (World Premiere) Part 1 • Part 2 • Part 3 • Part 4 • Part 5 20’ JESSIKA KENNEY, SOPRANO Trimpin’s Above, Below, and In Between is commissioned by the Seattle Symphony. Trimpin is the Music Alive Composer-in-Residence with the Seattle Symphony. This residency is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is designed to provide orchestras with resources and tools to support their presentation of new music to the public and build support for new music within their institutions. Funding for Music Alive is provided by The Andrew W. Mellon Foundation, The Aaron Copland Fund for Music and The ASCAP Foundation Bart Howard Fund. Trimpin is supported by Dorrit and Grant Saviers through the Seattle Symphony’s Guest Artists Circle. Additional support for Trimpin is provided by Susan Shanbrom Krabbe and Moe Krabbe. 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. 18 SEATTLESYMPHONY.ORG Perle was among the first Americans to embrace the twelve-tone techniques developed in Europe by Arnold Schoenberg and his pupils. Whereas Schoenberg used the method to explore atonality, Perle applied the principles in new ways that preserved the music’s tonal center, a system he dubbed “twelve-note tonality.” It is not surprising that Perle focused his scholarly work on the music of Alban Berg, the Schoenberg disciple who maintained rich emotional expression and lush tonal resonances in his twelve-tone music. Molto Adagio (the Italian term for a “very slow” tempo) was Perle’s first work for string quartet, composed in 1938. It is indebted to another of Perle’s role models, Béla Bartók, who by that point had composed five of his six groundbreaking String Quartets. Bartók developed his own methods for creating symmetry and order, and Perle’s single-movement quartet follows in a similar vein by building patterns of related intervals and gestures, all organized in a symmetrical, arch-like form. There is a particular emphasis on the interval of a fourth (another Bartók hallmark), with key motives constructed around consonant perfect fourths and also more pungent augmented fourths. Nearly sixty years separate the composition of Molto Adagio and Perle’s Critical Moments, a set of six short, aphoristic movements created for the New York New Music Ensemble in 1996. The instrumentation of flute, clarinet, violin, cello, piano and percussion is close to that of Schoenberg’s Pierrot lunaire, with the percussionist replacing Schoenberg’s vocalist. Perle’s score draws an extraordinary variety of sound out of the small ensemble, using all manner of bowing and plucking for the strings, instrument doubling in the woodwinds Another Round of Applause! This group of philanthropic leaders sets the tempo. They’re building a better community—one where everyone has a home, students graduate and families are financially stable. They give $25,000 or more and we celebrate their generosity at the annual Mary Gates Celebration. Barney Ebsworth and Bill Gates Rao and Satya Remala Bill Neukom, Lori McCaskill and Carl Behnke “People in this community care about one another’s success—we see that in how strong the safety net is that helps people reach their potential in life. That’s why we partner with United Way.” Kari Glover, Brad Smith and Kathy Surace-Smith — John and Ginny Meisenbach, Million Dollar Roundtable donors Heidi Stolte Doris Gaudette with daughter Megan Fairchild Consuelo and Gary Corbett and Bill Gates Thad Alston, Jan and Jim Sinegal Evelyne Rozner and Paula Selis Firoz Lalji and Jeff Brotman Melinda Gates and Mary Fran Hill Sally and John Nordstrom and Jeff Wright P RO G RA M N OTES MICHAEL BROWN continued Piano The New York Times has declared Michael Brown “one of the leading figures in the current renaissance of performer-composers” and “a young piano Photo: Jeanette Beckman visionary.” An equally committed pianist and composer, Brown’s unique artistry stems from this duality and is reflected in his creative approach to programming, where he often interweaves the classics with contemporary works and his own compositions. FORTE: (the flute switching to piccolo, and the clarinet switching to both the higher E-flat clarinet and the lower bass clarinet), a piano part that reaches the instrument’s extreme treble and bass registers, and a massive arsenal for the percussionist, consisting of temple blocks, suspended cymbal, three tomtoms, bongo, snare drum, timpani, gong, crotales, marimba, xylophone and vibraphone. The work’s gestures are crisp, precise and uncrowded, with echoes of Webern’s pointillistic miniatures and Stravinsky’s crystalline Neoclassicism. Perle composed the Serenade No. 3 in 1983 for a concert series at New York’s Merkin Hall directed by Gerard Schwarz, two years before he became the Seattle Symphony’s Music Director. The commission for Perle’s Serenade came from Frank E. Taplin, a powerful arts patron and an accomplished amateur pianist. The work features piano as the solo instrument in a five-movement concerto, accompanied by a compact, ten-piece orchestra of woodwinds (including saxophone), brass, strings and percussion. The Third Serenade has a lightness to it, in keeping with the historical function of the serenade as cheerful music for an evening gathering. There is ample humor throughout, from the opening Allegro movement and the playful Burlesco (a form that implies parody and exaggeration), and continuing in the whirlwind Perpetuum mobile and the energetic Finale. At the midpoint of the five-part form, the Elegy (In Memory of George Balanchine) offers a pensive counterpoint, using music that Perle wrote in the pre-dawn hours before he attended the memorial service of the legendary choreographer. Trimpin (b. 1951) is a singular figure in music, with a singular name to match. A Seattle resident since 1980, he was born in Germany, where his father was a cabinetmaker and an amateur woodwind and brass player. Building from his childhood fascination with sound and design, Trimpin has made his name constructing intricate installations in which computer-controlled signals trigger acoustic sounds — sometimes on traditional instruments (such as pianos and guitars), other times on new instruments that he invents. For this new work commissioned by the Seattle 20 SEATTLESYMPHONY.ORG Symphony, Trimpin developed a system to incorporate live musicians along with his custom “kinetic instruments.” The setup hinges on the use of the Microsoft Kinect, which scans the gestures of the conductor in three dimensions, translating the data from the human “controller” into the MIDI language that communicates with the mechanical instruments. Trimpin’s new work, Above, Below, and In Between, takes its title and inspiration from the physical orientation of the performance space. The structure of the Grand Lobby of Benaroya Hall, with its nine massive columns, led Trimpin to write parts for nine orchestral musicians — three trombones plus pairs of violas, cellos and basses — positioned on the balcony, above the other sound sources. Down below, near the conductor, is a prepared piano, which Trimpin equipped with “numerous small robotic devices to pluck, bow, scratch or play the strings.” In between are the kinetic instruments suspended in midair, including a wind instrument cannibalized from a reed organ and a mechanized set of chimes. A soprano singer bridges the spatial separation by traveling during the performance; she also stands apart in that her music is partly improvised, whereas the instructions for the orchestral performers and the kinetic instruments are pre-determined. The music is structured in six movements, lasting approximately 20 minutes total, with the entrance of the nine instrumentalists withheld until the final two sections of the piece. Trimpin dedicated this work to three musical pioneers who mentored him, and who each invented the means to create the music they imagined: Conlon Nancarrow (1912–1997), in the age before digital sequencing, repurposed the player piano, to achieve rhythmic patterns and counterpoint beyond the limits of human performance; Henry Brant (1913–2008) liberated concert music from its traditional stage configuration, James Tenney (1934–2006) was an early adopter of computer music, using those tools to explore the intricacies of the harmonic spectrum and other new sounds. © 2015 Aaron Grad He joins the Chamber Music Society of Lincoln Center’s CMS Two program in 2015. His upcoming and recent schedule includes a Carnegie Hall Stern Auditorium debut; recitals at Alice Tully Hall, the Louvre, Weill Hall and Wigmore Hall; and performances at the Caramoor, Marlboro, Moab, Mostly Mozart, Music@ Menlo and Ravinia festivals. Recent commissions and performances of his own compositions include a piano concerto for the Maryland Symphony Orchestra and works for the Look & Listen Festival, Bargemusic, Concert Artists Guild and the Stecher and Horowitz Foundation. SEASON HIGHLIGHTS: He has recorded an all-George Perle CD for Bridge Records, a solo album, a disc of four-hand piano music with Jerome Lowenthal and one in collaboration with cellist Nicholas Canellakis. He is the First Prize Winner of the 2010 Concert Artists Guild Competition and was recently appointed adjunct assistant professor of piano at Brooklyn College. He is a Steinway Artist and is a winner of the 2015 Avery Fisher Career Grant. DISCOGRAPHY & RECOGNITION: A native New Yorker, Brown earned dual bachelor’s and master’s degrees in piano and composition from The Juilliard School, where he studied with pianists Jerome Lowenthal and Robert McDonald and composers Samuel Adler and Robert Beaser. BACKGROUND: J E S S I K A K E N N E Y Soprano A composer-singer who does not fear untraveled paths, Jessika Kenney is appreciated by multiple audiences for the vastly different musical forms she has integrated into a distinct approach to the voice. Her reverence for, and interpretations of, Javanese and Persian vocal traditions have formed the basis for her main improvisational work. Simultaneously, an ongoing series of collaborations with her husband, composer-violist Eyvind Kang, have her embracing the avant-garde audience. Add to that her performances of Scelsi, Cage and Feldman and her involvement with experimental metal groups such as Sunn O))) and ASVA, and one realizes that challenging horizons mark Kenney’s regular pursuits. In 2014 Kenney received the Artist Trust James W. Ray Distinguished Artist Award, and in 2015 released a new LP, ATRIA on the SIGE label. The Samuel & Althea Stroum Grand Lobby will be open for the public to experience the Trimpin installation on the following days: The Largest Collection of Diamonds in the Northwest at the Best Prices 425-777-4451 www.GordonJamesDiamonds.com 10133 Main Street in Bellevue Find the silver lining in your golden years. Monday, May 4 — 12 noon–2pm Monday, May 11 — 12 noon–2pm Sunday, May 17 — 5pm–7pm Monday, May 18 — 12 noon–2pm Wednesday, June 3 — 12 noon–2pm Wednesday, June 10 — 12 noon–2pm Wednesday, June 17 — 12 noon–2pm Wednesday, June 24 — 12 noon–2pm You won’t want to miss any of next season’s [untitled] concerts that will include world premieres by talented University of Washington composers, tributes to Robert Rauschenberg and Mark Rothko and Ludovic Morlot conducting Pulitzer Prize- and Grammy Award-winning composer John Luther Adams’ In the White Silence. To learn more about all of the Seattle Symphony’s 2015–2016 season, visit seattlesymphony.org or pick up a season brochure! Live your life to the fullest at Horizon House, the dynamic retirement community in the heart of downtown Seattle. www.HorizonHouse.org 900 University Street | Seattle, WA 98101 (206) 382-3100 encore artsseattle.com 21 CONCERT S PONSOR SU NDAY 5 .0 3 . 2 01 5 Sunday, May 3, 2015, at 2pm The Wells Fargo Foundation is delighted and honored to sponsor Yo-Yo Ma’s performance with the Seattle Symphony. YO-YO MA WITH THE SEATTLE SYMPHONY S P E CIAL PE RFO RMA NCES Ludovic Morlot, conductor Yo-Yo Ma, cello Seattle Symphony MAURICE RAVEL Ma Mère l’Oye (“Mother Goose”) Suite Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Enchanted Garden IGOR STRAVINSKY Suite from Pulcinella Sinfonia Serenata Scherzino Tarantella Toccata Gavotta Duetto Minuetto—Finale 16’ 20’ Cello Concerto in A minor, Op. 129 Nicht zu schnell Langsam Sehr lebhaft YO-YO MA, CELLO Marco Abbruzzese Senior Vice President, Regional Managing Director 26’ Yo-Yo Ma’s performance is generously underwritten by Jeff Lehman and Katrina Russell. This performance is sponsored by Wells Fargo Private Bank. 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 Our commitment to the Symphony, and to so many other excellent organizations around the region, is reflected in our corporate and team member giving, community development investments and the tens of thousands of volunteer hours contributed by Wells Fargo team members. This corporate commitment represents a legacy of leadership for which we are quite proud, both as employees and as members of this community. On behalf of Wells Fargo, our team members and their families, thank you for supporting the Seattle Symphony. We hope that you thoroughly enjoy this afternoon’s performance. INTERMIS SION ROBERT SCHUMANN Like the Seattle Symphony, Wells Fargo has long been a part of Washington State’s history, serving the financial needs of families and businesses since 1852. With nearly 5,000 team members, we are one of the region’s largest employers and are grateful for the contribution that the Seattle Symphony makes to the Puget Sound’s vibrancy, economy and quality of life. Performance is the result of preparation The success of the Seattle Symphony Orchestra is the result of careful practice and planning. Your financial plan should perform for you too. When you work with the specialists at Wells Fargo Private Bank, your goals, needs, and vision for the future are at the center of that plan. To start a new kind of conversation, contact your local Wells Fargo Private Bank office: Marco Abbruzzese Regional Managing Director (206) 340-4647 [email protected] wellsfargoprivatebank.com Wealth Planning Investments Trust Services Lending Solutions Cash Management Insurance n n n n n Wells Fargo Private Bank provides products and services through Wells Fargo Bank, N.A. and its various affiliates and subsidiaries. Insurance products are available through insurance subsidiaries of Wells Fargo & Company and underwritten by non-affiliated Insurance Companies. Not available in all states. © 2015 Wells Fargo Bank N.A. Member FDIC. NMLSR ID 399801 P RO G RA M N OTES M AU R I C E R AV E L Ma Mère l’Oye (“Mother Goose”) Suite Pavane of the Sleeping Beauty Tom Thumb Laideronette, Empress of the Pagodas Conversations of Beauty and the Beast The Enchanted Garden BORN: DIED: March 7, 1875, in Ciboure, France December l8, 1937, in Paris WORK COMPOSED: 1908 (piano version); 1911 (orchestral suite) WORLD PREMIERE: (orchestral version) January 28, 1912, Théâtre des Arts in Paris, Gabriel Grovlez, conducting Though often compared with the voluptuous, sensuous and intentionally ambiguous music of Debussy, Ravel’s compositions are precise, clear in design and economical in its skillful orchestration. Stravinsky complimented Ravel in fastidious craftsmanship as “a Swiss watchmaker.” Like many of the French composer’s works, “Mother Goose” was hatched as a piano piece, this one written expressly for a young sister and brother team, Mimi and Jean Godebski, whose parents were friends of Ravel. A gifted pianist with a subtle ear for keyboard timbres, Ravel was a truly consummate orchestrator. These “cinq pieces enfantines,” as he described the music, capture to beguiling perfection a feeling for childhood innocence and freshness. Orchestral colors shimmer in airy lightness; rhythm and melody are intentionally simple (though anything but simplistic). The brief introductory Pavane of the Sleeping Beauty is a mere 20 measures long but effectively limns a musical portrait of the somnolent princess. Tom Thumb, derived from a tale in Perrault’s anthology of 1697, mirrors the plight of a young boy whose plan to follow a trail of bread crumbs he has strewn on his course through the woods has been undone by birds who have satisfied their hunger at the poor lad’s expense. Ravel cagily has the strings meander through scales in search of a home tonality, just as the boy is searching for a route to safety. 24 SEATTLESYMPHONY.ORG by Steven Lowe As one might expect, Laideronnette, Empress of the Pagodas, utilizes melodic shapes redolent of the Orient. Ever since Debussy had been smitten with Asian and South Pacific Island music at the 1893 Exhibition in Paris, composers in the French capital and elsewhere could not get enough of pentatonic and other non-Western scales. In the familiar story of Beauty and the Beast, Ravel gives Beauty’s delicate “words” to the high woodwinds, while the Beast speaks through the nether regions of the contrabassoon’s deep tones. When they finally join in marriage, the two melodies are braided together and the Beast’s theme is magically transformed into an evanescent glow high in the solo violin’s range. The closing number, The Enchanted Garden, is not taken from a particular story but is Ravel’s enchanting summary of the sense of mystery, magic and fantasy that permeates Ma Mère l’Oye. The serene, almost beatific, calm of this section is a marvel of delicate sonority. I G O R S T R AV I N S K Y Suite from Pulcinella Sinfonia Serenata Scherzino Tarantella Toccata Gavotta Duetto Minuetto—Finale BORN: DIED: June 17, 1882, in Oranienbaum, Russia April 6, 1971, in New York City WORK COMPOSED: 1919–20 (original ballet); 1922 (suite); revised 1949 WORLD PREMIERE: May 15, 1920, in Paris, Ernest Ansermet conducting World War I caused a collective shuddering of the soul throughout the world. The attendant horrors — trench warfare, poison gas, mechanized weapons of destruction — set in motion a wave of revulsion and a profound questioning of traditional religious and secular ethical values. A yearning for spiritual comfort and for the perceived (if mythical) alleged sanity of the past sent many artists scurrying backward in time. The famed impresario Diaghilev approached Stravinsky to write a ballet based on the centuries-old commedia dell’arte. To win over the reluctant composer, Diaghilev showed his one-time collaborator several manuscripts he had brought to Paris from a recent trip to Italy. Stravinsky read through the various scores and found himself drawn to works attributed (several in error, one must add) to the short-lived composer Giovanni Pergolesi (1710–36), a talented transitional figure whose music breathes as much the air of the Baroque as the Rococo. ‘I looked,” said Stravinsky, “and I fell in love.” The fruit of this across-the-centuries encounter was Pulcinella, an essentially neo-Classic work — neo-Baroque is an even better term — that reined in Stravinsky’s self-styled primitivism as expressed most shockingly in his 1913 cri de guerre, The Rite of Spring. Stravinsky used Pergolesi’s melodies and bass lines more or less as handed down in the manuscripts shared by Diaghilev, overlaying the 18th-century material with irregular rhythmic phrases and piquant harmonies. He remained quite fond of this music, drawing material from the original ballet for the orchestral suite in 1922 (revised in 1949), adding further versions for violin and piano (1925, revised 1933) and for cello and piano (1932). The two duet versions were thorough rewrites; hence their new title, Suite italienne. Of special significance is that for the three decades subsequent to Stravinsky’s perusal of those manuscripts, much of his music — his entire neo-Classical output — derived from his serendipitous encounter with these infectious scores from the early 18th century. Fittingly, the work opens with a rousing Sinfonia whose jesting manner sets the tone for the ballet suite. The ensuing movements, by turns humorous, lyrical and mock romantic, focus on the various ruses employed by the Neopolitan maidens seeking to attract the sly Pulcinella through their seductive dances. The premiere of the original ballet was a brilliant collaboration of Stravinsky’s music, Diaghilev’s Ballets Russe dancers, Massine’s choreography and Picasso’s sets. Oh, to have been there! YO -YO M A Cello Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for Photo: Todd Rosenberg artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music or exploring cultures and musical forms outside the Western classical tradition, Ma strives to find connections that stimulate the imagination. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. FORTE: ROBERT SCHUMANN Cello Concerto in A minor, Op. 129 Nicht zu schnell Langsam Sehr lebhaft BORN: DIED: June 8, 1810, in Zwickau, Germany July 29, 1856, in Endenich, near Bonn WORK COMPOSED: 1850 WORLD PREMIERE: June 9, 1860, in Leipzig, Ludwig Earl as soloist, Schumann conducting As summer drew to a close in 1850, the Schumann family left Dresden for Düsseldorf where Robert had accepted an offer to serve as “municipal music director.” The new post seemed to help restore the composer’s confidence and focus, and within a short time he produced a number of fine works including his Symphony No. 3, “Rhenish,” and his Cello Concerto. Posterity is grateful for those works, but sadly Schumann’s mental health soon worsened, a situation exacerbated by increasingly unpleasant interactions with the orchestra’s musicians. By 1853 he was distraught to the point of resigning. In February of the following year, in fact, he attempted to drown himself in the Rhine. A week later he was committed to the asylum in Endenich, dying there two-plus years later, a skeletal specter of his former self. The few months of relative happiness he had experienced upon his arrival in Düsseldorf in 1850 allowed him to compose his Cello Concerto rapidly and without undue stress. He laid the work out in three movements, albeit with written instructions to be played without pause. It should be noted that Schumann had ruined his right hand when a young man — and therefore his career as a concert pianist — but taught himself to play the cello, not well enough to establish a career but certainly to gain great insight on how to write for the instrument. Marked Nicht zu schnell, the opening movement opens with three woodwind chords immediately followed by the soloist’s presentation of the first theme. Following a brief orchestral episode, a new and more animated theme appears. The music is poetically expressive throughout, as it is in the ensuing Langsam movement. Despite Schumann’s aversion to empty virtuosity — which he avoided as well in his better known Piano Concerto — he takes care to indulge soloistic aspirations in the high-jinx finale, Sehr lebhaft. Here the cellist can balance the sweet introspective style required in the previous movements, and throw him- or herself into a playful demonstration of executant capability. © 2015 Steven Lowe Ma's discography of over 90 albums (including 18 Grammy Award winners) reflects his wide-ranging interests. Across this full range of releases, Ma remains one of the bestselling recording artists in the classical field. All of his recent albums have quickly entered the Billboard chart of classical best sellers, remaining in the Top 15 for extended periods, often with as many as four titles simultaneously on the list. In fall 2009 Sony Classical released a box set of over 90 albums to commemorate Ma’s 30 years as a Sony recording artist. RECORDINGS: Seattle Symphony on KING FM Hear Seattle Symphony performances broadcast on Classical KING FM 98.1 on the first Friday of each month at 9pm. June 5, 2015 Ludovic Morlot, conductor Jennifer Koh, violin / Seattle Symphony BARBER: Second Essay for Orchestra, Op. 17 SALONEN: Concerto for Violin TCHAIKOVSKY: Symphony No. 4 in F minor, Op. 36 July 3, 2015 Thomas Dausgaard, conductor Seattle Symphony SIBELIUS: Finlandia, Op. 26, No. 7 SIBELIUS: Symphony No. 1 in E minor, Op. 39 SIBELIUS: Symphony No. 2 in D major, Op. 43 August 7, 2015 Andrey Boreyko, conductor Alexander Velinzon, violin / Seattle Symphony Ma has received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001), the Dan David Prize (2006), the Leonie Sonning Music Prize (2006), the World Economic Forum’s Crystal Award (2008) and the Presidential Medal of Freedom (2010). Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. AWARDS: SCHNITTKE: Violin Concerto No. 4 SHOSTAKOVICH: Symphony No. 7 in C major, Op. 60, “Leningrad” encore artsseattle.com 25 PROGRAM NOTES WO L F G A N G AMADEUS MOZART Thursday, May 7, 2015, at 7:30pm Saturday, May 9, 2015, at 8pm Piano Concerto No. 17 in G major, K. 453 MOZART PIANO CONCERTOS NOS. 17 & 24 Allegro Andante Allegretto BORN: DIED: M OZ ART G R E AT CONCERTOS SERIES January 27, 1756, in Salzburg December 5, 1791, in Vienna WORK COMPOSED: 1784 WORLD PREMIERE: June 13, 1784, Barbara Ployer, piano, Mozart conducting Imogen Cooper, conductor & piano Seattle Symphony WOLFGANG AMADEUS MOZART Piano Concerto No. 17 in G major, K. 453 32’ Allegro Andante Allegretto IMOGEN COOPER, PIANO INTERMIS SIO N WOLFGANG AMADEUS MOZART Piano Concerto No. 24 in C minor, K. 491 Allegro Larghetto Allegretto IMOGEN COOPER, PIANO 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 31’ Though Mozart was an adept violinist and violist, his primary instrument was the piano for which rapidly evolving instrument he composed more than twodozen concertos. From early childhood to the closing years of his abridged life, he invested the piano concerto with increasing symphonic depth and development merged with expressive beauty derived from his vast experience as a master of operatic composition. The year 1784 was an especially active one for Mozart, riding the crest of popularity in Vienna, where he had gladly moved from his hometown of Salzburg in 1781. From February to April 1784 he gave 22 concerts, wrote four piano concertos, a violin sonata and his sublime Quintet for Piano and Winds, K. 452. In his venerable and still valuable study of the history of the concerto, Abraham Veinus wrote of Mozart, “He was a blender of moods, a man who worked with the entire gamut of human emotions. Even within a single movement, his range is as extensive as it is subtle. Whatever defines the main character of the movement there are always qualifying touches. It is in the continual chiaroscuro of lighter and darker emotions that one finds the richest satisfaction.” Though these words are certainly an accurate general description of Mozart’s concertos, they seem especially apt for this piece. The G-major Concerto abounds in engaging melodies, deftly pointed if modest orchestral colors and a symphonic breadth that foretells his final ten piano concertos and paved the way for the subsequent keyboard and by Steven Lowe orchestra works of Beethoven and even Brahms. A rich web of counterpoint informs the outer movements in particular, yet there is nothing remotely “learned” about this expressive and emotionally complete work. Two themes inaugurate the Allegro opening movement, the first a wondrous amalgam of martial sturdiness and disarming lyricism, the second more internal and searching. When the solo claims these for purposes of elaboration, Mozart adds yet another beguiling theme to the cache of inspired melodies. The development section devotes itself to further elaboration of an arpeggio kernel found in the orchestral introduction, while the recapitulation recalls the primary melodic material. Pipe Dreams Come True! Hear Doug Cleveland play our Fisk organ this fall. 1217 Sixth Ave • Seattle WA The great Mozart scholar Alfred Einstein described K. 453 as “…a work of hidden laughter and hidden sadness.” Surely he had the personal, pathos-filled Andante in mind. As with many Mozart piano concerto slow movements, this touching episode is a virtual operatic scene, with solo piano acting as vocalist. The opening string phrase, “a solemn, pleading phrase” wrote the noted British commentator Donald Tovey, sets the stage for the eventual prayer-like entrance of the soloist. The poignant and simple initial presentation is followed by intensification of feeling from the piano lightly accompanied at first by strings, and later by woodwinds. Alternations of major and minor deepen and expand the range of moods from poetic inwardness to passionate declamation. The Allegretto finale marks a sudden and resounding return of good cheer. An irresistible theme tickles the ear and further entices with five superbly crafted variations. (There’s an old story that Mozart first heard this tune sung by a starling. In truth, the avian creature — which the composer had purchased at a pet shop in Vienna — learned to sing the delectable tune from Mozart. When the creature died three years later, Mozart buried it in his backyard with a funeral ceremony.) The orchestra presents the theme, with perky flute on top. The solo piano encore artsseattle.com 27 P RO G RA M N OTES IMOGEN COOPER continued Conductor & Piano Recognized worldwide as a pianist of virtuosity and poetic poise, Imogen Cooper has established a reputation as one of the finest interpreters of the classical repertoire. FORTE: begins the first variation followed by the orchestra. A minor key variant seems to darken the mood to recall, perhaps the serious mien of the Andante, but it may well be nothing more than mock tragedy. In any case, this nod toward melancholy is swept away by the next animated variation. The movement and work ends on a note of exuberant glee. WOLFGANG AMADEUS MOZART Piano Concerto No. 24 in C minor, K. 491 Allegro Larghetto Allegretto WORK COMPOSED: 1786 WORLD PREMIERE: April 7, 1786, in Vienna, Mozart as soloist Even when writing a work in a minor key, composers in the Classical period typically ended a piece happily bathed in the reassuring comfort of the major, as indeed Mozart did in the otherwise stormy Piano Concerto No. 20 in D minor, K. 466. In No. 24 in C minor, K. 491, there is no such compromise; perhaps that is why this work so entranced Beethoven whose Piano Concerto No. 3, also in C minor, conveys a similar degree of anxiety and drama. If anything, Mozart’s primary theme in the opening movement is even more troubling than Beethoven’s, the result of K. 491’s chromaticism and oddly discomfiting 3/4-time meter. With an orchestral tapestry rich in wind timbres (oboes and clarinets), Mozart’s C-minor Piano Concerto is his darkest orchestral work. Only in his G-minor String Quintet, K. 516, does he so readily plumb such depths of feeling — and even there he ends the finale with a sudden and resolute shift into sunny G major! Heard in proximity to the G-major Concerto, K. 453 performed before the intermission, the C-minor work seems especially dark, even considering the deep feelings evoked in the previous work’s Andante. Note that, for instance, the typically lighthearted sounds of the flute turn 28 SEATTLESYMPHONY.ORG ominous in the closing minutes of the opening movement of K. 491. The opening Allegro begins quietly but menacingly in the orchestra, a broadly spanned main theme incorporating a series of stark and stabbing chromatic leaps that must have utterly confounded the sensibilities of his Viennese patrons. When the theme is repeated, it is played at a louder and more overtly threatening dynamic level. This is the kind of dark and disturbing music that led early 19th century composers like Schumann and even young Brahms to view Mozart as one of their own — a Romantic. The beguiling simplicity of the Larghetto in E-flat major is an appropriate retreat from the smoldering passion of the opening Allegro. In many of his major-key concertos Mozart invested his slow movements with emotion, but here the procedure is reversed. The Larghetto is all balm and euphony. The finale, a set of variations rather than a customary rondo, returns to the tragic mood of the opening movement. The late Abraham Veinus, whose fine study of the concerto from the middle of the 20th century has stood the passage of time, wrote, “The C-minor is the one Mozart concerto that has the true epic sweep, the anguished heroism and the rock-like grandeur that one expects more readily from a Beethoven or a Michelangelo.” Amen. © 2015 Steven Lowe Photo: Sussie Ahlburg During the 2014– 2015 season she will perform the Ravel G major Concerto with the Netherlands Radio Philharmonic Orchestra at the Concertgebouw in Amsterdam, Beethoven Piano Concerto No. 2 with the Philadelphia Orchestra (play/ conduct) and Music of the Baroque in Chicago. Towards the end of the season Cooper will travel to the Far East to play solo recitals in Hong Kong, Seoul and Singapore. SEASON HIGHLIGHTS: Last season Cooper performed with the London Symphony Orchestra and also made her debut with the Cleveland Orchestra. She played many solo recitals in the U.S., UK and the Netherlands and an extensive tour to Australia. Following a performance of the Ravel G major Concerto in 2012, Cooper played twice at the BBC Proms during 2013; in a Britten chamber concert and a Schubert recital at the Royal Albert Hall; a solo sonata and the Grand Duo with Paul Lewis. RECENT HIGHLIGHTS: Cooper received a CBE in the Queen’s New Year Honours in 2007 and was the recipient of an award from the Royal Philharmonic Society the following year. In 1997 she was awarded an Honorary Membership of the Royal Academy of Music and in 1999 she was made a Doctor of Music at Exeter University. Cooper was the Humanitas Visiting Professor in Classical Music and Music Education at the University of Oxford for 2012–2013. AWARDS & RECOGNITION: A M E S S AG E F R O M Friday, May 8, 2015, at 7pm MICHAEL ALLEN HARRISON TEN GRANDS Creative Director and Founder, Ten Grands S P E CIAL PE RFO RMA NCES Twinkle Twinkle Ten Ways TEN PIANOS Solo COLLEEN ADENT, PIANO Solo WILLIAM CHAPMAN NYAHO, PIANO Solo JJ GUO, PIANO Solo JOHN NILSEN, PIANO Solo YELENA BALABANOVA, PIANO Solo ARTHUR MIGLIAZZA, PIANO Solo SHANNON CASSADY, PIANO Lullaby Project: Ashawn's “Mommy Loves You” TEN PIANOS JULIANNE JOHNSON-WEISS, VOCALS Exodus TEN PIANOS INTERMISSION Solos WMEA STUDENTS “Let it Go” WMEA STUDENTS by Kristen Anderson-Lopez & Robert Lopez ASHLEY & CAYLA BLEAJOA, VOCALS Solo TOM GRANT, PIANO Songs in A minor TEN PIANOS Solo MAC POTTS, PIANO Eight Hands COLLEEN ADENT, PIANO JJ GUO, PIANO AUSTIN MILLER, PIANO TREVOR NATUIK, PIANO Solo MICHAEL ALLEN HARRISON, PIANO “How Great Thou Art” TEN PIANOS Dedicated to Janice Scroggins “88 Keys” TEN PIANOS by Emmett Wheatfield “Amazing Grace” TEN PIANOS JULIANNE JOHNSON-WEISS, VOCALS NAFISARIA SCROGGINS THOMAS, VOCALS ARIETTA WARD, VOCALS Presenting Sponsor: RBC Wealth Management Additional support: Alliance Communications, Classic Pianos, Mayflower Park Hotel, Yamaha 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. Music education is one of the most powerful learning experiences we can offer our children. With its ability to provide a sense of joy and healing, music should be accessible to all children. Schools and other community programs that provide music and performing arts education face growing budget constraints; many have been forced to cut programs entirely. The Seattle Symphony is working to change this by giving children in our community access to a wide variety of musical arts. With your help, support and direct donations we can achieve our goal of giving every child the opportunity to learn through music and continue to make a difference. A MES SAGE F RO M K AT H Y FA H L M A N D E WA LT Executive Director and Co-Founder, Ten Grands Seattle; Seattle Symphony Board Member Thank you for supporting Ten Grands, a catalyst for bringing the gift of music to over 100,000 children annually in communities throughout our state. We are grateful to all of the musicians, audience members, donors and sponsors who have helped us build the Ten Grands dream in Seattle. It would not have become a reality without their support. A heartfelt thanks to RBC Wealth Management, Classic Pianos, Yamaha, Mayflower Park Hotel, Ten Grands Committee, our Ambassadors, music teachers, Rotary and Kiwanis groups and the Seattle Symphony staff. Michael Allen Harrison, Steve Dewalt and I (Co-Founders of Ten Grands Seattle) are thrilled to partner with the Seattle Symphony and to take music education opportunities for our region’s children to an exciting new level. We have only just begun! encore artsseattle.com 29 COLLEEN ADENT Piano The Yamaha Corporation of America, L. Bösendorfer Colleen Adent, a versatile soloist, arranger and accompanist, enjoys playing and improvising in a variety of styles. She has appeared as a guest soloist and in collaboration with internationally acclaimed artists, performing before audiences around the U.S. and in Canada, Europe and Australia. She maintains a private studio in Vancouver, Washington and has published and recorded a collection of original hymn arrangements titled Fount of Every Blessing. Klavierfabrik, and YELENA B A L A B A N OVA Piano Classic Pianos of Bellevue are proud supporters of Ten Grands Seattle. Yelena Balabanova, a native of Moscow, is one of only 11 Steinway Artists in our state. Her concerts have been described as “magical” and “mesmerizing.” She is admired as a soloist, accompanist, chamber musician and instructor. Among many credentials, this award-winning pianist holds a Doctor of Musical Arts degree and is a sought-after clinician. Her love of teaching led to the founding of the International Conservatory Studio, now located near Seattle. SHANNON C A S S A DY Piano Shannon Cassady was one of seven national finalists in the 2012 Music Teachers National Association (MTNA) Junior Piano Competition held in New York. In 2014 she became Washington State’s MTNA Senior Division Alternate winner. As a 10th grader at Interlake High Schools’ Gifted 30 SEATTLESYMPHONY.ORG International Baccalaureate program, she maintains an impressive academic record and is active in several extracurricular organizations including a swim team and a student-led nonprofit she co-founded called “Instruments for Change.” TO M G R A N T Piano Polished entertainer Tom Grant is a master pianist, accomplished singer-songwriter and pioneer of jazz fusion. He has toured and recorded with several jazz legends and innovators. Since cutting his first solo record in 1976, his credits include a series of best-selling jazz-influenced pop albums dating to 1983 and appearances on CNN and The Tonight Show with Jay Leno. The Portland resident has also composed music for TV and radio. JJ G U O Piano JJ Guo, a senior at Camas High School, has performed with Ten Grands in Seattle and Portland since 2009. Last year he performed at WSMTA State Convention as a winner of Honors Competition. He has won numerous competitions in the Northwest since age 10. He has studied with Dorothy Fahlman and is currently a student of Dr. Barbara Roberts and Dr. Renato Fabbro. He also excels in the classroom and on the soccer field. MICHAEL ALLEN HARRISON Northwest’s largest selling musical artists. He founded the Magic Wing recording label 1987 and recently released his 19th recording. Piano Ten Grands Creative Director and Founder Michael Allen Harrison is known for his versatility and upbeat sound. This popular composer-arranger performs as a soloist as well as with a band, offering a broad repertoire ranging from movie scores to passionate arrangements for piano, orchestra, musical theater and ballet. His Snowman Foundation has raised more than $3 million in support of music education focused on youth. ARTHUR MIGLIAZZA Piano Arthur Migliazza is an award-winning blues and boogie-woogie pianist who began playing professionally at age 13. He was a finalist at the 2010 and 2014 International Blues Challenge in Memphis and has performed on some of the world’s greatest stages. He is in the Arizona Blues Hall of Fame and last year won this state’s Best of the Blues Award for Best Keyboardist. His latest album topped the Roots Music Report chart in summer 2014. JOHN NILSEN Piano Multi-instrumentalist John Nilsen is a prolific performer and recording artist with an international following. Since first studying classical piano at age 6, his music has evolved to encompass his skills as a guitarist, vocalist and singersongwriter with a versatile repertoire. A native of Seattle who now lives in Oregon, he ranks as one of the WILLIAM CHAPMAN N YA H O Piano William Chapman Nyaho, a Ghanian American who lives in Seattle, is a popular performer, clinician, visiting artist and professor. An acclaimed advocate of music by composers of African heritage, he has compiled and edited a five-volume graded anthology published by Oxford University Press. This award-winning performer has enthralled audiences throughout Europe, Africa, Asia, the Caribbean and North America. The internationally trained musician has been a juror at music competitions on three continents. M AC P OT T S Piano Mac Potts has played professionally since age 11 and is now 23. A resident of Kalama, Washington, he was born blind. He began playing at age 2, then started classical lessons before his 4th birthday and has played on stages from the Northwest to New Orleans, performing solo, duo and with legendary blues bands. In addition to the piano, he sings and plays saxophone, drums, percussion and harmonica. Committed to the Well-Being of our Clients and Communities RBC Wealth Management is proud to be the title sponsor of the Ten Grands performance. Please join us in thanking the producers of Ten Grands for a wonderful production and the Seattle Symphony for everything they do to change lives and nurture human potential. There’s Wealth in Our Approach.™ © 2015 RBC Wealth Management, a division of RBC Capital Markets, LLC, Member NYSE/FINRA/SIPC. encore artsseattle.com 31 15-82-1046_2.25x9.875 ad.indd 1 4/8/15 1:28 PM PROGRAM NOTES Sunday, May 10, 2015, at 2pm Illsley Ball Nordstrom Recital Hall Sergey Prokofiev (1891–1953) left Russia in the wake of the 1917 October Revolution, establishing himself in the West with concert tours around the United States and Europe. He lived briefly in New York and Germany, then settled in Paris in 1923. In that epicenter of the musical avant-garde, Prokofiev made a splash with his colorful and incisive scores, especially his ballets. TCHAIKOVSKY STRING QUARTET NO. 1 C H A MBE R SER IES Shannon Spicciati, oboe • Laura DeLuca, clarinet • Anait Arutunian, violin • Kathleen Boyer, violin • Xiao-po Fei, violin • Mae Lin, violin • Alexander Velinzon, violin • Susan Gulkis Assadi, viola • Mara Gearman, viola • Tim Hale, viola • Eric Han, cello • Maurice Clubb, double bass • Jessica Choe, piano SERGEY PROKOFIEV Quintet, Op. 39 Tema con variazioni Andante energico Allegro sostenuto, ma con brio Adagio pesante Allegro precipitato, ma non troppo presto Andantino SHANNON SPICCIATI, OBOE LAURA DELUCA, CLARINET KATHLEEN BOYER, VIOLIN TIM HALE, VIOLA MAURICE CLUBB, DOUBLE BASS 23’ PIOTR ILYICH TCHAIKOVSKY String Quartet No. 1 in D major, Op. 11 Moderato e semplice Andante cantabile Scherzo: Allegro non tanto e con fuoco Finale: Allegro giusto XIAO-PO FEI, VIOLIN MAE LIN, VIOLIN MARA GEARMAN, VIOLA ERIC HAN, CELLO 30’ INTERMIS SION ROBERT SCHUMANN Piano Quintet in E-flat major, Op. 44 Allegro brillante In modo d’una marcia. Un poco largamente Scherzo: Molto vivace Allegro ma non troppo ALEXANDER VELINZON, VIOLIN ANAIT ARUTUNIAN, VIOLIN SUSAN GULKIS ASSADI, VIOLA ERIC HAN, CELLO JESSICA CHOE, PIANO Musician biographies may be found at seattlesymphony.org. 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. 32 SEATTLESYMPHONY.ORG 27’ In 1924, a choreographer and fellow Russian expatriate, Boris Romanov, commissioned a new ballet from Prokofiev for a touring troupe based in Germany. Romanov’s small company only traveled with a handful of musicians, so Prokofiev limited himself to a scoring of oboe, clarinet, violin, viola and double bass. From the beginning, his plan was to create two parallel versions of the music: one a ballet score, the other a concert work. The ballet debuted in 1925 under the title Trapeze, and a truncated version of the music premiered in 1927 as the Quintet, Op. 39. Working in Paris in the mid-1920s, Prokofiev felt pressure to keep up with the increasing adventurousness of contemporary music. The Quintet incorporated some of his most experimental sonorities to date, and yet his talent for tuneful melodic lines and well-contoured phrases still shaped the music. The opening movement presents an orderly, angular theme, and then elaborates it through two linked variations. To begin the Andante energico second movement, the bass takes a turn spelling out a thorny melody, and again the material finds its own form of lyricism. The third movement is a pulsing, scherzo-like escapade. The fourth movement, marked Adagio pesante (“slow and heavy”), limits all melodic activity to evenly spaced eighth-notes, with support from faster viola arpeggios and irregular bass rhythms. Within the churning layers of the fifth movement, melodic echoes and breaks for pizzicato bass solos preserve the transparency. The Andantino that concludes the Quintet brings out more of the same: throbbing rhythms, fluid melodic lines, and a polished refinement that keeps this music easy on the ears, even with the liberal dashes of dissonance. Bischofberger by Aaron Grad Piotr Ilyich Tchaikovsky (1840–1893) composed his First String Quartet in 1871, when he was a young professor at the newly formed Moscow Conservatory. Even in that early stage of his career, Tchaikovsky showed a cosmopolitan streak that would soon distance him from his peers known as the “Russian Five” (including Mussorgsky and RimskyKorsakov), who adopted an overtly nationalistic style. The string quartet genre challenged Tchaikovsky to wed his natural gift for melodic invention with a more hard-won grasp of form and structure, a skill set gleaned from the Viennese tradition of Haydn, Mozart, Beethoven and Schubert. The String Quartet No. 1 begins with a gentle theme voiced in rich chords over a static bass. The distinguishing trait is the 9/8 meter (using three beats per measure, each subdivided into triplets), and a main rhythmic motive that cuts against the grain of the expected beat emphasis, giving the music a sense of propulsion even while it retains its smooth contours. After the formal elegance and rhythmic sophistication of the opening movement, the Andante cantabile is comfortable and spacious, painted with the warm hues of muted strings. The main melody quotes a folk song Tchaikovsky overheard and wrote down in 1869, when he was visiting his sister’s estate in Ukraine. This music supposedly moved Tolstoy to tears at a performance in 1876, and it continued to stand out as one of Tchaikovsky’s most popular excerpts, prompting him to arrange it for cello and string orchestra in 1888. The Scherzo offers dance-like rhythms that again defy expectations, with lively phrases contradicting the triplet pulse. In the Finale, the rondo structure operates with the crisp cohesion of Beethoven, centering on a three-note gesture that descends and then repeats the lower note. The figure crops up throughout the movement, both within the primary theme and also on its own, as in the viola’s endearing, off-key solo retorts. Robert Schumann (1810–1856) needed only six days to sketch out his Piano Quintet in the fall of 1842, amid a burst of chamber music activity. The work was Violins meant to showcase the virtuosic piano playing of his wife, Clara Schumann, who gave the first public performance in January of 1843, and to whom Schumann dedicated the score. Clara had planned to participate in a private reading a month earlier, but when she fell ill that day the Schumanns prevailed upon their friend and fellow Leipzig resident Felix Mendelssohn, who sight-read the imposing piano part. From the start of the Allegro brillante (“fast and sparkling”) first movement, Schumann’s Piano Quintet presents bold, extroverted music that would have reached every corner of the Leipzig Gewandhaus and other major concert halls where Clara performed regularly. This was chamber music writ large, from the time in the genre’s history when it was evolving from a mostly private and participatory activity to one with a broad public reach. Within the progressive opening movement, the central musical gesture — four half-notes outlining wide, rising intervals — has roots in the past, along the lines of Bach’s leaping fugue themes or Beethoven’s monolithic motives. The second movement, “In the mode of a march,” again reflects Schumann’s fascination with music of the past: the stately dotted rhythms of the melody are remnants of 17th- and 18th-century styles, and the plodding pulse recalls the funeral march from Beethoven’s “Eroica” Symphony. The Scherzo makes a game out of rising and falling scales, interspersed with two opposing trio sections. The pairs of falling intervals in the first trio reinterpret the upward leaps of the first movement, while the minor-key second trio wanders into shocking chromatic escapades. The robust finale draws much of its rhythmic energy from a pattern that starts and ends phrases mid-measure, not unlike a gavotte dance from the Baroque era. Fugal passages offer further evidence that Schumann had one eye on the past throughout this forward-leaning work. est. 1955 Professional Repairs Appraisals & Sales 1314 E. John St. Seattle, WA 206-324-3119 www.bviolins.com BV 071811 repair 1_12.pdf Bloedel is a 150-acre public garden on Bainbridge Island featuring a series of sculpted landscapes in the forest. The perfect day-trip! © 2015 Aaron Grad PIONEER SQUARE encore artsseattle.com 33 GET WITH IT Visit EncoreArtsSeattle for an inside look at Seattle’s performing arts. EncoreArtsSeattle.com PROGRAM LIBRARY BEHIND THE SCENES ARTIST SPOTLIGHT WIN IT PREVIEWS Monday, May 11, 2015, at 7:30pm DOUGLAS CLEVELAND FLU KE /GABE LEIN ORGA N RECITA L S ERI ES Douglas Cleveland, organ GEORGE FREDERIC HANDEL Concerto in B-flat major, Op. 4, No. 2 A Tempo ordinario e staccato Allegro Adagio e staccato Presto NICOLAUS BRUHNS Praeludium in G major JOHANN SEBASTIAN BACH The Schübler Chorales Wachet auf, ruft uns die Stimme, BWV 645 (“Awake, awake, for night is flying”) Meine Seele erhebt den Herren, BWV 648 (“My soul doth magnify the Lord”) WOLFGANG AMADEUS MOZART Fantasia in F minor, K. 608 JOSEPH JONGEN Scherzetto JOSEPH JONGEN Toccata INTERMISSIO N EDWARD ELGAR Imperial March HENRY MOLLICONE Elegy for Organ and Clarinet (World Premiere) BENJAMIN LULICH, CLARINET NED ROREM View from the Oldest House Sunday Night WILLIAM ALBRIGHT From Organbook III Nocturn Jig for the Feet MARCEL DUPRÉ Deux Esquisses, Op. 41 E minor B-flat minor 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. WIN a trip to the Utah Festival Opera & Musical Theatre in Logan, Utah ENTER NOW! CONTEST ENDS MAY 29, 2015. EncoreArtsSeattle.com/ tripgiveaway Prize includes airfare, hotel and festival tickets. See website for details, rules and regulations. Photo: Bullock Photo Arts encore artsseattle.com 35 eas 041715 site_utah 1_3v.pdf P RO G RA M N OTES As the old saying goes, “necessity is the mother of invention.” In 1730s London attendance at Handel’s Oratorio concerts was waning. Realizing he needed a new “hook” to attract audiences, Handel decided to feature himself as a virtuoso organ performer, so he created an entirely new genre of music: the organ concerto. During breaks in performances of his oratorios, Handel and the orchestra would play lively, cheerful music, with Handel performing virtuosic solos on a small portable organ. Designed as “people pleasing music” right from the start, these works never disappoint! They are frequently played in transcription for organ alone. Tonight we hear his Concerto in B-flat major, Op. 4, No. 2. Very little music by German composer Nicolaus Bruhns is extant, but in his day he was recognized as a major talent, both in composition and in improvisation. Like his contemporaries, he was a versatile musician, but he reportedly had a special skill: he could play a complicated melody on the violin while simultaneously accompanying himself on the organ by playing the bass line with his feet. At sixteen he was sent to study organ and composition with Dietrich Buxtehude, the famous organist in Lübeck who was also a major influence on the young J.S. Bach. Bruhns’ Praeludium follows the typical model found in Buxtehude’s preludes. Bach’s chorale preludes are a muchloved part of the organ repertoire. The two we hear tonight are part of the group known as The Schübler Chorales (BWV 645–650). Published in the final years of Bach’s life (probably 1748–49), five of the six chorales were transcribed for organ by Bach from movements of his sacred cantatas. While over 200 of Bach’s cantatas have survived, none were published during his lifetime. It is interesting to note, then, that he chose just these specific cantata movements, arranged them for organ, and saw to the publishing himself. Perhaps he was especially pleased with the music he had created for these cantata sections. Mozart’s Fantasia in F minor, K. 608, composed in the last year of Mozart’s life, was originally written for a large table clock that included a small pipe 36 SEATTLESYMPHONY.ORG by Dr. Wanda R. Griffiths organ. These types of “musical automata” were very popular in European homes in the late 18th and early 19th centuries. One could imagine that these devices were the “Apple watch” of their day — a great deal of highly advanced technology fit into a very small space. Operating on a similar mechanical system to a music box, a piece of music could be programmed to play on the mechanical organ at specific times. Belgian-born Joseph Jongen was a child prodigy, admitted to the Liège Conservatoire at seven and composing by 13. Both of his compositions on tonight’s program date from the height of his composing career, 1938 and 1937 respectively. The light-hearted Scherzetto employs a playful theme that first appears in the right hand and then in the left, accompanied by shimmering chords reminiscent of Vierne’s famous “Carillon de Westminster.” Regarding the Toccata, Jongen scholar John Scott Whiteley writes, “The principal ideas of the Toccata are all imitative bells: percussive, chiming chords, and the angular theme, written as if for orchestral bells, beneath cascades of pealing semiquavers.” Edward Elgar struggled for recognition as a composer until his forties. At the urging of his publisher, Novello & Co., Elgar composed the Imperial March for the Diamond Jubilee of Queen Victoria in 1897. The piece was very well received, suddenly making Elgar a household name around London and helping to launch his career as a prominent composer. Tonight is the world premiere performance of Henry Mollicone’s Elegy for Organ and Clarinet. Probably most well-known for his several operas, Mollicone has pursued an eclectic career not only as a composer but also as a conductor, educator and performer. Regarding his Elegy, Mollicone includes the following note: “It is a onemovement work in a lyrical and meditative style. Its harmonic language is Frenchinfluenced, though the piece is primarily a melodic one. Although it does not have a program, the work is based on musical materials that are varied throughout, and suggest to me a restive, pastoral setting.” Mollicone’s Elegy was commissioned by, and is dedicated to, Douglas Cleveland. Ned Rorem is one of America’s most prolific and honored composers. His suite View from the Oldest House contains six pieces and was commissioned by the American Guild of Organists (AGO) for the AGO National Convention in 1982. The score includes the following note: “For many years now I have lived in the shade of Nantucket’s Sunset Hill, site of the island’s most venerable landmark, the so-called Oldest House, built in 1686 by Jethro Coffin. The hill’s southwest vista gleams with variety, especially during summer evenings when it is my habit to stroll up there while supper cooks. This habit echoes through the following pieces, which may be performed separate or as a suite.” Sunday Night concludes the suite and carries the tempo indication “Very fast and rowdy.” The music begins with five big descending chords leading to the introduction of a theme in the pedal which functions as a ground bass throughout the opening and closing sections. The lyrical middle section carries the designation “Hymn-like, but don’t relax.” Soon the big chords from the opening measures return along with the ground bass theme in the pedals, building into a fast and furious toccata on full organ that concludes the piece. American born composer William Albright employs both tonal and nontonal elements in his music. Sometimes labeled as “polystylistic,” his music is highly influenced by the French composer Olivier Messiaen, with whom Albright studied in the late 1960s. His beautifully expressive Nocturn employs undulating two-note tremolos for the hands that shift slowly, set against a quiet theme in the pedals, creating a restful feel. Erupting like a volcano just beginning to spew lava, Albright’s fiendishly difficult Jig for the Feet, soon sends a series of wild notes cascading up and down the pedals, concluding with glissandos and a series four-note chords played by the feet (two notes played simultaneously by each foot). Marcel Dupré’s Deux Esquisses (Two Sketches), composed in 1945, push at the edges of atonality without actually crossing the line. The first quietly sparkles, while the second commands attention as it romps relentlessly toward its dramatic final chord. © 2015 Dr. Wanda R. Griffiths DOUGLAS CLEVELAND Organ Internationally acclaimed organist Douglas Cleveland gained worldwide prominence when he won First Prize in the 1994 American Guild of Organists Photo: Deborah Spencer National Young Artists Competition in Dallas. Since then he has performed in 49 of the United States, and has been invited to perform in such venues as The Berlin Cathedral; the Cathedral of Lausanne, Switzerland; Minato Mirai Concert Hall in Yokohama, Japan; Moscow Conservatory; Notre-Dame Cathedral in Paris; St. Patrick’s Cathedral in Melbourne; Stockholm Cathedral; the Victoria Concert Hall in Singapore; and Westminster Abbey. FORTE: Many of Cleveland’s performances have been broadcast on National Public Radio, the BBC, and the Northwest radio program The Organ Loft. He has recorded four CDs on the Gothic label, which have received critical acclaim in major periodicals — his most recent being Cleveland in Columbus. BROADCASTS & RECORDINGS: Cleveland has served on the faculties of St. Olaf College and Northwestern University, where he received the Searle Award for Teaching Excellence. Cleveland is currently the John Delo Faculty Fellow in Organ at the University of Washington School of Music, and is also the director of music at Plymouth Church in Seattle. POSTS: For 146 years, we have been here when Seattle families needed us. We’ll be here for you, too. Complete Funeral, Cemetery & Cremation Services (800) 406-4648 www.BonneyWatson.com EAP 1_6 H template.indd 1 9/29/14 2:02 PM NOMINATIONS OPEN FOR THE MAYOR’S ARTS AWARDS! Nominations open May 1 – 31 at seattle.gov/arts Save the Date for the Mayor’s Arts Awards Friday, September 4, 4pm Categor i es: Fu tu re Focu s C ul tu r al Amb assad or Ar ts & I n n ov ati on C ul tu r al Preser v ati on Presented by Sponsored by Cleveland was raised in Olympia, Washington and is a sixth-generation Washingtonian. He has studied at the Eastman School of Music, Indiana University and Oxford University. His teachers have included Russell Saunders, Larry Smith and Marilyn Keiser. image: Brittney Bollay BACKGROUND & EDUCATION: May 13 - June 20 Adapt e d by M argare t Rae t h e r Ba s ed o n P . G. Wodeh ou se’s ch a ra ct er s Jeev es a nd Wo oster Directed by Nathan Jeffrey Jeeves Intervenes_City Arts_1-6_horiz.indd 1 taproottheatre.org 206.781.9707 204 N. 85th Street Seattle, WA 4/7/2015 12:21:13 PM encore artsseattle.com 37 PROGRAM NOTES Friday, May 15, 2015, at 8pm Saturday, May 16, 2015, at 8pm HANDEL, VIVALDI & MORE HENRY PURCELL Chaconne in G minor, transcribed by Benjamin Britten B A R OQ UE & WINE BORN: DIED: Stephen Layton, conductor Amanda Forsythe, soprano Deanne Meek, alto David Gordon, trumpet Seattle Symphony Chorale Seattle Symphony HENRY PURCELL /transcribed by Britten WORK COMPOSED: Chaconne in G minor GEORGE FRIDERIC HANDEL Concerto grosso in F major, Op. 6, No. 9 Largo—Allegro Larghetto—Allegro Menuet: Andante Gigue: Allegro 6’ 14’ JOHANN SEBASTIAN BACH Cantata No. 51, “Jauchzet Gott in allen 20’ Landen!” BWV 51 Aria: “Jauchzet, jauchzet Gott in allen Landen” Recitative: “Wir beten zuden Tempel an” Aria: “Höchster, Höchster, mache deine Güte” Aria: “Sei Lob und Preis mit Ehren—Alleluja” AMANDA FORSYTHE, SOPRANO DAVID GORDON, TRUMPET INTERMISSION ANTONIO VIVALDI Gloria in D major, R. 589 29’ Gloria in excelsis • Et in terra pax • Laudamus te • Gratias agimus tibi • Propter magnam gloriam • Domine Deus • Domine Fili Unigenite • Domine Deus, Agnus Dei • Qui tollis • Qui sedes ad dexteram • Quoniam tu solus sanctus • Cum Sancto Spiritu AMANDA FORSYTHE, SOPRANO DEANNE MEEK, ALTO SEATTLE SYMPHONY CHORALE David Gordon’s performances are generously underwritten by Patricia and Jon Rosen 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. 38 SEATTLESYMPHONY.ORG September 10, 1659, in London November 21, 1695, in London 1692 During the 16th and 17th centuries, English music of the first magnitude flowed from such worthies as John Dowland, John Bull, Matthew Locke, Pelham Cooke and Henry Purcell. Coming at the end of this fertile era, Purcell summed up the music of his countrymen, revealing a mastery of both Renaissance polyphony and the newer Baroque sensibilities. After his premature death at 36 years, his music enjoyed currency for another twenty years or so until a passion for Italian opera swept Handel — trained in Italy — into pre-eminence, while Purcell and his “English” compatriots fell into rapid decline. Very little is known about the composer. Two different Henry Purcells — musicians both — have been fingered as his father and uncle, but without knowing which was which. The young Henry showed great talent as a chorister at the Chapel Royal. His rise to fame came quickly among fellow composers and noble patrons at the highest levels of royalty. No surprise that he was accorded a burial in Westminster Abbey. The solemn music he had written for Queen Mary’s funeral in 1694 was used again for his own memorial service, scarcely a year later. His early death caused widespread grief. A chacony or chaconne, to use the more familiar French term, is a variation scheme with roots in the early Baroque era. It is almost identical to a passacaglia (as in J.S. Bach’s celebrated set of variations for solo organ in C minor). A theme is presented in toto followed by variations superimposed over the basically unchanging series of chords (chaconne) or melody (passacaglia). By the late 17th century instrumental chaconnes were quite popular and remained so until around 1750. With popularity came standardization of phrase length, by Steven Lowe and Purcell’s Chaconne shares with many of its brethren an eight-bar “ground bass” or ostinato theme. Purcell was a superb master of variation technique as evidenced in this brief work from his theatre piece, The Fairy Queen. He adds harmonic interest by subtly altering subsequent repetitions of the “ground bass” tune, modulating to different keys and thereby deviating somewhat from the standard chaconne format. Rhythmic, melodic and textural changes throughout the variations further display his genius. Benjamin Britten (1913–1976) drew inspiration and actual music from Henry Purcell in such works as Variations and Fugue on a theme by Henry Purcell, otherwise known as “The Young Person’s Guide to the Orchestra.” Britten transcribed his predecessor’s Chaconne (aka Chacony in the 17th century) in 1945. GEORGE FRIDERIC HANDEL Concerto grosso in F major, Op. 6, No. 9 Largo—Allegro Larghetto—Allegro Menuet: Andante Gigue: Allegro BORN: DIED: February 23, 1685, in Halle, Saxony April 14, 1759, in London WORK COMPOSED: Handel adopted the inchoate and somewhat generalized concerto format employed by his friend and colleague Arcangelo Corelli, rather than the newer and simpler three-movement format that became the standard for almost all future concertos. The F-major Concerto from Op. 6, in fact, has no fewer than six movements, beginning with a brief introductory Largo that sets in high relief the rapidfire Allegro that emerges from it. Northwest Boychoir With his vast experience in opera, the touching beauty of the following Larghetto should come as no surprise. Aside from its inherent loveliness, it provides fine contrast with its highjinx neighbors in the concerto. JOIN US Further contrast comes in the highly contrapuntal Allegro, in turn complemented by a courtly Menuet. Cannily, Handel ends the work with an animated Gigue, ending the concerto on a rousing celebration of good cheer. JOHANN S E B A S T I A N B AC H Cantata No. 51, “Jauchzet Gott in allen Landen!” BWV 51 DIED: March 21, 1685, in Eisenach July 28, 1750, in Leipzig WORKS COMPOSED: 206.524.3234 NWBOYCHOIR.ORG Reach a SophiSticated audience University • 5th Avenue Theatre • ACT Theatre • Aria: "Jauchzet, jauchzet Gott in allen Landen“ Recitative: "Wir beten zuden Tempel an“ Aria: "Höchster, Höchster, mache deine Güte“ Aria: "Sei Lob und Preis mit Ehren— Alleluja“ BORN: for boys ages 6-9 A meric an Conser vator y Theater • Berkeley Reper tor y Theatre • Broad way San Jose • California Shakespeare Theater• San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live• TheatreWorks • Weill Hall at Sonoma State 1739 Handel, along with Bach and most other self-respecting Baroque composers, reused and refashioned material as need and time dictated. Although the dozen Op. 6 concertos were assembled as a group in 1739, many individual movements were derived from previously written works or mentally stored improvisations. The resultant set is as varied and musically satisfying as any collection of concertos from that ripe and productive period. Handel’s audiences were quick to embrace these works. The composer’s publisher, Walsh, reported only months after their appearance, “[they] are now played in most public places with the greatest applause.” Auditions 1730 Bach’s 200-plus surviving cantatas give ample proof of his comprehensive knowledge and fluency in writing for the human voice. The popular cantata, “Jauchzet Gott in allen Landen” (“Praise God in Every Nation”) is a showpiece for solo soprano, and a veritable concerto for equally capable trumpeter (not unlike “And the trumpet shall sound” from Part III of Handel’s Messiah). Dating from relatively early in his long tenure at the Thomas Church in Leipzig (from 1723 to his death in 1750), this is an irresistibly catchy and festive work. Since opera Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s Chorus • Seattle Opera • Seattle Repertory Theatre •Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • American Conservatory Theater• Berkeley Repertory Theatre• Broadway San Jose• California Shakespeare Theater• San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford put your business here Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center www.encoremediagroup.com encore artsseattle.com 39 EAP House Ad Reach 1_6V 3.19.13.indd 1 3/20/13 3:00 PM P RO G RA M N OTES was off limits to a Lutheran, churchaffiliated composer of the first half of the 18th century, Bach invested this and other cantatas with a level of shining virtuosity that would have been equally at home on the operatic stage. Albert Schweitzer described this work as a “brilliant coloratura piece for soprano and trumpet, full of stirring life, as the instrumental theme in the first aria at once makes clear.” An unstoppably energetic opening movement leads, after a palettecleansing recitative, to a lovely aria one commentator likened to “My Favorite Things” from The Sound of Music! In the fourth section, the soprano sings the chorale melody “Sei Lob und Preis mit Ehren” (“Glory, and praise with honor”) and sails without a break into the concluding “Alleluia,” an exuberant paean of praise and a fittingly virtuosic display piece capped by a ringing high “C” at the movement’s climactic point. A N TO N I O V I VA L D I Gloria in D major, R. 589 Gloria in excelsis Et in terra pax Laudamus te Gratias agimus tibi Propter magnam gloriam Domine Deus Domine Fili Unigenite Domine Deus, Agnus Dei Qui tollis Qui sedes ad dexteram Quoniam tu solus sanctus Cum Sancto Spiritu BORN: DIED: March 4, 1678, in Venice July 28, 1741, in Vienna WORK COMPOSED: ca. 1713–1719 Antonio Vivaldi spent most of his productive years as a lay priest at the Musical Seminary of the Hospital of Mercy in Venice, a home and school for illegitimate or orphaned girls. His duties covered all musical bases from teaching a variety of instruments, to composing and serving as superintendent of music. In the almost four decades (1704–1740) at the Seminary, Vivaldi wrote enormous quantities of music, availing himself of the services of his well-trained students, using 40 SEATTLESYMPHONY.ORG continued these resources to explore all manner of instrumental effects. During his lifetime, Vivaldi was highly esteemed throughout Europe, though more for his operas and choral works than for his concertos. Only within the past decade or so have pioneering souls begun to perform and record his colorful operas and explore more fully his choral and other vocal works. One choral piece that has enjoyed wide currency predating the current generation’s “rediscovery” of such music is the Gloria in D major, R, 589. The manuscript actually turned up in the 1920s along with a number of other works, including a Gloria in D major (R. 588) that has not achieved the same degree of popularity as the one we hear tonight. The Gloria text is a hymn of joy, praise and worship long connected with the Roman Catholic Mass. Vivaldi’s writing, generally simpler and less sumptuously contrapuntal than his great German counterpart and admirer, J.S. Bach, is marked by dramatic contrasts in mood, texture and instrumental color. It conveys a sense of immediacy and rhythmic fervor that seem to reflect the extraordinary speed with which he composed. He claimed that he could compose faster than his copyists could simply copy what he wrote. The opening movement, Gloria in excelsis, launches this 12-section work with octave leaps and repeated notes that establish the triumphant key of D major and create a sense of ceremonial grandeur and boundless energy. Punctuating trumpets and oboes reinforce the declamatory outbursts from the chorus and rhythmic momentum. Et in terra pax is as private and meditative as the opening Gloria is exuberant, and finds Vivaldi using chromatic harmony to heighten expression. The Laudamus te is joy incarnate, positing a repeated instrumental refrain sandwiched between the vocal sections. The ensuing Gratias agimus tibi is but six bars in length but solemnly evokes praise to God through chordal movement. Cast in the same key as the Gratias, the Propter magnam gloriam showcases Vivaldi’s adept contrapuntal writing to illuminate a further aspect of God’s glory. Balanced against a lovely instrumental tune, the seamless soprano solo Domine Deus expresses the gentle and tender side of the Almighty. The succeeding Domine Fili Unigenite is animated by dotted rhythms. Reverting again to the minor mode, the Domine Deus, Agnus Dei pits the descending alto soloist’s line with chord-based commentary from the chorus and orchestra. Qui tollis, also in the minor, combines expressive chromaticism with rhythmic urgency. Though quickly paced, the Qui sedes ad dexteram continues the essentially serious mood of the preceding two movements as the strings accompany the alto soloists. Quoniam tu solus sanctus marks a return to the D-major optimism of the opening movement and leads into the double-fugue that ends the work in a most celebratory fashion. © 2015 Steven Lowe Symphonica, The Symphony Store ymphonica is a great place S to find cards, scarves, artisan jewelry, children’s books and Seattle Symphony logo items including coffee mugs, water bottles, reusable shopping bags and T-shirts. Symphonica also stocks many Seattle Symphony recordings. ocated in The Boeing Company L Gallery in Benaroya Hall, Symphonica is open 90 minutes prior to concerts, during intermission, and Monday–Friday, 11am–2pm. For more information, call 206.215.4796. T EX T & TRA N SLAT ION BACH: Cantata No. 51, “Jauchzett Gott in allen Landen!” BWV 51 VIVALDI: Gloria in D major, R. 589 Aria Jauchzet Gott in allen Landen! Was der Himmel und die Welt An Geschöpfen in sich hält, Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott Gleichfalls itzt ein Opfer bringen, Daß er uns in Kreuz und Not Allezeit hat beigestanden. Praise God in every nation! Whatever creatures are contained by heaven and earth must raise up this praise, and now we shall likewise bring an offering to our God, since He has stood with us at all times during suffering and necessity. Chorus Gloria in excelsis Deo. Glory to God in the highest. Chorus Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Duet Laudamus te, benedicimus te, adoramus te, glorificamus te. We praise you, we bless you, we worship you, we glorify you. Recitative Wir beten zu dem Tempel an, Da Gottes Ehre wohnet, Da dessen Treu, So täglich neu, Mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muß gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen. We pray at your temple, where God’s honor dwells, where this faithfulness, daily renewed, is rewarded with pure blessing. We praise what He has done for us. Even though our weak mouth must gape before His wonders, our meager praise is still pleasing to Him. Chorus Gratias agimus tibi propter magnam gloriam tuam. We give you thanks For your great glory. Soprano Aria Domine Deus, Rex coelestis, Deus pater omnipotens. Lord God, heavenly King, God the Father almighty. Chorus Domine Fili unigenite, Jesu Christe, The only-begotten Son, Lord Jesus Christ, Alto and Chorus Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi: miserere nobis. Lord God, Lamb of God, Son of the Father, you take away the sin of the world: have mercy on us. Aria Höchster, mache deine Güte Ferner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Daß wir deine Kinder heißen. Highest, renew Your goodness every morning from now on. Thus, before this fatherly love, a thankful conscience shall display, though a virtuous life, that we are called Your children. Aria Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Daß wir ihm fest vertrauen, Gänzlich uns lass’n auf ihn, Von Herzen auf ihn bauen, Daß uns’r Herz, Mut und Sinn Ihm festiglich anhangen; Drauf singen wir zur Stund: Amen, wir werdn’s erlangen, Glaub’n wir aus Herzensgrund. Glory, and praise with honor be to God the Father, Son and Holy Spirit! He will increase in us what He has promised us out of grace, so that we trust fast in Him, abandon ourselves completely to Him, rely on Him within our hearts, so that our heart, will and mind depend strongly on Him; therefore we sing at this time: Amen, we shall succeed, if we believe from the depths of our hearts. Alleluja! Alleluia! Chorus Qui tollis peccata mundi: You take away the sin of the world: suscipe deprecationem nostram. receive our prayer. Alto Aria Qui sedes ad dexteram Patris: miserere nobis. You are seated at the right hand of the Father: have mercy on us. Chorus Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, Chorus Cum sancto spiritu, in Gloria Dei Patris. Amen. with the Holy Spirit, in the glory of God the Father. Amen. encore artsseattle.com 41 S T E P H E N L AY TO N Conductor “Layton’s performances inspire the soul as they break the heart with their intense beauty…” (American Record Guide) “…the effect is nothing short of electrifying…” (Gramophone Magazine) FORTE: Photo: Keith Saunders A M A N DA FORSYTHE DEANNE MEEK Soprano Lauded by Opera Magazine for a voice that “is smooth and velvety with a touch of resin in the tone,” Deanne Meek recently made her debut at the Teatro Photo: Enrico Nawrath alla Scala, reprising the role of Hermia in A Midsummer Night’s Dream which she has previously sung with the Gran Teatre del Liceu (performance released on DVD on the Virgin Classics label), Théâtre Royal de la Monnaie and Opéra de Lyon with the both in France and on tour in Athens. FORTE: The American soprano Amanda Forsythe has been praised by Opera News for her “light and luster,” “wonderful agility and silvery top notes.” FORTE: Photo: Arielle Doneson Forsythe made her European operatic debut as Corinna (Il viaggio a Reims) at the Rossini Opera Festival, Pesaro, followed by her debut at the Grand Theatre, Geneva as Dalinda (Ariodante) where she was proclaimed “the discovery of the evening” (Financial Times). Further debuts followed at the Bavarian State Opera, Munich as Dalinda and as Barbarina (Le nozze di Figaro) at the Royal Opera House, Covent Garden and the Theatre des Champs-Elysées, Paris. She returned to Covent Garden to sing Manto in Steffani’s Niobe, regina di Tebe under Thomas Hengelbrock and Nannetta (Falstaff) under Daniele Gatti, described by Gramophone Magazine as “meltingly beautiful.” Upcoming performances include L’Amour in Gluck’s Orphée (Covent Garden), Agrippina (Boston Baroque), Mozart Requiem and Mass in C minor with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner, Mendelssohn’s A Midsummer Night’s Dream with the Boston Symphony under Andris Nelsons and Marzelline (Fidelio) with the Accadamia Nazionale di Santa Cecilia under Sir Antonio Pappano. PERFORMANCE HIGHLIGHTS: Stephen Layton succeeded the late Richard Hickox as Artistic Director and Principal Conductor of the City of London Sinfonia in September 2010. Founder and Director of Polyphony (the internationally acclaimed choir, formed in 1986), Layton is also Music Director of Holst Singers and in 2006 was made a Fellow and Director of Music of Trinity College, Cambridge. His former posts include Chief Guest Conductor of the Danish National Vocal Ensemble, Chief Conductor of the Netherlands Kammerkoor and Director of Music at the Temple Church in London. POSTS: Layton guest conducts widely and has worked extensively with the BBC Singers, City of London Sinfonia, English Chamber Orchestra, Estonian Philharmonic Choir, Hallé Orchestra, Latvian Radio Choir, London Philharmonic Orchestra, Melbourne Symphony Orchestra, Minnesota Orchestra, Philadelphia Orchestra, Queensland Symphony Orchestra and Scottish Chamber Orchestra. He also collaborates regularly with the Orchestra of the Age of Enlightenment, Academy of Ancient Music and Britten Sinfonia, with whom he has recorded a wide range of repertoire. GUEST CONDUCTING: Recent highlights include Handel’s Messiah with the Ulster Orchestra and the Orchestra of the Age of Enlightenment, and Haydn’s Creation with the BBC National Orchestra of Wales, plus debuts with the SWR Vokalensemble in Stuttgart and the NDR Choir in Hamburg. Highlights with Polyphony include a return to the Concertgebouw in Amsterdam with the Britten Sinfonia, and De Oosterpoort in Groningen for an a cappella program. City of London Sinfonia highlights include an appearance at the Spitalfields Festival, a Walton program at Cadogan Hall and an A Midsummer Night’s Dream themed program at Southwark Cathedral. RECENT HIGHLIGHTS: 42 SEATTLESYMPHONY.ORG Alto Her performances on international stages include Ruggiero in Alcina with Richard Hickox conducting at English National Opera; Dorabella in Così fan tutte at Opéra National du Rhin in Strasbourg; Charlotte in A Little Night Music at the Théâtre du Châtelet; Bianca in Eine florentinische Tragödie at the Teatro Colón; Dryade in Ariadne auf Naxos and Krista in The Makropolous Case at the Teatro Real; and Rossweisse in Die Walküre at the Théâtre du Châtelet. With England’s Opera North she has sung Rosina in Il barbiere di Siviglia, Octavian in Der Rosenkavalier and Meg Page in Falstaff. She has appeared at London’s Grange Festival as Angelina in La cenerentola, the Bregenz Festival as Ines in Il trovatore, Opera Ireland as Donna Elvira in Don Giovanni and Vancouver Opera as Siebel in Faust. INTERNATIONAL HIGHLIGHTS: CONCERT & RECITAL APPEARANCES: CONCERT ENGAGEMENTS & RECORDINGS: Forsythe recently made her debuts at Tanglewood and the Mostly Mozart Festivals with the Philharmonia Baroque under Nicholas McGegan and with the Accadamia Nazionale di Santa Cecilia in Rome under Sir Antonio Pappano. She is a regular performer with Apollo’s Fire, Boston Baroque, Boston Early Music Festival (BEMF), the Charlotte Symphony and Vancouver Early Music. She sings Euridice on Charpentier’s La Descente d’Orphée with BEMF, which won the 2015 Grammy Award for Best Opera Recording. Her debut solo album of Handel arias will be released in fall 2015 on the Avie label. On the concert stage, she recently sang Mendelssohn’s A Midsummer Night’s Dream with the Luxembourg Philharmonic Orchestra and Guilhen in d’Indy’s Fervaal with the American Symphony Orchestra at Avery Fisher Hall. An active recitalist, Meek has been a fellow at both the Tanglewood and Ravinia Music Festivals in the United States, and has sung solo recitals in Baltimore, New York, the Pacific Northwest, Paris, St. Louis, the United Kingdom and Washington D.C. DAV I D G O R D O N Trumpet The David Gordon, whose playing has been described as “spectacular” by The Chicago Tribune, is Principal Trumpet of the Seattle Symphony and Chicago’s Grant Park Symphony Orchestra. FORTE: Photo: Yuen Lui Studio S E AT T L E S Y M P H O N Y C H O R A L E As a soloist Gordon has appeared with the symphony orchestras of Charleston (with whom he performed as soloist every season of his tenure), Grant Park and Seattle, the National Repertory Orchestra and the Lake George Chamber Orchestra. He has performed as Principal Trumpet of the St. Louis Symphony Orchestra, and has also performed, recorded and toured as Principal Trumpet of the London Symphony Orchestra and as Trompette Solo of the Orchestre Philharmonique de Radio France. Gordon has served as Principal Trumpet of the Charleston Symphony Orchestra, Jupiter Symphony, Moscow Chamber Orchestra and Prometheus Chamber Orchestra. He has performed with the Boston, New Jersey and Savannah symphony orchestras. Gordon has toured extensively in Europe, North and South America, and has performed in prestigious festivals including Tanglewood and SchleswigHolstein. PERFORMANCE HIGHLIGHTS: Gordon has recorded and independently produced four CDs on his own label I Am Syntrump (IAS), as a soloist including: Time is the Answer (1990), Live in Scotland (2000), Dave Gordon.... The Fruit of Life, LOVE (2002), Jazz for God and Kool, So Kool (2011). RECORDINGS: A native of Narragansett, Rhode Island, Gordon was educated at Columbia University and The Juilliard School. Gordon is a faculty member of the University of Washington School of Music. He won The New York Times Company National Merit Scholarship and the William C. Byrd Memorial Scholarship. BACKGROUND & HONORS: Seattle Symphony Chorale serves as the official chorus of the Seattle Symphony. Over the past four decades, the Chorale has grown in artistry and stature, establishing itself as a highly respected ensemble. Critics have described the Chorale’s work as “beautiful, prayerful, expressive,” “superb” and “robust,” and have praised it for its “impressive clarity and precision.” The Chorale’s 120 volunteer members, who are teachers, Photo: Ben VanHouten doctors, attorneys, musicians, students, bankers and professionals from all fields, bring not only musical excellence, but a sheer love of music and performance to their endeavor. Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale performs with the Seattle Symphony both onstage and in recorded performances. Soprano Laura Ash Amanda Bender Caitlin Blankenship Lolly Brasseur Bree Brotnov Emma Crew Sarah Davis Erin M. Ellis Jacquelyn Ernst Zanne Gerrard Emily Han Teryl Hawk Sharon Jarnigan Elizabeth Johnson Seung Hee Kim Lori Knoebel Lillian Lahiri Lucy Lee Alyssa K. Mendlein Geraldine Morris Helen Odom Margaret Paul Sasha S. Philip Karrie Ramsay Kirsten Ruddy Ana Ryker Emily Sana Barbara Scheel * Laura A. Shepherd Joy Chan Tappen Bonnie L. Thomas Toby Trachy Andrea Wells Alto Cynthia Beckett Cyra Valenzuela Benedict Kate Billings Carol Burleson Grace Carlson Terri Chan Rachel Cherem Christi Leigh Corey Lauren Cree Paula Corbett Cullinane * Aurora de la Cruz Lisa De Luca Robin Denis Cindy Funaro Jessica E. Gibbons Carla J. Gifford Kelly Goodin Erin Rebecca Greenfield Sara Hathaway Inger Kirkman Sara Larson Amy Lassen Vanessa B. Maxwell Monica Namkung Angela Oberdeck Kathryn Pedelty Erica J Peterson Alexia Regner Valerie Rice Dale Schlotzhauer Darcy Schmidt Carreen A. Smith Kathryn Tewson Paula Thomas JoAnn Wuitschick Tenor Matthew Blinstrub Perry L. Chinn Anton R. du Preez Matthew D. Dubin David P. Hoffman Jim Howeth Neil Johnson Kevin Kralman * Patrick Le Quere Matthew Lohse Ian Loney James H. Lovell Andrew Magee Jakub Martisovits Alexander Oki Jonathan M. Rosoff Bert Rutgers Edward Schneider Max Willis Matthew Woods Bass Steve Ahrens John Allwright Jay Bishop Hal Bomgardner Darrel Ede Morgan Elliott Steven Franz Raphael Hadac Rob Jones Rob Kline Ronald Knoebel * Tim Krivanek Matthew Kuehnl KC Lee Thomas C. Loomis Bryan Lung Ken Rice Martin Rothwell Robert Scherzer Christpoher Smith Jim Snyder Andrew Sybesma Michael Uyyek Jared White *Principal of Section encore artsseattle.com 43 PROGRAM NOTES Sunday, May 17, 2015, at 2pm ROMANTIC UNTUXED S U N DAY UN T UXED SERIES Stilian Kirov, conductor Seattle Symphony JOHANNES BRAHMS Academic Festival Overture, Op. 80 10’ RICHARD STRAUSS Don Juan, Op. 20 18’ PIOTR ILYICH TCHAIKOVSKY Romeo and Juliet Fantasy Overture 21’ Today's program will run without intermission. 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. 44 SEATTLESYMPHONY.ORG Johannes Brahms (1833–1897) struggled for decades to find his orchestral voice. He wrote the First Piano Concerto and two Serenades in the late 1850s, but then he stalled for years on his first attempt at a symphony, cowed as he was by the legacy of Beethoven. By the time he finally issued his first work for full orchestra without soloist, the Variations on a Theme of Joseph Haydn, Brahms was 40 and already one of the most esteemed composers of his generation. Having overcome his resistance, he issued a torrent of orchestral music in the years to come, including the First and Second Symphonies in 1876 and 1877, the Violin Concerto in 1878, two overtures in 1880 and the Second Piano Concerto in 1881. Brahms composed the Academic Festival Overture for the University of Breslau, as a way to thank the school for granting him an honorary doctorate. The work that Brahms conducted at a commencement ceremony on January 4, 1881, may not have been the studious tome the faculty was hoping for, but it was a definite crowd-pleaser with the students, and it has remained an audience favorite ever since. The overture plays out as a winking medley of student songs, culminating in a triumphant rendition of “Gaudeamus igitur,” in which the Latin lyrics implore, “Let us rejoice, while we are young!” The earliest music of Richard Strauss (1864–1949) reflected the influence of his father, Franz Strauss, the greatest horn player of the era and a staunch traditionalist devoted to Haydn, Mozart and Beethoven. In time, Strauss gravitated to “the music of the future,” to quote a catchphrase of his idol, Richard Wagner. The young Strauss went on to make his first impact as a composer of tone poems, a genre of musical storytelling originated by another of his progressive heroes, Franz Liszt. The first true tone poem that Strauss completed was Macbeth (1888), but it was the subsequent tone poem, Don Juan, that reached the public first and earned the 25-yearold Strauss a place in the highest echelon of German composers. STILIAN KIROV by Aaron Grad Conductor Currently completing a highly successful tenure as Associate Conductor of the Seattle Symphony, Stilian Kirov has just been appointed Photo: Yuen Lui Studio Music Director of the Symphony in C, New Jersey’s prestigious young professional orchestra. He has also served as Associate Conductor of the Memphis Symphony and Music Director of the Memphis Youth Symphony Program. FORTE: Strauss came to know the story of Don Juan — or Don Giovanni in Italian — through Mozart’s opera. The Spanish writer Tirso de Molina published the first known version around 1630 under the title El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest), but the story had been in oral circulation for some time before that printed edition. Strauss modeled his tone poem on a particular version of the legend concocted by the Hungarian poet Nikolaus Lenau (1802–1850). Strauss did not spell out exactly how the tone poem lines up with the story, but the music itself is quite demonstrative. The dashing opening passage surely marks the appearance of Don Juan, the great seducer, while the coy phrases that come in response could only be his conquests. The amorous episodes, interspersed with pangs of self-doubt and regret, build to the central romance of the work, a vulnerable love song first shared by a solo oboe. (Strauss wrote Don Juan during his courtship of the soprano Pauline de Ahna, and the tender feelings he conjured in this episode might offer a window into his own affections for his future wife.) A vigorous horn motive brings back the rakish aspect of Don Juan, and the ensuing storminess rushes him to judgment. In Lenau’s version of the story, Don Juan does not fall victim to a stone statue that comes to life; instead his condemnation is internal, and he dies when he drops his defenses in a duel with the father of a woman he seduced. The music representing this scene reaches a tense silence, and then an eerie coda leads to a final state of unsettled, trembling quietude. Piotr Ilyich Tchaikovsky (1840–1893) was among a generation of young Russian composers who fell under the sway of Mily Balakirev, a composer and critic with vast influence in his day. He is best known as the ringleader of the group dubbed “The Russian Five,” which included his protégés Mussorgsky, RimskyKorsakov, Borodin and Cui. Balakirev also played a crucial role in nurturing Tchaikovsky’s career, although they eventually diverged when Tchaikovsky embraced a more cosmopolitan and less Russian-focused style. After conducting Tchaikovsky’s tone poem Fate (an early work that would later be withdrawn), Balakirev was impressed enough to take a hand in shaping Tchaikovsky’s future. Balakirev suggested a new orchestral project, a tone poem based on Shakespeare’s Romeo and Juliet; he even went so far as to outline a particular way the themes should be organized. Tchaikovsky began the project in 1869, and he continued to seek feedback from Balakirev, to whom he dedicated the score. After the premiere in March of 1870, Tchaikovsky made a few more revisions before publication. He revisited the work once more in 1880, creating the final version performed most often today. The Romeo and Juliet Fantasy Overture features three main themes, representing Friar Laurence, the struggle between the Montagues and the Capulets, and Romeo and Juliet’s love. The “Friar Laurence” music, in a hymn-like setting, occupies the slow introduction. The faster “struggle” material serves as the primary theme for the ensuing body of the overture, with the bellicosity emphasized by crashing cymbals. The tranquil theme that represents “love” is an early example of Tchaikovsky’s particular talent for spinning out beautiful, romantic melodies. © 2015 Aaron Grad Check out the feature on pages 10–11 to learn more about Brahms’ journey towards composing his first symphony. Tickets are available to hear Brahms’ Symphony No. 1 on June 11–14. Visit seattlesymphony.org or call 206.215.4747 to purchase tickets and for more information. Among Kirov’s guest engagements are the Amarillo Symphony, Lansing Symphony, the National Repertory Orchestra/ Breckenridge and the New World Symphony in Miami. Following his highly acclaimed debut in 2012, he also appears regularly as guest conductor at the Pacific Northwest Ballet. GUEST CONDUCTING: Kirov’s numerous awards and prizes include an Emmy for the Memphis Symphony’s Soundtrack Project, the Orchestra Preference Award and Third Prize at the 2010 Mitropoulos Conducting Competition, as well as Juilliard’s Bruno Walter Memorial Scholarship and the Charles Schiff Conducting Award for outstanding achievement. He is also the recipient of France’s 2010 ADAMI Conducting Prize, culminating in a showcase concert at the Salle Gaveau with the Orchestre Colonne. Following the performance, Kirov was invited to conduct the orchestra’s opening concerts of the 2011–2012 season in Paris. AWARDS & RECOGNITION: Kirov is a graduate of The Juilliard School in orchestral conducting, where he was a student of James DePreist. In 2012 he studied at the Aspen Academy of Conducting, and in 2013 was one of two Conducting Fellows at the Tanglewood Music Center. In 2010 he was awarded the Chautauqua Music Festival’s David Effron Conducting Fellowship, and returned in 2012 as a guest conductor with the festival orchestra. Kirov holds a master’s degree from the Ecole Normale de Musique in Paris, where he studied with Dominique Rouits. EDUCATION: encore artsseattle.com 45 PROGRAM NOTES Tuesday, May 26, 2015, at 7:30pm VIOLINIST PINCHAS ZUKERMAN WITH PIANIST ANGELA CHENG E D WA R D E LG A R Six Pieces, Op. 22 BORN: DIED: Pinchas Zukerman, violin Angela Cheng, piano EDWARD ELGAR Six Pieces, Op. 22 10’ ˇÁK ANTONÍN DVOR Four Romantic Pieces, Op. 75 14’ Allegro moderato Allegro maestoso Allegro appassionato Larghetto LUDWIG VAN BEETHOVEN Sonata No. 1 in D major, Op. 12, No. 1 Allegro con brio Tema con variazioni: Andante con moto Rondo: Allegro 22’ INTERMIS SION ROBERT SCHUMANN Drei Romanzen, Op. 94 Nicht schnell Einfach, innig Nicht schnell 12’ CÉSAR FRANCK Sonata in A major for Violin and Piano Allegretto ben moderato Allegro Ben moderato: Recitative—Fantasia Allegretto poco mosso Pinchas Zukerman’s performance is generously underwritten by Cheryl and Richard Bressler through the Seattle Symphony’s Guest Artists 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. 46 SEATTLESYMPHONY.ORG February 23, 1934, in Worcester WORK COMPOSED: D IST INGUISHED A RTISTS SERIES June 2, 1857, in Broadheath, near Worcester 30’ 1892 It has long been a curiosity that in England, with its rich — one might even say dominating — literary history, music should suffer in pronounced comparative inferiority. Since the death of Henry Purcell in 1695, England’s greatest musical voices seemed to come from abroad, beginning with Handel, later Haydn, and eventually Mendelssohn. Had not Mozart died so young, even he — with urgings from his friend Stephen Storace — would have crossed the channel to ply his trade in the English capital. Not until the closing years of the 19th century did Great Britain renew its native voice in the person of Sir Edward Elgar, the first in a succession of English worthies whose music has regained an international foothold in our own century. Seven years before the so-called “Enigma” Variations cast him into the limelight in 1899, Elgar penned Six Pieces, Op. 22. Designed for young violin students (young pianists, too, for the accompaniment), these winsome miniatures show how a fine composer can write easy music that still manages to “deliver the goods.” Great chops are not required to fully reveal the unassuming sweetness of the music, though it certainly doesn’t hurt to have a really mature technique. It’s a testament to some of our era’s foremost virtuosos that these works have not lacked for advocacy. Indeed it is a badge of courage to bring this music to a recital audience expecting great profundity and/or dazzling fireworks. All of the music lies in basic first position and is playable by relative neophytes (you can check out valiant attempts on YouTube), but what a difference decades of growth and practice can bring to these charmers. Tempos vary somewhat throughout, but the first five pieces are unified by gentle and wistful lyricism. The energetic concluding by Steven Lowe Allegro comes closest to demanding a good technique, though even here Elgar inserts a quieter, gentler middle section. LU DW I G VA N B E E T H OV E N Sonata No. 1 in D major, Op. 12, No. 1 A N TO N Í N DVO Ř Á K Four Romantic Pieces, Op. 75 Allegro moderato Allegro maestoso Allegro appassionato Larghetto BORN: September 8, 1841, in Nelahozeves, Bohemia DIED: May 1, 1904, in Prague WORK COMPOSED: 1887 A wave of national fervor spread over Europe throughout the turbulent years of the 19th century. Antonín Dvorˇák stands high as a spokesman for benign nationalism in music. He was emphatically a non-political nationalist, proud of his region’s rich cultural legacy, yet free of any of the “anti” dogmas that sadly were a corollary of the darker side of this same pride. Dvorˇák’s lovely Four Romantic Pieces, Op. 75 began as a work for two violins and viola designed for two friends, a young student and his teacher, plus the composer (on viola). Deemed by the student as beyond his capability the kindly composer wrote the simpler work we hear in tonight’s recital. The set opens with an Allegro moderato of unforced lyricism in which the violin takes the primary melodic material over a rippling piano accompaniment. An assertive peasant dance-inspired Allegro maestoso follows, its rustic energy tempered by intervening lyrical phrases and a more reserved variant on the raucous opening theme characterized by raised fourth leading to the dominant. Marked Allegro appassionato, the third piece is rather more sweetly lyrical than the heading might suggest. A rising and rhapsodic melody from the violin once again brings back a rippling accompaniment. The concluding Larghetto, the longest movement, suggests heartfelt pathos courtesy of a weeping violin theme over spare arpeggio chords from the piano. Allegro con brio Tema con variazioni: Andante con moto Rondo: Allegro BORN: DIED: December 16, 1770, in Bonn March 27, 1827, in Vienna WORK COMPOSED: 1797–98 In 1787, Beethoven’s friends raised money for the young composer-pianist to journey to Vienna for study with Mozart. The rapid decline and death of his mother, however, forced a prompt return to Beethoven’s hometown. By the time he returned to Vienna in 1792 his intended mentor Mozart had been dead for a year. Still wanting to improve his prospects for a successful career in what was considered the unquestioned musical capital of Europe, Beethoven set his sights on Haydn, pre-eminent composer of the day. Because composition lessons with Haydn did not go especially well Beethoven began studying vocal writing with the unfairly maligned Antonio Salieri and counterpoint with Johann Albrechtsburger. In 1797 and ’98 Beethoven composed his three Op. 12 sonatas for “piano and violin” (standard listing of such works at the time), dedicating them to Salieri. All three works reflect Beethoven’s absorption of the high classicism of both Mozart and Haydn with strong hints of his own increasingly assertive and heightened emotional style. The sonatas share certain features: they are all in three movements of which the first is typically the most exploratory and inventive, the second highly expressive and the finale scintillating and unfailingly upbeat. They also fall into that category termed Hausmusik, i.e., music composed for performance by skilled amateurs, unlike the remaining seven violin and piano sonatas, which were written for professional virtuosos. Despite the designation mentioned above as sonatas for “piano and violin,” Beethoven strove as ever for parity among the instrumentalists. Neither violin nor piano can boast of clear dominance, despite Beethoven’s primary performing career as a pianist. (He was, of course, no slouch on violin and viola.) Marked Allegro con brio, the first movement asserts itself with a bold ascending unison theme played by both partners before a new intimate and lyrical tune is initiated by the violin and picked up by the piano. Having already written several chamber works, Beethoven shows great skill in achieving a conversational give-and-take atmosphere throughout the movement. After cannily building up palpable excitement Beethoven-the-jokester (a trait shared with Haydn), he all but brings the forward motion to a halt by giving the piano a calmer tune that leads to a stately procession of chordal harmonies. After a brief episode in the unexpected key of F major, Beethoven ends the movement back in the bright D-major tonality of the tonic key. The ensuing Tema con variazioni: Andante con moto in A major demonstrates Beethoven’s early mastery of variation form. The lovely two-part theme is introduced by the piano and restated by the violin before the two instruments switch roles. The first variation belongs to the piano, tastefully if minimally accompanied by the string player. In the following variation the violin rhapsodizes over a keyboard accompaniment. The penultimate and increasingly passionate variation cast in A minor achieves parity in the two roles. The final variation returns to the major mode and brings the emotionally varied movement to a gentle and serene close. As befits a classical period piece the concluding Rondo: Allegro in 6/8 time abounds in good cheer, amplified by off-the-beat sforzandos (a Beethoven trademark to be sure) and anticipates the frequent use of syncopated passages that play an increasingly vital role in Beethoven’s music. The delightful dance-like ambience, less courtly than affectionately rustic, exults in unforced exuberance. encore artsseattle.com 47 P RO G RA M N OTES continued PINCHAS ZUKERMAN Violin ROBERT SCHUMANN Drei Romanzen, Op. 94 Sonata in A major for Violin and Piano Allegretto ben moderato Allegro Ben moderato: Recitative—Fantasia Allegretto poco mosso Nicht schnell Einfach, innig Nicht schnell BORN: June 8, 1810, in Zwickau, Saxony DIED: July 29, 1856, in Endenich, near Bonn WORK COMPOSED: CÉSAR FRANCK 1849 Shortly before Robert and Clara Schumann moved from Dresden to Düsseldorf with high hopes ultimately dashed by his deteriorating mental health and subsequent death in an asylum, he penned Drei Romanzen, Op. 94 for oboe and piano with expressed permission for alternative versions employing clarinet or violin. In the first movement, Nicht schnell (“not fast”), a brief and somber introductory phrase from the piano sets the mood for the soloist’s plaintive main theme, a sweet and sad gesture in A minor. The piano weaves a supportive accompanying web around the soloist’s searching lyricism. A somewhat fasterpaced central section follows before returning to the tender sensibility of the opening material, briefly augmented by a series of descending chromatic lines before the piece ends quietly. Marked Einfach, innig (“simply, heartfelt”) the second Romance begins flowingly with both instruments singing together in true duet fashion. The “B” section begins energetically but leaves time for a calm variant before reprising the serene and gently rocking music of the “A” section. Echoing the opening miniature, the third Romance is also marked Nicht schnell. The two instruments open with a slow unison statement before the pace and energy suddenly increase, only to give way to a calmer mien. More than in the preceding pieces the music rapidly cycles between Dionysian exultation and Apollonian reserve — Schumann’s frequent “yin-yang” opposing but deeply connected esthetic principles. BORN: DIED: December 10, 1822, in Liège, Belgium November 8, 1890, in Paris WORK COMPOSED: 1886 WORLD PREMIERE: 1886, in Brussels, Eugène Ysaÿe, violin If César Franck’s lone symphony in D minor remains his best-known orchestral work, his A-major Sonata for Violin and Piano lays similar claim in the chamber or duet repertoire. Non-violinists have had their way with this ingratiating piece as well. Both the late cellist Jacqueline du Pré and the flutist James Galway (among others) have performed the original violin part on their respective instruments. The Sonata is in four movements, all of which share melodic material or variants thereof from the opening Allegretto ben moderato, a typically Franckian version of cyclic composition. The expansive opening movement is a sonatina form (i.e., a sonata lacking a development section) that enchants through serene and reflective calm. The following Allegro, by contrast, exerts itself with vigor and conflict, but withdraws to a kind of smoldering calm. Marked Ben moderato: Recitative— Fantasia, the third movement draws together much of the thematic material from the two preceding movements in a passionate declamatory statement. The rightly famous finale opens with a tension-thawing tune that Franck subjects to the rigorous form of a canon, where the two instruments follow each other in perfect imitation. An age-old construct, canons are considered the epitome of austerity, yet in Franck’s hands the music flows with melodic fluency and effortless poise. © 2015 Steven Lowe 48 SEATTLESYMPHONY.ORG “Youth sticks with some people... Zukerman seems the forever-young virtuoso: expressively resourceful, infectiously musical, technically Photo: Paul Labelle impeccable, effortless. As usual, it was a joy to be in his musical company” (The Los Angeles Times). Pinchas Zukerman has remained a phenomenon in the world of music for over four decades. His musical genius, prodigious technique and unwavering artistic standards are a marvel to audiences and critics. Zukerman is equally respected as violinist, violist, conductor, pedagogue and chamber musician. FORTE: Zukerman’s 2014–2015 season includes over 100 worldwide performances, bringing him to multiple destinations in Africa, Asia, Australia, Europe and North America. He completes his 16th and final season as Music Director of the National Arts Centre Orchestra of Ottawa, with whom he toured the United Kingdom in October 2014. In his sixth season as Principal Guest Conductor of the Royal Philharmonic Orchestra in London, he leads the ensemble in concerts at home in the United Kingdom as well as on its January 2015 tour of Florida. SEASON HIGHLIGHTS: BACKGROUND & RECOGNITION: Born in Tel Aviv in 1948, Zukerman came to America in 1962 where he studied at The Juilliard School with Ivan Galamian. He has been awarded the Medal of Arts, the Isaac Stern Award for Artistic Excellence and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Zukerman’s extensive discography contains over 100 titles, and has earned him two Grammy awards and 21 nominations. ANGELA CHENG Piano Consistently praised for her brilliant technique, tonal beauty and superb musicianship, Canadian pianist Angela Cheng is one of her country’s national treasures. FORTE: Photo: Lisa Kohler In addition to regular guest appearances with virtually every orchestra in Canada, she has also performed with the Alabama Symphony, Buffalo Philharmonic, Colorado Symphony, Houston Symphony, Indianapolis Symphony, Jacksonville Symphony, Louisiana Philharmonic, Saint Louis Symphony, San Diego Symphony, Syracuse Symphony, Utah Symphony and the Israel Philharmonic. In the spring of 2012 Cheng made her highly acclaimed Carnegie Hall debut with the Edmonton Symphony. Highlights of the coming season include guest appearances with the Edmonton Symphony; the Orquestra Filharmonica in Minas Gerais, Brazil; the Vancouver Symphony; a complete Beethoven concerto cycle with the Victoria Symphony; and a recital for Chamber Music Detroit. Thursday, May 28, 2015, at 7:30pm Saturday, May 30, 2015, at 8pm Sunday, May 31, 2015, at 2pm MOZART VIOLIN CONCERTO NO. 5 DELTA AI R LI NES M ASTER WO R KS SEASO N PERFORMANCE HIGHLIGHTS: Cheng’s debut recording of two Mozart concertos with Mario Bernardi and the CBC Vancouver Orchestra received glowing reviews. Other CDs include Clara Schumann’s Concerto in A minor with JoAnn Falletta and the Women’s Philharmonic for Koch International; for CBC Records, four Spanish concertos with Hans Graf and the Calgary Philharmonic; both Shostakovich concertos with Mario Bernardi and the CBC Radio Orchestra; and a solo disc of selected works of Clara and Robert Schumann; and, most recently, an all-Chopin recital CD released by Universal Music Canada. RECORDINGS: Cheng has been Gold Medalist of the Arthur Rubinstein International Piano Masters Competition, as well as the first Canadian to win the prestigious Montreal International Piano Competition. Other awards include the Canada Council’s coveted Career Development Grant and the Medal of Excellence for outstanding interpretations of Mozart from the Mozarteum in Salzburg. AWARDS: Mikhail Agrest, conductor Simone Porter, violin Seattle Symphony PIOTR ILYICH TCHAIKOVSKY Suite No. 4 in G major, Op. 61, “Mozartiana” 25’ Gigue Minuet Prayer, after a transcription by Liszt Theme and Variations WOLFGANG AMADEUS MOZART Violin Concerto No. 5 in A major, K. 219 31’ Allegro aperto Adagio Rondo: Tempo di Menuetto SIMONE PORTER, VIOLIN SERGEY PROKOFIEV I NTER M I SSI O N Excerpts from Cinderella, Op. 107 36’ Introduction [Suite 1 No. 1] Pas de chat [The Cat’s Dance] [Suite 1 No. 2] Quarrel [Suite 1 No. 3] Fairy Grandmother and Winter [Suite 1 No. 4] Mazurka [Suite 1 No. 5] Arrival to the Ball and the Grand Waltz [Suite 2 No. 5] Cinderella Goes to the Ball [Suite 1 No. 6] Cinderella’s Waltz [Suite 1 No. 7]— Midnight [Suite 1 No. 8] Pre-concert Talk one hour prior to performance. Speaker: Dave Beck, Host, Classical KING FM 98.1 Ask the Artist on Thursday, May 28, in the Samuel & Althea Stroum Grand Lobby following the concert. 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. encore artsseattle.com 49 P RO G RA M N OTES by Paul Schiavo Music From Russia, With a Dash of Mozart P I OT R I LY I C H TC H A I KOV S K Y Music by Wolfgang Amadeus Mozart might seem out of place on a concert otherwise devoted to works by Russian composers. Mozart exemplifies music’s AustroGerman classical tradition, which runs from Bach through him and his great contemporary, Haydn, to Beethoven, Schubert and Brahms. Most of Russia’s major composers, especially those of the 19th century, strove to establish musical values distinct from those of their German and Austrian counterparts. Their use of Russian folk melodies, their colorful style of orchestration and the emotional effusiveness of their music, seems especially remote from the comparatively restrained style of the late 18th century in which Mozart worked. Suite No. 4 in G major, Op. 61, “Mozartiana” Yet as is often true, the matter is not so simple. Tchaikovsky, whose mature symphonies and other works epitomize an intensely expressive Russian Romanticism, adored Mozart’s music, and he emulated its classical elegance in several of his works. His most direct Mozartian homage opens our program. Sergey Prokofiev, one of the foremost Russian composers of the 20th century, also had a fondness for the musical idiom of 18th-century classicism, and he, too, appropriated it in several of his compositions, most notably his popular “Classical” Symphony. But Prokofiev looked back to Tchaikovsky in other works, most especially his ballet Cinderella, portions of which make up the second half of our concert. Tchaikovsky’s fairytale ballets, The Sleeping Beauty and Swan Lake, had set new standards of musical excellence in the genre, and in Cinderella Prokofiev adopted Tchaikovsky’s method of telling the ballet’s story using traditional dance forms. 50 SEATTLESYMPHONY.ORG Gigue Minuet Prayer, after a transcription by Liszt Theme and Variations BORN: DIED: May 7, 1840, in Kamsko-Votkins, Russia November 6, 1893, in Saint Petersburg WORK COMPOSED: 1887 WORLD PREMIERE: December 24, 1887, in Saint Petersburg, conducted by the composer. “Why do you not care for Mozart? In this respect our opinions differ, dear friend. I not only like Mozart, I idolize him. To me, the most beautiful opera ever written is Don Giovanni ... In his chamber music, Mozart charms me by his purity and distinction of style, and by his exquisite handling of different instruments ... I could go on forever about this sunny genius.” The author of this paean is Piotr Ilyich Tchaikovsky, a composer whose Russian Romanticism seems far removed from the poised classical aesthetic that much of Mozart’s music exemplifies. Indeed, Tchaikovsky embodied the spirit of 19th-century Romanticism as much as any other musician of his generation. He was an extremely emotional personality, by turns melancholic and euphoric, passionate and deeply fatalistic, and much of his music is charged with an intense subjectivity. But despite the artistic and temperamental differences between Mozart and himself, Tchaikovsky worshiped the Austrian composer’s work fervently. Here was “the Christ of music,” Tchaikovsky declared, “the sunny genius” whose music “moves me to tears.” In 1887 Tchaikovsky paid homage to his idol by arranging four of Mozart’s works into a suite for orchestra, which he subtitled “Mozartiana.” The first of those works, composed as a piano solo in 1789, is a Gigue, a dance with a rapid three-beat pulse. Mozart endowed the music with echoic counterpoint after the manner of J. S. Bach. The ensuing Minuet orchestrates another piano piece, written in 1780. “Preghiera” (“Prayer”) is a setting of Mozart’s famous Ave Verum Corpus. Franz Liszt previously had made an elaborate and somewhat free transcription of this choral motet for piano, and Tchaikovsky used Liszt’s arrangement as the template for his own. The finale is by far the longest of the four “Mozartiana” pieces. Like the third movement, and in some degree the first, it is the work of three composers: Mozart, Tchaikovsky and, in this case, Christoph Wilibald Gluck (1714–1787). Gluck’s operas enjoyed much popularity during his lifetime, and in 1784 Mozart wrote a set of variations on an aria from Gluck’s comic opera Le recontre imprévue (The Unexpected Meeting). Tchaikovsky’s orchestration preserves, indeed enhances, the humorous tone of Mozart’s piano solo. The initial Gigue packs contrapuntal discourse, angular rhythms and surprising turns of line and harmony into two brimming minutes. In the third movement, Prayer, the introduction, closing chords, harp embellishments and other details are additions by Franz Liszt and Tchaikovsky, and reflect those composers’ impulse to refashion Mozart’s music in the manner of the 19th century. Among other humorous touches in the finale is the mock-formal tone of an extended solo for violin. WHAT TO LISTEN FOR: Scored for pairs of flutes, oboes, clarinets and bassoons; 4 horns and 2 trumpets; timpani, percussion, harp and strings. WO L F G A N G AMADEUS MOZART Violin Concerto No. 5 in A major, K. 219 Allegro aperto Adagio Rondo: Tempo di Menuetto BORN: DIED: January 27, 1756, in Salzburg December 5, 1791, in Vienna WORLD PREMIERE: Unknown, although perhaps in Mozart’s native Salzburg with Antonio Brunetti executing the solo part. The “sunny genius” Tchaikovsky so admired in Mozart’s music, the ability to create a seemingly effortless flow of captivating melodies and harmonies within the elegant style of late-18th century composition, is fully displayed in the Austrian composer’s five concertos for solo violin and orchestra. Mozart wrote these concertos between April and December of 1775. His purpose in doing so has been variously accounted for by his biographers but cannot be stated with certainty. The composer, at age 19, was himself an accomplished violinist, and we know from his letters that he performed at least one of these concertos in public. But he probably fashioned the Violin Concerto in A Major, K. 219, the last piece in this series, for Antonio Brunetti, a violinist who shared with Mozart the duties of concertmaster in the orchestra maintained by the Prince-Archbishop of Salzburg. In his violin concertos, Mozart’s musical invention takes on an aspect of caprice that we rarely encounter in his other major instrumental works. Melodies pour so abundantly from his pen that they need not be thoroughly developed, and the flow of music is sometimes interrupted for fascinating but inexplicable digressions. The first movement of the A major concerto begins with the usual orchestral exposition, one whose several brief themes convey an almost operatic élan. But the entrance of the solo violin changes the music’s character completely. Indeed, the featured instrument seems to have stumbled into the wrong composition, rhapsodizing in slow tempo over a murmuring accompaniment. Having thereby perplexed us (though in a not unpleasant way), Mozart once again shifts gears and returns to the original tempo, allowing the movement to develop more or less as we might expect. of the late 18th century. Mozart resorted to this type of exoticism in a number of pieces, most famously the Piano Sonata in A major, K. 331, with its well-known Rondo “alla turca,” and his opera Die Entführung aus dem Serail. For the quasi-exotic episode in its finale, the present work is sometimes referred to as Mozart’s “Turkish” Concerto. The conclusion of this surprising passage returns us once more to the minuet theme, as though the strange oriental excursion had been only a dream. Following the very vigorous orchestral paragraph that begins the concerto, the solo violin seems to stroll into the proceedings in an incongruously relaxed manner. Mozart offers other surprises in the form of unexpected harmonies and little bits of melody that sound briefly, then give way to others. Here and in the slow movement that follows, Mozart provides opportunity for a cadenza, a quasiimprovisational solo for the featured performer. The finale begins as a dance in lilting triple-pulse meter. The very Austrian character of this music makes the “Turkish” episode midway through the movement all the more surprising. WHAT TO LISTEN FOR: Scored for 2 oboes, 2 horns and strings. S E R G E Y P R O KO F I E V Excerpts from Cinderella, Op. 107 Introduction [Suite 1 No. 1] Pas de chat [The Cat’s Dance] [Suite 1 No. 2] Quarrel [Suite 1 No. 3] Fairy Grandmother and Winter [Suite 1 No. 4] Mazurka [Suite 1 No. 5] Arrival to the Ball and the Grand Waltz [Suite 2 No. 5] Cinderella Goes to the Ball [Suite 1 No. 6] Cinderella’s Waltz [Suite 1 No. 7]— Midnight [Suite 1 No. 8] BORN: The ensuing Adagio is more conventional, being concerned chiefly with the theme given out by the orchestra in the opening measures. But the finale, built on a minuet type of melody, has as its third episode a humorous interlude in “Turkish” style. Musical evocation of the land of the Pashas constituted a popular strain of composition among Austrian musicians DIED: April 23, 1891, in Sontsovka, Ukraine March 5, 1953, in Moscow WORK COMPOSED: 1940–44 WORLD PREMIERE: November 21, 1945, in Moscow. Among the hit movies of the current season is Cinderella. A critical success, it is far outpacing its competition at the box office a week after it opened, and it seems on its way to becoming the highest-grossing movie of the year. The film’s popularity is just the latest evidence of the enduring appeal of the Cinderella legend. The story of the lovely and kind but put-upon girl who wins the hand of a prince was popularized by Charles Perrault, the French author of fairytales, who published his version in 1697. The Grimm brothers offered a competing account in 1812, as have several other writers over the years. Cinderella also has engendered operas by Rossini (one of his most successful works after The Barber of Seville) and by Massenet; a Broadway-style musical by Rodgers and Hammerstein; and dozens of films, the most famous being the 1950 Disney animation. Finally, Cinderella has inspired several ballet scores, the most ambitious and successful being that of Sergey Prokofiev. Prokofiev had left his native Russia in 1918, shortly after the country’s epochal revolution, and spent most of the next two decades living in the West. He returned home in the mid-1930s and soon busied himself with film and theater projects. One of these came from the Kirov Theater, which in 1940 commissioned Prokofiev to write music to the Cinderella story. The composer finished two of the ballet’s three acts by June 1941, when Hitler’s invasion of the Soviet Union plunged the nation into crisis. Prokofiev now put Cinderella aside for three years. He returned to it and completed the score in 1944. The ballet’s first production took place not at the Kirov, as originally planned, but at the Bolshoi, in Moscow, in November 1945. Prokofiev subsequently extracted three concert suites from his full ballet score. The movements we hear during the second half of our program include the entire first suite and one excerpt from the second. We begin with music that introduces the ballet. Here Prokofiev establishes two themes associated with the title character. The first is mournful, as befits Cinderella’s sad lot at the start of the story. This gives way, however, to music expressing her dreams of happiness. The opening scene finds Cinderella at home, serving her stepmother and encore artsseattle.com 51 PROGRAM NOTES continued stepsisters, while the household cat scampers about. Our third excerpt begins with Cinderella’s wicked stepsisters embroidering a shawl to wear to the palace ball, but they quarrel violently over which of them will wear it. Later, Cinderella is visited by her Fairy Godmother and four fairies who rule the seasons. Together, they transform Cinderella into an elegant beauty. Musical representations of the Winter Fairy and Cinderella’s Fairy Godmother compose the fourth piece we hear. The remainder of our excerpts presents, slightly out of order, events at the ball. Awaiting the arrival of the Prince, guests dance a Mazurka. Cinderella enters and soon dances a grand waltz with the Prince. (This music is from the second of Prokofiev’s three Cinderella suites. We then hear music for the magic carriage ride that takes Cinderella to the palace.) Cinderella dances alone, enchanting the Prince. But she has forgotten her Godmother’s admonition not to linger past midnight, and when chimes strike that hour, she abruptly flees. Our concert concludes at that suspenseful juncture. Following a somber opening, the rippling harp figures accompany music of romantic dreaming. Cat’s Dance makes prominent use of the clarinet, the instrument Prokofiev selected to “portray” the cat in his children’s story-with-music Peter and the Wolf. Cinderella’s entrance brings a return of her theme of romantic dreaming, as if to show that her reveries have now become reality. WHAT TO LISTEN FOR: Scored for 2 flutes and piccolo; 2 oboes and English horn; 2 clarinets and bass clarinets; 2 bassoons and contrabassoon; 4 horns, 3 trumpets, 3 trombones and tuba; timpani and percussion; harp, piano and strings. © 2015 Paul Schiavo 52 SEATTLESYMPHONY.ORG M I K H A I L AG R E S T SIMONE PORTER Conductor Violin FORTE: The precision and vibrancy of his finely worked interpretations are reflected in the countless outstanding reviews of Mikhail Agrest’s performances. The Photo: rabovsky.ru Russian-American conductor pairs a special affinity for Russian and Slavic music with a wideranging versatility in his repertoire. Violinist Simone Porter has been recognized as an emerging artist of impassioned energy, musical integrity and vibrant sound. The Los Angeles Times, Photo: Dario Acosta after referring to her as a “future star,” wrote, “Let’s strike the word ‘future.’ She sounds ready. Now.” Her performances have been described as “bold” (The Seattle Times), “virtuosic” (The London Times), and Porter herself has been praised as “a consummate chamber musician” (The Telegraph). Porter, now 18, made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra at age 13. Porter plays on a 1745 J.B. Guadagnini violin on generous loan from The Mandell Collection of Southern California. He opened the 2014–2015 season with Schwanda the Bagpiper at Teatro Massimo di Palermo, and travelled to Dresden’s Semperoper for Romeo et Juliette. In Helsinki he conducted La Boheme before starting a new collaboration with Opernhaus Zurich in Switzerland. Among this season’s symphonic ventures are Nordwestdeutsche Philharmonie, Bremer Philharmoniker, Dresdner Philharmonie as well as the St Petersburg Philharmonic. SEASON HIGHLIGHTS: Agrest conducted The Legend of the Invisible City of Kitezh and the Maiden Fevronia with the Mariinsky Theatre at the Metropolitan Opera of New York, before taking on the musical directorship of several productions at the Royal Opera House Covent Garden. He conducted English National Opera’s award-winning new production of Jenufa by David Alden, joined Swedish National Opera for his debut with Tosca, travelled to Opera Australia for Don Giovanni and returned to Opera de Orviedo for The Rake’s Progress. More recently, engagements took him to work with Staatstheater Stuttgart and Teatro San Carlo Napoli, as well as the London Philharmonic Orchestra. RECENT & CAREER HIGHLIGHTS: FORTE: During the 2015–2016 season, Porter debuts with the Detroit Symphony with conductor Andrew Hilary Grams, the Rochester Philharmonic and the Florida Orchestra. She also makes her Ravinia recital debut. During the summer of 2014, Porter made several important and highly acclaimed debuts, starting with her professional debut at the Aspen Music Festival with conductor Thomas Søndergård. She also debuted at the Grand Teton Music Festival with conductor Donald Runnicles and finished her summer at the Hollywood Bowl, debuting with the Los Angeles Philharmonic and conductor Ludovic Morlot. The fall of 2015 brings her return to the Los Angeles Philharmonic, this time on the Walt Disney Concert Hall stage with maestro Gustavo Dudamel. PERFORMANCE HIGHLIGHTS: In March 2015 Porter was named a recipient of an Avery Fisher Career grant. She is a 2011 Davidson Fellow Laureate, an award given by the Davidson Institute for Talent Development, which carries a $50,000 scholarship to further her musical education. In 2009 she was presented as an Emerging Young Artist by the Seattle Chamber Music Society. AWARDS & HONORS: Agrest grew up in the United States. A violinist as well as conductor, he studied at Indiana University School of Music and later in his native St Petersburg, where, as Conductor in Residence at the Mariinsky Theatre, he worked closely with Valery Gergiev for many years. BACKGROUND: S EAT T LE SYMPHONY DONORS PRINCIPAL BENEFACTORS INDIVIDUAL CONTRIBUTIONS The Seattle Symphony acknowledges with gratitude the following donors who have made cumulative contributions of more than $1 million as of March 18, 2015. The Seattle Symphony gratefully recognizes the following individuals for their generous Annual Fund and Special Event gifts through March 18, 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. 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 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 Marks Family 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 Office of Arts & Culture 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 James and Sherry Raisbeck Grant and Dorrit Saviers Martin Selig and Catherine Mayer PRINCIPAL MUSICIANS CIRCLE The following donors have generously underwritten the appearances of principal musicians this season. Sue and Robert Collett Patricia and Jon Rosen Thank you for your support. Our donors make it all possible! STRADIVARIUS CIRCLE Platinum ($250,000+) The Benaroya Family ^ 15 Leslie and Dale Chihuly o 15 Paul Leach and Susan Winokur o 15 Marks Family Foundation o Anonymous (2) Silver ($10,000 – $14,999) Gold ($100,000 – $249,999) Judith A. Fong and Mark Wheeler o 5 Lenore Hanauer 15 Jean-Francois and Catherine Heitz o 5 David J. and Shelley Hovind o 5 Jeff Lehman and Katrina Russell o Joan S. Watjen, in memory of Craig M. Watjen 15 Silver ($50,000 – $99,999) Dr.* and Mrs. Ellsworth C. Alvord, Jr. Cheryl and Richard Bressler 15 Dave and Amy Fulton ^ Katharyn Alvord Gerlich 15 Dr. Kennan H. Hollingsworth o 15 Jeffrey S. Hussey o Marcus and Pat Meier 5 Sheila B. Noonan and Peter M. Hartley o 15 Martin Selig and Catherine Mayer o ^ Mr. H.S. Wright III and Ms. Katherine Janeway Anonymous (2) Chuck and Pat Holmes ^ 10 Hot Chocolate Fund 5 Susan Shanbrom Krabbe and Moe Krabbe 15 Edmund W. and Laura Littlefield Richard and Francine Loeb Dr. Pierre and Mrs. Felice Loebel 10 Kjristine R. Lund o Mr. Steve Macbeth Harold Matzner Yoshi and Naomi Minegishi ^ 10 Robert Moser Dick and Joyce Paul o 5 Patricia and Jon Rosen o 5 Mr.* and Mrs. Herman Sarkowsky ^ 15 Charles and Lisa Persdotter Simonyi 5 Selena and Steve Wilson 15 15 Bronze ($25,000 – $49,999) Warren A. and Anne G. Anderson 5 Drs. Jim and Sue Bianco o Barney Ebsworth and Rebecca Layman-Amato William and Mimi Gates Lynn and Brian Grant Family o 5 Lyn and Gerald Grinstein ^ 15 Ilene and Elwood Hertzog o 15 Douglas F. King 15 Dana and Ned Laird o 15 Dawn Lepore and Ken Gladden o 5 Jean McTavish 15 Pamela Merriman 5 Linda Nordstrom 15 Sally G. Phinny 5 James and Sherry Raisbeck 10 Grant and Dorrit Saviers Stephen and Leslie Whyte o 5 Virginia and Bagley* Wright ^ Anonymous Jim and Catherine Allchin 15 Claire Angel o 5 Peter Russo and Kit Bakke Brooke Benaroya and Josh Dickson Berwick Degel Family Foundation 5 Thomas and Susan Bohn 15 Paul B. Brown and Margaret A. Watson o Jean Chamberlin o Dr. Alexander Clowes and Dr. Susan Detweiler o 15 Brittni and Larry Estrada o Senator and Mrs. Daniel J. Evans o 15 Henry M. Finesilver 5 Natalie Gendler 15 Neil M. Gray and Meagan M. Foley 10 Patty Hall o 15 Juniper Foundation 10 Nader and Oraib Kabbani Michael King and Nancy Neraas 5 Stephen Kutz o 5 Najma and Firoz Lalji Rhoady* and Jeanne Marie Lee 10 Everil Loyd, Jr. 5 Ian and Cilla Marriott 15 Jerry Meyer The Nakajima Family John and Laurel Nesholm o 15 Geneva R. Osburn 5 John and Susan Pohl o 5 Jane and James Rasmussen 15 Jon and Judy Runstad ^ Jeff and Lara Sanderson Douglas and Theiline Scheumann Amy Sidell 15 Linda Stevens o 15 Donald and Mary Anne Strong 15 Patricia Tall-Takacs and Gary Takacs ^ 15 Muriel Van Housen M. Barton Waring William O. and K. Carole Ellison Foundation Arlene A. Wright ^ 15 Anonymous (5) FOUNDERS CIRCLE Gold ($7,500 – $9,999) MAESTROS CIRCLE Gold ($15,000 – $24,999) Molly and Marco Abbruzzese o 10 Richard and Constance Albrecht ^ 15 Chap and Eve Alvord 15 Elias and Karyl Alvord Bob and Clodagh Ash ^ 15 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 Dr. Martin L. Greene and Toby Saks* Richard and Elizabeth Hedreen 15 Charles E. Higbee, MD and Donald D. Benedict 15 Susan Y. and Charles G. Armstrong ^ Renée Brisbois and Jay Burrell o John Delo and Elizabeth Stokes 5 Eric and Margaret Rothchild Charitable Fund 5 Diana P. Friedman o Janet W. Ketcham Will and Beth Ketcham o Ben Kolpa and Angelisa Paladin Dr. Ryo and Kanori Kubota Rebecca Layman-Amato o Ruthann Lorentzen 5 Ashley O’Connor McCready and Mike McCready The Mitrovich Family Gary and Susan Neumann 15 Douglass and Katherine Raff 10 encore artsseattle.com 53 S EAT T LE SYMPHONY DONORS Tom and Teita Reveley 15 Diane and Mark Rubinstein o Steve and Sandy Hill Family Fund at the Seattle Foundation 15 Mark Wissman and Christine Cote-Wissman Anonymous (3) Silver ($5,000 – $7,499) Peter Russo and Kit Bakke Donna Benaroya 5 Robert Bismuth Capt. and Mrs. Paul Bloch 5 Barbara BonJour 15 Jim and Marie Borgman 15 Alexandra Brookshire and Bert Green ^ 15 Jeffrey and Susan Brotman 10 Amy Buhrig o 5 Susan Y. Buske Barbara A. Cahill 5 Jonathan Caves and Patricia Blaise-Caves Steven and Judith Clifford 5 The Colymbus Foundation 15 Patricia Cooke 5 David and Christine Cross Carl de Marcken and Marina Meila Ernest and Elizabeth Scott Frankenberg 5 William E. Franklin Karen Gamoran Robert* and Eileen Gilman 10 D. Wayne* and Anne Gittinger Dr. and Mrs. Theodore Greenlee, Jr. 15 Glen and Ann Hiner Bob and Melinda Hord Dustin and Michelle Ingalls 10 Walt and Elaine Ingram o JNC Fund Charles and Joan Johnson 10 Sally Schaake Kincaid Klorfine Foundation Jon and Eva LaFollette 5 David and Leslie Leland Flora Ling and Paul Sturm Michael and Barbara Malone Mark H. and Blanche M. Harrington Foundation 15 Corrinne Martin JoAnn McGrath Christine B. Mead 5 Richard Meyer and Susan Harmon Reid and Marilyn Morgan ^ 15 Judith Schoenecker and Christopher L. Myers 5 Bob and Annette Parks Mr. and Mrs. Charles M. Pigott 10 M. C. Pigott Family Mr. and Mrs. W. H. Purdy 15 Dick and Alice Rapasky 10 Bernice Mossafer Rind ^ Stan and Michele Rosen Haim N. Schoppik John F. and Julia P. Shaw ^ 15 Barbara and Richard Shikiar 15 Frank and Harriet* Shrontz 15 Michael Slonski o 5 Carrol Steedman John and Sherry Stilin 10 Hope and Richard Stroble Sympaticos Maryanne Tagney Doug and Janet True Dr. Robert Wallace Gary and Karla Waterman ^ Robert and Leora Wheeler 15 Marcia and Klaus Zech 5 Anonymous (6) Bronze ($3,500 – $4,999) Carole Rush and Richard Andler 5 Lucius and Phoebe Andrew 15 54 SEATTLESYMPHONY.ORG Bill and Nancy Bain ^ Carol Batchelder 15 William and Beatrice Booth 15 Zane and Celie Brown 10 Steve and Sylvia Burges 10 Cassandra Carothers Samuel and Helen Colombo 15 James and Barbara Crutcher Dr. Geoffrey Deschenes and Dr. Meredith Broderick Aileen Dong Judith Feigin-Faulkner and Colin Faulkner David and Dorothy Fluke ^ 15 Jean Gardner ^ 15 Doris H. Gaudette 15 Michele and Bob Goodmark Donald G. Graham, Jr. 15 Barbara Hannah and Ellen-Marie Rystrom 15 Jane Hargraft and Elly Winer + Deena J. Henkins Dick and Nora Hinton Charles and Nancy Hogan Jeanne Kanach Karen Koon 5 Latino-O’Connell Steve and Donna Lewis 15 Judsen Marquardt and Constance Niva Carolyn and Richard Mattern 5 Justine and John Milberg Mrs. Roger N. Miller 15 Laina and Egon Molbak 10 Mr. and Mrs. Richard Moore 10 Erika J. Nesholm Gerald and Melissa Overbeck Steven C. Phelps Jay Picard o Dr. and Mrs. Richard D. Prince 10 Sue and Tom Raschella ^ 15 E. Paul and Gayle Robbins 5 Chuck and Annette Robinson 10 John Robinson and Maya Sonenberg 10 Mike and Marcia Rodgers Dr. and Mrs. Werner E. Samson Buz and Helen Smith 15 Margaret and Richard Spangler 15 Sonia Spear 15 Lorna Stern 15 Robert Thorson and Leone Murphy 10 S. Vadman 5 Hans and Joan* van der Velden 15 Mr. Leo van Dorp o 5 Jean Baur Viereck 5 Steve Vitalich M. Elizabeth Warren 5 Bryna Webber and Dr. Richard Tompkins Ronald and Devorah Weinstein Laurie and Allan Wenzel 5 Simon Woods and Karin Brookes + Anonymous (5) Conductors Club ($2,000 – $3,499) Kumi and Yuko Abe Bill and Janette Adamucci Harriet and Dan Alexander Alina Kostina Violins Mike and Sumi Almquist Sue and Richard Anderson Linda Armstrong Tiffany Ashton and Cartis Freet Tracy L. Baker 10 Richard Barbieri and Lyn Tangen Frank Baron The Barston Quartet Chris and Cynthia Bayley ^ Natalie and Michael Bayne Leslie and Michael Bernstein Rosanna Bowles o Bob and Bobbi Bridge Claire and Aaron Burnett Elizabeth M. Campbell David and Lynne Chelimer 15 Children Count Foundation 5 Phyllis B. Clark Cogan Family Foundation 5 Mr. and Mrs. Ross Comer 5 Rosalie Contreras and David Trenchard + 5 Jeffrey and Susan Cook Scott and Jennifer Cunningham Dr. Bob Day 5 Frank and Dolores Dean 15 Mr. John Delaney Anthony DiRe Daniel and Roberta Downey Everett and Bernie DuBois 10 Laurie Minsk and Jerry Dunietz Educational Legacy Fund Brit and Jan Etzold Andrew Faulhaber 5 Mrs. Gretchen Faulstich and the late Jim Faulstich Victor and Patricia Feltin 10 Scott and Teresa Field Jerry and Gunilla Finrow 15 Gerald B. Folland Sandra and Tom Gaffney 5 Heinz Gehlhaar and Eileen Bear 10 Martin and Ann Gelfand Janice A. and Robert L. Gerth 15 Carol B. Goddard 15 Bill and Joy Goodenough 10 Catherine B. (Kit) Green 10 Lucia and Jeffrey Hagander Frederick and Catherine Hayes 10 Terrill and Jennifer Hendrickson Richard and Sally Henriques Harold and Mary Fran Hill 5 Thomas Horsley and Cheri Brennan Suzanne D. Kellar* 10 David and Ida Kemle 10 Janet L. Kennedy Mr. Daniel Kerlee and Mrs. Carol Wollenberg 10 Andrew Kim Lorna and Jim Kneeland Albert and Elizabeth Kobayashi 15 Brian and Peggy Kreger 10 SoYoung Kwon and Sung Yang o 5 Marian E. Lackovich* 15 Patrick Le Quere 5 Mark P. Lutz 15 Marilyn Madden 10 Edgar and Linda Marcuse 5 Ken and Robin Martin Charles T. Massie 10 Bill and Colleen McAleer 10 John and Gwen McCaw Jerry Meharg Drs. Pamela and Donald Mitchell 15 Ryan Mitrovich Bruce and Jeannie Nordstrom Isabella and Lev Novik Rena and Kevin O’Brien Jerald E. Olson 15 Mr. and Mrs. Thomas Olson Path Forward Leadership Development 5 David F. Peck 10 Nancy and Christopher Perks 10 Don and Sue Phillips Guy and Nancy Pinkerton 5 Melvyn and Rosalind Poll Mrs. Eileen Pratt Pringle 15 Rao and Satya Remala Linden Rhoads Ed and Marjorie Ringness 15 Richard and Bonnie Robbins Cheryl Roberts and R. Miller Adams Jonathan and Elizabeth Roberts 15 Nancy M. Robinson 15 S EAT T LE SYMPHONY DONORS Sharon Robinson 5 William and Jill Ruckelshaus ^ Don and Toni Rupchock 15 Annie and Ian Sale Thomas and Collette Schick 10 Eckhard Schipull 10 Art Schneider and Kim Street Esther and Walter Schoenfeld Tanya and Gerry Seligman Yuka Shimizu Janice and Brad Silverberg Evelyn Simpson 15 Nepier Smith and Joan Affleck-Smith Christopher Snow 5 Jane and Alec Stevens 10 Carolyn and Clive Stewart Isabel and Herb Stusser 10 Michael and Christine Suignard Mr. and Mrs. C. Rhea Thompson 5 Kirsten and Bayan Towfiq o Betty Lou and Irwin* Treiger ^ 15 Trower Family Fund Charlie Wade and Mary-Janice Conboy-Wade + John and Fran Weiss 15 Mr. and Mrs. Michael Werner Roger and June Whitson 15 Stephen and Marcia Williams Wayne Wisehart Richard and Barbara Wortley Mr. and Mrs. David C. Wyman Anonymous (9) Musicians Club ($1,000 – $1,999) Mr. and Mrs. Chris Ackerley Acupuncture & Wellness Center, P.S. John and Andrea Adams Mr. and Mrs. John Amaya 5 Jennifer Ament Drs. Linda and Arthur Anderson Carlton and Grace Anderson 5 Ginger and Parks Anderson Mr. Geoffrey Antos 5 Richard and Dianne Arensberg 10 Terry Arnett and Donald Foster* ^ Ben and Barbara Aspen Larry Harris and Betty Azar 10 Kendall and Sonia Baker 5 Dr. and Mrs. John Baldwin 5 Dr. and Mrs. Terrence J. Ball 5 Mr. Charles Barbour and Mrs. Diana L. Kruis Joel Barduson Stan and Alta Barer Eric and Sally Barnum 5 Jim Barnyak Jane and Peter Barrett Douglas and Maria Bayer 15 Nick and Lisa Beard Dr. Melvin Belding and Dr. Kate Brostoff Joel Benoliel Linda Betts 10 Michael and Mary Rose Blatner 5 Mrs. William E. Boeing Mr. and Mrs. Jacques R. Boiroux Herb Bridge and Edie Hilliard 15 Jonathan and Judge Bobbe Bridge Mike Brosius Beverly C. Brown Katharine M. Bullitt Laurion Burchall and Arlene Kim Keith A. Butler Frank and Phyllis Byrdwell ^ April Cameron 5 Corinne A. Campbell Craig and Jean Campbell 15 Irving and Olga Carlin Cory Carlson Dr. Mark and Laure Carlson 5 56 SEATTLESYMPHONY.ORG Carol and John Austenfeld Charitable Trust 5 Anand Chakraborty Ying Chang Kent and Barbara Chaplin 10 Virginia D. Chappelle 10 Chidem Cherrier 5 Robert E. Clapp Mr. and Mrs. William Clapp Jacqueline Coffroth Ellen and Phil Collins 15 Mr. and Mrs. Frank Conlon Donald and Ann Connolly Herb and Kathe Cook Richard and Bridget Cooley Bruce Cowper and Clare McKenzie Mike Craig Cristian Craioveanu Bob and Jane Cremin Joseph Crnko and Wendee Wieking T. W. Currie Family 10 Angela de Oliveira 5 Calisle Dean Tom DeBoer Dr. Stella Desyatnikova MD Brian Dewey and Eileen Brown David and Helen Dichek Mr. William Dole and Mr. James Antognini 5 Betsy Donworth Martine and Dan Drackett Liz and Miles Drake 5 Jim and Gaylee Duncan Maria Durham and Viva la Música Club 10 Dr. Lewis and Susan Edelheit Robert and Elizabeth Edgerton Glenn and Janet Edwards 15 Thomas* and Ruth Ellen Elliott 15 Leo and Marcia Engstrom Al Ferkovich and Joyce Houser-Ferkovich 15 Barry and JoAnn Forman Robert Franklin Ms. Janet Freeman-Daily 10 Janet and Lloyd Frink Richard and Jane Gallagher Lydia Galstad Nina M. Gencoz Ruth and Bill* Gerberding ^ James and Carol Gillick ^ 10 Bernel Goldberg + Jeffrey and Martha Golub 10 Inger A. Goranson 5 Kathleen Grant Khosrowshahi Mr. and Mrs. Ross Grazier Maridee Gregory Julie Gulick Frank and Gloria Haas 5 Mrs. Carol Hahn-Oliver 5 William Haines 15 Mary Stewart Hall 10 Dr. and Mrs. James M. Hanson Frederic and Karin Harder Ken and Cathi Hatch ^ Ms. Jill Heerensperger Dr. and Mrs. Robert M. Hegstrom Michele and Dan Heidt 5 Anita Hendrickson 5 Janie Hendrix Susan Herring 5 Margaret M. Hess Suzanne Hittman The Gerald K. and Virginia A. Hornung Family Foundation Mrs. Susanne F. Hubbach 15 Gretchen and Lyman* Hull 15 Aileen Huntsman Ralph E. Jackson Laura and Bernard Jacobson 5 Randy Jahren 5 Megan Hall and James Janning + Lawrence Jen Robert C. Jenkins 5 Clyde and Sandra Johnson 5 Julie A. Johnston Zagloul Kadah Gretchen Kah Kim and Pamela Kaiser 15 David Kalberer and Martha Choe Glenn Kawasaki Takao and Yuko Kikuchi Michael and Mary Killien 10 Hyeok Kim Stacy and Doug King Virginia King 5 Michael Klein and Catherine Melfi W. M. Kleinenbroich Maryann and Tom Kofler Masato and Koko Koreeda Drs. Kotoku and Sumiko Kurachi Frances Kwapil 15 Edith M. Laird Bradley Lamb Ron and Carolyn Langford 10 Peter M. Lara 10 Robert and Joan Lawler Don and Carla Lewis 5 Sherrie Liebsack Robert and Marylynn Littauer 5 Mark Looi and Susan Cheng-Looi Lovett-Rolfe Family Trust Richard* and Beverly Luce 15 Roy and Laura Lundgren Mr. and Mrs. Louis Lundquist 5 Mary Ann and Ted Mandelkorn 10 Mark Litt Family DAF of the Jewish Federation of Greater Seattle 5 Pat and Tony Marshall 5 David and Sally Maryatt Marcia Mason Doug and Joyce McCallum Mary Kay McCaw Elizabeth McConnell Louise McCready Dr. and Mrs. Paul McCullough Christopher and Heather Mefford Mary Mikkelsen 15 Ronald Miller and Murl Barker 5 Dan Savage and Terry Miller Chie Mitsui 5 Charles Montange and Kathleen Patterson 15 Stephanie A. Mortimer Susan and Furman Moseley Christine B. Moss 15 Motivagent Inc. Kevin Murphy 15 Paul Neal Cookie and Ken Neil Robert and Claudia Nelson Kirsten Nesholm Marilyn Newland 5 Craig Norton and John French 5 Nuckols-Keefe Family Foundation 5 Thomas and Cynthia Ostermann 5 Richard and Peggy Ostrander Meg Owen Dr. and Mrs. Roy Page Allan and Jane Paulson Katherine Payge Tomas Perez-Rodriguez 5 Lisa Peters and James Hattori Gary and Erin Peterson Rosemary Peterson Stewart Phelps Marcus Phung 5 Tom and Brooke Pigott William and Joan Potter 15 Prairie Foundation Llewelyn G. and Joan Ashby Pritchard ^ 15 S EAT T LE SYMPHONY DONORS Lucy and Herb Pruzan 5 Harry* and Ann Pryde 15 Gail T. Ralston Raman Family Foundation Jean A. Rhodes Fred and Alyne* Richard 15 John Richardson II Keith and Patricia Riffle Catherine and J. Thurston Roach Jean A. Robbins 10 Tom Roberts Mike Robinson Helen Rodgers 15 Ken Rogers John Eric Rolfstad James Rooney Rita* and Herb* Rosen and the Rosen Family Dr. Len and Gretchen Jane Rosoff Kayley Runstad Mina Miller and David Sabritt Sarah Delano Redmond Fund at the Boston Foundation 5 Dr. and Mrs. Jason Schneier Jessica Schneller 5 S. Andrew Schulman and Elizabeth K. Maurer Patrick and Dianne Schultheis Stephen and Julie Scofield Annie and Leroy Searle 10 Seattle Symphony Volunteers Allen and Virginia Senear 15 Linda Sheely 10 Alan Shen Charles Shipley 10 Robert and Anita Shoup Anne* and Langdon Simons ^ 10 Dr. Charles Simrell and Deborah Giles 10 Joan Smith Stephen and Susan Smith Nina Li Smith and Steven Smith Barbara Snapp and Dr. Phillip Chapman Harry Snyder Ms. Darlene Soellner 5 John Spear Donald and Sharry Stabbert Dr. and Mrs. Robert Stagman 15 Stephanie Standifer Lee and Elizabeth Stanton Craig and Sheila Sternberg Cynthia Stroum Barbara and Stuart Sulman Victoria Sutter 5 Brian Tajuddin Mr. and Mrs. Ronald Taylor Bob and Mimi Terwilliger 10 Mikal and Lynn Thomsen Barbara Tober Ms. Betty Tong and Mr. Joe Miner Robert Toren Dr. and Mrs. Arthur Torgerson 5 William B. Troy Andy Tsoi Dolores Uhlman 15 Mark Valliere Gretchen Van Meter Johanna P. VanStempvoort 15 Carol Veatch Alexander Velinzon Donald J. Verfurth Robert and Lisa Wahbe Doug and Maggie Walker 5 Stephanie Wallach John and Marilyn Warner Eugene and Marilyn Webb 5 Ralph and Virginia Wedgwood 15 Manny and Sarah Weiser 5 Ed and Pat Werner Judith A. Whetzel Cliff Burrows and Anna White Michelle Whitten Mitch Wilk Jerry and Nancy Worsham 5 Carol Wright Kathleen Wright 10 Keith Yedlin Mr. Rocky Yeh Yellowshoe Technology Leonard* and Jane Yerkes Christian and Joyce Zobel 5 Igor Zverev 15 Anonymous (18) 5 5 years of consecutive giving 10 10 years of consecutive giving 15 15 years or more of consecutive giving Musician o Board Member ^ Lifetime Director Staff HONORARIUM 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. Gifts were made to the Seattle Symphony in recognition of those listed below between March 1, 2014 and March 18, 2015. Please contact Donor Relations at 206.215.4832 or [email protected] 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 Alan Brown, by Gerald Yoshitomi * In Memoriam 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! ESTATE GIFTS 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.) Glenn H. Anderson Almira B. Bondelid Barbara and Lucile Calef Robert E. and Jeanne Campbell Daniel R. Davis Carmen Delo Robert J. Ellrich Sherry Fisher Marion O. Garrison Elizabeth C. Giblin Patricia Grandy Nancy N. Keefe Maurine Kihlman Anna L. Lawrence Marlin Dale Lehrman Carolyn Lewis Arlyne Loacker Mary Maddox Peter J. McTavish Mabel M. and Henry Meyers Beatrice Olson Mark Charles Paben Mrs. Marietta Priebe Pearl G. Rose Carl A. Rotter Gladys and Sam Rubinstein Phillip Soth Ida L. Warren Elizabeth B. Wheelwright 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 Anonymous Leslie and Dale Chihuly, by Bernice Mossafer Rind Laura DeLuca, by Norm Hollingshead Samantha DeLuna and Tamiko Terada, by Annie Walters Ryan Douglas, by Michele Douglas The second movement of Dvořák’s Seventh Symphony, by Norm Hollingshead Esa-Pekka Salonen’s Violin Concerto, by Norm Hollingshead David Gordon, by Marlyn Minkin Alison Grauman, by Hayley Nichols Nancy Page Griffin, by Michael Schick and Katherine Hanson Susan Gulkis Assadi, by Marlyn Minkin Karneia, by Allen R. Schwerer Larey McDaniel, by Norm Hollingshead Stephanie Mitchell, by Jordan Jobe Ludovic Morlot, by Norm Hollingshead Ludovic Morlot and the St. Matthew’s Passion, by Norm Hollingshead encore artsseattle.com 57 S EAT T LE SYMPHONY DONORS Marilyn Morgan and Isa Nelson, by Mr. and Mrs. Bill Bonnett Valerie Muzzolini, by Marlyn Minkin Mike O’Leary, by Leah Tyler Nik, by Cynthia Gaub Llewelyn Pritchard, by Nancy C. Elliott Bernice Rind, by Bob and Clodagh Ash Howard Moss and Pauline Shapiro David and Julie Peha Kay Zatine Jon and Pat Rosen, by Joe and Linda Berkson Cynthia Ryan, by James Ryan Arie Schächter, by Mr. and Mrs. Betsy Maurer Elle Simon Seattle Symphony Chamber Series, by Norm Hollingshead Jack Benaroya, by Bob and Clodagh Ash Irving and Olga Carlin David and Dorothy Fluke Bruce and Jolene McCaw Llewelyn G. and Joan Ashby Pritchard Rita Rosen Bud Slosburg Carlyn Steiner Jean Willens Arlene Berlin, by Janice Berlin Zenaide Castro, by Cesar Castro and Junichi Shinozuka William Cobb, by Lydia Galstad Mary Hjorth Joan Larson Llewelyn G. and Joan Ashby Pritchard William R. Collins, by Barbara H. Collins S. Patricia Cook, by Capt. Charles Cook Clayton Corzatte, by Susan Corzatte Claudia Kay Kraft Cranbery, by Shari Dworkin Sonia Spear, by Linda Berkman Marvin Meyers Deborah Carley Emory, by Llewelyn G. and Joan Ashby Pritchard Peggy Spencer, by Nancy McConnell Jim Faulstich, by The McGarry/Wernli Charitable Fund Betsy and Gary Spiess, by Ling Chinn Arthur Fong, by Leslie and Dale Chihuly Karla Waterman, by Kay Zatine Stanton W. Frederick, by Julie Frederick The Wiederhold Family, by Christine Barnes Geraldine Newell Gayda, by Stewart Hopkins and Nancy Werner Simon Woods, by Norm Hollingshead Dr. Pierre and Mrs. Felice Loebel Kathleen Wright Kathleen A. Gehrt, by John Gehrt Phil and Karen Wyatt, by Cathy and Glen Wyatt William Gerberding, by Mr. and Mrs. David L. Fluke Dr. Kennan H. Hollingsworth Llewelyn G. and Joan Ashby Pritchard Arthur Zadinsky, by Norm Hollingshead Sally Clark Gorton, by Carrol Steedman MEMORIALS Dr. David Grauman, by Bob and Clodagh Ash Sue and Robert Collett Mr. and Mrs. David L. Fluke Dr. Kennan H. Hollingsworth Mr. and Mrs. Charles Johnson Helen Kearny Llewelyn G. and Joan Ashby Pritchard Mr. and Mrs. Thomas Raschella L. Elsie Weaver Gifts were made to the Seattle Symphony to remember those listed below between March 1, 2014 and March 18, 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]. Evelyne Adler, by Deb and Tod Harrick Priscilla Andrews, by Bob and Carole Goldberg Tom Archbold, by Barbara Archbold Wanda Beachell, by E. A. Beachell Mary Barringer Green, by Christina Consla Edward A. Hansen, by Daniel and Roberta Downey Pamela Harer, by Jane Hargraft George C. Harris, MD, by Louise McAllister 58 SEATTLESYMPHONY.ORG Marilyn L. Hirschfeld, by Bill Hirschfeld, Dr. Mary L. Hirschfeld and W. Stuart Hirschfeld John Hunnewell, by Maya Hunnewell Suzanne Hutchinson, by Sue and Robert Collett Lisa Lederer, by Kay I. Barmore Carolyn and Leroy Lewis, by Tim and Edith Hynes Doug and Joyce McCallum Carolyn Lewis, by Bob and Clodagh Ash Carol Batchelder Sue and Robert Collett Dan and Nancy Evans Carol B. Goddard Lew and Pauline Hames Dick and Marilyn Hanson Ilene and Woody Hertzog Arlene Hoffman Dr. Kennan H. Hollingsworth 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 Audrey and Jim* Stubner Kay Zatine 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 Jim and Audrey Stubner Richard and Barbara Wortley Kay Zatine Robert Loring, by David Loring Mary Lee Martin, by Donna M. Barnes Illene and Mickey Maurer, by S. Andrew Schulman and Elizabeth K. Maurer Elsa D. Morrison, by Anonymous SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF Elisabeth Niccoli, by Anonymous 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 Llewelyn G. and Joan Ashby Pritchard 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 Ida Louko Warren, by Kate Wilson and Ned Washburn 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) Allison Kunze Ticket Services Associate FINANCE & FACILITIES 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 Laura Reynolds Family Programs Manager Stephanie Rodousakis School Partnerships Manager Thomasina Schmitt Community Partnerships Manager Lena Console Community Partnerships Coordinator Kristin Schneider Education & Community Engagement Coordinator 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, Kathleen Payne, Becky Spiewak, Danielle Valdes Discovery Coordinators Mary Austin, Sophia Bona-Layton, Melissa Bryant, Nina Cesarrato, Yasmina Ellis, Mike Obermeyer, Melanie Voytovich, James Bean, CaraBeth Wilson Ticket Services Representatives Matt Laughlin Senior Facility Sales Manager James Frounfelter Event & Operations Manager Adam Moomey Event & Operations Manager Keith Godfrey House Manager Tanya Wanchena Assistant House Manager & Usher Scheduler Milicent Savage, Patrick Weigel Assistant House Managers Dawn Hathaway, Lynn Lambie, Mel Longley, Ryan Marsh, Markus Rook, Carol Zumbrunnen Head Ushers Iva Baerlocher, Everett Bowling, Veronica Boyer, Evelyn Gershen, Assistant Head Ushers Ron Hyder Technical Coordinator Jordan Louie Corporate Development Manager 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 Kathryn Osburn Human Resources Generalist Howard F. Weckel, Jr., by Jane and David Stockert Annalies Schuster Front Desk Receptionist Mary Wilson, by Thomas Bruhns 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 59 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 March 18, 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 Seattle Symphony Volunteers 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 March 18, 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 Jack and Jan Forrest Russell and Nancy Fosmire 60 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 Roger J.* and Carol Hahn-Oliver 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 Judith Warshal and Wade Sowers John and Fran Weiss 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 † DreamBox Learning John Graham Foundation Sheri and Les Biller Family Foundation Mayflower Park Hotel † Genworth Foundation MulvannyG2 Architecture Hard Rock Cafe Seattle † Laird Norton Wealth Management Blanke Foundation Microsoft Corporation $10,000 – $14,999 Nordstrom IBM International Foundation Nesholm Family Foundation Foster Pepper PLLC NW Audi Dealer Group Kells Irish Restaurant & Pub † Seattle Met Magazine † Fran’s Chocolates ◊ Peg and Rick Young Foundation KPMG Russell Family Foundation National Frozen Foods Corporation $25,000 – $49,999 Lakeside Industries Leco-sho† Skanska USA Pacific Coast Feather Co. Ann and Gordon Getty Foundation Macy’s Foundation Snoqualmie Casino Schiff Foundation Bank of America Merrill Lynch Milliman ◊ Stoel Rives Seattle Symphony Volunteers Bill & Melinda Gates Foundation Music4Life † Starbucks Coffee Company † Thurston Charitable Foundation BNSF Foundation Norman Archibald Foundation Umpqua Bank UBS Employee Giving Programs CTI BioPharma Corp. NW Cadillac Dealer Group U.S. Bank Foundation UniBank Classic Pianos ◊ Perkins Coie LLP Vitalogy Foundation United Health Care Classical King FM † Rosanna, Inc. † Von’s † Elizabeth McGraw Foundation Sheraton Seattle Hotel † Wyman Youth Trust Wilson Sonsini Goodrich & Rosati Foundation Four Seasons Hotel † Washington Employers † Garvey Schubert Barer † Weill Music Institute † $3,000 – $4,999 Mercer † Wild Ginger Restaurant † Microsoft Matching Gifts Anonymous Bank of America Foundation Matching Gifts Peach Foundation † In-Kind Support ◊ Financial and In-Kind Support Bill & Melinda Gates Foundation Matching Gifts RBC Wealth Management $5,000 – $9,999 Russell Investments Accountemps † Snoqualmie Tribe Community Attributes † Acucela Inc. Wells Fargo Fales Foundation Amphion Foundation Glazer’s Camera † Audio Visual Factory † Motif Hotel Ballard Blossom, Inc. † Nintendo of America, Inc. Barnard Griffin Winery † Parker Smith Feek Barrier Motors The PONCHO Foundation Bellevue Children’s Academy Schwabe, Williamson & Wyatt Brandon Patoc Photography † 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 61 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. DOCTOR IN THE HOUSE: Virginia Mason 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. Medical Center physicians frequently attend Seattle Symphony performances and are ready to assist with any medical problems that arise. OPENING NIGHT GALA, SEPTEMBER 13, 2014 Honoring the Benaroya Family EMERGENCY PHONE NUMBER: Please leave the 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. ADMISSION OF CHILDREN: Children under the age of 5 will not be admitted to Seattle Symphony performances except for specific age-appropriate children’s concerts. 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. DINING AT BENAROYA HALL Powered by Tuxedos and Tennis Shoes Catering and Events 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. 62 SEATTLESYMPHONY.ORG SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES 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 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 2 1 3 4 5 6 MUSICAL LEGACY SOCIETY LUNCHEON On February 20 the Seattle Symphony’s Musical Legacy Society gathered in the Samuel & Althea Stroum Grand Lobby for their annual Spring Luncheon and Recital. Each season the Symphony celebrates members of the Musical Legacy Society and the commitment each of them has made to ensure the Symphony’s long-term strength and stability through legacy giving. During the event, President & CEO Simon Woods spoke to the Musical Legacy Society members and past Endowment donors in attendance about the amazing journey the Symphony is on, the importance of planning today for the Seattle Symphony of the future, and the vital role they play in both. Stevens, cello; with violist Sue Jane Bryant. Other Symphony musicians in attendance to meet and mingle with attendees were Stephen Fissel, bass trombone; Rachel Swerdlow, viola; and Principal Harp Valerie Muzzolini Gordon. The Seattle Symphony thanks all the members of the Musical Legacy Society for their dedication to maintaining a vibrant orchestra in our city. For more information about planned giving and the Musical Legacy Society, please contact Planned Giving Director Becky Kowals at 206.215.4852 or [email protected]. Read past editions of The Lis(z)t online at seattlesymphony.org/liszt. The afternoon’s recital featured Seattle Symphony musicians Stephen Bryant, violin; Evan Anderson, violin; and Joy PaytonAlbert and Elizabeth Kobayashi with Meryl Thulean 2 Lifetime Director Llewelyn Pritchard, Ralph Hendrickson , Carole Rush and Bill Zook 4 Nancy Fosmire and Sonia Spear with her daughter Sandy Spear 5 President & CEO Simon Woods 6 Janet Beckmann with Patti Rolafstead and Elizabeth Stokes Musical Legacy Society member Photos by Brandon Patoc Photography PHOTOS: 1 3 Jane Paulson and Christopher Myers encore artsseattle.com 63 When Only The Best Will Do 3500 Factoria Blvd. S.E., Bellevue, WA • 425.643.2610 • www.dacels.com
© Copyright 2024