1. art and entertainment
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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
friends@seattlesymphony.org.
CORPORATIONS:
Call 206.215.4766 or email
corporatesponsorship@seattlesymphony.org.
FOUNDATIONS:
Call 206.215.4838 or email
foundations@seattlesymphony.org.
SPECIAL EVENTS:
Call 206.215.4868 or email
specialevents@seattlesymphony.org.
PLANNED AND ESTATE GIVING:
Call 206.215.4852 or email
plannedgiving@seattlesymphony.org.
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.
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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
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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:
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ENJOY THE MUSIC.
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music and keep the Seattle Symphony strong, but sometimes
life gets in the way.
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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:
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Monday, May 4 — 12 noon–2pm
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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
marco.a.abbruzzese@wellsfargo.com
wellsfargoprivatebank.com
Wealth Planning Investments Trust Services Lending Solutions Cash Management Insurance
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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
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PROGRAM
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BEHIND
THE SCENES
ARTIST
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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.
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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:
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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
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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
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& Everett • American Conservatory Theater•
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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
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ymphonica is a great place
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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
friends@seattlesymphony.org if you would like to
recognize someone in a future edition of Encore.
Jordan Anderson, by
Steven Miletich and Emily Langlie
Jared Baeten and Mark Ruffo, by
Eugene Brown
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 friends@seattlesymphony.org 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 friends@seattlesymphony.org.
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: execdirector@seattlesymphony.org
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 becky.kowals@seattlesymphony.org.
$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 becky.kowals@seattlesymphony.org. 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.
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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
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THE LIS(Z)T
SEEN & HEARD @ THE SEATTLE SYMPHONY
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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
becky.kowals@seattlesymphony.org.
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
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