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BELLEVUE CHAMBER CHO
CHORUS
RUS
Fredrick Lokken, director
presents
Spirit Rising
Alleluia (from Brazilian Psalm)……………..…………………………Jean Berger (1909-2002)
Like As the Hart Desireth the Waterbrooks.…………..Herbert Howells (1892-1983)
Die mit Tränen säen……………………………..……...Johann Hermann Schein (1586-1630)
Erika Pierson, cello
Pilgrim’s Chorus (from Tannhäuser)…………………………Richard Wagner (1813-1883)
Dark Night of the Soul……………………………………………………………………..Ola Gjeilo (b. 1978)
soloists: Kristine Bryan, Maria Burnham
Cecilia Archuleta, violin; Linda Vogt, violin; Jennifer Glenn, viola; Erika Pierson, cello;
Kristine Anderson, piano
INTERMISSION
The Shoreline Singers
Cantate Domino……………………………..……………………………..Hans Leo Hassler (1564-1612)
Life Has Loveliness to Sell ………………………………………………...Howard Helvey (b. 1968)
(from Three Teasdale Madrigals)
My Funny Valentine……………………………..………Rodgers and Hart, arr. Dave Barduhn
Muié Rendêra………………………Brazilian folksong, arr. C.A. Pinto Fonesca (b. 1933)
The Bellevue Chamber Chorus
Dawn ……………………………………………………………………………..Eric William Barnum (b. 1979)
The Road Home……………………………………………………………….Stephen Paulus (1949-2014)
soloist: Jenn Evora
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Set Me As a Seal Upon Thine Heart……………………………William Walton (1902-1983)
soloists: Mike Grube, Maria Bayer
Hallelujah ……………………………………………………………..Leonard Cohen, arr. Mark Brymer
John the Revelator…………………trad. Gospel blues, arr. Paul Caldwell, Sean Ivory
Program Notes
W
elcome to “Spirit Rising”, music of hope, faith, love, and in-
spiration from both sacred and secular perspectives. We
hope your spirit will, indeed, soar a bit today in response to
these uplifting texts and stirring pieces.
We begin with a lively Alleluia by Jean Berger. Born Arthur Schlossberg into
a Jewish family in Germany, Berger moved to Paris after the Nazis seized
power, where he took his French name and toured widely as a pianist and
accompanist. In 1939, he moved to Brazil and worked as a conductor and educator in Rio de Janeiro. Berger came to the U.S. in 1941, and served in the
Army producing foreign-language broadcasts and USO shows. Later he
worked as an arranger for CBS and NBC, and toured as a concert accompanist. Berger taught at colleges and universities in Vermont, Illinois, and Colorado from 1948 until 1971, and wrote extensively for chorus and solo
voice. This piece is the conclusion of his larger Brazilian Psalm, written in
1941, and shows the influence of South American melodies and rhythms.
Alleluia! O Lord, cymbals and the sounding pipes I do not have.
But I’ll make a fair procession for you, O blessed Lord.
We have no cymbals, no harps to praise you.
But I’ll praise you with waving of palms.
Accept them, I implore you.
I will dance and sing your praises!
Alleluia!
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Herbert Howells was an English composer, organist, and professor at the
Royal College of Music, most famous for his large output of Anglican sacred
music. His compositional style was influenced by his work for the College,
as well as by friend and mentor Ralph Vaughan Williams. Like As the Hart
Desireth the Waterbrooks was written in 1941, part of a set of four anthems
originally called “Anthems in a Time of War”. Its subdued tone and astringent harmonies effectively express the Psalmist’s search for spiritual renewal in a time of adversity.
Like as the hart desireth the waterbrooks,
so longeth my soul after thee, O God.
My soul is athirst for God, yea, even for the living God.
When shall I come to appear before the presence of God?
My tears have been my meat day and night, while they daily say unto me,
Where, where is now thy God?
J.H. Schein was one of the most important German composers of the early
Baroque period. Born, trained and working in northern Germany, he eventually held the same position at St. Thomas Church in Leipzig that was held a
century later by J.S. Bach. Together with Praetorius and Schütz, Schein pioneered Italian musical styles in Germany, and was the first to adapt such
styles to the treatment of Lutheran hymn tunes. Fascinated by the expressive possibilities of the Italian madrigals of Monteverdi and others, Schein
used these techniques to create numerous “spiritual madrigals”, of which Die
mit Tränen säen (from the collection Israëlsbrünnlein [Little Fountain of Israel], published in 1623) is one stellar example. Its dramatic use of chromatic
melodies, harmonic dissonance, and striking mood changes make it one of
the masterpieces of the era. The text describes the deliverance of the Israelites from captivity in Babylon.
Die mit Tränen säen,
werden mit Freuden ernten.
Sie gehen hin und weinen
und tragen edlen Samen,
und kommen mit Freuden
und bringen ihre Garben.
They who sow in tears
shall reap in joy.
They go forth with weeping,
bearing precious seed,
and come back in joy,
bearing their sheaves.
~ Psalm 126
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Written between 1843 and 1845, Wagner’s opera Tannhäuser centers on the
struggle between sacred and profane love, and redemption through love, a
theme running through most of his mature work. The plot combines historical and mythological elements involving the 14th century “Minnesingers”,
including the title character who was a historical poet-composer. The familiar Pilgrim’s Chorus (originally for male chorus) is sung by a group returning
from a pilgrimage to Rome, their spirits uplifted by their journey and their
homecoming.
Once more with joy,
my homeland I meet thee;
Once more, ye fair,
flow’ry meadows I greet ye;
My pilgrim-staff I lay to rest,
my vows fulfilled, my journey blest.
My penance sore on high was heard,
Accepted by a gracious Lord;
The tears I laid before Thy shrine
Are turned to hope and joy divine.
The blessed source
of Thy mercy o’erflowing,
On mortal souls
who seek Thee, bestowing;
My pilgrim’s staff
I lay to rest,
Thy toil is o’er
I praise my God for ever more.
Hallelujah!
Oh Lord eternal praise be Thine!
Over the last decade, Norwegian born composer Ola Gjeilo, now living in New
York, has risen to the upper echelons of the choral world for his acclaimed
compositions. The remarkable Dark Night of the Soul is but one stunning example. Written in 2010 in memory of legendary choral conductor Norman
Luboff, this extended piece was inspired by the grace and passion of a famous poem by the 16th century Spanish mystic St. John of the Cross.
Though the title often is used as a description of deep suffering or despair,
the poem (and the composer’s choice of three of the original eight stanzas)
actually portrays in highly symbolic language the soul’s spiritual journey
from darkness to enlightenment.
In Gjeilo’s setting, intense, dramatic exchanges between choir, piano, and
strings alternate with moments of profound stillness and peace, creating a
musical landscape often cinematic in sweep and impact. Gjeilo remarks that
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one of the goals of this piece was to make the piano a more equal partner in
the music, rather than relegating it to its frequent accompanying role; and,
indeed, in some ways this could be considered a kind of piano concerto with
chorus and strings. We are delighted to feature our regular collaborative pianist, Kristine Anderson, a keyboard artist fully able to meet the technical and
expressive challenges of this music, and an equally talented string quartet, in
our performance of this profoundly moving work.
One dark night, fired with love’s urgent longings
—ah, the sheer grace!—
I went out unseen, my house being now all stilled.
In darkness, and secure, by the secret ladder, disguised,
—ah, the sheer grace!—
in darkness and concealment, my house being now all stilled.
On that glad night, in secret, for no one saw me, nor did I look at anything,
with no other light or guide than the one that burned in my heart.
~St. John of the Cross (1542-1592)
A generation before Schein, Hans Leo Hassler was one of the most prolific
and highly regarded German composers and organists of the late Renaissance. A student of the influential Venetian composer Andrea Gabrieli, Hassler was one of the first to bring the musical style of the Italian Renaissance
to Germany. He composed both sacred and secular vocal and instrumental
music, but is today probably best known for his masses and motets, of which
the spirited Cantate Domino (published in 1601) is one of his most popular.
Sing to the Lord a new song, sing to the Lord all the earth and bless his name.
Proclaim his promise of salvation from day to day.
Proclaim his glory to all nations and his mighty acts to all peoples.
~Psalm 96: 1-3
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Organist, choirmaster, and composer Howard Helvey lives in Cincinnati, and
has become increasingly well known in recent years for his well-crafted choral music. His Three Teasdale Madrigals (2008) are settings of poetry by the
American poet Sara Teasdale (1884-1933). The beautifully lyrical Life Has
Loveliness to Sell is a rendition of one of her most familiar poems, which she
entitled Barter, full of wonderful images of life’s priceless and enriching
treasures.
Life has loveliness to sell,
All beautiful and splendid things,
Blue waves whitened on a cliff,
Soaring fire that sways and sings,
And children's faces looking up,
Holding wonder like a cup.
Life has loveliness to sell,
Music like the curve of gold,
Scent of pine trees in the rain,
Eyes that love you, arms that hold,
And for your spirit's still delight,
Holy thoughts that star the night.
Spend all you have for loveliness,
Buy it and never count the cost;
For one white singing hour of peace
Count many a year of strife well lost,
And for a breath of ecstasy
Give all you have been, or could be.
The popular jazz standard My Funny Valentine comes from the 1937 Richard
Rodgers and Lorenz Hart musical Babes in Arms, which also included such
enduring songs as “Where or When”, and “The Lady Is a Tramp”. Hart’s always clever lyrics are especially endearing in this classic love song.
Two of the most popular folk tunes from Northeast Brazil are combined in
the joyful Muié Rendêra, arranged by Brazilian conductor/composer Carlos
Fonseca. (Many thanks to Shoreline CC music professor Helena Azevedo for
her instruction in pronunciation of the Portugese text.)
Hey, lacemaker woman, hey, lacemaker woman,
if you teach me how to weave, I'll teach you how to court.
Virgulino is Lampeão
He is Lampa, Lampa, Lampa, he is Lampeão.
His name is Virgulino, his nickname is Lampeão
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Eric William Barnum is another young American composer gaining international attention. Originally from Minnesota, he recently completed his doctoral work in conducting from the University of Washington. Dawn was
composed for the Seattle group Choral Arts in 2008, to a text by their artistic
director, Robert Bode. Barnum describes the piece as “a meditation on the
coming light-filled day and all the possibilities that it possesses”.
From the door’s soft opening
And the day’s first sigh,
Filling the room,
I see before me
A life of doors,
One opening on another;
Doors upon doors,
And sighs upon sighs,
Rising in a tide of mornings,
Rising, until that final sigh,
And the last morning,
And the last holy breath,
Whispering “this…”
The classical music world lost a dear friend and a unique musical voice this
past October when composer Stephen Paulus passed away from complications of a stroke suffered in 2013. A long-time resident of St. Paul, Stephen
was a prolific and imaginative composer, with over 600 works for all kinds of
instrumental and vocal forces to his credit, including over 150 choral works,
many of which were written for the Dale Warland Singers with whom he
worked closely for decades (and several of which Bellevue Chamber Chorus
has performed over the years).
The Road Home is a simple yet gorgeous setting of an old American hymn
tune, with a new text by poet and lyricist Michael Dennis Browne, commissioned by the Warland Singers in 2002. In light of Stephen’s passing, the
inspiring lyrics gain an especially poignant meaning. We offer the piece in
memory and tribute to this gifted composer.
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Tell me, where is the road
I can call my own,
That I left, that I lost
So long ago?
All these years
I have wandered,
Oh when will I know
There’s a way, there’s a road
That will lead me home?
After wind, after rain,
When the dark is done,
As I wake from a dream
In the gold of day,
Through the air
there’s a calling
From far away,
There’s a voice I can hear
That will lead me home.
Rise up, follow me,
Come away, is the call,
With the love in your heart
As the only song;
There is no such beauty
As where you belong;
Rise up, follow me,
I will lead you home.
Working over a span of some sixty years, English composer William Walton
created a relatively small body of sacred choral music that includes some of
the finest works in the 20th century repertoire. Written for the wedding of a
British politician in 1938, Set me as a seal is one of Walton’s most exquisite
and moving anthems, beautifully expressing the unquenchable power of profound love.
Set me as a seal upon thine heart, as a seal upon thine arm:
for love is strong as death; many waters cannot quench love,
neither can the floods drown it. ~Song of Solomon 8:6,7
When first released on an album in 1984, Canadian folk-singer Leonard Cohen’s Hallelujah received little attention. But in the 30 years since, it gradually has become something of an iconic pop anthem, covered by hundreds of
diverse performers, and appearing in everything from animated movies
(“Shrek 2”), to the opening ceremonies of the Vancouver Olympics, to memorial services for victims of mass violence. Its somewhat cryptic lyrics
(including biblical references to King David and Bathsheba, and Samson and
Delilah, and contemporary references to failed personal relationships) are
open to a variety of interpretations, especially depending on which of Cohen’s numerous stanzas one chooses to include. At its most basic level, the
song is a powerful affirmation of life and love despite all its disappointments
and our human failings. As Cohen himself stated, “This world is full of conflicts and full of things that cannot be reconciled. But there are moments
when we can reconcile and embrace the whole mess, and that’s what I mean
by ‘Hallelujah.’”
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Our program concludes with a rousing traditional gospel tune, performed in a
myriad of arrangements throughout the South from early in the 1900’s, and
still covered by numerous artists today. Such music was designed originally
to lift worshippers into an ecstatic state of mind, offering brief glimpses into
the world to come as described by the apostle John in the Book of Revelation,
and to offer respite and hope to a population trapped in the web of physical
and economic hardship. This powerhouse version of John the Revelator by
Caldwell and Ivory is guaranteed to get spirit, and body, rising!
Enjoy, and thanks for being with us today!
Program notes by Fredrick Lokken
Thank you to our Volunteers!
Ushers and House Attendants:
Kristen Bridge, Geri Messengale, Chris Mitchell, Bradley Ouellette,
Hollis Ryan, Hal Smith, Ellen Soter, Bob Swanson
Community Board Member/Box Office: Richard Bulpin
Additional Credits
Executive Director ...................................................................................................... Debra Defotis
Rehearsal Accompanist ..................................................................................... Kristine Anderson
Score Management/Music Librarian ....................................................................... Kathie Patten
Sound Engineer & Recording ........................................................................................ Kim Hofer
House Manager/Volunteer Coordinator ..................................................................... Jenn Evora
Stage Manager ....................................................................................................... David Williams
Ticket Coordinator........................................................................................................ Mike Grube
Program Advertising Coordinator ........................................................................ Barbara Bridge
Print and Graphic Design .......................... Meierding Designs (Chris Meierding), Kris Bryan
Website Design and Management ...............Plumtree Communications (Jen and Kim Hofer)
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Bellevue Chamber Chorus
Bellevue Chamber Chorus, founded
in 1984, performs three major concerts each season, encompassing a
variety of choral literature from the
classical standards and contemporary
works to “world music”, Broadway
hits, and vocal jazz. The Chorus often
joins other ensembles in performances of major choral/orchestral works,
such as Mozart’s Vespers, Faure’s Requiem, Verdi’s Requiem, Handel’s Messiah, Orff’s Carmina Burana, and, most recently, Brahms’ Requiem with the Kirkland Choral
Society. The ensemble has premiered works by regional composers, including commissioned works for the Washington State Centennial Celebration, the grand opening of the
Theatre at Meydenbauer Center, and a special 20th anniversary season commissioned piece,
That Music Always Round Me, by Seattle composer, John Muehleisen. The Chorus has released three CDs: “Timeframes”, “Retrospective”, and our 2013 holiday CD, “Christmas Visions, Winter Dreams”.
Bellevue Chamber Chorus tours often and has performed in Carnegie Hall, various locations in Europe, the International Music Festival (2000) in Sydney, Australia, and twice at
the invitational Kathaumixw International Choral Festival in Powell River, British Columbia,
where they won first place in 2008 in the adult mixed chorus category. Other performances
include the Leavenworth International Choral Festival, the international “Rolling Requiem”
in memory of September 11th, as one of the regional choruses in the NEA sponsored American Masterpieces Choral Festival in Seattle, and in Kelowna, B.C. as part of the Okanogan
Choral Society Series.
Bellevue Chamber Chorus is a non-profit organization, which receives its support from
the generous donations of people interested in fine musical experiences on the Eastside.
Personnel
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Soprano
Alto
Tenor
Bass
* Maria Bayer
Maria Burnham
** Kristine Bryan
Debra Defotis
** Jenn Evora
** Shannon Fix
Marianna Ouellette
Kathie Patten
Louise Baldwin
Barbara Bridge
* Melanie Grube
Mindy Larrison
** Susan Liechty
** Karen Swanson
Pam Younghans
Frederic DeWulf
* Mike Grube
Andy Haslam
Kim Hofer
Mark Liebendorfer
David Williams
Allan Chartrand
Jan DeWulf
Don Jones
** James McTernan
** Chris Meierding
Paul Morris
Ron Sabalza
* Frank Trujillo
* Denotes Section Leaders.
** Denotes Board Member.
Director and Accompanist
Conductor of collegiate, community, and church choirs in Minnesota, California, and the Seattle area for over twenty-five years,
Dr. Fredrick Lokken is in his fourteenth season as music director and conductor of the Bellevue Chamber Chorus. Under his
direction the Chorus has gained a growing reputation for exciting
performances of diverse and innovative programs from the traditional classics to contemporary music from around the world. He
received his doctoral degree in choral conducting from the University of Washington, where he studied under Abraham Kaplan
and Joan Catoni Conlon. He has done further study with renowned choral conductors Joseph Flummerfelt, Helmuth Rilling,
and Jon Washburn, and spent several years in the Netherlands
doing choral research and writing. Dr. Lokken also holds a degree
in vocal performance from the University of Wisconsin and sang
with the professional Dale Warland Singers. In addition to his
work with the Bellevue Chamber Chorus, Dr. Lokken is head of the Choral and Vocal Music
program at Shoreline Community College, and is in frequent demand as a choral/vocal adjudicator throughout the region.
Kristine Anderson, piano: Kristine Anderson graduated
with a music degree from the University of Montana at Missoula. She is well-known in the Puget Sound region for her artistic
and sensitive work with singers as well as instrumentalists ranging from tuba to piccolo. Equally at home with jazz, pop, and
classical, she can adjust her style from Sondheim to Gershwin to
Strauss. Her clients include winners in local and national competitions, including the Seattle Young Artist Music Festival, Metropolitan Opera semifinals, and concerto contests. Kristine also
serves as accompanist for the Flute and Piccolo Forum, hosted by
Seattle Symphony flutist Zart Dombourian Eby. In the fall of 2010, Kristine accompanied a
former Flute Forum attendee Justin Lee on his Western Washington tour, after he won the
Ladies Musical Club contest. In addition to holding two church-pianist positions in Seattle,
she was music director for the Seattle Musical Theater, formerly known as Civic Light
Opera, during their production of High Society, and the pianist for the Seattle Opera Guild’s
Preview shows, currently rehearsing for presentations of the upcoming production of Rossini's La Cenerentola. She has been the accompanist for Bellevue Chamber Chorus for the
past seven seasons.
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Guest Artists
Cecilia Archuleta has performed internationally as a soloist
and orchestral musician. Her freelance career in California,
where she was born, brought numerous celebrity engagements,
including a concert for Princess Grace of Monaco and a performance of the Bach Double Concerto with Jack Benny. She has
appeared as soloist with the Mexico City Philharmonic and, by
special request of the First Lady of Mexico, has played before
the President of Mexico. In the Pacific Northwest, she is one of
the most sought-after violinists for chamber music. She participated for twelve seasons in the Olympic Music Festival. Founding member of the Arch Duo & Ensemble, and The Obbligato
Players, she is a member of Northwest Sinfonietta, and is Concertmaster of Philharmonia Northwest. Cecilia has performed
with Seattle Baroque Orchestra, Gallery Concerts, Early Music
Guild, and the Northwest Puppet Center. Cecilia has recorded
for Seattle Symphony, and SEATTLEMUSIC for soundtracks and commercials. She has also
performed with Auburn Symphony, Pacific Northwest Ballet, and the Seattle Symphony.
Linda Vogt attended Seattle Pacific University after studying
violin under the renowned violinist and teacher, Emanuel
Zetlin. She serves as Concertmaster of the Eastside Symphony,
Associate Concertmaster of Philharmonia NW, and plays regularly with the Auburn Symphony and many other local professional ensembles. She has been a featured soloist with the Rainier Symphony and the Eastside Symphony. Linda also performs
chamber music professionally and freelances in a variety of musical formats, including studio recordings for major recording
artists. Earlier in her career, she embarked on a professional
singing and violin career in local nightclubs, experimenting with
jazz, country, and rock improvisation, before returning to her
classical roots. Though her focus is classical music, she continues to play with bands throughout the years, often with her guitarist husband Bob. Linda
has taught privately for many years as well as in the Lake Washington School District as a
violin coach.
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Guest Artists
Jennifer Glenn has performed throughout the United States,
Austria, China and Mexico. She received her Bachelors in Viola
Performance from the University of the Pacific, and Masters in Viola Performance from the University of Arizona . She did further
studies in Vienna, Austria. Her primary teachers include Joyce
Ramee, Dr. Michael Allard, Hong-Mei Xiao, and Gertrude
Rossbacher, former violist with the Berlin Philharmonic. Currently
free-lancing throughout Seattle and the Pacific Northwest, Jennifer
is principal of Northwest Symphony and regularly performs with
the Yakima and Federal Way Symphonies. She is also violist of the
Bella Sala Quartet and is involved in film and videogame soundtrack recordings. As a coach, Jennifer works with the violists of
Cascade Youth Symphony and coaches chamber music at Academy of Music Northwest.
Erika Pierson earned her Bachelor’s Degree of Cello Performance from Indiana University and her
Master’s of Music Performance from University of
Michigan. Between her degrees, during three years
in Europe, Erika studied in Berlin, at the
Hochschule der Kunste, and then studied privately
under Eileen Croxford in London. In 2001, she was
invited to perform at the Manchester International
Cello Festival. Her other main teachers have included Richard Aaron, Tsuyoshi Tsutsumi, Markus Nyikos, and Erling Blondal Bengtsson. Erika has given solo recitals in England, Germany, Spain,
and in the United States, and has performed as featured soloist with orchestras in Berlin,
Ann Arbor, and Everett, WA. On the less classical side of things, she has also performed
with Mannheim Steamroller, Rod Stewart, the Walkmen, and Deltron 3030. Currently Erika
performs regularly as the cellist in Bella Sala String Quartet, the newly formed NOCCO
Chamber Orchestra, and also freelances and teaches in the Seattle area.
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Special guests
The Shoreline Singers are the premier vocal ensemble of the music department at
Shoreline Community College. Directed by Dr. Fredrick Lokken, the group performs a wide
variety of a cappella vocal music, including Renaissance madrigals and motets, 19th-century
part-songs, contemporary literature, world folk music, and unaccompanied vocal jazz. As a
part of their a cappella training, the group also learns the majority of their repertoire without a piano. This is the second time they have been guest artists with Bellevue Chamber
Chorus.
Personnel:
Heather Acord, Kaelyn Barnes, Lyndon Fenske, Annelise Gardner, Edward Kim,
Kenzo Onishi, Matthew Shreve, Daniel Siller, Ella Sunderland, Corilynne Woods
Visit our WEBSITE for more information on:
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Thank you to our Generous Donors
Crescendo - $2500 to 5000
Bellevue Arts Commission
David Cook
Virtuoso - $1000 to 2499
4Culture
Maria and Doug Bayer
Rick Bulpin and Kris Bryan
* Microsoft Corporation
Cora and Frank Trujillo
Jim and Vicki Walch
Diva - $500 to 999
Louise Baldwin
Fred Lokken and Marsha Thomas
Aria - $250 to 499
** Debra and Dennis Defotis
Bravo - $100 to $249
John and Barbara Bridge
Maria Burnham
Allan Chartrand
Frederic DeWulf
Jan DeWulf
Jenn Evora
** Matthews Winery
Scott/Meredith Selfon
Chris Meierding
Michaels Toyota of Bellevue
Marianna Ouellette
Sean/Kathie Patten
Seattle Foundation/GiveBIG
Karen Swanson
David Williams
Pam Younghans
Tutti - Up to $99
Linda Andersson
Robert and Sue Betts
Gordon Buck
John Hushagen
George and Linda Tady
* indicates corporate matching grants
** indicates in-kind donations
Bellevue Chamber Chorus is a 501(c)3
non-profit organization.
Bravo - $100 to $249 (cont’d)
Mindy Larrison
Mark Liebendorfer
Susan Liechty
James McTernan
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Support eastside choirs!
Save the Date:
A Song in My Heart
Saturday, May 30, 2015, 7:30 pm
Sunday, May 31, 2015, 4:00 pm
Newport Covenant Church, Bellevue
Bellevue Chamber Chorus’ popular
vocal jazz show returns with a cavalcade of
familiar standards by the giants of jazz and
pop song writing, arranging, and singing,
accompanied by a swinging rhythm section!
A Singalong!
Tuesdays, July 7, 14, 21, 28 2015
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Seattle Tree Preservation Inc.
13350 Lake City Way NE
Seattle, WA 98125
206-367-4048
Fax: 206-367-0502
www.seattletree.com
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