SEPTEMBER 2014
OPENING NIGHT
TRACING
DVOŘÁK’S
MUSICAL
JOURNEY
PIANO CONCERTOS
FROM TCHAIKOVSKY
AND RACHMANINOV
Tao & Tenzin
THE SHAPE OF THINGS TO COME
Bellevue Square • 425 453 0991
Seattle Symphony 2014–2015 Season
SEPTEMBER/OCTOBER 2014
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
Dvořák’s Musical Voice
13 / CONCERTS
Learn about the music
you’re here to hear
Bleed: 11.125"
Trim: 10.875"
Safety: 9.875"
46 / GUIDE
Information on Benaroya Hall
47 / THE LIS(Z)T
Seen and heard at the
Seattle Symphony
SEPTEMBER 2014
OPENING NIGHT
TRACING
DVOŘÁK’S
MUSICAL
JOURNEY
PIANO CONCERTOS
FROM TCHAIKOVSKY
AND RACHMANINOV
ON THE COVER: Ludovic Morlot
by Chris Lee
AT LEFT: Hilary Hahn by Michael
Patrick O’Leary
EDITOR: Jamie Swenson
COVER DESIGN: Jessica Forsythe
Hilary Hahn, p. 33
© 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
SPOTLIGHT: Tune in to
September
& October
THURSDAY
Classical KING FM 98.1 every
Wednesday at 8pm for a
Seattle Symphony spotlight
FRIDAY
SATURDAY
SEPTEMBER
6pm Gabe Bondoc
Music: “In All
Honesty”
1
7
2
8
3
9
10
14
15
16
17
ANASTASIO
22
12 noon Tchaikovsky
and Dvořák
24
6
4pm Opening Night
Concert & Gala
(Broadcast live on
Classical KING FM
98.1)
13
8pm Tchaikovsky
and Dvořák
19
6:30pm Decibel
Festival presents
Optical 4: Static
Memory
25
20
7:30pm Seattle Classic
Guitar Society presents
Roland Dyens
8pm Rachmaninov
and Dvořák
26
27
7:30pm NWAA &
The Stranger present
Jad Abumrad with
guest Zoë Keating
7:30pm Free
Concert: “The
President’s Own”
U.S. Marine Band
28
23
12
18
7:30pm Rachmaninov
and Dvořák
21
5
11
6:30pm Decibel Festival
presents Optical 2:
Huminary
7pm Byron
Schenkman &
Friends: Before Bach
2pm Rachmaninov
and Dvořák
7:30pm Live @
Benaroya Hall:
Trey Anastasio
with the Seattle
Symphony
7:30pm Tchaikovsky
and Dvořák
7:30pm Live @
Benaroya Hall:
Caetano Veloso
7:30pm Live @
Benaroya Hall:
Yanni
4
29
30
DVOŘÁK
OCTOBER
7:30pm Dvořák and
the New World
8pm Square Peg &
Sherpa Concerts
present Blue Rodeo
7:30pm Isabelle
Demers
5
6
7
13
2pm SHOWTUNES
presents The
Fantasticks in
concert
19
14
8pm Live Nation
presents Jason Mraz
and Raining Jane
20
21
7pm Community
Concert: Roosevelt
High School
Side-by-Side
10am The Metropolitan
Opera: WA District
Auditions
2pm Baroque Untuxed
26
7:30pm Northwest
Sinfonietta
9
Dave Ramsey:
The Legacy Journey
LIVE
2pm The Movie Music of
John Williams
27
28
15
22
10am Donor
Onstage Rehearsal*
29
8pm The Movie Music
of John Williams
10
7pm Community
Concert: At Chief
Sealth High School
10pm [untitled]
16
17
8pm Bach &
Telemann
7pm Community
Concert: Garfield
High School
Side-by-Side
7:30pm Seattle
Philharmonic
Orchestra: Danses
Macabres
3
10:30am Tiny Tots
8
MERCHANT
5pm RCMFS presents
Autumn Evenings
12
2
2pm Donor Open
Rehearsal*
7:30pm Live @
Benaroya Hall:
Natalie Merchant
with the Seattle
Symphony
7:30pm Seattle
Repertory Jazz
Orchestra: Basie Bash
8pm Dvořák and the
New World
1
2pm Dvořák’s
Dumky Trio
7pm New World
Untuxed
23
4
9:30, 10:30 &
11:30am Tiny Tots
8pm The Movie
Music of John
Williams
11
2pm Community
Concert: At Rainier
Valley Cultural Center
7:30pm Ensign
Symphony & Chorus
8pm The Fantasticks
18
11am Family Concert
8pm Bach & Telemann
24
8pm Live @
Benaroya Hall: Loudon
Wainwright III
25
7:30pm Mozart
Requiem
30
MOZART
31
LEGEND:
Trey Anastasio photo by Rene Huemer; Natalie Merchant photo by Mark Seliger
GET OUR APP:
4
SEATTLESYMPHONY.ORG
Seattle Symphony Events
Benaroya Hall Events
Donor Events
*Call 206.215.4868 for information
Visit seattlesymphony.org for more detailed concert information.
HOW TO ORDER:
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The Seattle Symphony Ticket Office is located
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and two hours prior to performances and
through intermission.
HOURS:
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When visiting Benaroya Hall to purchase
tickets during regular Ticket Office hours, you
may park for free for 15 minutes in the Benaroya
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Ticket Office.
PHONE:
206.215.4747 or 1.866.833.4747
(toll-free outside local area). We accept
MasterCard, Visa, Discover and American
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TuxTenn_BenaroyaAdFIN4.qxp_Layout 1 8/22/14 1
SEATTLE SYMPHONY ORCHESTRA ROSTER
PLEASE DINE WITH US
AT BENAROYA HALL’S
TWO NEWEST VENUES
Thomas Dausgaard, Principal Guest Conductor
Jeff Tyzik, Principal Pops Conductor
Joseph Crnko, Associate Conductor for Choral Activities
LUDOVIC MORLOT
The Harriet Overton Stimson Music Director
Stilian Kirov, The Douglas F. King Associate Conductor
Wesley Schulz, Conducting Fellow
DAVIDS & CO
Gerard Schwarz, The Rebecca and Jack Benaroya Conductor Laureate
AND MUSE.
FIRST VIOLIN
BASS
TRUMPET
Alexander Velinzon
The David & Amy Fulton Concertmaster
Jordan Anderson
The Mr. & Mrs. Harold H. Heath
Principal String Bass
David Gordon
The Boeing Company Principal Trumpet
Emma McGrath
The Clowes Family Associate Concertmaster
Open Position
Assistant Concertmaster
Simon James
Second Assistant Concertmaster
Jennifer Bai
Mariel Bailey
Cecilia Poellein Buss
Ayako Gamo
Timothy Garland
Leonid Keylin
Cordula Merks
Mikhail Shmidt
Clark Story
John Weller
Jeannie Wells Yablonsky
Arthur Zadinsky
In the Boeing Company Gallery
SECOND VIOLIN
In The Norcliffe Founders Room
Elisa Barston
Principal
Supported by Jean E. McTavish
Reservations at Opentable.com
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CATERING AND EVENTS
EAP 1_6 V template.indd 1
Michael Miropolsky
The John & Carmen Delo
Assistant Principal Second Violin
Kathleen Boyer
Gennady Filimonov
Evan Anderson
8/25/14 1:33 PMStephen Bryant
Linda Cole
Xiao-po Fei
Sande Gillette
Artur Girsky
Mae Lin
Andrew Yeung
VIOLA
Susan Gulkis Assadi
The PONCHO Principal Viola
Arie Schächter
Assistant Principal
Mara Gearman
Timothy Hale
Vincent Comer
Penelope Crane
Wesley Anderson Dyring
Sayaka Kokubo
Rachel Swerdlow
Julie Whitton
CELLO
Efe Baltacıgil
Principal
Meeka Quan DiLorenzo
Assistant Principal
Theresa Benshoof
Assistant Principal
Eric Han
Bruce Bailey
Roberta Hansen Downey
Walter Gray
Vivian Gu
Joy Payton-Stevens
David Sabee
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
The Robert & Clodagh Ash Piccolo
OBOE
James Ross
Assistant Principal
Geoffrey Bergler
TROMBONE
Ko-ichiro Yamamoto
Principal
David Lawrence Ritt
Stephen Fissel
BASS TROMBONE
Stephen Fissel
TUBA
Christopher Olka
Principal
TIMPANI
Michael Crusoe
Principal
Mary Lynch
Principal (Begins in October)
PERCUSSION
Ben Hausmann
Associate Principal
Michael A. Werner
Principal
Chengwen Winnie Lai
Stefan Farkas
Michael Clark
Ron Johnson
ENGLISH HORN
HARP
Stefan Farkas
Valerie Muzzolini Gordon
Principal
CLARINET
Benjamin Lulich
The Mr. & Mrs. Paul R. Smith Principal Clarinet
Laura DeLuca
Larey McDaniel
KEYBOARD
Kimberly Russ, piano +
Joseph Adam, organ +
PERSONNEL MANAGER
E-FLAT CLARINET
Scott Wilson
Laura DeLuca
BASS CLARINET
Larey McDaniel
BASSOON
Seth Krimsky
Principal
Paul Rafanelli
Mike Gamburg
CONTRABASSOON
ASSISTANT PERSONNEL
MANAGER
Keith Higgins
LIBRARY
Patricia Takahashi-Blayney
Principal Librarian
Robert Olivia
Associate Librarian
Ron Johnson, Rachel Swerdlow
Assistant Librarians
Mike Gamburg
TECHNICAL DIRECTOR
Joseph E. Cook
HORN
ARTIST IN ASSOCIATION
Dale Chihuly
Jeffrey Fair
The Charles Simonyi Principal Horn
Mark Robbins
Associate Principal
MUSIC ALIVE
COMPOSER IN RESIDENCE
Trimpin
Jonathan Karschney*
Assistant Principal
HONORARY MEMBER
Cyril M. Harris †
Adam Iascone
Cara Kizer*
+ Resident
* Temporary Musician for 2014–2015 Season
† In Memoriam
FAC 080414 heads 1_6v.pdf
6
SEATTLESYMPHONY.ORG
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
Dvořák’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.
Morlot is also Chief Conductor of La Monnaie, one of Europe’s
most prestigious opera houses. This season sees him conduct
the world-premiere performance of Pascal Dusapin’s Penthesilea
and a new production of Don Giovanni, as well as concert
performances of music by Brahms, Dutilleux and Dvořák,
Berlioz’s L’enfance du Christ and the complete symphony cycle
of Schumann.
Morlot’s orchestral engagements this season include returns
to the Chicago Symphony Orchestra and Los Angeles
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 (2004–07).
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 (2002–04). 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.
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
SoYoung Kwon
Ryan Douglas
Jean Gardner
Donald Thulean
Claire Angel
Ned Laird*
Ruth Gerberding
Marcus Tsutakawa
Sherry Benaroya
Paul Leach*
President, WolfGang Advisory
Council
James Gillick
Cyrus Vance, Jr.
James Bianco
Jeff Lehman*
Barbara Goesling
Karla Waterman
Rosanna Bowles
Dawn Lepore
David Grauman
Ronald Woodard
Paul Brown
Eric Liu*
Gerald Grinstein
Arlene Wright
Amy Buhrig
Brian Marks*
Jean Chamberlin
Catherine Mayer
Alexander Clowes
Pamela Merriman
LIFETIME DIRECTORS
Pat Holmes
SEATTLE SYMPHONY
FOUNDATION BOARD
OF DIRECTORS
Kathy Fahlman Dewalt
Sheila Noonan
Llewelyn Pritchard
Henry James
Jean-François Heitz
Larry Estrada
Jay Picard
Chair
Hubert Locke
President
Nancy Evans
John Pohl
Richard Albrecht
Yoshi Minegishi
Kathleen Wright
Jerald Farley
Mark Rubinstein
Susan Armstrong
Marilyn Morgan
Vice President
Judith A. Fong*
Elisabeth Beers Sandler
Robert Ash
Isa Nelson
Marco Abbruzzese
Diana P. Friedman
Linda Stevens
William Bain
Marlys Palumbo
Treasurer
Brian Grant
Bayan Towfiq
Bruce Baker
Sue Raschella
Michael Slonski
Patty Hall
Leo van Dorp
Cynthia Bayley
Bernice Rind
Secretary
Jean-François Heitz*
Nicole Vogel
Alexandra Brookshire
Jill Ruckelshaus
James Bianco
Woody Hertzog
Stephen Whyte
Phyllis Byrdwell
H. Jon Runstad
Brian Grant
Phyllis Campbell
Herman Sarkowsky
Muriel Van Housen
Ken Hollingsworth
Kevin Kralman
President, Seattle Symphony Chorale
Richard Mori
President, Seattle Symphony
Volunteers
Bert Hambleton
Cathi Hatch
David Hovind
DESIGNEES
Mary Ann Champion
Martin Selig
Laurel Nesholm
Jeff Hussey
Geoffrey Bergler
Robert Collett
John Shaw
David Tan
Walter Ingram
Orchestra Representative
David Davis
Langdon Simons, Jr.
Rick White
Elizabeth Ketcham
Zartouhi Dombourian-Eby
Dorothy Fluke
Charles Z. Smith
Stephen Kutz
Orchestra Representative
David Fulton
Patricia Tall-Takacs
* Executive Committee Member
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:
LUDOVIC MORLOT, MUSIC DIRECTOR
It
FRIDAY, OCTOBER 17, AT 7PM
SEATTLE SYMPHONY
PERFORMS WITH
WEST SEATTLE
COMMUNITY ORCHESTRA
At Chief Sealth High School
SATURDAY, OCTOBER 18, AT 2PM
SEATTLE SYMPHONY
PERFORMS AT
RAINIER VALLEY
CULTURAL CENTER
At Rainier Valley Cultural Center
THURSDAY, OCTOBER 23, AT 7PM
SEATTLE SYMPHONY
PERFORMS WITH
GARFIELD HIGH SCHOOL
SYMPHONY ORCHESTRA
At Garfield High School
TUESDAY, OCTOBER 28, AT 7PM
SEATTLE SYMPHONY
PERFORMS WITH
ROOSEVELT HIGH SCHOOL
SYMPHONY ORCHESTRA
At Roosevelt High School
Community Concerts generously supported
by Kjristine Lund. Made possible with
support from 4Culture and the Seattle Office
of Arts & Culture.
FOR MORE INFORMATION:
206.215.4747
SEATTLESYMPHONY.ORG
8
SEATTLESYMPHONY.ORG
Photo: Sussie Ahlburg
R
V, CONDUCTO
STILIAN KIRO
It is my pleasure to welcome you to Benaroya
Hall at the start of the 2014–2015 season,
my fourth with the orchestra. We have an
exciting journey ahead of us this year.
This musical voyage is one of exploration and
innovation. We approach symphonic heavyweights,
including Brahms’ First Symphony and Mahler’s
Third, with a new ear. We present some rarely performed masterpieces, such as
Berlioz’s Roméo et Juliette and Dutilleux’s Métaboles. We jump into the soundworlds of Dvořák and Sibelius, with several consecutive weeks devoted to each
composer. We play music that has never been heard before — world premieres
commissioned from contemporary composers Mason Bates, Sebastian Currier and
Julian Anderson, as well as a site-specific installation from Trimpin, an astoundingly
imaginative artist. We also continue to add to the list of releases on our very own
label, Seattle Symphony Media, reflecting our commitment to fresh presentations of
the classics and colorful recordings of lesser-known but equally important music.
The music we perform this season won’t be confined to Benaroya Hall, either. You’ll
see us playing in Community Concerts with local and high-school orchestras at venues
in your communities, from Roosevelt and Garfield high schools to Rainier Valley
Cultural Center and Meany Hall. Learn more about our October Community Concerts
at left.
I’m very pleased to announce that the Symphony family has grown, and I’d like
to welcome Danish conductor — and new Principal Guest Conductor — Thomas
Dausgaard to Seattle. In March he leads the orchestra in all seven of Sibelius’
symphonies. It’s a true immersion in the sound of this composer of the North. You’ll
also see two new principal musicians on the stage this fall: Principal Oboe Mary
Lynch, who joins us from The Cleveland Orchestra, and Principal Clarinet Benjamin
Lulich, who comes from Pacific Symphony. See their biographies at right.
We start off the season with a Paris-inspired Opening Night program and three
weeks of Masterworks concerts centered on Dvořák’s Seventh, Eighth and Ninth
symphonies. It’s a journey within a journey, and we hope you’ll come along.
Ludovic Morlot, Music Director
NOTA BENE
he Seattle Symphony is excited to present two new dining options in Benaroya Hall
T
this season, both powered by Tuxedos and Tennis Shoes Catering and Events.
{
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njoy
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C O M M U N IT Y C O N C E R T S
Free!
pre-concert dining at Muse in the Norcliffe Founders Room, just a
few short steps from your seat. Muse blends the elegance of downtown dining
with casual comfort, offering both table and bar seating. To make a reservation,
please visit opentable.com or call 206.215.4747.
DAVIDS & CO. J
oin
us for a bite at Davids & Co., a brand-new cafe in Benaroya
Hall’s Boeing Company Gallery. 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.
New Faces
The Seattle Symphony welcomes
two new principal musicians this fall:
Mary Lynch, oboe, and Benjamin Lulich,
clarinet.
Mary Lynch
Principal Oboe
MOZART’S
BAD BOY
Don
Giovanni
Don Giovanni, Seattle Opera, 2007 © Rozarii Lynch
Mary Lynch joins the
Seattle Symphony
from The Cleveland
Orchestra, where she
held the position of
Second Oboe for the
Photo: Steve Riskind
past two years. She
has toured internationally with both The
Cleveland Orchestra and the Pittsburgh
Symphony Orchestra. Originally from
Washington, D.C., Lynch earned her
Master of Music at The Juilliard School,
where she studied with Elaine Douvas
and Nathan Hughes (former Seattle
Symphony Principal Oboe), and her
Bachelor of Music from the New England
Conservatory, where she studied with
John Ferrillo. Her awards include The
Juilliard School’s William Schuman Prize
and the Boston Woodwind Society’s Ralph
Gomberg Oboe Award. During recent
summers she has performed at the
Marlboro Music Festival, Music Academy
of the West and Tanglewood Music Center.
Her performances at Marlboro have been
heard across the country on American
Public Media’s Performance Today.
Benjamin Lulich
Principal Clarinet
Benjamin Lulich joins
the Seattle Symphony
from Pacific Symphony,
where he was Principal
Clarinet. Previously
he held positions at
Photo: Michael B. Shane
the Colorado Music
Festival, Hollywood Studio Orchestras,
IRIS Chamber Orchestra, Kansas City
Symphony and Sunriver Music Festival.
He has performed regularly with The
Cleveland Orchestra, Festival Mozaic, Los
Angeles Opera, Los Angeles Philharmonic,
Opera Pacific, Pasadena Symphony and
Riverside Philharmonic. Lulich has won the
concerto competitions of the Cleveland
Institute of Music, Interlochen Arts
Academy, Marrowstone Music Festival and
Music Academy of the West. He earned
his Bachelor of Music from the Cleveland
Institute of Music, where he studied with
Franklin Cohen, and continued his studies
at the Yale University School of Music,
where he was a student of David Shifrin.
Lulich is also a former student of Seattle
Symphony clarinetist Laura DeLuca.
OFF
25 % E AT S
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1
E C T O C T. 3
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S
,
D AY
FRI
OCT. 18-NOV. 1, 2014
MARION OLIVER MCCAW HALL
WITH ENGLISH SUBTITLES | EVENINGS 7:30 P.M., SUNDAY MATINEE 2:00 P.M.
With the Seattle Opera Chorus and members of Seattle Symphony Orchestra.
PHONE
U N D E R 4 0 ? S AV E 3 0 %
G RO U P S S AV E 15 %
I N PERSON
206.389.7676 | 800.426.1619
seattleopera.org/under40
206.676.5588
Ticket Office: 1020 John St., Mon-Fri 9 a.m.-3 p.m.
PRODUCTION SPONSORS: MARYANNE TAGNEY AND DAVID JONES
2014/15 SEASON IN HONOR OF SPEIGHT JENKINS
S E A T T L E O P E R A . O R G
SOP 081214 giovanniES014 2_3v.pdf
encore art sseattle.com 9
DVOŘÁK’S
MUSICAL
VOICE
By PAUL SCHIAVO
10
SEATTLESYMPHONY.ORG
IN
this first month of the
2014–2015 concert season, the
Seattle Symphony presents a
diverse selection of music by
Antonín Dvořák. Each of the orchestra’s
initial three Masterworks Season
programs includes one of Dvořák’s final
symphonies. Small-ensemble music by
the Czech composer is part of our initial
Untuxed and Chamber series concerts.
Dvořák’s music has long given pleasure
to concert audiences everywhere. The
source of its appeal is no secret. More
than nearly any other composer of the
19th century — Tchaikovsky might be
his only rival in this respect — Dvořák
succeeded in fusing two seemingly
disparate qualities: a wonderful melodic
warmth derived from folk music, and
a mastery of the craft of composition.
This last virtue is especially evident in
his late symphonies, whose form, spirit
and certain details clearly stem from the
examples of Beethoven and Brahms.
Dvořák acquired his high level of
compositional craftsmanship through a
long and painstaking effort. During the
1860s and early 1870s he taught himself
to compose by writing orchestral pieces,
chamber music, songs, choral works
and several operas. Through a process
of creative trial and error, the quality
of these early compositions steadily
improved. In the mid-1870s Dvořák came
to the attention of Johannes Brahms,
who was widely regarded as the foremost
composer of the time and the spiritual
heir of Beethoven. Soon the two men had
begun a mutually respectful friendship.
Dvořák revered Brahms and considered
his music a standard to aspire to,
particularly in the sphere of orchestral
composition. Through his older
colleague’s example, Dvořák acquired a
more powerful symphonic voice, one that
is evident in his last three symphonies.
But there was another aspect to
Dvořák’s development. As he matured,
the composer drew increasingly from
the rhythms and melodic inflections of
Bohemian folk music. His intention in
doing so was partly patriotic. Dvořák
was fiercely loyal to his homeland
and proud of its culture, and adopting
Bohemian folk music as worthy material
for artistic creation was a way to express
those sentiments. However, his adoption
of certain qualities of folk music never
compromised Dvořák’s loyalty to the
traditions of classical composition.
While a few exceptional pieces openly
emulate the sound of folk music, most
of them absorb Bohemian traits into
a framework of thoughtful thematic
invention and development. These
pieces speak with a Czech accent, as it
were, but are fully conversant with the
procedures of orchestral composition
developed by Beethoven, Brahms and
other masters.
Yet beyond stamping a strong national
identity on his work, Dvořák’s resort
to Bohemian folk melodies, or at least
their salient characteristics, imparted
a freshness and vitality to his music
lacking in that of lesser composers
of his era. John Adams, an American
composer who also figures in this
month’s Seattle Symphony programs,
and whose use of musical Americanisms
is in many ways comparable to what
Dvořák did with the popular music of his
people, has famously said: “Whenever
serious art loses track of its roots in the
vernacular, then it begins to atrophy.”
Dvořák evidently understood this. A
serious artist, he never lost track of his
popular roots. 
© 2014 Paul Schiavo
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September/October 2014
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Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in Western
Washington and the San Francisco Bay Area. All rights reserved.
©2014 Encore Media Group. Reproduction
without written permission is prohibited.
September 11 – October 5, 2014
CO N C ERTS
P. 14
P. 30
Thursday, September 11, at 7:30pm
Thursday, October 2, at 7:30pm
Saturday, October 4, at 8pm
TREY ANASTASIO
WITH THE SEATTLE
SYMPHONY
LIVE @ BE NAROYA HALL
Trey Anastasio, p. 14
P. 16
Saturday, September 13, at 4pm
OPENING NIGHT
CONCERT & GALA
SPECIAL PERFORMANCES
P. 23
Thursday, September 18, at 7:30pm
Friday, September 19, at 12 noon
Saturday, September 20, at 8pm
Gil Shaham, p. 22
TCHAIKOVSKY &
DVOŘÁK
DVOŘÁK AND
THE NEW WORLD
DE LTA AIR LINE S
MASTERWORK S SE ASON
P. 33
Friday, October 3, at 7pm
NEW WORLD
UNTUXED
SYMPHONY UNT UXE D SERIES
P. 35
Sunday, October 5, at 2pm
DVOŘÁK’S
DUMKY TRIO
CHAMBER SERIE S
D ELTA A IR LINE S
MASTERWORK S SE ASON
P. 26
Thursday, September 25, at 7:30pm
Saturday, September 27, at 8pm
Sunday, September 28, at 2pm
Daniil Trifonov, p. 25
RACHMANINOV &
DVOŘÁK
D ELTA A IR LINE S
MASTERWORK S SE ASON
Photo credits (top to bottom): Rene Huemer,
Luke Ratray, Roger Mastroianni, Julia Wesely
Khatia Buniatishvili, p. 29
encore artsseattle.com 13
T R E Y A N A S TA S I O
Guitar & vocals
CRITICS SAY:
TREY ANASTASIO
WITH THE SEATTLE
SYMPHONY
“[T]hat rarest of
rarities, a classicalrock hybrid that might
please partisans from
both constituencies”
(The New York Times).
Photo: Rene Huemer
“[H]is forays into
classical music are
just as innovative and
exciting as his groundbreaking work in a
rock band… (Rolling Stone).
L IV E @ BEN AR OYA HA LL
FORTE:
Thursday, September 11, 2014, at 7:30pm
Trey Anastasio, guitar & vocals
Scott Dunn, conductor
Seattle Symphony
Tonight’s program will be announced from the stage.
There will be one 20-minute intermission.
Trey Anastasio has established
himself as a prolific composer, masterful
guitarist (named by Rolling Stone as
one of the 100 Greatest Guitarists of
All Time) and compelling performer.
Anastasio is a founding member of
the Grammy-nominated, genre-melding
rock band Phish.
Anastasio began
his foray into the classical world in 2000,
in collaboration with Vermont Youth
Orchestra Director Troy Peters, on an
orchestral version of Phish’s “Guyute,”
which was performed at Carnegie
Hall, the Music Hall in Troy, New York,
and the Flynn Theatre in Burlington,
Vermont. In 2009 Anastasio performed
with the New York Philharmonic and
Baltimore Symphony Orchestra. He
embarked on his first orchestral tour in
early 2012, performing with the Atlanta,
Colorado and Pittsburgh symphonies,
and the Los Angeles Philharmonic.
Scott Dunn, Associate Conductor of
the L.A. Philharmonic’s Hollywood Bowl
Orchestra, conducted the programs. In
2013 Anastasio played a sold-out show
with the National Symphony Orchestra
(NSO) at the Kennedy Center in
Washington, D.C.
CLASSICAL CROSSOVER:
In addition to his
orchestral outings, Anastasio tours
regularly with Phish and his longtime
solo project, the Trey Anastasio
Band. Phish recently celebrated its 30th
anniversary and released its critically
acclaimed 12th studio album, Fuego, and
Anastasio will release his 10th solo
album this fall. In 2012 Anastasio
collaborated on the music for Hands on
a Hardbody. The musical received three
Tony Award nominations, including one
for Best Original Score (Music and/or
Lyrics) Written for the Theatre.
PHISH AND SOLO:
Please turn off all electronic devices and refrain from taking photos or video.
Performance ©2014 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
S C OT T D U N N
Conductor
FORTE: American
conductor Scott Dunn is
the Associate Conductor
of the Los Angeles
Philharmonic’s
Hollywood Bowl
Orchestra. He has an
affinity for American
music and a special
passion for so-called
crossover composers — ranging from
George Gershwin, Vernon Duke and
Leonard Bernstein to such noted
Hollywood film composers as Leonard
Rosenman, Richard Rodney Bennett and
Danny Elfman.
Include
appearances with the Atlanta Symphony,
Colorado Symphony, Los Angeles
Philharmonic, Orchestra of St. Luke’s,
Vienna Radio Orchestra and many other
distinguished ensembles. He also appears
with noted headliners Elvis Costello, Ben
Folds and Il Volo. This season also includes
Disney’s Fantasia with live orchestra in
Vienna; Roger Bourland’s La Paloma y la
Ruiseñor in Mazatlán, Mexico; Mohammed
Fairouz’s Audenesque at Carnegie Hall;
Danny Elfman’s music from the films of
Tim Burton (with additional orchestrations
by Dunn) in the U.S. and abroad; and the
commercial release of The Complete Violin
Works of Vernon Duke (Uhrlicht) with
violinist Elmira Darvarova and the Vienna
Radio Orchestra.
SEASON HIGHLIGHTS:
A former
student of Byron Janis, Dunn is also a
distinguished pianist and a noted
orchestrator. As a pianist, Dunn has
numerous commercial recordings and
made his Carnegie Hall debut in 1999,
playing his own orchestration of Vernon
Duke’s “lost” Piano Concerto in C.
PIANO AND ORCHESTRATION:
BACKGROUND AND EDUCATION:
Dunn studied at The Juilliard School,
Manhattan School of Music, the Aspen
Music Festival and School, and the
universities of Southern California
and Iowa. His professional conducting
career began in 1999, when Lukas Foss
appointed him Associate Music Director
for The Music Festival of the Hamptons.
Dunn subsequently held conducting posts
at Glimmerglass Opera and Pittsburgh
Opera. In 2007 he joined the conducting
staff of the Los Angeles Philharmonic’s
Hollywood Bowl Orchestra and in 2010
was named Associate Conductor.
2014-2015
TOWN
MUSIC
Joshua Roman, Artistic Director
Sept. 23, 2014
PIANO QUARTETS
BRAHMS, ANDRES, SHARLAT
Featuring Joshua Roman and Andrius Zlabys
Nov. 5, 2014
NOW ENSEMBLE
Crossing Boundaries of Musical Genres
Jan. 12, 2015
THIRD COAST PERCUSSION
Hard-Grooving, Versatile, and Resourceful
Mar. 25, 2015
DEVIANT SEPTET
Stylish and Exceedingly Fun
Jun. 27, 2015
JOHN ADAMS’ ‘SHAKER LOOPS’
PLUS Premiere of New Works
SCIENCE
TOWN HALL
ARTS & CULTURE
COMMUNITY
CIVICS
Subscriptions on sale NOW
single tickets $20 advance/$25 at the door
ALWAYS $20 seniors/$17 Town Hall members/$10 students
WWW.TOWNHALLSEATTLE.ORG
Tagney Jones Family Fund w Town Music Aficionados
Nesholm Family Foundation w The Aaron Copland Fund for Music
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8/18/14 15
2:04 PM
Saturday, September 13, 2014, at 4pm
OPENING NIGHT
CONCERT & GALA
S P E CIAL PE RFO RMA NCES
Ludovic Morlot, conductor • Gil Shaham, violin
Alexa Jarvis, soprano • Charles Robert Stephens, baritone • Seattle Symphony
13’
Laird Norton is a very
proud sponsor of the
Seattle Symphony’s
2014–2015 season.
7’
Community building
and the pursuit of
excellence are core
values shared by both
the Symphony and
Laird Norton.
JACQUES IBERT Suite symphonique, “Paris” Le métro
Faubourgs
La mosquée de Paris
Restaurant au Bois de Boulogne
Le paquebot “île-de-France”
Parade foraine
ERIK SATIE /orch. Debussy
Gymnopédies Nos. 3 and 1
Lent et grave • Lent et douloureux
CAMILLE SAINT-SAËNS Havanaise for Violin and Orchestra, Op. 83 GIL SHAHAM, VIOLIN
JULES MASSENET Méditation from Thaïs for Violin and Orchestra 5’
GIL SHAHAM, VIOLIN
10’
INTERMIS SION
LÉO DELIBES Selections from Suite No. 2 from Coppélia Entr’acte and Waltz • Prelude and Mazurka
10’
PABLO DE SARASATE Carmen Fantasy for Violin and Orchestra, Op. 25 13’
GIL SHAHAM, VIOLIN
JACQUES OFFENBACH
Selections from Orphée aux enfers 20’
Ballet des mouches: Galop
Couplets des baisers
Duo de la mouche
Overture
ALEXA JARVIS, SOPRANO
CHARLES ROBERT STEPHENS, BARITONE
Tonight, in accordance with American orchestral tradition, the National Anthem will
be performed at the top of the program.
Presenting Sponsor: Laird Norton Wealth Management
Gala Sponsors: The Boeing Company, Delta Air Lines, Microsoft, The Fairmont Olympic
Hotel Seattle, Canoe Ridge Vineyard, Rosanna, Inc., Seattle Met, Classical KING FM 98.1
Gil Shaham is generously sponsored by Friends of Gil Shaham.
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 ©2014 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
16
SEATTLESYMPHONY.ORG
In partnership, we
celebrate the relentless
pursuit of innovation
and musical excellence
that unite our
community and create
lasting legacies.
Bischofberger
ABOUT THE FILM
Violins
“If
you are lucky enough to have lived
in Paris as a young man, then wherever
you go for the rest of your life, it stays
with you, for Paris is a moveable feast.”
–
Professional
Repairs
Appraisals
& Sales
Ernest Hemingway
“moveable feast” is here tonight.
Seattle-based filmmakers Ghizlane
Morlot and Matt Marshall joined forces
to produce the 13-minute, six-part
silent film to be presented along with
the performance of “Paris” by French
composer Jacques Ibert. Matt and
Ghizlane describe the film as a timetraveling piece depicting 1930s flare.
The six movements evolve from a joie
de vivre to grandeur and magnificence,
with regular pauses for meditation in
between.
The
1314 E. John St.
Seattle, WA
206-324-3119
www.bviolins.com
EAP 1_12 template.indd 1
The
silent images are an attempt to
illustrate the six movements of Ibert’s
piece utilizing period footage. By the
time Ibert composed “Paris,” motionpicture cameras were celebrating
their fourth decade recording the
French capital city. After months of
painstaking research, our filmmakers
have crafted a visual collage that
can only be described as an odedreamscape to the City of Light.
T
C ONC E R
T
U
O
S
SE L L
O GE T
S
,
Y
L
K
Q UIC
KE TS
YOUR T IC !
E A R LY
BV 071811 repair 1_12.pdf
8/1/14 12:25 PM
rail to ground, the fast pace of the
many modes of Le métro hurl us into
a sea of automobiles, merchants and
cafes. We see Ibert’s organ grinder and
a pied piper calling out to the masses
in Faubourgs. Exotic imagery of North
African artisans at work on La mosquée
de Paris helps illustrate this sacred
space. Restaurant au Bois de Boulogne
comes to life as we see Parisians live the
Jazz Age. Le paquebot “Île-de-France”
allows us to ponder the grand era of
steamship travel, and Parade foraine
celebrates peacetime Paris before the
Second World War.
Morlot has attended filmmaking
workshops in New York and Seattle.
While her first feature-length script is
in development (a film noir with quirky
characters), Ghizlane is producing a
documentary on Seattle-based artist
Trimpin and his collaboration with
the Seattle Symphony as Music Alive
Composer in Residence.
Marshall began his work in film as
a researcher on Robert Redford’s Horse
Whisperer. He recently completed his
first feature-length documentary, Dick
Dale: King of the Surf Guitar.
MONDAY,
DeceMber 1,
7:30 p.M.,
MccAw HAll,
SeAttle ceNter
Seattle Pacific
University’s 15th
annual Sacred Sounds
of Christmas concert
features the acclaimed
SPU Concert Choir,
Symphonic Wind
Ensemble, Symphony
Orchestra, and other
performing groups.
From
Ghizlane
est. 1955
Tickets start at $16.50.
Use “SPU” promo code.
Group rates available.
For more information,
visit Ticketmaster or
spu.edu/sacredsounds.
Celebrate Family ...honor their life
Celebrate family... honor their life
Matt
Funeral • Cemetery • Cremation Services
www.BonneyWatson.com
encore artsseattle.com 17
P RO G RA M N OTES
The 2014–2015 Seattle Symphony
season opens with an entrée of
music written or inspired by French
composers, including Spanish
violinist–composer Pablo de Sarasate’s
virtuosic tribute to Georges Bizet’s
perennially loved opera, Carmen.
Jacques Ibert (1890–1962), son of a
French businessman, wanted to be an
actor, and in his youth he attended
acting school. He also studied piano
with his mother, and owing to his
prodigious talent, began composing
music in the absence of any formal
training. He served in the French
navy during World War I, then studied
composition with Paul Vidal and
won the Prix de Rome in 1919 for his
cantata Le poète et la fée (“The Poet
and the Fairy”). The premiere of his
Escales (“Ports of Call”) launched
his career. He later lamented, “I have
written twenty important works since
Escales, but always when they speak
of Ibert they talk about Escales.”
Ibert’s Suite symphonique, “Paris,”
written in 1928 for a play that was
performed in 1930, is laid out in six brief
movements that limn musical portraits
of the City of Light. The opening, Le
métro (“The Metro”), conveys Paris at
8am as train bells announce the time
before a trumpet anticipates anxious
crowds seeking to get on board.
Faubourgs (“The Suburbs”) furthers
the sense of a city coming to life, with
sounds suggesting an organ grinder
playing a nostalgic tune amidst the
urban hustle and bustle, all sonically
painted with colorful, often wailing
brass and emphatic percussion. Those
familiar with the composer’s Escales
will note a kinship to the movement
La mosquée de Paris (“The Mosque of
Paris”), which suggests North African
sources, including mysterious drum
beats and a serpentine wind melody.
Jazz Age sonorities and rhythms mirror
the swaying dancing of a post–World
War I dance hall in Restaurant au Bois
de Boulogne (“The Restaurant at the
Bois de Boulogne”). Le paquebot “Îlede-France” (“The ocean liner Île de
France”) portrays in vivid orchestral
color a young couple standing in front
of the windows of the Transatlantic
Shipping Company, eyeing a scale model
of the ocean liner and dreaming of a
18
SEATTLESYMPHONY.ORG
by Steven Lowe
fabulous voyage. Bringing the suite to
a close, the brief and energetic Parade
foraine (“Fairground Parade”) rousingly
evokes a somewhat manic parade
replete with a bandleader’s whistle and
trumpet high jinx.
Patron saint of the heterogeneous
group of French composers known
as Les Six, Erik Satie (1866–1925)
was classical music’s answer to the
Dadaist movement in the visual arts;
he was a strange and ironic figure
whose intentionally simple style hid
a clever and musical mind. Revered
and reviled by advocates and enemies
respectively, he seemed to thrive on
other people’s consternation about
his music and its often puzzling titles.
When criticized for his formlessness,
he instinctively penned a new work he
called Three Pieces in the Shape of a
Pear. The title of Satie’s Gymnopédies
(1888) derives from the Greek word
gymnopaidiai (i.e., “naked education”).
Satie’s choice of this compound word
reflects the French view of themselves
as a latter-day incarnation of classical
Greek ideals. Debussy orchestrated
Nos. 3 and 1, expressing his view that
the second piece did not lend itself to
orchestration. Modest in scope, faintly
nostalgic and quietly romantic, both
of the pieces in this program evoke a
hazy, dreamlike languor not dissimilar
to Debussy’s Prelude to the Afternoon
of a Faun, written but a few years after
Gymnopédies. Sweet strings alternate
with a pair of harps punctuated at
times by four horns. An oboe adds
touching nostalgia to the music.
Camille Saint-Saëns (1835–1921) lived
long enough to survive his early
reputation as a revolutionary in music
and become an arch-reactionary,
which says perhaps less about him
than about the tumultuous changes
in musical culture during his long
and productive life. Early on he
adopted an aesthetic that music could
express nothing, that “meaning” lay
exclusively within its formal construct.
An esteemed pianist and composer of
great formal ingenuity, he wrote with
facility in all genres, from grand opera
to solo recital pieces and virtually
everything else in between. Saint-Saëns
composed the Havanaise for Violin
and Orchestra in 1883 for his friend
and colleague violinist Diaz Albertini.
Though associated in the public mind
with Spain, the havanaise was created
in Cuba and often carries its Spanish
name, habanera. In 1875, by which time
this popular dance form was known
far beyond the confines of Cuba, Bizet
used it famously in his evergreen
operatic venture, Carmen. Saint-Saëns’
contribution reflects the habanera’s
slow tempo and sultry character. The
composer also provides flashes of
virtuosic diablerie before ending the
piece in a mood of unforced serenity.
Jules Massenet (1842–1912) represents
the tradition of sweetly lyrical French
opera shared by Charles Gounod
and ultimately rejected, along
with Wagnerism, by Debussy and
subsequent 20th-century French
composers. Still, such works as Werther
and Manon show up with regularity
on opera house stages around the
world, augmented by an occasional
performance of Thaïs (composed in
1893–94, premiered March 16, 1894, in
Paris). If tunes from Thaïs do not spill
readily from the lips of most opera and
symphony attendees, the poignant and
familiar Méditation from the opera, an
extended violin solo over a discrete
harp-dominated accompaniment,
gives a taste of the work’s beguiling
charms. The attractive and sentimental
theme grows effortlessly out of
basic arpeggio materials. Prevailing
sweetness is leavened by brief
episodes of fervent emotion.
The ballets of French composer Léo
Delibes (1836–91) had a lasting effect
on future composers who wrote music
for the dance. His aim was to put
ballet music on equal footing with
choreography, investing his scores
with symphonic breadth while giving
full voice to ingratiating melody and
expressiveness. Delibes’ second of
three ballets, Coppélia (premiered
May 25, 1870, at the Théâtre Impérial
de l’Opera in Paris), centers on a
comic-romantic tale of a life-sized
dancing doll created by Dr. Coppelius.
A young villager falls in love with the
doctor’s automaton and spurns his
true love, Swanhilde, whose efforts
eventually bring the youth back to
reality so the pair can finally marry.
The brief and expectant Entr’acte
introduces the lilting strings-led Waltz,
its familiar gently rising and falling
main theme balanced by a lively
counter-theme. Quiet percussion
followed by a Wagnerian brass theme
open the ballet’s Prelude. A slowly
unfolding string theme emerges
and goes through an impassioned
crescendo, launching a jaunty and
energetic section where percussion
and low strings are offset by perky
contributions from the upper strings.
A quieter, calmer section closes the
Prelude and leads to a wind-scored
rustic and playful tune. The ensuing
Mazurka (a Polish dance in 3/4 time)
utilizes melodic material from the
Prelude, but with even greater fervor,
before a slower and country-ish section
provides contrast. The rambunctious
opening material reemerges and
alternates with graceful asides
from the strings, with low brass and
percussion adding further contrast.
Pablo de Sarasate (1844–1908) was
one of the greatest violinists in the
golden age of 19th-century virtuosos.
He was acclaimed for the beauty
of his tone, his flawless intonation
and perfect technique, and his utter
elegance of manner. Though in later
life he gravitated toward the great
masterworks, Sarasate established
his early reputation in the playing of
paraphrases and variations — mostly
of his own devising — on operatic
themes. He steered clear of large-scale,
aggressive concertos that required a
more massive sound than he chose to
provide, for which reason he refused
to play Brahms’ epical Violin Concerto.
Georges Bizet’s Carmen is among the
most popular operas ever written,
though it was a failure at its premiere
just months before the composer’s
untimely death in 1875. The work’s
instantly recognizable and irresistibly
hummable tunes are tailor-made for a
violinistic fantasy, and Sarasate obliged
accordingly with the Fantasy on Bizet’s
Carmen for Violin and Orchestra,
Op. 25 (1883, premiered the same
year in Paris). The fantasy is based
on five numbers from the opera: first,
the Entr’acte between Acts III and IV;
second, Carmen’s habanera “L’amour
est un oiseau rebelled” (“Love is a
rebellious bird”); third, the Chanson et
Melodrame (“Song and Melodrama”)
for Carmen, Don José and Zuniga
from Act I; fourth, the Seguidille et
Duo for Carmen and Don José from
Act I; and fifth, the Chanson bohème
(“Bohemian Song”) for Carmen,
Frasquita and Mercedes from Act II.
It is widely played in versions with
piano or orchestral accompaniment.
In 1855 Jacques Offenbach (1819–80)
launched a pet project, a theater
designed for presenting short, comedic
musical works requiring a small
orchestra and few singers. Within
three years he was badly in debt,
leading him to compose Orpée aux
enfers (written in 1858, “Orpheus in
the Underworld” premiered October
21, 1858, in Paris), a farcical satire
based on the presumed exploits of
gods, largely drawn from the ancient
Orphic legend. No doubt part of its
immediate and lasting success derived
from a scathing review the new work
received because of its presumed
blasphemy. Parisian audiences flocked
to see the production to the tune of
227 consecutive performances. The
Ballet des mouches (“Ballet of the
Flies”) from Act II leaps energetically
in quick double time. A seemingly
calmer section soon rises in volume
and frivolous intensity, leading to an
emphatic closing thump. Also from the
second act, the Couplets des baisers
(“Verses of Kisses”) opens with a quiet
introduction in waltz time that leads
to a long solo by Cupid, “Pour attirer
du fond de sa retraite une souris qui
cache son museau” (“To lure a mouse
that hides its snout from the back of
his hole”), a lively parody of grand
opera. In the Duo de la mouche (“Fly
Duet,” again from Act II), Offenbach
parodies elements of grand opera
in the intentionally inane and mockbawdy seduction of Eurydice by
Jupiter, who has disguised himself as
a fly. Eurydice quickly takes a liking
to the fly in “Bel insect, à l’aile dorée”
(“Beautiful insect, with golden wings”),
and the pair alternate and then join in
buzzing together. The duet ends in a
virtuosic ascending run by Eurydice.
It was in the energetic and irreverent
Overture that the popular cancan first
appeared, though not in Offenbach’s
original version. For the first Vienna
performance in 1860, local composer
Carl Binder added the cancan and
well-known violin solo. The Overture
begins with an audience-quieting
fanfare, followed by a sequence of
individual instrumental solos before
the arrival of the cancan music.
© 2014 Steven Lowe
Seattle Symphony violinist
Arthur Zadinsky at age 9
YOUR SUPPORT OF
MUSIC EDUCATION
TODAY IS AN INVESTMENT
IN THE ORCHESTRA
OF TOMORROW.
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encore artsseattle.com 19
T EX T & TRA N SLAT ION
Jacques Offenbach: Selections from Orphée aux enfers (“Orpheus in the Underworld”)
Couplets des baisers
(“Verses of Kisses”)
Pour attirer du fond de
sa retraite
Une souris qui cache
son museau,
Non loin du nez de la petite bête,
Il faut semer quelque
friand morceau.
Je sais un autre stratagème
Qui doit faire de son réduit
Sortir une femme qu’on aime:
Ce stratagème c’est un bruit;
Mais il faut que ce joli bruit
Sois bien mignon et bien gentil!
To lure a mouse that hides
its snout
From the back of
his hole,
Near the nose of the little beast,
It is necessary to sow some
dainty morsel.
I know another trick for one
Who should want to entice
A woman he loves:
This trick is a noise;
But it must be a pretty sound,
Be very cute and very nice!
Refrain:
Ah!
[imitant le bruits de baiser]
Allez-y la p‘tit’ bêt‘va répondre
au bruit,
[même jeu]
La p‘tit’ bêt‘va répondre
au bruit!
[imitant les baisers]
Refrain:
Ah!
[imitating the sounds of a kiss]
Go, the small beast responds
to noise,
[same]
The little animal responds
to noise!
[imitating kisses]
Lorsque l’on veut attirer
l’alouette,
On fait briller un miroir à
ses yeux
Et sans retard on la voit,
la coquette,
En voltigeant, accourir à ses
feux!
Une femme c’est tout de même,
Par sa faiblesse on la séduit;
Tout ce qu’elle veut
C’est qu’on l’aime
Et c’est ainsi qu’on le lui dit,
Mais il faut que ce la soit dit
D’un air mignon et bien gentil!
When you want to attract
the lark,
Shine a mirror in
his eyes
And without delay we see
the chick,
Fluttering, rushing to the
lights!
To a woman it’s all the same,
By his weakness that seduces;
All she wants
Is that you love her
And this is how they say it,
But it must be said
In a cute and very nice way!
Refrain
Refrain
Duo de la mouche
(“Fly Duet”)
Eurydice
Il m’a semblé sur mon épaule
Sentir un doux frémissement!
Eurydice
By a soft quivering
My shoulders are caressed.
Jupiter [à part]
Il s’agit de jouer mon rôle.
Plus un mot! Car, dès
ce moment,
Je n’ai droit qu’au
bourdonnement!
[imitant le bourdonnant
de la mouche]
Jupiter [aside]
I must play my part well.
Not a word! Because from
that moment,
My rights are limited
to buzzing.
[imitating the buzzing
of a fly]
Eurydice
Ah! La belle mouche!
Le joli fredon!
Eurydice
Ah! Beautiful fly!
How beautiful it hums!
20
SEATTLESYMPHONY.ORG
Jupiter
Ma chanson la touche,
Chantons ma chanson!
Jupiter
My song touches her,
Let us sing my song!
Air:
Jupiter [imitant le bourdonnant
de la mouche]
Air:
Jupiter [imitating the buzzing
of a fly]
Eurydice
Bel insecte, à l’aile
dorée,
Veux-tu rester mon compagnon?
Ces lieux dont tu forças l’entrée,
Hélas! Me servent de prison.
Ne me quitte pas, je t’en prie,
Reste, on prendra bien soin de
toi:
Ah! Je t’aimerai, mouche jolie,
Reste avec moi!
Eurydice
Beautiful insect, with golden
wings,
Wilt thou my companion be?
You came here without leave,
Alas! To meet me in my prison.
Do not leave me, I pray thee,
Remain, I will care for
thee:
Ah! I will love thee, pretty fly,
Stay with me!
Jupiter
Quand on veut se faire adorer,
Il faut se laisser désirer.
Jupiter
When one seeks to be adored,
He must not show willingness.
Eurydice
Je la tiens par son aile d’or!
Eurydice
I catch him by his golden wings!
Jupiter
Pas encor!
Jupiter
Not yet!
Ensemble:
Eurydice
Fi la méchante!
La méchante!
Elle ne cherche qu’à me fuir!
Together:
Eurydice
Ah the wicked one!
The wicked one!
All he cares is to fly away!
Jupiter
J’ai pris des ailes, ma charmante,
J’ai bien le droit de m’en servir.
Jupiter
I have wings, my lovely,
I’m entitled to use them.
Eurydice
De cette gaze légère,
Sans l’étouffer, je puis faire
Un filet à papillon.
Eurydice
With this light gauze,
Without danger, I can make
A butterfly’s net.
Jupiter
Attention! Attention!
Jupiter
Watch out! Watch out!
Eurydice
Ah! La voilà prise! Plus
de résistance!
Eurydice
Ah! He is caught! Resistance
is futile!
Jupiter
La plus prise des deux n’est pas
celle qu’on pense.
Jupiter
The most caught of us is not
whom she thinks.
Eurydice
Chante, chante!
Eurydice
Sing, sing!
Jupiter et Eurydice
[imitant la mouche]
Ah! Je la tiens c’est charmant!
Jupiter and Eurydice
[imitating a fly]
Ah! I want all that is lovely!
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Fri, Nov 14
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Tue, Feb 3
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Thurs, Mar 12
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Thurs, Apr 23
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Mon, May 18
Catalyst Quartet
Thurs, Mar 19
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Tue, April 21
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GIL SHAHAM
A L E X A JA R V I S
Violin
Soprano
Photo: Christian Steiner
FORTE: Gil Shaham is
one of the foremost
violinists of our time:
His flawless technique,
combined with his
inimitable warmth and
generosity of spirit,
has solidified his
renown as an
American master.
Shaham rejoins
the San Francisco Symphony this
season under Michael Tilson Thomas
for Mozart’s “Turkish” Violin Concerto
and, on the orchestra’s 20th-anniversary
tour, for Prokofiev’s Second Violin
Concerto at venues including Carnegie
Hall. In addition to the world premiere
of a new concerto by David Bruce with
the San Diego Symphony, Shaham’s
upcoming orchestral highlights include
performances across North America
and Europe. In recital he presents Bach’s
complete solo sonatas and partitas
at Chicago’s Symphony Center, L.A.’s
Disney Hall and other venues in a
special multimedia collaboration with
photographer and video artist David
Michalek.
SEASON HIGHLIGHTS:
Shaham already has more
than two dozen concerto and solo CDs
to his name, including bestsellers that
have ascended the record charts in
the U.S. and abroad. These recordings
have earned multiple Grammys, a Grand
Prix du Disque, a Diapason d’Or and
a Gramophone Editor’s Choice Award.
His recent recordings are issued on the
Canary Classics label, which Shaham
founded in 2004. Recent releases
include 1930s Violin Concertos Vol. 1,
Nigunim: Hebrew Melodies, Haydn Violin
Concertos and Mendelssohn’s Octet with
the Sejong Soloists, Sarasate: Virtuoso
Violin Works, and the Elgar Violin
Concerto with the Chicago Symphony
Orchestra and David Zinman, among
others. Upcoming titles include Bach’s
complete works for solo violin.
RECORDINGS:
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on sale noW!
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SAL’s exciting new season!
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McBride, Nicholas Kristof,
John Darnielle, and Matthea
Harvey — and more — SAL is
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events are on sale now!
presented by the seattle times
Shaham was
awarded an Avery Fisher Career Grant
in 1990, and in 2008 he received the
coveted Avery Fisher Prize. In 2012 he
was named Instrumentalist of the Year
by Musical America, which cited the
“special kind of humanism” with which
his performances are imbued.
AWARDS AND HONORS:
206 621 2230
box office
22
SEATTLESYMPHONY.ORG
Seattle native Alexa
Jarvis grew up singing
with the Seattle
Symphony in Director
Joseph Crnko’s
Northwest Choirs and is
excited to be back as a
soloist. She is known for
Photo: Michelle Moore
her local opera roles as
Alitsa with Seattle
Opera in Our Earth, Pamina in The Magic
Flute with Northwest Opera in the Schools
and a “scrumptious” Yum Yum in The
Mikado with the Seattle Gilbert & Sullivan
Society. She will perform Micaela in an
upcoming production of Carmen with
Washington Idaho Symphony. Recent
accolades include an award-winning
performance at the Metropolitan Opera
National Council Auditions (Western
Region) and Runner Up in the Palm
Springs Opera Guild Competition. Jarvis
studied opera at DePaul University in
Chicago and has since performed
throughout Europe, where she was
recently a Summer Studio Artist at
Germany’s Lüneburg Opera.
CHARLES ROBERT
STEPHENS
Baritone
Charles Robert
Stephens has been
hailed by The New York
Times as “a baritone of
smooth distinction.” In
his two decades in New
York City, he has sung
several roles with the
New York City Opera,
including Frank in Die tote Stadt, Sharpless
in Madame Butterfly and Germont in La
traviata. He has sung on numerous
occasions at Carnegie Hall in a variety of
roles with Opera Orchestra of New York,
the Oratorio Society of New York, the
Masterworks Chorus and Musica Sacra. In
Seattle, he has made several appearances
with the Seattle Symphony. This season
Stephens will sing Messiah with the
Portland Chamber Orchestra and
Whatcom Chorale, Beethoven’s Ninth with
Helena Symphony and Orchestra Seattle,
Bach’s St. John Passion with Trinity
Concerts Portland, Capulet in Romeo and
Juliet with Tacoma Opera, Haydn’s
Creation with the Bainbridge Chorale and
several recitals throughout the Pacific
Northwest.
PROGRAM NOTES
by Paul Schiavo
The three compositions that make up
the program for this concert date from
a period of just two dozen years in the
second half of the 19th century. That
century was, of course, dominated by
the Romantic movement, and all three
of the works we hear are expressions
of a Romantic outlook. But we can
be more specific. It is not the familiar
Romantic themes of fantasy, the
supernatural and overwhelming passion
that we find in the music performed
here now. Tchaikovsky, Dvořák and
especially Wagner did address those
themes in other works. But the pieces
on our program convey another
Romantic quality, transcendence.
Thursday, September 18, 2014, at 7:30pm
Friday, September 19, 2014, at 12 noon
Saturday, September 20, 2014, at 8pm
TCHAIKOVSKY &
DVOŘÁK
D E LTA AIR L IN E S MASTERWORKS SEASO N
Ludovic Morlot, conductor
Daniil Trifonov, piano
Seattle Symphony
RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg 10’
PIOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 Allegro non troppo e molto maestoso
Andantino semplice
Allegro con fuoco
DANIIL TRIFONOV, PIANO
ANTONÍN DVOŘÁK 33’
INTERMIS SION
Symphony No. 7 in D minor, Op. 70 Allegro maestoso
Poco adagio
Scherzo: Vivace
Finale: Allegro
Pre-concert Talk one hour prior to performance.
Speaker: Dave Beck, Host, Classical KING FM 98.1.
Ask the Artist on Thursday, September 18, in the Samuel & Althea Stroum Grand Lobby
following the concert.
35’
Wagner wrote the Prelude to Die
Meistersinger von Nürnberg using
themes from that opera, most notably
a pair of ideas linked to a medieval
singers’ guild, which he represented as
a symbol of artistic purity and nobility.
The final moments of the Prelude
bring a stirring apotheosis of those
themes, indicating a transcendent
triumph of the guild and its values.
Tchaikovsky’s First Piano Concerto
entails, among other things, what
Franz Liszt, the 19th century’s foremost
pianist, called “transcendental
virtuosity,” technical feats of pianism
that seem all but superhuman.
And the piece that concludes our
concert belongs to the tradition
of the heroic symphony, in which
music transcends intimations of strife
and turmoil to reach, in the end, an
expression of triumph and exultation.
R I C H A R D WAG N E R
Prelude to Die Meistersinger von
Nürnberg
BORN:
DIED:
May 22, 1813, in Leipzig
February 13, 1883, in Venice
WORK COMPOSED:
1861–62
WORLD PREMIERE:
November 2, 1862, in
Leipzig; Wagner conducting
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 ©2014 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.
Richard Wagner’s standing as one of
the several greatest opera composers
rests primarily on his works based
on Nordic legend and medieval
romances. Wagner wrote only one
comic opera, Die Meistersinger
encore artsseattle.com 23
P RO G RA M N OTES
continued
von Nürnberg, and its Prelude is
among his most popular works.
P I OT R I LY I C H
TC H A I KOV S K Y
The gestation of Die Meistersinger was
a protracted affair. The composer had
known of the medieval mastersingers
guilds since his boyhood, and in 1845
he made a detailed sketch of a libretto
for an opera about them. Having
done so, however, he put the work
aside and turned to other projects.
Not until 1861 did Wagner again take
up the idea of his “mastersinger”
opera. In November of that year he
made a brief trip to Venice. He was
returning by train to Vienna when,
as he relates in his autobiography,
“suddenly I heard music which could
be the Prelude to Die Meistersinger
von Nürnberg. When I arrived
back in Vienna I quickly worked
out the entire plan in unbelievable
haste. I felt very happy that my
memory remained crystal clear.”
Piano Concerto No. 1 in B-flat minor,
Op. 23
Had his inspiration continued to
flow so freely, Wagner might have
finished the entire opera in a relatively
short time and with relatively little
effort. In fact, six more years were
to pass before Die Meistersinger was
finally completed. In light of this, it is
remarkable how clearly the Prelude
encapsulates the entire music drama.
The boisterous crowds of villagers
in medieval Nuremberg, the nobility
of the old mastersinger Hans Sachs,
the love between the young couple
Walther and Eva, and Walther’s
dramatic yet humorous triumph over
the stuffy Beckmesser in the singing
contest — all are suggested in a rich
tapestry of orchestral sounds.
Both the sturdy
march-like theme that begins the piece
and one that begins with a triumphant
fanfare motif signify the mastersingers’
guild of the opera’s title, an institution
Wagner regarded as deeply noble.
These two themes and another,
introduced later, play simultaneously
in exultant counterpoint during
the Prelude’s final moments.
WHAT TO LISTEN FOR:
Scored for 2 flutes and piccolo,
pairs of oboes, clarinets and
bassoons; 4 horns, 3 trumpets, 3
trombones and tuba; timpani and
percussion; harp and strings.
24
SEATTLESYMPHONY.ORG
Allegro non troppo e molto maestoso
Andantino semplice
Allegro con fuoco
BORN:
DIED:
May 7, 1840, in Kamsko-Votkins, Russia
November 6, 1893, in St. Petersburg
WORK COMPOSED:
1874
WORLD PREMIERE:
October 25, 1875, in
Boston; Hans von Bülow performing the solo
part with the Boston Symphony Orchestra
The history of music is replete with
accounts of works that have been
thoroughly misunderstood on first
hearing. Rarely, however, has a
composition that now enjoys nearly
universal popularity been greeted
with such scathing condemnation as
Tchaikovsky’s First Piano Concerto
received on Christmas Eve in 1874.
Tchaikovsky had composed this work
during the preceding month but wished
to solicit the opinion of an expert
pianist before committing it to print.
His choice was Nikolai Rubinstein,
the greatest Russian virtuoso of the
day, who met Tchaikovsky before a
Christmas party to hear the concerto.
After listening to Tchaikovsky’s music
in icy silence, Rubinstein proceeded
to denounce it with a torrent of
abuse. The concerto was unplayable
and worthless, he declared. Passages
were so clumsy, so fragmented and
poorly conceived as to be beyond
rescue. The whole was vulgar and
badly written. “Any uninformed
person hearing this,” the composer
recalled, “would have concluded that
I was a senseless, talentless fool who
had the impertinence to submit his
scribblings to a great musician.”
Tchaikovsky, whose correspondence
and diary reveal endless self-doubts
concerning his musical abilities, might
easily have accepted this judgment
from one of the most respected
musicians of the time. Instead, he
proudly insisted that he would not
alter a single note. He withdrew his
dedication of the concerto to Rubinstein
and offered it instead to the celebrated
German pianist-conductor Hans von
Bülow, who praised the music and
played the premiere performance, in
Boston, in October 1875. On this and
subsequent occasions the concerto
won overwhelming approval, and it
remains among the most popular
and widely known works in the
orchestral repertory. Ironically, one
of its early champions was Nikolai
Rubinstein, who admitted that his
initial estimate of the concerto was
mistaken and whose performances of
it very much pleased Tchaikovsky.
The concerto’s famous opening
passage, with its memorable theme
accompanied by crashing chords
from the piano, is actually an
introduction to the first movement’s
true principal subject, which is based
on a Ukrainian folk song. In contrast
to the robust energy of this idea, the
two themes that follow tap the vein of
lyricism that was such a conspicuous
part of Tchaikovsky’s talent.
The middle movement offers a pair of
moods and tempos: a warmly romantic
theme introduced by the flute, then
a change of tempo and a new, dancelike melody. A return to the initial
material rounds the movement into
a satisfying A–B–A format. The finale
again has the flavor of Ukrainian
folk song, which is imparted through
the vigorous main subject. The
developments of this and the more
cantabile second theme prove highly
energetic and call forth displays of
brilliant passagework from the soloist.
This concerto
opens with a series of ringing chords on
the piano. Against this, the orchestra
plays a broad melody. It is one of the
most unusual and striking introductions
in the concerto literature. Throughout
the concerto, Tchaikovsky juxtaposes
vigorous themes, sometimes redolent
of folk music, with more lyrical ideas.
The piano part entails dazzling displays
of keyboard virtuosity.
WHAT TO LISTEN FOR:
Scored for pairs of flutes, oboes,
clarinets and bassoons; 4 horns, 2
trumpets and 3 trombones; timpani
and strings.
DA N I I L T R I F O N O V
Piano
A N TO N Í N DVO Ř Á K
Symphony No. 7 in D minor, Op. 70
Allegro maestoso
Poco adagio
Scherzo: Vivace
Finale: Allegro
BORN:
September 8, 1841, in Nelahozeves,
Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1884–85
WORLD PREMIERE:
April 22, 1885, in London;
Dvořák conducting the Royal Philharmonic
Society Orchestra
On December 13, 1884, Antonín Dvořák
wrote to a friend from his home in the
Czech countryside: “I am occupied
at present with my symphony, and
wherever I go I think of nothing except
my work, which must be such that it will
shake the world — and with God’s help it
will.”
The composition Dvořák referred to
was his Symphony No. 7 in D minor,
which he completed in March of 1885.
His ambitious, world-shaking intent
is borne out by the music. This is a
dramatic, powerful, at times sternly
tragic work, and it is regarded by many
authorities as the greatest of Dvořák’s
nine symphonies. Its creation had been
prompted by Dvořák’s triumphant
visits to England in the mid-1880s,
which initiated a steady crescendo of
international acclaim for the Czech
composer and his music. During the
first of these trips, in the spring of
1884, performances of Dvořák’s Stabat
mater and other works generated such
enthusiasm that the Royal Philharmonic
Society decided to commission a new
symphony from him.
The importance Dvořák attached to this
request partly explains the seriousness
with which he approached the work and
the unusual degree of effort he put into
it. (The composer’s draft of the score
reveals a high number of false starts
and revisions, and his correspondence
concerning it suggests an unusually
arduous labor.) But there were other
factors. Chief among these was Dvořák’s
now firmly established friendship with
Johannes Brahms, who was widely
considered the foremost living musician,
and his desire to live up to that
composer’s expectations. A letter Dvořák
wrote to his publisher in February 1885
indicates that he had discussed his
D minor Symphony with Brahms: “I
have spent a long, long time on my new
symphony, but I want to justify Brahms’
words when he said ‘I imagine your
symphony will be quite unlike this one
[the placid Sixth Symphony in D major].’
There will be no grounds for thinking
him wrong.”
We can detect Brahms’ influence in the
sober tone and expansive scope of
Dvořák’s Seventh Symphony. Yet there
are more concrete signs of the affinity
between the two composers. The
opening moments of Dvořák’s symphony,
with their stormy principal theme,
sustained bass note and restless pulse,
recall those of Brahms’ Piano Concerto
No. 1, in the same key of D minor. And
the second theme of this movement, a
gentle melody given to the woodwinds,
corresponds for its first nine notes
exactly with the famous cello solo that
begins the slow movement of Brahms’
Piano Concerto No. 2 in B-flat major,
which had been published in 1882.
This is not to accuse Dvořák of
plagiarism, nor to imply that his work
lacks originality. On the contrary,
he handles his melodic materials in
a style distinctly his own, one that
entails something that Brahms would
never have ventured: a certain veiled
but undeniable Czech character. The
initial theme hints at Bohemian folk
music. Elsewhere throughout the first
movement, rustling figures in the
strings, together with woodwind calls
apparently inspired by birdsong, evoke
the Czech countryside where Dvořák
composed this symphony.
Dvořák’s early training was not as a
composer but as a church organist, and
he had once served in this capacity at
a modest church in Prague. The initial
phrase of the second movement, a simple
hymn-like melody in the low woodwinds,
seems a remembrance of that experience.
From this unassuming beginning, the
movement unfolds with richness and
depth of feeling, as it must to balance the
symphony’s substantial opening.
Program notes continue on page 36.
Photo: Alexander Ivanov
FORTE: Called the
“tender demon” of the
piano by renowned
pianist Martha
Argerich, Russian
pianist Daniil Trifonov
combines consummate
technique with
rare sensitivity.
Trifonov debuts
this season with the symphonies of
Dallas, Seattle, Toronto and Vienna.
He returns to the Chicago Symphony
Orchestra, Cleveland Orchestra, National
Symphony (Washington, D.C.) and
London’s Philharmonia Orchestra. Trifonov
also tours Japan with the Mariinsky
Orchestra and the U.S. with violinist
Gidon Kremer, and gives solo recitals at
such international venues as London’s
Royal Festival Hall, Tokyo’s Opera City,
the Théatre des Champs Elysées in Paris,
and — for the third consecutive year — New
York’s Carnegie Hall.
SEASON HIGHLIGHTS:
Trifonov has made solo
recital debuts at Carnegie Hall, London’s
Wigmore Hall, Vienna’s Musikverein,
Japan’s Suntory Hall and the Salle Pleyel
in Paris, and has appeared as soloist
at the Verbier, Edinburgh and Lucerne
festivals and the BBC Proms. Last
season he collaborated with 19 leading
orchestras, including the Los Angeles
Philharmonic and the symphonies of
London, San Francisco and Washington,
D.C.; returned to Carnegie Hall’s main
stage; won the 2013 Franco Abbiati
Prize for Best Instrumental Soloist; and
premiered his own First Piano Concerto in
Cleveland.
RECENT SUCCESS:
The pianist’s first recording
as an exclusive Deutsche Grammophon
artist, Trifonov: The Carnegie Recital,
joined a discography that already
featured a Chopin album for Decca and
Tchaikovsky’s First Piano Concerto with
the Mariinsky Orchestra.
RECORDINGS:
BACKGROUND AND BREAKTHROUGH:
Born in Nizhny Novgorod, Russia, in 1991,
Trifonov studied at Moscow’s Gnessin
School of Music and the Cleveland
Institute of Music. After taking First Prize
at both the Tchaikovsky and Rubinstein
competitions in 2011 at the age of 20,
Trifonov made first appearances with all
the “Big Five” U.S. orchestras, as well as
with London’s Royal Philharmonic and
other top European ensembles.
encore artsseattle.com 25
Thursday, September 25, 2014, at 7:30pm
Saturday, September 27, 2014, at 8pm
Sunday, September 28, 2014, at 2pm
RACHMANINOV
& DVOŘÁK
D E LTA AIR L IN E S MASTERWORKS SEASO N
Ludovic Morlot, conductor
Khatia Buniatishvili, piano
Seattle Symphony
HENRI DUTILLEUX Métaboles Incantatoire—
Lineaire—
Obsessionnel—
Torpide—
Flamboyant
SERGEY RACHMANINOV 17’
Rhapsody on a Theme of Paganini, Op. 43 23’
KHATIA BUNIATISHVILI, PIANO
INTERMIS SION
ANTONÍN DVOŘÁK Symphony No. 8 in G major, Op. 88 Allegro con brio
Adagio
Allegretto grazioso
Allegro ma non troppo
34’
Pre-concert Talk one hour prior to performance.
Speaker: Stephen Bryant, Seattle Symphony Violinist.
Ask the Artist on Thursday, September 25, in the Samuel & Althea Stroum Grand Lobby
following the concert.
Sunday’s performance is sponsored by Microsoft.
Khatia Buniatishvili’s performances are generously underwritten by James and
Sherry Raisbeck 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 ©2014 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
Microsoft and our
employees are proud
to support the Seattle
Symphony and its programs
which bring enriching
musical experiences to
people of all ages in the
Pacific Northwest.
Enjoy the performance!
PR OG RA M N OTES
From Bach to Mozart, Beethoven,
Liszt, Mahler, Schoenberg, Boulez
and beyond, the principal of thematic
development and variation has been
an essential concept in Western
music. The paraphrasing, altering and
recasting of musical ideas allows the
creation of large-scale compositions
while providing coherence to their
many and diverse details.
The two compositions that constitute
the first half of our program provide
very different examples of this process.
Sergey Rachmaninov’s Rhapsody on
a Theme of Paganini is a set of loose
variations of a melody well suited for
this purpose. At the same time, this
work is a piano concerto of sorts,
one that calls for brilliant keyboard
virtuosity. By contrast, Henri Dutilleux’s
Métaboles, which opens our concert,
offers a more modern and organic
approach to musical variation. And
while Antonín Dvořák’s Symphony
No. 8, which we hear after intermission,
is a very different kind of composition,
the process of thematic transformation
plays an important role in each of its
four movements.
HENRI DUTILLEUX
Métaboles
Incantatoire—
Lineaire—
Obsessionnel—
Torpide—
Flamboyant
BORN:
DIED:
January 22, 1916, in Angers, France
May 22, 2013, in Paris
WORK COMPOSED:
1964
WORLD PREMIERE:
January 14, 1965, in
Cleveland; George Szell conducting The
Cleveland Orchestra
Change, transformation,
metamorphosis, evolution — this
fundamental feature of the natural
world is indicated by the word
“metabole,” from the Greek metabolos,
meaning “changeable.” The continual
flux and transfiguration so integral
to organic life also provided the
inspiration for Henri Duttilleux’s
orchestral composition Métaboles. As
the composer explained, “the spirit
by Paul Schiavo
and form of this music originated in an
intense contemplation of nature.”
Not that Métaboles is any pastoral
symphony, a tone painting of fields,
forests or other natural scenes.
Dutilleux, one of the outstanding
composers of the last half-century, wrote
in an abstract late-modern idiom and
claimed no interest in program music,
the representation of specific scenes or
narratives in composition. But the notion
of variation and growth as musical
processes fascinated him throughout his
long career and underlies practically all
his work. Nowhere is this more evident
than in Métaboles.
Dutilleux, whose music has been
an important presence in recent
Seattle Symphony concert seasons,
wrote Métaboles in 1964, casting
the composition in five connected
movements. In each of the first four
a different family of instruments
predominates: woodwinds, strings,
brass and percussion in turn. The final
movement uses the entire orchestra in a
brilliant conclusion. Within and between
each movement melodic, rhythmic and
harmonic shapes emerge and change in
a fascinating kaleidoscope of aural colors
and patterns. Essentially, a musical idea
metamorphoses into something new
during the course of each movement,
and this then becomes the starting point
for the next movement.
Incantatoire (“Incantory”), the opening
movement, begins with straining
sonorities, from which emerge a
series of chant-like phrases for several
woodwind instruments. While this music
seems a distant echo of Stravinsky’s Rite
of Spring, Dutilleux makes it very much
his own. The sustained, straining figure
sounds again in the final measures, then
is taken up by the strings at the start
of the second movement, but now in
a lush, lyrical manner. In the ensuing
third movement, Dutilleux adds a jazzy
bass line and equally jazzy rhythms and
brass sonorities, though the music soon
grows more complex and energetic. The
tempo slows again with the dark and
mysterious fourth movement, where
percussion provides a delicate, pointillist
background. The final movement begins
quietly but quickly assumes a brilliance
that justifies its title, Flamboyant. Bits
of music heard in preceding movements
pass by our ears during the course of its
increasingly wild ride.
Each of this work’s
first four movements features a different
instrumental group: first woodwinds,
then strings, brass and finally
percussion. The fifth and final movement
brings the whole orchestra into vigorous
play and recalls music heard previously.
WHAT TO LISTEN FOR:
Scored for pairs of flutes and piccolos,
3 oboes and English horn, 2 clarinets,
E-flat clarinet and bass clarinet,
3 bassoons and contrabassoon; 4 horns,
4 trumpets, 3 trombones and tuba;
timpani and percussion; harp, celeste
and strings.
SERGEY
R AC H M A N I N O V
Rhapsody on a Theme of Paganini,
Op. 43
BORN:
April 1, 1873, in Semyonovo, near
Novgorod, Russia
DIED:
March 28, 1943, in Beverly Hills, CA
WORLD PREMIERE:
November 7, 1934, in
Baltimore; Rachmaninov playing the solo
part; Leopold Stokowski conducting The
Philadelphia Orchestra
Sergey Rachmaninov was one of the
greatest pianists of the 20th century and
a composer whose work constitutes the
final flowering of Russian Romanticism
in music. The brilliant piano part and
rich melodiousness of his Rhapsody on a
Theme of Paganini evince both aspects
of his musicianship.
Rachmaninov composed this piece
during a month of concentrated
work in the summer of 1934, and he
appeared as piano soloist with The
Philadelphia Orchestra in the premiere
performance the following November.
This and subsequent presentations in
both America and Europe met with
exceptional success, and the work has
remained one of Rachmaninov’s most
popular compositions.
The title “Rhapsody,” which implies
a kind of spontaneous and loosely
encore artsseattle.com 27
P R OG RA M N OTES
structured composition, is a misnomer
that fails to credit the carefully planned
musical architecture of this work.
Formally, the piece presents a set
of variations on a melody from the
Capriccio in A minor by the celebrated
19th-century violin virtuoso Nicolò
Paganini. (This theme has attracted
a number of other composers, most
famously Liszt, who transcribed it for
piano as one of his Grand Etudes after
Paganini, and Brahms, who used it as
the subject of his own Variations on a
Theme of Paganini, Op. 35.) At the same
time, the work’s scoring for solo piano
and orchestra gives the impression of
a concerto, an impression reinforced
by the overall shape of the piece. It
begins and ends with series of fast
variations framing a central group in
slower tempo, an arrangement that
mirrors the usual three movement,
fast-slow-fast, concerto format.
The combination of variation and
concerto forms is not the only formal
continued
feature of interest in this work.
Rachmaninov refrains from presenting
the Paganini melody at the outset,
where we should normally expect
it, beginning instead with a brief
introduction followed by the first of 24
variations. Only with this finished does
the theme itself appear in the violins.
memorable, song-like melody for the
piano that Rachmaninov wrote so well.
Thereafter the music grows increasingly
brilliant and energetic, closing with a
dramatic recurrence of the Dies irae
melody played against a variant of the
Paganini theme during the final variation.
Following a very
brief introduction and an initial variation
given almost entirely to the orchestra,
violins play Paganini’s quicksilver
melody. The elfin sixth variation leads
to the austere Dies irae chant melody,
which the piano plays against a spare
accompaniment. At length the tempo
slows, and we hear one of Rachmaninov’s
most famous melodies, a warmly poetic
idea introduced by the piano and
repeated by the orchestra. The Dies irae
melody returns strongly in the orchestra
near the close of the piece.
WHAT TO LISTEN FOR:
With the seventh variation, the composer
introduces a new thematic element. While
cellos and bassoons play a paraphrase of
the Paganini melody, the piano presents
an ancient hymn melody. It is the Dies
irae, the traditional chant for the dead,
simply but eloquently harmonized. That
theme, which Rachmaninov quoted in
several other compositions and thereby
made something of a musical signature,
reappears in the 10th variation. The
variation that follows is essentially an
accompanied cadenza for the soloist
and marks the beginning of the more
leisurely “middle movement.” This section
concludes with a wonderfully lyric 18th
variation, which features the type of
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Scored for 2 flutes and piccolo, 2 oboes
and English horn, pairs of clarinets
and bassoons; 4 horns, 2 trumpets,
3 trombones and tuba; timpani and
percussion; harp and strings.
A N TO N Í N D VO Ř Á K
Symphony No. 8 in G major, Op. 88
Allegro con brio
Adagio
Allegretto grazioso
Allegro ma non troppo
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SEATTLESYMPHONY.ORG
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September 8, 1841, in Nelahozeves,
Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1889
WORLD PREMIERE:
February 2, 1890,
in Prague; Dvořák conducting the Czech
National Orchestra
Dvořák composed his Eighth Symphony
during a particularly happy period in his
life. After years of living and working
in poverty and obscurity, the composer
had achieved international fame and an
unexpected degree of material comfort.
One of the first fruits of his newfound
prosperity was the purchase of a modest
country house in the rural village of
Vyoská. This became Dvořák’s sanctuary
and workshop, and it was there, in the
autumn of 1889, that he wrote the
Eighth Symphony.
K H AT I A
B U N I AT I S H V I L I
Piano
The music mirrors both Dvořák’s
contented frame of mind and the Czech
countryside in which it was created. It
is one of its author’s happiest works,
and it is imbued with unmistakable local
color. Dvořák had by this time achieved
an effective blend of sophisticated
compositional technique and melodic
writing based on the inflections of Czech
folk music. Among the fruits of that
union were some of his finest orchestral
works, including the Eighth Symphony,
a composition in which Dvořák’s
synthesis of folkloric and symphonic
elements found perhaps its most fruitful
expression.
Complementing Dvořák’s readiness to
use themes redolent of folk tunes is the
thorough command of symphonic form
the composer had by this time attained.
And having mastered the genre’s
established patterns and procedures,
he was able to vary these in striking
and successful ways. The opening of
the Eighth Symphony provides a case in
point. Dvořák casts the first movement
in the bright key of G major, but he
begins in the minor mode, with a melody
that exploits the rich timbre of the
cellos. This passage serves as a prelude
to the movement’s principal theme
(announced by the flute), but without
being a distinctly separate section, as in
the typical Classical symphony.
A long, energetic transition leads to the
second subject, which emerges from the
dying tone of a brief horn solo. Here we
find two distinct melodic ideas, both of
which display a common characteristic
of Czech folk music: the initial phrase
that is begun three times, as if to gather
momentum. A rather heroic final theme
then leads seamlessly into the central
development section. The reappearance
of the opening cello melody is a false
recapitulation, for there is still a good
deal more shaping of the movement’s
material yet in store. When the principal
subject does make its definitive return, it
is transformed to a blazing trumpet call.
following movement indicate a scherzo,
its relaxed pace and wistful sadness are
more in character with the intermezzo
movements that Dvořák’s friend and
mentor Johannes Brahms composed for
his symphonies.
An arresting trumpet fanfare heralds
the finale. Once again Dvořák enlists
the cellos, which present a broad theme
related not only to the preceding
trumpet call but also to the flute melody
of the first movement. Several variations
of this melody follow. Suddenly, however,
we find ourselves in a minor key as the
oboes lead what seems, paradoxically, a
cheerful little funeral march. It, in turn,
dissolves into a frenzied development
episode. This wildly inventive central
section emerges at last at a restatement
of the trumpet fanfare and, shortly, the
cello theme. The variations on the latter
subject now resume, and in a tranquil
vein. But Dvořák has no intention of
ending the symphony quietly, and a
rousing coda passage bursts upon us
without warning.
The cello melody
heard in the opening moments has the
flavor of a mournful Slavic folk song.
Soon after, solo flute introduces the
principal theme of the first movement.
This theme recurs in various forms
throughout the first movement, and it
also figures in the finale. The start of the
relaxed second movement juxtaposes
the rich sound of the strings and a
series of colorful woodwind phrases.
The movement’s central episode brings
a broad melody sounding against
lightly tripping counterpoint. The third
movement begins with a melancholy
waltz but concludes with a merry coda
passage.
WHAT TO LISTEN FOR:
Scored for 2 flutes, the second doubling
on piccolo; 2 oboes, the second doubling
on English horn; pairs of clarinets
and bassoons; 4 horns, 2 trumpets, 3
trombones and tuba; timpani and strings.
© 2014 Paul Schiavo
The ensuing Adagio is exceptionally
rich in moods and ideas. Moving
fluidly between somber and brighter
harmonies, as well as between intimate
and grandiose expression, it is by turns
grave and playful. Although the 3/4
meter and general A–B–A design of the
BACKGROUND AND
Born in
1987 in Tbilisi,
Georgian pianist
Khatia Buniatishvili
was introduced to the
piano at age 5, gave
her first concert with
Tbilisi Chamber
Photo: Julia Wesely
Orchestra when she
was 6 and appeared internationally at
age 10. She studied in Vienna with Oleg
Maisenberg. Buniatishvili has won
numerous international competitions,
among them the Arthur
Rubinstein International Piano
Master Competition and the Tbilisi
International Piano Competition.
EDUCATION:
Include
performances with the Cincinnati
Symphony Orchestra, Israel
Philharmonic, Kammerorchester
Basel, Luzerner Sinfonieorchester,
Orchestre de Paris, Orchestre
National de Lyon, Orquesta Nacional
de España, Philharmonia Orchestra,
RAI Torino Orchestra, Royal Scottish
National Orchestra, Russian National
Orchestra, Toronto Symphony and
Wiener Symphoniker, among others.
Her recital schedule takes her to
cities including Dortmund, London,
Madrid, Turin, Trento and Venice; she
performs duo recitals with Renaud
Capuçon in Aix-en-Provence, Essen,
Lyon, Nantes, Paris (La Salle Pleyel),
Philadelphia, San Francisco and
Wüppertal, among other cities.
SEASON HIGHLIGHTS:
Includes a trio recording
with Gidon Kremer and Giedre
Dirvanauskaite on EMC. She has also
recorded a Chopin CD with the Orchestre
de Paris under Paavo Järvi, a Liszt
recital and her newest CD, Motherland,
all on Sony.
DISCOGRAPHY:
A BBC Radio
3 New Generation Artist from 2009 to
2011, Buniatishvili regularly collaborates
with the BBC orchestras. In 2010 she
received a Borletti-Buitoni Trust Award,
was nominated by Vienna’s Musikverein
and Konzerthaus as a Rising Star for
the 2011–2012 season, and received the
Echo Klassik Newcomer of the Year
Award in 2012.
AWARDS AND HONORS:
encore artsseattle.com 29
PROGRAM NOTES
Each of the three compositions
performed this evening has an
American provenance. Each was written
in this country, and each is a distinct
reflection of an aspect of America
and American life. Their authors are,
respectively, a native-born American,
an emigrant to our shores and a
distinguished visitor.
Thursday, October 2, 2014, at 7:30pm
Saturday, October 4, 2014, at 8pm
DVOŘÁK AND
THE NEW WORLD
D E LTA AIR LIN E S MASTERWORKS SEASO N
Ludovic Morlot, conductor
Hilary Hahn, violin
Seattle Symphony
JOHN ADAMS Lollapalooza ERICH KORNGOLD Violin Concerto in D major, Op. 35 6’
24’
Moderato nobile
By contrast, Erich Wolfgang Korngold
embraced the late-Romantic style of
such composers as Mahler and Strauss,
and he continued to do so after he
moved to Hollywood and became
a highly successful film composer.
Written in 1945, his Violin Concerto is
one of the last authentic expressions of
the late-Romantic ethos in music.
Romance
Finale
HILARY HAHN, VIOLIN
INTERMISSION
ANTONÍN DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World”
Adagio—Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
Pre-concert Talk one hour prior to performance.
Speaker: Dave Beck, Host, Classical KING FM 98.1.
John Adams is, by nearly any measure,
the preeminent American composer
of our time. Over the course of the
last four decades, he has developed a
highly personal style that has little to
do with esoteric late-modernist music.
Instead, his work typically is colorful,
energetic, highly rhythmic and rooted
equally in the European classical
tradition and American popular idioms.
All of these qualities mark Lollapalooza.
40’
Our concert concludes with Antonín
Dvořák’s magnificent Ninth Symphony.
Written during the composer’s threeyear sojourn in the United States, it
bears the subtitle “From the New
World.” How much this symphony
reflects American life at the end of the
19th century can be debated. That it is
a masterpiece is beyond question.
J O H N A DA M S
Lollapalooza
BORN:
February 15, 1947, in Worcester, MA
NOW RESIDES:
Berkeley, CA
WORK COMPOSED:
1995
WORLD PREMIERE:
November 10, 1995,
in Birmingham, England; Simon Rattle
conducting the City of Birmingham Symphony
Orchestra
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 ©2014 Seattle Symphony. Copying of any performance by camera, audio or video recording
equipment, and any other use of such copying devices during a performance is prohibited.
30
SEATTLESYMPHONY.ORG
The word “lollapalooza” is associated
today in many people’s minds with the
rock music festival of that name. It has
other meanings. Webster’s defines it
by Paul Schiavo
as a slang term for “something very
striking or excellent.” The American
Heritage Dictionary has it as “something
outstanding of its kind.” Some linguists
surmise that it may have grown out of
the colloquial expression “a lulu,” as
in “a lulu of a hangover.” One thing is
certain — “lollapalooza” is a distinctly
American expression.
For composer John Adams, these several
definitions and the American flavor of
the word all hold attractions. Winner of
the Pulitzer Prize and the even more
prestigious Grawemeyer Award, Adams
is the preeminent American composer
of his generation. His large and critically
acclaimed body of music draws on
different traditions: the expansive sonic
architecture of the Romantic masters,
the harmonic sophistication of the
20th century, the rhythmic drive and
momentum of American popular music,
the shimmering textures of the so-called
“minimalist” school and the delight
in new discoveries that has always
characterized the American avant-garde.
Composed in 1995, the piece that
opens our program is a brief and
bracing orchestral romp. Its brash,
outlandish character seems very much
in accord with the various definitions of
“lollapalooza.” Moreover, Adams adopted
the rhythm of that word — da-da-daDAAH-da — as a musical motif. The
composer made sure it would be heard,
assigning it to the trombones and tubas,
who play it repeatedly during much of
the piece.
This is, however, only one of many
musical figures that make up the sonic
mosaic that is Lollapalooza. The piece
begins with bass clarinet and bassoons
playing a repetitive figure whose rhythm
might be a funk groove from a James
Brown song. Moments later, oboes and
clarinets add a shorter figure, which
also repeats at regular intervals. Bass
and percussion accents propel the
music as additional figures are added: a
bright phrase for high woodwinds, the
“lollapalooza” motif in the low brass, a
sharp response by trumpets.
As these materials accumulate, their
interlocking rhythms and melodic
contours create a lively, colorful, jazzy
sonic texture. And as they slowly
change shape and position, so does the
composite music they jointly create.
This process might be compared to
slowly turning a kaleidoscope: As the
colored fragments shift before the
lens, the patterns they make change
in unexpected ways. The music builds
to an initial climax, then subsides for
a more relaxed central section. But a
return of the “lollapalooza” motif in
the trombones and tuba signals the
resumption of a more energetic mode,
and “this dancing behemoth,” as Adams
describes the music, grows increasingly
invigorated as it lurches to its percussive
last step.
Lollapalooza
uses a classic procedure of minimalist
music, the superimposing of short
melodic figures that repeat regularly
and sometimes slowly change. It’s
fascinating to hear how Adams’ different
melodic fragments interact to form a
larger whole. About three-quarters of
a minute into the piece, the low brass
begin a figure that seems to shout
“Lollapalooza!”
WHAT TO LISTEN FOR:
Scored for pairs of flutes and piccolos,
second flute doubling on second piccolo;
2 oboes and English horn; 2 clarinets
and E-flat clarinet doubling on bass
clarinet; 3 bassoons and contrabassoon;
4 horns, 3 trumpets, 3 trombones and
tuba; timpani and percussion; piano and
strings.
E R I C H WO L F G A N G
KO R N G O L D
Violin Concerto in D major, Op. 35
Moderato nobile
Romance
Finale
BORN:
DIED:
May 29, 1897, in Brno, Moravia
November 29, 1957, in Hollywood, CA
WORK COMPOSED:
1945
WORLD PREMIERE:
February 15, 1947, in
St. Louis, MO; Jascha Heifetz, violin soloist;
Vladimir Golschmann conducting the St. Louis
Symphony Orchestra
Erich Wolfgang Korngold was one of
the last composers directly tied to the
European Romantic tradition. The son of
a respected music critic, Korngold was a
child prodigy composer. Gustav Mahler,
upon hearing some of the 10-year-old
Korngold’s compositions, extolled the
boy’s “unbelievable talent.” Richard
Strauss reacted to Korngold’s early
orchestral works by declaring, “One’s
first reactions to the knowledge that
these compositions are by an adolescent
are feelings of awe and fear.” Korngold’s
music soon was being performed by
leading orchestras and soloists.
Korngold’s musical outlook was
thoroughly Romantic. A palette of lush
harmonies and an effusive style of
orchestration impart a late 19th-century
ripeness to his music, and his sweeping
melodic lines recall those of Strauss.
He wrote in a variety of musical genres
and collaborated with important artists
in other fields. One of these was
the celebrated theater director Max
Reinhardt, with whom the composer
worked on several stage productions.
In 1935 Reinhardt invited Korngold to
Hollywood to help adapt music for his
famous film version of A Midsummer
Night’s Dream. The success of that
project prompted the composer to
remain in California to write other film
scores. With Hitler’s annexation of
Austria in 1938, Korngold settled there
permanently. He spent his remaining
years as the most respected film
composer in Hollywood. Among the
movies for which he wrote scores were
Anthony Adverse and The Adventures
of Robin Hood (both of which brought
him Academy Awards), Juarez, The Sea
Hawk, The Prince and the Pauper and
Of Human Bondage.
Despite the demands of his film career,
Korngold still occasionally found time to
compose concert works. Among these is
his Violin Concerto. Korngold wrote this
work in 1945, casting it in the traditional
concerto form of three movements and
using themes borrowed from his film
scores.
In the initial movement, Korngold follows
the venerable procedure of juxtaposing
two principal themes. The first, stated
by the solo violin at the outset of the
work, derives from a forgotten Warner
Brothers film called Another Dawn;
the more tranquil second theme, also
encore artsseattle.com 31
P R OG RA M N OTES
introduced by the solo instrument and
heard following a lively transitional
passage, originated with the score for
Juarez. The second movement unfolds
in a broad A-B-A format, the main
idea being a melody from Anthony
Adverse, while the Finale is built mostly
on variants of a theme from a film
treatment of Mark Twain’s Prince and
the Pauper.
The main theme of
the first movement features a yearning
quality and lush harmonies that are the
quintessence of late-Romantic style in
music. The second movement brings
dreamlike music that justifies its title,
Romance. The Finale begins with what
seems a tune for a lively jig. Korngold
transforms this theme in a variety of
ways while still retaining its essential
identity.
continued
conservatory of music in New York. In
1891 she invited Dvořák to become the
director of this school. He would be well
compensated and his duties light, leaving
plenty of time for composing. After
some negotiating, Dvořák accepted the
position, and in September 1892 he sailed
for America. For much of 1892 through
1895, the composer lived in New York
and Iowa, where he spent a summer in a
community of Czech emigrant farmers.
WHAT TO LISTEN FOR:
Scored for 2 flutes and piccolo, 2 oboes
and English horn, 2 clarinets and bass
clarinet, 2 bassoons and contrabassoon;
4 horns, 2 trumpets and trombone;
timpani and percussion; harp, celeste
and strings.
A N TO N Í N DVO Ř Á K
Symphony No. 9 in E minor, Op. 95,
“From the New World”
Adagio—Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
BORN:
September 8, 1841, in Nelahozeves,
Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1893
WORLD PREMIERE:
December 16, 1893,
at New York’s Carnegie Hall; Anton Seidl
conducting the New York Philharmonic
Orchestra
Antonín Dvořák was born in Bohemia,
the country we now know as the Czech
Republic, and during the 1870s rose to
prominence as his homeland’s foremost
composer. In the years that followed
his fame spread throughout Europe
and even across the Atlantic, where it
attracted the notice of a Mrs. Jeanette
Thurber, who had established a new
32
SEATTLESYMPHONY.ORG
It was during this American chapter
in his life that Dvořák composed his
Symphony No. 9, which bears the subtitle
“From the New World.” Dvořák declared
that he intended the subtitle to mean
“Impressions and greetings from the
New World.” This is very different than
a musical panorama of America and
American life, which some commentators
have held the piece to be. Yet he also
stated that its American provenance
would be obvious “to anyone who ‘had a
nose,’” and he told a correspondent, “I do
know that I would never have written [it]
‘just so’ had I never seen America.”
This ambivalent perspective applies
to the symphony’s thematic material.
On more than one occasion during his
American sojourn, Dvořák expressed
interest in black spirituals and Native
American tribal music, and he once
alluded to the “peculiarities of Negro
and Indian music” in the themes of this
symphony. But, as he also emphasized,
there are no actual quotations of any
American music in the “New World”
Symphony. Moreover, some of the
“peculiarities” of its melodies are also
those of Czech folk song.
And so we return to Dvořák’s subtitle,
“From the New World,” which offers what
is no doubt the most helpful perspective
on the question of the symphony’s
nationality: that it was written by a
Czech musician under the influence
of his experience of life in the United
States. To be sure, the Ninth Symphony’s
form, orchestration and much of its
character are typically Central European.
Yet Americans can be proud that this
composition was born on their soil, and
that certain aspects of American legend,
literature and folk song undoubtedly
influenced it in ways we cannot precisely
define but still strongly intuit from its
music.
Dvořák adheres to the classic fourmovement symphonic design, with an
introduction in slow tempo. After the
strong opening movement comes one of
the composer’s most famous creations,
a Largo featuring a deeply poignant
melody sung by English horn. But the
beauty of that theme should not distract
us from the strange power of the brass
chords that frame the movement,
nor to the melting poignancy of the
second subject. That theme presents
melancholy phrases in the woodwinds
against tremolo figures in the strings
that sound like wind rustling through
tree branches in a bleak autumn sky.
The ensuing Scherzo balances fierce
energy with a relaxed and folkloric
central episode. Both the second
and third movements also include
recollections of themes from the
opening, and Dvořák extends this idea
to the Allegro con fuoco finale. Here
recollections from each of the preceding
movements provide, in the final minutes
of the symphony, a comprehensive and
exciting conclusion.
The main theme
of the first movement is a robust idea
given out by horns and woodwinds. A
striking chord sequence for brass frames
the second movement, which features
a famous melody played by the English
horn. We also hear a recollection of
material from earlier in the symphony
and a poignant faltering of the music
near the close. Both the third and fourth
movements contain passages with the
flavor of Czech folk music, and the
fourth brings further remembrance of
music heard previously.
WHAT TO LISTEN FOR:
Scored for 2 flutes and piccolo, 2 oboes
and English horn, pairs of clarinets
and bassoons; 4 horns, 2 trumpets,
3 trombones and tuba; timpani and
percussion; and strings.
© 2014 Paul Schiavo
HILARY HAHN
Violin
FORTE: In the two
decades since her
professional debut,
Hilary Hahn has
followed her passion
for adventurous
programming, delving
into core repertoire,
Photo: Michael Patrick
contemporary music
and less familiar
classic compositions with equal
commitment, and bringing virtuosity,
expansive interpretations and daring
repertoire choices to diverse global
audiences.
Hahn has released 14
albums on the Deutsche Grammophon
and Sony labels, in addition to three
DVDs, an Oscar-nominated movie
soundtrack, an award-winning recording
for children and various compilations.
Encompassing a range of repertoire,
Hahn’s recordings have received every
critical prize in the international press
and have met with equal popular
success. Last season saw the release of
Hahn’s long-awaited album, In 27 Pieces:
the Hilary Hahn Encores, with pianist
Cory Smythe. This recording is the
culmination of a multi-year project to
renew the encore genre.
RECORDINGS:
Hahn has appeared on
the covers of most major classical music
publications and has been featured in
mainstream periodicals such as Vogue,
Elle, Town & Country and Marie Claire.
In 2001 Hahn was named “America’s
Best Young Classical Musician” by Time
magazine. In January 2010 she appeared
as a guest artist, playing Bartók and
Brahms, on The Tonight Show with
Conan O’Brien.
IN THE MEDIA:
Hahn
began playing violin shortly before
her fourth birthday. She was admitted
to the Curtis Institute of Music at age
10, where she was a pupil of Jascha
Brodsky. Hahn completed her university
requirements at Curtis at 16, having
already made her solo debuts with the
symphonies of Baltimore, Cleveland,
Philadelphia and Pittsburgh, and the
New York Philharmonic. She delayed
graduation a few years in order to take
further courses in languages, literature
and writing. By the time she received
her bachelor’s degree at 19, she was a
full-time touring musician.
EDUCATION AND BREAKTHROUGH:
Friday, October 3, 2014, at 7pm
NEW WORLD
UNTUXED
SY M P H O NY U NTU XED SER I ES
Ludovic Morlot, conductor
Jonathan Green, host
Seattle Symphony
ANTONÍN DVOŘÁK Bagatelles, Op. 47, for Quartet
Allegretto scherzando
Tempo di minuetto: Grazioso
Allegretto scherzando
Canon: Andante con moto
Poco allegro
ELISA BARSTON, VIOLIN
MIKHAIL SHMIDT, VIOLIN
WALTER GRAY, CELLO
JOSEPH ADAM, HARMONIUM
ANTONÍN DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World”
Adagio—Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
20’
40’
Tonight’s program will run without intermission.
Musician biographies may be found at seattlesymphony.org
Notes for Dvořák’s Symphony No. 9 may be found at left.
Ask the Artist 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 ©2014 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 33
PR OG RA M N OTES
A N TO N Í N DVO Ř Á K
Bagatelles, Op. 47, for Quartet
Allegretto scherzando
Tempo di minuetto: Grazioso
Allegretto scherzando
Canon: Andante con moto
Poco allegro
BORN:
September 8, 1841, Nelahozeves,
Bohemia
DIED:
May 1, 1904, in Prague
WORK COMPOSED:
1878
WORLD PREMIERE:
Unknown
The son of a village butcher and
innkeeper in rural Bohemia, the
greater part of what is today the
Czech Republic, Antonín Dvořák grew
up in humble circumstances, and
his situation remained modest even
after he moved to Prague to pursue
a career in music. For a decade and
a half after he received his diploma
from the Prague Organ School, Dvořák
earned a meager existence as a violist,
Paul Schiavo
church organist and teacher. Not until
he was in his late 30s did he receive
recognition as a composer beyond a
small circle of admirers in the Bohemian
capital. Wider acknowledgment finally
came late in 1877, when the renowned
Johannes Brahms, having become
acquainted with some of Dvořák’s music,
commended it to his own publisher.
That recommendation resulted in the
publication of a number of Dvořák’s
pieces and the commissioning of what
would become one of the composer’s
most popular works, the Slavonic
Dances. Glowing reviews followed, and
Dvořák quickly attained an international
reputation.
His sudden success did not go to
Dvořák’s head. Even as his fortunes were
starting to soar he remained unassuming
and retained his old habits and friends.
Among the latter was one Josef SrbDebrnov, an amateur violinist who
regularly hosted evenings of chamber
music at his Prague apartment. Dvořák
may well have joined these gatherings
on occasion. In any event, in May 1878
he diverted himself from the task of
orchestrating the Slavonic Dances by
composing a set of five short pieces
for Srb-Debrnov and his friends. The
former did not own a piano, but he did
have a harmonium, a small home organ
that was once a common fixture of
middle-class homes in Central Europe.
Dvořák therefore scored his pieces for
this instrument in conjunction with a
pair of violins and cello.
These Malikosti, or Bagatelles, as the
composer called them, contain tuneful,
unpretentious music that reflects
the domestic setting for which it was
written. Like so many of Dvořák’s
compositions, these brief pieces speak
with a distinctly Czech accent. They
could hardly do otherwise, considering
that the composer derived the melody
that serves as the principal theme
in the first and third of them from a
Czech folk song. A variant of the same
melody also provides the second theme
of the fifth bagatelle.
that the roots will sink deep,
Those odd-numbered movements
enjoy something of the robust spirit
of Bohemian folk-dance music. The
intervening pieces are more relaxed.
The second bagatelle takes the form
of a minuet, already a charming
anachronism in 1878. Dvořák writes
his most ingenious music, if not the
most tuneful, in the fourth piece.
Here the melodic lines follow each
other in canon — that is, as a round —
throughout the movement.
CLEAR VISION
© 2014 Paul Schiavo
WHAT DOES IT TAKE
TO GROW A TREE?
FAITH
to plan for seasons beyond
the horizons of time, and
TRUST
Notes for Dvořák’s Symphony No. 9
may be found on p. 32.
that future generations will care
for the tree you tended.
Consider a gift to the University of Washington
through your will, trust or retirement plan. You’ll be
nourishing generations of students to come.
giving.uw.edu/whatittakes | 206-685-1001 | [email protected]
JOIN THE CONVERSATION
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34
SEATTLESYMPHONY.ORG
PROGRAM NOTES
by Aaron Grad
Sunday, October 5, 2014, at 2pm
DVOŘÁK’S
DUMKY TRIO
C HAM BE R SER IE S
Zartouhi Dombourian-Eby, flute • Paul Rafanelli, bassoon • Mark Robbins, horn •
Anait Arutunian, violin • Brittany Boulding, violin • Cordula Merks, violin • Jeannie
Wells Yablonsky, violin • Mara Gearman, viola • Efe Baltacıgil, cello • David Sabee,
cello • Valerie Muzzolini Gordon, harp • Jessica Choe, piano • Kimberly Russ, piano
ANDRÉ JOLIVET
Pastorales de Noël for Flute, Bassoon and Harp
13’
L’Étoile • Les Mages • La Vierge et l’Enfant •
Éntrée et danse des Bergers
ZARTOUHI DOMBOURIAN-EBY, FLUTE
PAUL RAFANELLI, BASSOON
VALERIE MUZZOLINI GORDON, HARP
JOHANNES BRAHMS
Horn Trio in E-flat major, Op. 40 MARK ROBBINS, HORN
JEANNIE WELLS YABLONSKY, VIOLIN
KIMBERLY RUSS, PIANO
INTERMISSION
GUSTAV MAHLER
Piano Quartet Movement in A minor
BRITTANY BOULDING, VIOLIN
MARA GEARMAN, VIOLA
DAVID SABEE, CELLO
KIMBERLY RUSS, PIANO
ANTONÍN DVOŘÁK
29’
Allegro • Scherzo: Allegro • Adagio mesto •
Finale: Allegro con brio
Piano Trio No. 4 in E minor, B. 166, Op. 90, “Dumky”
Lento maestoso—
Poco adagio—
Andante
Andante moderato: Quasi tempo di marcia
Allegro
Lento maestoso
CORDULA MERKS, VIOLIN
EFE BALTACIGIL, CELLO
JESSICA CHOE, 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 ©2014 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.
15’
30’
In 1936 André Jolivet (1905–74)
founded the group La jeune France
(“Young France”) with Olivier Messiaen
and two other emerging composers.
Jolivet shared Messiaen’s interest in
spiritual exploration and emotional
expression in music, and they both
rejected the cool neoclassicism of
Stravinsky and the French modernists
grouped as Les Six. Jolivet embraced
rituals and ancient traditions in
music, and he drew inspiration from
Eastern cultures and antiquity.
With Pastorales de Noël from 1943,
Jolivet evoked the historical setting of
the Christmas story with sounds and
moods drawn from the Mideast, starting
with the ritualistic tropes of L’Étoile
(“The Star”). The music of Les Mages
(“The Magi”), striding through mystical
chords and sinuous melodies, echoes the
arrival of the Three Wise Men with their
exotic gifts. La Vierge et l’Enfant (“The
Virgin and the Child”) is a tuneful cradle
song, rocking in a traditional three-beat
pulse. These pastoral vignettes conclude
with the festive Entrée et danse des
Bergers (“Entrance and Dance of the
Shepherds”).
Johannes Brahms (1833–97) composed
the Horn Trio in E-flat major, Op. 40,
in the wake of his mother’s death in
1865, making use of a cottage owned
by Clara Schumann in the Black Forest
of southwestern Germany. Whether
motivated by memories of his youth
— when he played a bit of horn, his
father’s instrument — or the woodland
surroundings where he loved walking,
Brahms embraced the nostalgic aspect
of the horn. Instead of the newly
developed valve horn, he called for
the older Waldhorn, or natural horn.
With no valves to modify the pitch,
the natural horn can only play the
notes of the overtone sequence in a
single key, as well as some additional
chromatic notes produced by blocking
the horn’s bell with the hand. Brahms
limited himself to the available pitches
of the natural horn, and he took into
account the idiomatic changes in tone
between open and stopped pitches.
(Even when performing the trio on
a modern instrument with valves, as
most horn players do today, the part
reflects the ingrained characteristics
of the original instrument.)
encore artsseattle.com 35
PROGRAM NOTES
The Horn Trio has an unusual form
to match its novel instrumentation.
Rather than a proper first movement
in sonata-allegro form, the opening
statement is a relaxed Andante that
basks in lyrical melodies traded among
the three players. Next a Scherzo
lightens the mood with capricious
shifts of momentum, including phrases
of two-beat measures stretched into
the prevailing three-beat pulse. In the
contrasting trio section, the music
becomes slower and suddenly earnest
with a new minor-key strain. Traces of
folksongs appear in both the Adagio
mesto (“slow and sad”) third movement
and the upbeat Finale, perhaps signaling
Brahms’ connection to his late mother
and to his youth.
The earliest surviving music by Gustav
Mahler (1860–1911) dates from his
three years as a student in piano and
composition at the Vienna Conservatory.
He was probably 16 when he composed
the first movement of a piano quartet
and a bit of a scherzo before setting the
work aside for good. The manuscript,
long believed lost, turned up among the
papers of his widow, Alma, following her
death in 1964, and it was published for
the first time in 1973.
Mahler’s early Piano Quartet, like
most good student work, makes plain
its influences. There are shades of
Wagnerian heroism in the themes, while
the opposing layers of rhythm (as in the
square contours of the melody riding
over a triplet accompaniment) reveal a
debt to Brahms. With no instrumental
chamber music to enjoy from the
mature Mahler, who limited himself to
songs and symphonies, this one sturdy
sonata movement is the only taste we
have of an alternate path he might have
followed.
Antonín Dvořák (1841–1904) was born
in a small Bohemian village, where
his father was the local butcher and
innkeeper and also played the zither. As
a young man, Dvořák was involved in
all manner of music-making in Prague;
he accompanied church services from
the organ, played viola in a dance band
and in the local opera orchestra, taught
piano lessons and kept up his composing
on the side. He might have spent the
rest of his life as a cash-strapped
36
SEATTLESYMPHONY.ORG
continued
freelance musician had it not been for
the intervention of a most influential
champion, Johannes Brahms. On
Brahms’ recommendation, the publisher
Simrock commissioned Dvořák in 1878,
and the resulting Slavonic Dances
catapulted the Czech composer onto the
international stage.
With his Piano Trio in E minor, B. 166,
Op. 90, “Dumky,” composed in the
winter of 1890–91, Dvořák moved past
the formal models of chamber music
practiced by Brahms and back into
the heart of his Bohemian identity. He
gave the score the subtitle of “Dumky,”
the plural of dumka — a Slavic term,
with Ukrainian origins, for a type of
folk music characterized by wild mood
swings, ranging freely from ecstatic
to maudlin. Instead of a Classical
progression of four movements, the
“Dumky” Trio takes six free-form views
of the dumka tradition.
The opening movement begins with
the cello and piano in the grips of fullthroated passion before retreating into
an austere statement by the strings.
These tense rumblings lead to a giddy
outburst in the related major key — the
first of many surprising and whimsical
pivots.
The second movement again explores
the rub of minor versus major, flipping
dirge-like material in the minor key
into a transcendent major-key theme,
until another fast episode takes the
music in an unexpected direction. The
emotional whiplash continues in the
third movement, its humble themes
interrupted by another restless passage,
this one swirling with dark chromatics.
The fourth movement centers on a
steady marching theme that detours into
more volatile territory.
The fifth movement keeps up its
mischievous demeanor throughout, with
triplet music in the manner of a scherzo.
The final dumka swirls around one last
fiendish dance, its full release saved for
the closing moments.
© 2014 Aaron Grad
PROGRAM NOTES
continued from page 25
Even more vividly than in the opening
movement, the ensuing Scherzo has
about it an unmistakably Czech flavor. Its
music conveys the spirit of a Bohemian
country dance and exalts this through
symphonic textures. The central section
brings more pastoral impressions. (Once
again, the winds evoke birdsong.) This
prepares a dramatic finale that begins
with stern music in D minor but turns, in
the final measures, brightly to D major,
allowing a triumphant conclusion.
The first
movement entails music of dramatic
contrasts: a stormy first theme versus
pastoral sounds, including imitations of
bird song. In the second movement, note
the organ-like sonorities of the winds
as they play a hymn-like melody at the
outset. Dvořák’s love of Czech folk music
is evident in the third movement. The
Finale ends on a triumphant note.
WHAT TO LISTEN FOR:
Scored for 2 flutes, the second doubling
on piccolo; pairs of oboes, clarinets and
bassoons; 4 horns, 2 trumpets and 3
trombones; timpani and strings.
© 2014 Paul Schiavo
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Claire Angel 5 R
Susan Y. and Charles G. Armstrong 
Amy Buhrig 5 R
Jean Chamberlin R
Christine Cote-Wissmann
Bob Cremin
Eric and Margaret Rothchild Charitable Fund 5
Henry M. Finesilver
Janet W. Ketcham
Stephen Kutz 5 R
Ruthann Lorentzen 5
Yoshi and Naomi Minegishi 10
Satoshi and Hisayo Nakajima
Ashley O’Connor McCready and Mike McCready
Douglass and Katherine Raff 10
Tom and Teita Reveley 15
Mike and Marcia Rodgers 15
Diane and Mark Rubinstein R
Steve and Sandy Hill Family Fund at the Seattle
Foundation 15 R
Anonymous (4)
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S EAT T LE SYMPHONY DONORS
Silver ($5,000 – $7,499)
Jim and Catherine Allchin 15
John and Joan Baker 10
Peter Russo and Kit Bakke
Donna Benaroya
Capt. and Mrs. Paul Bloch 5
Barbara BonJour 15
Alexandra Brookshire and Bert Green 15 
Jeffrey and Susan Brotman 10
Patricia Cooke 5
Mr. John Delaney
John Delo and Elizabeth Stokes
Ernest and Elizabeth Scott Frankenberg 5
Robert* and Eileen Gilman 10
Frederick and Catherine Hayes 10
Bob and Melinda Hord
Dustin and Michelle Ingalls 10
Walt and Elaine Ingram 
JNC Fund
Charles and Joan Johnson 10
Juniper Foundation 10
David and Ida Kemle 10
Leonard Klorfine
Moe and Susan Krabbe
Jon and Eva LaFollette 5
David and Leslie Leland
Randy Levitt and Riley Burton 5
Michael and Barbara Malone
Mark H. and Blanche M. Harrington Foundation
Christine B. Mead
Jerry Meyer
Reid and Marilyn Morgan 15 
Judith Schoenecker and Christopher L. Myers 5
Gary and Susan Neumann 10
Dr. David and Jean Peck 10
Mr. and Mrs. Charles M. Pigott 10
Mr. and Mrs. W. H. Purdy 15
Dick and Alice Rapasky 5
Bernice Mossafer Rind 
Sam and Peggy Grossman Family
John F. and Julia P. Shaw 15 
Frank and Harriet* Shrontz 15
Michael Slonski 5 
Carrol Steedman
John and Sherry Stilin 10
Sympaticos
Maryanne Tagney
Dr. Robert Wallace
Gary and Karla Waterman 
Robert and Leora Wheeler 15
V. L. Woolston
Marcia and Klaus Zech 5
Anonymous (5)
Bronze ($3,500 – $4,999)
Bill and Nancy Bain 
Tom Barghausen and Sandra Bailey
Carol Batchelder 15
Nick and Lisa Beard
William and Beatrice Booth 15
Susan Buske
Barbara A. Cahill 5
Cassandra Carothers
Steven and Judith Clifford 5
Samuel and Helen Colombo 15
James and Barbara Crutcher
Dr. Tatjana Deretic
Aileen Dong
Dr. Judith Feigin-Faulkner and Colin Faulkner
David and Dorothy Fluke 15
Doris H. Gaudette 15
Heinz Gehlhaar and Eileen Bear 10
Donald G. Graham, Jr. 15
Dr. and Mrs. Theodore Greenlee, Jr. 15
Larry and Martina Gruendike 5
Barbara Hannah and Ellen-Marie Rystrom 15
Jane Hargraft and Elly Winer +
38
SEATTLESYMPHONY.ORG
15
Deena J. Henkins 10
Gabriel and Raluca Hera
Dick and Nora Hinton
Charles and Nancy Hogan
Laura and Bernard Jacobson 5
Jeanne Kanach
Karen Koon 5
Drs. Kotoku and Sumiko Kurachi
SoYoung Kwon and Sung Yang R
Latino-O’Connell
Patrick Le Quere 5
Steve and Donna Lewis 15
Judsen Marquardt and Constance Niva
Justine and John Milberg
Mrs. Roger N. Miller 15
Laina and Egon Molbak 10
Mr. and Mrs. Richard Moore 5
Peter Oliphant
Gerald and Melissa Overbeck
Bob and Annette Parks
Jay Picard R
Melvyn and Rosalind Poll
Dr. and Mrs. Richard D. Prince 10
Sue and Tom Raschella 15 
Paul and Gayle Robbins
Chuck and Annette Robinson 5
John Robinson and Maya Sonenberg 10
Jan Rogers
Alan Rosado
James T. and Barbara Russell 5
Dr. and Mrs. Werner E. Samson
David Schiffrin
Tanya and Gerry Seligman
Buz and Helen Smith 10
Margaret and Richard Spangler 15
Sonia Spear
Lorna Stern 15
Mel and Leena Sturman
Robert Thorson and Leone Murphy 10
S. Vadman 5
Hans and Joan* van der Velden 15
Muriel Van Housen
Stephen Vitalich
M. Elizabeth Warren 5
Cindy S. Webster
Ronald and Devorah Weinstein
Laurie and Allan Wenzel 5
Anonymous (4)
Conductors Club ($2,000 – $3,499)
Kumi and Yuko Abe
Bill and Janette Adamucci
Harriet and Dan Alexander
Sue and Richard Anderson
Lucius and Phoebe Andrew 15
Geoffrey Antos 5
Linda Armstrong
Tiffany Ashton and Curtis Freet
Tracy L. Baker 10
Charles Barbour and Diana Lynn Kruis
Frank Baron
Patty and Jimmy Barrier 15
Sally S. Behnke*
Rosanna Bowles
Zane and Celie Brown 10
Sylvia and Steve Burges 10
Elizabeth M. Campbell
Wallace and Sally Campbell
Jonathan Caves and Patricia Blaise-Caves
Lisa Chiou
Elaine and Eric Clark
Phyllis B. Clark
Cogan Family Foundation 5
The Colymbus Foundation 15
Mr. and Mrs. Ross Comer 5
Jeffrey and Susan Cook
David and Christine Cross
Scott and Jennifer Cunningham
Dr. Bob Day 5
Dr. Geoffrey Deschenes and Dr. Meredith Broderick
The Donworth Family Foundation 15
Everett P. DuBois 10
Laurie Minsk and Jerry Dunietz
William and Roberta* Duvall
Glenn and Janet Edwards 15
Victor and Patricia Feltin 5
Al Ferkovich and Joyce Houser-Ferkovich 15
Jerry and Gunilla Finrow 15
Gerald B. Folland
Thomas and Sandra Gaffney 5
Jean Gardner 15 
Martin and Ann Gelfand
Janice A. and Robert L. Gerth 15
Carol B. Goddard 15
Michele and Bob Goodmark
Mr. and Mrs. Ross Grazier
Lucia and Jeffrey Hagander
Bert Hambleton and Ruth Mortimer 5 
Dr. and Mrs. James M. Hanson
Susan and Tom Harvey
Richard and Sally Henriques
Harold and Mary Fran Hill 5
Thomas Horsley and Cheri Brennan
Janet L. Kennedy
Lorna and Jim Kneeland
Albert and Elizabeth Kobayashi 15
Educational Legacy Fund
Frances Kwapil 15
Marian E. Lackovich 15
Gregory and Mary Leach 15
Mark P. Lutz 15
Edgar and Linda Marcuse
Charles T. Massie 10
John and Gwen McCaw
Jerry Meharg
Drs. Pamela and Donald Mitchell 15
Ryan Mitrovich
Erika Nesholm
Kirsten Nesholm
Bruce and Jeannie Nordstrom
Isabella and Lev Novik
Rena and Kevin O’Brien
Jerald E. Olson 15
Mr. and Mrs. Thomas Olson
Thomas and Cynthia Ostermann 5
Bill and Sherry Owen
Nancy and Christopher Perks 10
Mina B. Person 5
Don and Sue Phillips
Charles Pluckhahn 5
Mrs. Eileen Pratt Pringle 15
Harry* and Ann Pryde 15
Raman Family Foundation
Rao and Satya Remala
Ed and Marjorie Ringness 15
Richard and Bonnie Robbins 15
Jonathan and Elizabeth Roberts 15
Nancy M. Robinson 15
Sharon Robinson 5
Rita and Herb* Rosen and the Rosen Family
Jeannie and Bill Ruckelhaus
Don and Toni Rupchock 15
Henry and Linda Rutkowski 5
Annie and Ian Sale
Thomas and Collette Schick 10
Dr. and Mrs. Jason Schneier
Barbara and Richard Shikiar 15
Jane and Alec Stevens 10
Carolyn and Clive Stewart
Audrey and Jim* Stubner 15
Isabel and Herb Stusser 10
Mr. and Mrs. C. Rhea Thompson 5
Betty Lou and Irwin* Treiger 15
Trower Family Fund
Mirabella.
Donald J. Verfurth
Jean Baur Viereck 5
Charlie Wade and Mary-Janice Conboy-Wade +
Dr. John Wallace
Bryna Webber and Dr. Richard Tompkins
John and Fran Weiss 15
Roger and June Whitson 15
Joseph Williams
Simon Woods +
Richard and Barbara Wortley
Mr. and Mrs. David C. Wyman
Anonymous (8)
The people you want to know:
Smart, fun, active, accomplished, and socially engaged.
Musicians Club ($1,000 – $1,999)
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John and Andrea Adams
William K. Ahrens 15
Lennon Aldort
Alina Kostina Violins
Mr. and Mrs. John Amaya 5
Drs. Linda and Arthur Anderson
Carlton and Grace Anderson
Rich Andler and Carole Rush 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
Eric and Sally Barnum 5
Jim Barnyak
Richard and Evelyn Bateman 15
Douglas and Maria Bayer 10
Chris and Cynthia Bayley 
Natalie Bayne
Dr. Melvin Belding and Dr. Kate Brostoff
Brooke Benaroya and Josh Dickson
Joel Benoliel
Linda Betts 10
Robert Bismuth
Michael and Mary Rose Blatner 5
Robert* and Karen Bonnevie
Phillip and Karla Boshaw
Bob and Jane Ann Bradbury 5
Bob and Bobbi Bridge
Herb Bridge and Edie Hilliard 15
Jonathan and Judge Bobbe Bridge
Mike Brosius
Dr. Eileen Bryant* 5
Mike Bujnowski
Katharine M. Bullitt
Keith A. Butler
April Cameron 5
Corinne A. Campbell
Craig and Jean Campbell 15
Irving and Olga Carlin
Cory Carlson
Dr. Mark and Laure Carlson 5
Carol and John Austenfeld Charitable Trust
Frank and Dee Dee Catalano
Donald V. Cavanaugh
Anand Chakraborty
Kent and Barbara Chaplin 10
Virginia D. Chappelle 10
Steve and Anne Chatman 10
David and Lynne Chelimer 15
Robert E. Clapp
Paula and William Clapp
Ellen and Phil Collins 15
Donald and Ann Connolly
Rosalie Contreras and David Trenchard 5 +
Herb and Kathe Cook
Richard and Bridget Cooley
Bruce Cowper and Clare McKenzie
Cristian Craioveanu
T. W. Currie Family
A not-for-profit, resident-centered community
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8/1/14 12:27 PM
S EAT T LE SYMPHONY DONORS
Richard Cuthbert and Cheryl Redd-Cuthbert 5
Angela de Oleveira 5
Brian Dewey and Eileen Brown
David and Helen Dichek
Mr. William Dole and Mr. James Antognini 5
Betsy Donworth
Wayne Doucette 15
Dan and Martine Drackett
Miles and Liz Drake 5
Jim and Gaylee Duncan
Dr. Lewis and Susan Edelheit
Robert and Elizabeth Edgerton
Thomas and Ruth Ellen Elliott 15
Leo and Marcia Engstrom
Brit and Jan Etzold
Dr. and Mrs. R. Blair Evans 10
Andrew Faulhaber 5
Barry and JoAnn Forman
Michael R. Fortin
William E. Franklin
Ms. Janet Freeman-Daily 10
Janet and Lloyd Frink
Richard and Jane Gallagher
Nina M. Gencoz
Ruth and Bill Gerberding 
James and Carol Gillick 10 
Barbara Goesling 
Jeffrey and Martha Golub 10
Bill and Joy Goodenough 10
Catherine Green 5
Maridee Gregory
Mary F. Gregory 15
Frank and Gloria Haas
Mrs. Carol Hahn-Oliver 5
William Haines 15
Mary Stewart Hall 10
Frederic and Karin Harder
George Heidorn and Margaret Rothschild
Janie Hendrix
Susan Herring 5
James Hessler and Paula Weiss 5
Suzanne Hittman
Warren Hodges 5
The Gerald K. and Virginia A. Hornung
Family Foundation
Gretchen and Lyman* Hull 15
Ralph E. Jackson
Lawrence Jen
Clyde and Sandra Johnson 5
Mr. and Mrs. Donald C. Johnson 10
Julie A. Johnston
Zagloul Kadah
Kim and Pamela Kaiser 15
David Kalberer and Martha Choe
Mr. Daniel Kerlee and Mrs. Carol Wollenberg 5
Ford W. Kiene 10
Michael and Mary Killien 10
Andrew Kim
Stacy and Doug King
W. M. Kleinenbroich
Brian and Peggy Kreger 10
Edith M. Laird
Ron and Carolyn Langford 10
Peter M. Lara 10
Robert and Joan Lawler
Don and Carla Lewis 5
Sherrie Liebsack
James Light 5
Mr. Louis Ling and Ms. Carolyn Cramer 5
Robert and Marylynn Littauer 5
Mark Looi and Susan Cheng-Looi
Lovett-Rolfe Family Trust 5
Richard* and Beverly Luce
Roy and Laura Lundgren
Louis and Joegil Lundquist 5
Mary Ann and Ted Mandelkorn 10
Mark Litt Family DAF of the Jewish Federation
40
SEATTLESYMPHONY.ORG
of Greater Seattle 5
David and Sally Maryatt
Marcia Mason 10
Carolyn and Richard Mattern 5
Doug and Joyce McCallum
Bruce and Jolene McCaw
Elizabeth McConnell
Louise McCready
John J. McFatridge
Craig McKibben and Sarah Merner
Christopher and Heather Mefford
Mary Mikkelsen 15
Marilynn Miller
Betsy* and Stan Minor 10
Chie Mitsui
Charles Montange and Kathleen Patterson
David Monteith and Tara Cross 5
Rita and Robert Moore 10
Stephanie A. Mortimer
Susan and Furman Moseley
Christine B. Moss 15
Motivagent Inc.
Kevin Murphy 15
Mark Novak 5
Nuckols-Keefe Family Foundation 5
Henry and Evelyn Odell 5
Gordon and Betty Orians
Richard and Peggy Ostrander
Dr. and Mrs. Roy Page
Allan and Jane Paulson
Katherine Payge
Gregory Pease
Tomas Perez-Rodriguez 5
Lisa Peters and James Hattori
Gary and Erin Peterson
Rosemary Peterson 5
Marcus Phung 5
Tom and Brooke Pigott
Guy and Nancy Pinkerton 5
Llewelyn G. and Joan Ashby Pritchard
Gail T. Ralston
Edward and Vicki Rauscher
Richard and Sharon Reuter 15
Linden Rhoads
Fred and Alyne* Richard 15
Keith and Patricia Riffle
Deborah and Andrew Rimkus
Catherine and J. Thurston Roach
Jean A. Robbins 10
Helen Rodgers 10
Mr. and Mrs. Charles Rohrmann
John Eric Rolfstad
James Rooney
Stan and Michele Rosen 10
Dr. Len and Gretchen Jane Rosoff
Kayley Runstad
Mr. David J. Sabritt and Dr. Mina F. Miller
Sarah Delano Redmond Fund at the
Boston Foundation 5
Lyn and Hans Sauter
Eckhard Schipull 10
Arthur Schneider
Jessica Schneller 5
Patrick and Dianne Schultheis
Stephen and Julie Scofield
Seattle Symphony Volunteers
Linda Sheely 10
Vicki Shelton
Alan Shen
Charles Shipley 10
Robert and Anita Shoup
Anne and Langdon Simons 10 
Evelyn Simpson 15
Dr. Charles Simrell and Deborah Giles 10
Stephen and Susan Smith
Barbara Snapp and Dr. Phillip Chapman
Christopher Snow
15
Ms. Darlene Soellner 5
Donald and Sharry Stabbert
Dr. and Mrs. Robert Stagman 15
Daniel Stockman
Mr. Michael Subit and Leslie Hagin
Barbara and Stuart Sulman
Victoria Sutter 5
Mr. Robert Swoffer 10
Brian Tajuddin
Mikal and Lynn Thomsen
Barbara Tober
Ms. Betty Tong and Mr. Joe Miner
Dr. and Mrs. Arthur Torgerson 5
William B. Troy
Dolores Uhlman 10
Manijeh Vail 5
Johanna P. VanStempvoort 15
Pieter and Claire van Wingerden
Carol Veatch
Alexander Velinzon  
Doug and Maggie Walker 5
Stephanie Wallach
John and Marilyn Warner
Eugene and Marilyn Webb
Ralph and Virginia Wedgwood 15
Manny and Sarah Weiser
Ed and Pat Werner
Michael Werner
Judith A. Whetzel
Cliff Burrows and Anna White
Steve and Marci Williams
Wayne Wisehart
Troy and Elizabeth Wormsbecker
Jerry and Nancy Worsham 5
Carol Wright
Susan Yamada
Keith Yedlin
Yellowshoe Technology
Leonard and Jane Yerkes
Carol Yurkanin
Karen J. Zimmer
Christian and Joyce Zobel 5
Igor Zverev 15
Anonymous (17)
5 years of consecutive giving
10 years of consecutive giving
15
15 years or more of consecutive giving

Musician

Board Member

Lifetime Director

Staff
* In Memoriam
5
10
To our entire donor family, thank you for your
support. You make our mission and music a reality.
Did you see an error? Help us update our records
by contacting [email protected] or
206.215.4832. Thank you!
S EAT T LE SYMPHONY DONORS
ESTATE GIVING
We gratefully acknowledge the following individuals
for their generosity and forethought, and for
remembering the Seattle Symphony with a gift
through 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 Anderson
Almira B. Bondelid
Barbara and Lucile Calef
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
Mark Charles Paben
Mrs. Marietta Priebe
Pearl G. Rose
Carl A. Rotter
Gladys* and Sam* Rubinstein
Phillip Soth
Elizabeth B. Wheelwright
HONORARIUM
Special honorarium 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 an elegant card from the Symphony
acknowledging your thoughtful gift.
Gifts through July 30, 2014, have been made to
the Seattle Symphony in recognition of those
listed below. Please contact Donor Relations at
206.215.4832 or [email protected] if you
would like to recognize someone in a future edition
of Encore.
Nan Garrison, by
Donald Chamberlain
Sande Gillette, by
Luther Black and Christina Wright
Nancy Page Griffin, by
Michael Schick and Katherine Hanson
Mary Kay Haggard, by
Kevin Haggard
Mary Hardin, by
Robert Fletcher
James Janning, by
Megan Hall
Arlene Kim, by
Laurion Burchall
Ludovic Morlot, by
Hope Druckman and Ted Kohler
Norm Hollingshead
Dr. Pierre and Mrs. Felice Loebel
John and Laurel Nesholm
Mr. David J. Sabritt and Dr. Mina F. Miller
Women’s University Club
Ludovic Morlot and [untitled], by
Norm Hollingshead
Ludovic Morlot and the St. Matthew Passion, by
Norm Hollingshead
Marilyn Morgan and Isa Nelson, by
Mr. and Mrs. Bill Bonnett
Mike O’Leary, by
Leah Tyler
Llewelyn Pritchard, by
Nancy C. Elliott
Bernice Rind, by
Bob and Clodagh Ash
Howard Moss and Pauline Shapiro
David and Julie Peha
Kay Zatine
Simon Woods, by
Norm Hollingshead
Dr. Pierre and Mrs. Felice Loebel
Arnold Wu, by
Jeff Tung
Mom and Dad Yoo, by
Shin Yoo
*In Memoriam
MEMORIALS
Through July 30, 2014, the following memorial gifts
were made to the Seattle Symphony. For information
on remembering a friend or loved one through a
memorial gift, please contact Donor Relations at
206.215.4832 or [email protected].
Tom Archbold, by
Barbara Archbold
Ada Ash, by
Jon and Jackie Peha
Wanda Beachell, by
E. A. Beachell
Marybaird Carlsen, by
Dr. Kirk Kassner and Dr. Carol Scott-Kassner
Antonia 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
Roberta Duvall, by
Francis and Ann Adams
William Duvall
John Robertson, by
Katharine Robertson
Jim Faulstich, by
the McGarry/Wernli Charitable Fund
Jon and Pat Rosen, by
Joe and Linda Berkson
Geraldine Newell Gayda, by
Stewart Hopkins and Nancy Werner
Arie Schächter, by
Elle Simon
Sally Clark Gorton, by
Carrol Steedman
Seattle Symphony Chamber Series, by
Norm Hollingshead
Pamela Harer, by
Jane Hargraft
Linda Cole, by
John and Cookie* Laughlin
Charles Simonyi, by
Rebecca Benaroya
Lars Hennum, by
Elani Walden
S. Patricia Cook, by
Capt. Charles Cook
Ruth Slivinski, by
Stephen Slivinski
Marilyn L. Hirschfeld, by
Bill Hirschfeld, Dr. Mary L. Hirschfeld and W. Stuart
Hirschfeld
Carol Cross, by
Leigh Kliger
Helen Smith, by
Buz Smith
Samantha DeLuna and Tamiko Terada, by
Annie Walters
Sonia Spear, by
Linda Berkman
Marvin Meyers
Ada Ash, by
Joan and Paul Ash
Paul Ash
Leslie Jackson Chihuly, by
Dr. Pierre and Mrs. Felice Loebel
Matt Stevenson
Barbara Tober
Su-Mei Yu
Anonymous
Mickey Eisenberg, by
Jeanne Eisenberg
Karla Waterman, by
Kay Zatine
Stanley and Joyce Ireland, by
Rebecca Meichle
Betty Rue Kreitinger, by
James Cavin
Maren Culter
The family of Darlene D. Jones
Sylvia Mistry
Joan Raymond
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S EAT T LE SYMPHONY DONORS
Howard B. Leichman, by
Suzanne L. Leichman
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.
James L. McDonnell
Reid and Marilyn Morgan
Dr. and Mrs. Howard Moses
John and Laurel Nesholm
Sheila B. Noonan and Peter M. Hartley
Linda Perez-King
Llewelyn G. and Joan Ashby Pritchard
Sue and Tom Raschella
Wolf and Joanne Schunter
Gregory and Jo-Ellen Smith
Jim and Audrey Stubner
Kay Zatine
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
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
Marjorie Livingston and David Wilford Wine, by
David Wine
Betty Miller, by
Gregory Miller and Sandra Bricel Miller
Elsa D. Morrison, by
Anonymous
Gretchen Mullins, by
360 Hotel Group Ltd
Paul and Beverly Aleinikoff
Dick and Kathryn Almy
Gary and Cheryl Bang
Woody and Joan Bernard
Bob Breidenthal and Susan Crane
David Duryee
42
SEATTLESYMPHONY.ORG
Stein Helgesen
William Karr
Linda M. Kelly
Walter and Harriet Litch
Richard Maider
Tim and Mimi Marshall
Ron and Claire Pokraka
Brad Smith and Family
Brent and Mary Jane Smith
Karen Smith
Mark Smith and Family
Paul and Betsy Sunich
Catherine Sweum
Merrily Taniguchi
Richard and Anita Wyman
Anonymous
Michael Paulson, by
Berl Nussbaum
Harry Starck Pyle, by
John Eyler
William Roberts, by
Reid and Marilyn Morgan
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
Irwin Treiger, by
Bob and Clodagh Ash
John and Laurel Nesholm
Sheila B. Noonan and Peter M. Hartley
Llewelyn G. and Joan Ashby Pritchard
Robert Toren
Howard F. Weckel, Jr., by
Jane and David Stockert
Mary Wilson, by
Thomas Bruhns
Hanako Yamaguchi, by
Nadine Miyahara
*In Memoriam
Robert A. Rogers, by
Eleanor Rogers
H. Stewart Ross, by
Hollis R. and Katherine B. Williams
Gladys Rubinstein, by
Bob and Clodagh Ash
Barbara and Sandy Bernbaum
Lois Buell
David and Dorothy Fluke
John and Ann Heavey
Janet W. Ketcham
William and Marlene Louchheim
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
Toby Saks, by
Penny Freedman
Dr. Irene Hartzell
James Stubner, by
Bucknell Stehlik Sato & Stubner
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
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
SEATTLE SYMPHONY
SPECIAL EVENTS
SPONSORS & DONORS
SEATTLE SYMPHONY / BENAROYA HALL ADMINISTRATIVE STAFF
SIMON WOODS
Executive Director
Rachel Spain
Marketing Manager
Evan Cartwright
Data Entry Coordinator
Kristen NyQuist
Executive Assistant & Board Relations Manager
Natalie Soules
Marketing Coordinator
Bernel Goldberg
Legal Counsel
Barry Lalonde
Database Manager
Martin Johansson
Development Officer
(Communications & Volunteers)
ARTISTIC PLANNING
Herb Burke
Tessitura Manager
Elena Dubinets
Vice President of Artistic Planning
Evan Cartwright
Data Entry Coordinator
Amy Bokanev
Assistant Artistic Administrator
Jessica Forsythe
Art Director
Paige Gilbert
Executive Assistant to the Music Director
Kate Hourihan
Graphic Designer
Dmitriy Lipay
Director of Audio & Recording
Forrest Schofield, Jessica Atran
Group Sales Managers
PRESENTING SPONSOR
ORCHESTRA & OPERATIONS
Gail Martin Burkett
Senior Manager of Patron Services & Sales
Laird Norton Wealth Management
Jennifer Adair
Vice President & General Manager
James Bean, Kai Sousa
Assistant Managers of Patron Services & Sales
Gil Shaham generously sponsored by Friends of
Gil Shaham
Kelly Woodhouse Boston
Director of Operations & Popular Programming
Joe Brock
Retail Manager
CO-CHAIRS
Ana Hinz
Production Manager
Christina Hajdu
Sales Associate
Jeanne Case
Operations & Artistic Coordinator
Brent Olsen
Sales Manager
Scott Wilson
Personnel Manager
Aaron Gunderson
Information & Service Coordinator
Keith Higgins
Assistant Personnel Manager
Molly Gillette
Ticket Office Coordinator
BENAROYA HALL
Patricia Takahashi-Blayney
Principal Librarian
Maery Simmons
Ticket Services Associate
Troy Skubitz
Director
Robert Olivia
Associate Librarian
Gustavo Amaya, Mary Austin, Sophia
Bona-Layton, Melissa Bryant, Yasmina
Ellis, Allison Kunze, Melanie Voytovich
Ticket Services Representatives
David Ling
Facilities Director
Kelly Dylla
Vice President of Education & Community
Engagement
DEVELOPMENT
Christopher Holbrook
Building Engineer 2
Laura Reynolds
Family Programs Manager
Rick Baker
Development Officer (Assistant to the
Vice President of Development)
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 contributions
listings. Likewise, our corporate and foundation
partners are recognized for their support in the
Corporate & Foundation Support listings. For more
information about the Seattle Symphony, please visit
donate.seattlesymphony.org/events.
OPENING NIGHT GALA, SEPTEMBER 13, 2014
Honoring the Benaroya Family
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
CO-CHAIRS
Claire Angel
Rena O’Brien
COMMITTEE
FAMILY, SCHOOL & COMMUNITY
PROGRAMS
Stephanie Rodousakis
School Partnerships Manager
Thomasina Schmitt
Community Partnerships Manager
Kristin Schneider
Soundbridge Coordinator
Jessica Andrews-Hall, Samantha
Bosch, Aimee Hong, Deven Inch, Bryce
Ingmire, Shelby Leyland, Carla Merkow,
Ursula Mills, Rebecca Morhlang, Dana
Staikides
Teaching Artists
Rebecca Amato
Roberta Downey
Katharyn Gerlich
Ghizlane Morlot
Katrina Russell
Linda Stevens
Lena Console, Sonya Harris,
Danielle Valdes
Discovery Coordinators
TEN GRANDS, APRIL 4, 2014
Jane Hargraft
Vice President of Development
Maureen Campbell Melville
Vice President of Finance
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
HUMAN RESOURCES
Pat VandenBroek
Director of Human Resources
Kathryn Osburn
Human Resources Generalist
Alexa Jarvis
Front Desk Receptionist
Bob Brosinski
Lead Building Engineer
John Austin, Aaron Burns
Building Engineer 1
Don Banker
Facilities & Security Coordinator
Jennifer Stead
Campaign Director
Matt Laughlin
Facility Sales Manager
Becky Kowals
Planned Giving Director
Stephanie Hippen
Operations & Services Manager
Tamiko Terada
Campaign Manager
James Frounfelter
Operations & Services Associate
Rhemé Sloan
Campaign Coordinator
Keith Godfrey
House Manager
Paul Gjording
Senior Major Gift Officer
(Foundations & Government Relations)
Tanya Wanchena
Assistant House Manager & Usher Scheduler
Amy Studer
Senior Major Gift Officer (Individual)
COMMUNICATIONS
Matt Marshall
Major Gift Officer
Rosalie Contreras
Vice President of Communications
Tobin Cattolico
Gift Officer
You You Xia
Public Relations Manager
Blaine Inafuku
Development Coordinator (Major Gifts)
RBC Wealth Management
Jim Holt
Social Media & Content Manager
Kathy Fahlman Dewalt
Co-Founder and Executive Director
Jamie Swenson
Editor & Publications Manager
Tami Horner
Senior Manager of Special Events
& Corporate Development
CLUB LUDO 3, MAY 31, 2014
Jenna Schroeter
Interactive Media Coordinator
PRESENTING SPONSOR
SALES & MARKETING
CTI BioPharma
CO-CHAIRS
Charlie Wade
Senior Vice President of Marketing & Business
Operations
Hilary Doherty
Lindsay Lundberg
Christy Wood
Director of Marketing
PRESENTING SPONSOR
FINANCE
Jordan Louie
Corporate Development Manager
Samantha DeLuna
Development Officer
(Special Events & Corporate Development)
Megan Hall
Annual Fund Senior Manager
Barry Lalonde
Database Manager
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, Evelyn
Gershen, Cara Wilson
Assistant Head Ushers
Joseph E. Cook
Technical Director
Jeff Lincoln
Assistant Technical Director
Mark Anderson
Audio Manager
Ron Hyder
Technical Coordinator
Chris Dinon, Don Irving, Aaron
Gorseth, John Roberson, Michael
Schienbein, Ira Seigel
Stage Technicians
COMMITTEE
Chris Adams
Brittni Estrada
Alicia Jambai
Ryan Mitrovich
Tiffany Moss
Ryan Poll
Nancy Wallace
CONTACT US:
TICKETS:
206.215.4747 / DONATIONS: 206.215.4832 / ADMINISTRATIVE OFFICES: 206.215.4700
VISIT US ONLINE: seattlesymphony.org / READ: blog.seattlesymphony.org
LIKE: facebook.com/seattlesymphony / FOLLOW: twitter.com/seattlesymphony
FEEDBACK: [email protected]
encore artsseattle.com 43
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 July 30, 2014. For information on endowed gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or [email protected].
$5 MILLION +
The Benaroya Family
Charles Simonyi Fund for Arts and
Sciences
Anonymous (1)
$1,000,000 – $4,999,999
The Clowes Fund, Inc.
Priscilla Bullitt Collins*
The Ford Foundation
Dave and Amy Fulton
Kreielsheimer Foundation
Estate of Gladys and Sam Rubinstein
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 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
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
National Endowment for the Arts
Northwest Foundation
Estate of Elsbeth Pfeiffer
Estate of Elizabeth Richards
Jon and Judy Runstad
Seattle Symphony and Opera Players’
Organization
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
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
Jerry and Jody Schwarz
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
John and Cookie* Laughlin
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
Seafirst Bank
Seattle Symphony Women’s
Association
Security Pacific Bank
Patricia Tall-Takacs and Gary Takacs
U S WEST Communications
Mr. and Mrs. Cyrus R. Vance, Jr.
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
he 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
T
for the Seattle Symphony, helping the orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community.
To learn more about the Musical Legacy Society, or to let us know you have already remembered the Symphony in your long-term plans, please contact Planned Giving Director Becky
Kowals at 206.215.4852 or [email protected]. The following list is current as of August 4, 2014.
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
44
SEATTLESYMPHONY.ORG
Russell and Nancy Fosmire
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
Barbara Hannah
Harriet Harburn
Ken and Cathi Hatch
Michele and Dan Heidt
Ralph and Gail Hendrickson
Deena J. Henkins
Charles E. Higbee, MD
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
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
Reid and Marilyn Morgan
George Muldrow
Marr and Nancy Mullen
Isa Nelson
Gina W. Olson
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
Jan and Peter Shapiro
John F. and Julia P. Shaw
Barbara and Richard Shikiar
Valerie Newman Sils
Evelyn Simpson
Katherine K. Sodergren
Althea C. and Orin H.* Soest
Sonia Spear
Morton A. Stelling
Patricia Tall-Takacs and Gary Takacs
Gayle and Jack Thompson
Dr. and Mrs. Arthur Torgerson
Betty Lou and Irwin* Treiger
Sharon Van Valin
Dr. Robert Wallace
Douglas Weisfield
James and Janet Weisman
Gerald W. and Elaine* Millard West
Selena and Steve Wilson
Ronald and Carolyn Woodard
Arlene A. Wright
Janet E. Wright
Anonymous (45)
* 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 July 30, 2014. Thank you for your support — our donors make it all possible!
$500,000+
Andrew W. Mellon Foundation
Seattle Symphony Foundation
$100,000 – $499,999
$50,000 – $99,999
$15,000 – $24,999
Fran’s Chocolates ◊
$1,000 – $2,999
Boeing Matching Gift Program
Aaron Copland Fund For Music
Henry W. Bull Foundation
Alfred & Tillie Shemanski Trust Fund
Christensen O’Connor Johnson
Kindness PLLC †
Ann and Gordon Getty Foundation and
the League of American Orchestras
Hotel Andra †
Blanke Foundation
HSBC
Brandon Patoc Photography †
Clowes Fund, Inc.
Chihuly Studio †
Consulat Générale de France
J.P. Morgan Chase & Co.
Coca-Cola Company Matching Gifts
Johnson & Johnson Matching
Gifts Program
John Graham Foundation
Jean K. Lafromboise Foundation
MacDonald Hoague & Bayless †
Fales Foundation
Mayflower Park Hotel †
Genworth Foundation
Laird Norton Wealth Management
DreamBox Learning
Microsoft Corporation
$10,000 – $14,999
MulvannyG2 Architecture
Hard Rock Cafe Seattle †
Nesholm Family Foundation
Nordstrom
IBM International Foundation
Seattle Met magazine †
French-American Fund for
Contemporary Music
NW Audi Dealer Group
Kells Irish Restaurant & Pub †
Peg and Rick Young Foundation
KPMG
$25,000 – $49,999
Lakeside Industries
Leco-sho†
National Frozen Foods Corporation
Ann and Gordon Getty Foundation
Macy’s Foundation
Pendleton and Elisabeth Carey Miller
Charitable Foundation
Bank of America
Milliman ◊
Power2Give Presented by ArtsFund
Bill & Melinda Gates Foundation
Norman Archibald Foundation
BNSF Foundation
NW Cadillac Dealer Group
R.B. and Ruth H. Dunn Charitable
Foundation
CTI BioPharma
Perkins Coie LLP
Classic Pianos ◊
Sheraton Seattle Hotel †
Elizabeth McGraw Foundation
Sheri and Les Biller Family Foundation
Four Seasons Hotel †
Washington Employers †
Mercer †
Wild Ginger Restaurant †
Microsoft Matching Gifts
Anonymous
Peach Foundation
RBC Wealth Management
$5,000 – $9,999
Russell Investments
Accountemps †
Seattle Foundation
Acucela Inc.
Snoqualmie Tribe
Amphion Foundation
Wells Fargo
Audio Visual Factory †
Ballard Blossom, Inc. †
Pacific Coast Feather Co.
Schiff Foundation
Seattle Symphony Volunteers
Russell Family Foundation
Thurston Charitable Foundation
Skanska USA
UBS Employee Giving Programs
Snoqualmie Casino
Wilson Sonsini Goodrich
& Rosati Foundation
Stoel Rivers
Starbucks Coffee Company †
Umpqua Bank
U.S. Bank Foundation
† In-Kind Support
◊ Financial and In-Kind Support
Von’s †
Wyman Youth Trust
$3,000 – $4,999
Bank of America
Foundation Matching Gifts
Barnard Griffin Winery †
Bill & Melinda Gates Foundation
Matching Gifts
Barrier Motors
Community Attributes †
Bellevue Children’s Academy
Glazer’s Camera †
Nintendo of America, Inc.
Parker Smith Feek
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/symphony/community.
encore artsseattle.com 45
YOUR GUIDE TO BENAROYA HALL
SYMPHONICA , THE SYMPHONY STORE:
SMOKING POLICY: Smoking is not
Located in The Boeing Company Gallery, Symphonica
opens 90 minutes prior to all Seattle Symphony
performances and remains open through intermission.
permitted in Benaroya Hall. Smoking areas
are available along Third Avenue.
PARKING: You may purchase prepaid parking
appropriate phone number, listed below, and your exact
seat location (aisle, section, row and seat number) with
your sitter or service so we may easily locate you in
the event of an emergency: S. Mark Taper Foundation
Auditorium, 206.215.4825; Illsley Ball Nordstrom
Recital Hall, 206.215.4776.
for the Benaroya Hall garage when you purchase
concert tickets. Prepaid parking may be purchased
online or through the Ticket Office. If you wish
to add prepaid parking to existing orders, please
contact the Ticket Office at 206.215.4747.
The 430-space underground parking garage at
Benaroya Hall provides direct access from the
enclosed parking area into the Hall via elevators
leading to The Boeing Company Gallery. Cars
enter the garage off Second Avenue, just south
of Union Street. There are many other garages
within a one-block radius of Benaroya Hall as
well as numerous on-street parking spaces.
COAT CHECK: The coat check is located in The
Boeing Company Gallery. Patrons are encouraged
to use this complimentary service. For safety,
coats may not be draped over balcony railings.
LATE SEATING: For the comfort and listening pleasure
of our audiences, late-arriving patrons will not be
seated while music is being performed. Latecomers will
be seated at appropriate pauses in the performance,
and are invited to listen to and watch performances in
the S. Mark Taper Foundation Auditorium on a monitor
located in the Samuel & Althea Stroum Grand Lobby.
CAMERAS, CELL PHONES, RECORDERS,
BEEPERS & WATCH ALARMS: The use of
cameras or audio- recording equipment is strictly
prohibited. Patrons are asked to turn off all personal
electronic devices prior to the performance.
LOST AND FOUND: Please contact the Head
Usher immediately following the performance or
call Benaroya Hall security at 206.215.4715.
PUBLIC TOURS: Free tours of Benaroya Hall
begin at noon and 1pm on select Mondays and
Tuesdays; please visit benaroyahall.org or call
206.215.4800 for a list of available dates. Meet
your tour guide in The Boeing Company Gallery.
To schedule group tours, call 206.215.4856.
COUGH DROPS: Cough drops are
available from ushers.
EVACUATION: To ensure your safety in case of fire
or other emergency, we request that you familiarize
yourself with the exit routes nearest your seat.
Please follow the instructions of our ushers, who
are trained to assist you in case of an emergency.
EMERGENCY PHONE NUMBER: Please leave the
DOCTOR IN THE HOUSE: Virginia Mason
Medical Center physicians frequently attend
Seattle Symphony performances and are ready
to assist with any medical problems that arise.
SERVICES FOR PATRONS WITH DISABILITIES:
Benaroya Hall is barrier-free and meets or exceeds all
criteria established by the Americans with Disabilities
Act (ADA). Wheelchair locations and seating for those
with disabilities are available. Those with oxygen
tanks are asked to please switch to continuous flow.
Requests for accommodations should be made when
purchasing tickets. For a full range of accommodations,
please visit our website at seattlesymphony.org.
SERVICES FOR HARD-OF-HEARING PATRONS:
An infrared hearing system is available for patrons
who are hard of hearing. Headsets are available
at no charge on a first-come, first-served basis
in The Boeing Company Gallery coat check and
at the Head Usher stations in both lobbies.
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.
46
SEATTLESYMPHONY.ORG
THE LIS(Z)T
SEEN & HEARD @ THE SEATTLE SYMPHONY
2
1
4
3
5
6
CARNEGIE HALL
On May 6 the Seattle Symphony performed before a sold-out
audience at Carnegie Hall. Part of the Spring For Music festival,
the performance featured the New York premiere of John
Luther Adams’ Pulitzer Prize–winning composition, Become
Ocean. Commissioned by the Seattle Symphony with the
generous support of Brian and Lynn Grant, Become Ocean was
premiered by the orchestra in June 2013.
From all of us at the Seattle Symphony, thank you to everyone
who traveled to New York to cheer us on, and to all those
whose support made the trip to Carnegie Hall possible. Special
thanks to Delta Air Lines, Official Airline of the Carnegie Hall
Patron Tour; media sponsors Classical KING FM 98.1 and Seattle
Met magazine; the Park Central Hotel; and festival presenters
Carnegie Hall and Spring For Music.
Following the performance, musicians and patrons toasted
this historic moment at the Russian Tea Room, celebrating
the energy and optimism that have come to permeate the
Symphony since Ludovic Morlot became Music Director in 2011.
Read past editions of The Lis(z)t online at
donate.seattlesymphony.org/liszt.
PHOTOS: 1 Ludovic Morlot and the Seattle Symphony performing before a sold-out Carnegie Hall 2 Seattle Symphony supporters showing their pride at Carnegie Hall
3 Pulitzer Prize–winning composer John Luther Adams 4 Dana Laird, John Nesholm and his wife, Board member Laurel Nesholm, with Ludovic Morlot, Board Chair
Leslie Jackson Chihuly and Board member Ned Laird 5 Board member Paul Leach and Concertmaster Alexander Velinzon with Board member Jean-Francois Heitz and
his wife, Catherine Heitz 6 Former U.S. Senator and Governor Daniel J. Evans and his wife, Board member Nancy Evans Photos by Brandon Patoc Photography
encore artsseattle.com 47
A DEPARTURE FROM
LIMITED DEPARTURES.
INTRODUCING 5 DAILY FLIGHTS
TO PHOENIX.
DELTA .COM
Service to Phoenix begins December 20, 2014. Service may be operated by Delta Connection® carrier SkyWest Airlines. FORTUNE and The World’s Most Admired Companies are registered trademarks of Time Inc.
and are used under license. FORTUNE and Time Inc. are not affiliated with, and do not endorse products or services of, Delta Air Lines.