Beatrice Rana plays Schumann's Piano Concerto - THOMAS DAUSGAARD, MUSIC DIRECTOR
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OCTOBER 2019
THOMAS DAUSGAARD, MUSIC DIRECTOR
Beatrice Rana
plays Schumann’s Piano Concerto
Dausgaard conducts Mozart’s “Jupiter” Symphony &
Beethoven’s Second Piano Concerto with Lang Lang
Mozart’s Requiem
Augustin Hadelich plays Brahms’ Violin Concerto
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CONTENTS OCTOBER 2019
4 / Calendar
6 / The Orchestra
50 / Benaroya Hall Guide
FEATURES
5 / Community Connections
7 / Meet the Musicians
10 / On a High Note
12 / Thomas Dausgaard on
the Season Ahead
51 / The Lis(z)t
CONCERTS
14 / October 9
Lang Lang with the Seattle
Symphony
20 / October 10 & 12
Mozart Jupiter Symphony
39
24 / October 17, 19 & 20
Mozart Requiem
Photo: Simon Fowler.
31 / October 18
[untitled] 1
NATHALIE STUTZMANN 34 / October 24 & 26
Schumann Piano Concerto
38 / October 25
Mendelssohn Untuxed
39 / October 31 & November 2
24 39
Augustin Hadelich Brahms
Violin Concerto
Photo: Luca Valentina
Photo: JamesHolt
NOAH GELLER AUGUSTIN HADELICH
ON THE COVER: Beatrice Rana by Nicolas Bets
COVER DESIGN: Jadzia Parker
EDITORS: Rachel Spain, Heidi Staub
© 2019 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.
encorespotlight.com 3
LOOKING AHEAD: PERFORMANCE SPACE:
■ S. MARK TAPER FOUNDATION AUDITORIUM
ON THE DIAL: Tune in to Classical KING
FM 98.1 every Wednesday at 8pm for a
NOVEMBER ■ ILLSLEY BALL NORDSTROM RECITAL HALL
■ OCTAVE 9: RAISBECK MUSIC CENTER
■ SAMUEL & ALTHEA STROUM GRAND LOBBY
Seattle Symphony spotlight and the first
Friday of every month at 9pm for concert
broadcasts.
AT BENAROYA HALL ■ SYMPHONY EVENTS AWAY FROM THE HALL
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 1pm NPR’s
2
Wow in the World
Pop Up Party
NATIONAL PUBLIC
RADIO
7:30pm Jazz of the
Harlem Renaissance
SEATTLE REPERTORY
JAZZ ORCHESTRA
8pm Augustin
Hadelich Brahms
Violin Concerto
SEATTLE SYMPHONY
3 4 5 6 7 88 9
4pm 7:30pm 7:30pm 8pm 7:30pm
Passage: Confronting Chick Corea Trace Bundy The Movie Music of Duo Melis
Intolerance Rhapsody in Blue LIVE @ BENAROYA John Williams SEATTLE CLASSIC
MUSIC OF SEATTLE SYMPHONY HALL SEATTLE SYMPHONY GUITAR SOCIETY
REMEMBRANCE
9pm 8pm
6pm Suicide Girls: The Movie Music of
Dialogues: Kate Blackheart John Williams
Soper in Recital Burlesque SEATTLE SYMPHONY
SEATTLE SYMPHONY SUICIDE GIRLS LLC
2pm
10 7:30pm
11 7:30pm
12 13 7:30pm
14 12pm
15 8pm
16
The Movie Music of Veterans Day Amor Towles Rachmaninov Rachmaninov Rachmaninov
John Williams Celebration SEATTLE ARTS & Symphony No. 2 Symphony No. 2 Symphony No. 2
SEATTLE SYMPHONY SEATTLE WIND LECTURES SEATTLE SYMPHONY SEATTLE SYMPHONY SEATTLE SYMPHONY
SYMPHONY
7pm 8pm 8pm
An Evening with LEONID & FRIENDS Mateo Messina's
David Sedaris - A Tribute to the 22nd Benefit
NORTHWEST Music of Chicago Concert: Origin -The
ASSOCIATED ARTS, EMPORIUM PRESENTS Symphony
KNKX 88.5 FM & THE LUMA GUILD
STRANGER
8pm
Beethoven & Ravel
SEATTLE SYMPHONY
3pm 17 7pm 18 19 20 10am Friends 21 7:30pm 22 9:30 & 11am 23
Russian Masters Musical Open Rehearsal & Casa Patas Meet the Clarinet
SEATTLE YOUTH Conversations: Discussion Flamenco: Raíz De 4 SEATTLE SYMPHONY
SYMPHONY Stravinsky SEATTLE SYMPHONY LIVE @ BENAROYA 2 & 7:30pm
ORCHESTRA SEATTLE SYMPHONY HALL Casa Patas
7:30pm Artist/
Filmmaker Robin Flamenco: Raíz De 4
7:30pm 8pm LIVE @ BENAROYA HALL
A Tuba To Cuba: The Layton presents the Orfeo ed Euridice
Preservation Hall lake with guitarist SEATTLE SYMPHONY
2pm Cascade Youth
Jazz Band with Yusa Will Ackerman Symphony Orchestra
and Special Guests LIVE @ BENAROYA Concert
HALL CASCADE YOUTH
LIVE @ BENAROYA
SYMPHONY ORCHESTRA
HALL 7:30pm Stravinsky
8pm Stravinsky The
The Rite of Spring Rite of Spring
SEATTLE SYMPHONY SEATTLE SYMPHONY
2:30pm 24 25 26 27 28 7:30pm 29 6pm 30
La Nef: Sea Songs The Tenors: Wonder Encanto Holiday
and Chanties of Christmas Tour Concierto
EARLY MUSIC SEATTLE LIVE @ BENAROYA ENCANTO ARTS
HALL
7pm 7:30pm
Sacred Sounds of 'Tis the Season
Christmas SEATTLE MEN’S
SEATTLE PACIFIC CHORUS
UNIVERSITY
*Donor Events: Call 206.215.4832 for more information seattlesymphony.org TICKETS: 206.215.4747 GIVE: 206.215.4832
4 SEATTLESYMPHONY.ORG
■ COMMUNITY
CONNECTIONS
The Arc of
King County
Sandra Urite and Caroline April Urite; picture was
taken by Tom Wolken during The Arc’s Latino
Winter Party
The Arc of King County serves all people with
tchaikovsky
intellectual and developmental disabilities
across the lifespan: from prenatal diagnosis
EUGENE
through end of life care. They serve parents,
guardians, siblings, adults living in the
community, individuals who need financial
ONEGIN
management assistance, families at risk
of losing their housing, self-advocates,
and community allies seeking to make the
community more systemically equitable for all
people. The Arc of King County promotes and
protects human and civil rights of people with
JANUARY 11–25
intellectual and developmental disabilities,
actively supporting their full inclusion so that
they can live, learn, work, and play in the
community — making the world a better place
for us all.
The Arc of King County is one of nearly 80
partners in the Seattle Symphony’s Community
© Philip Newton
Connections program which provides
complimentary tickets to diverse communities
in the Puget Sound region.
DECADENT RUSSIAN ROMANCE
For Tatyana, it’s love at first sight. She bares her In Russian with English subtitles.
soul in a passionate letter to Onegin, but their Evenings 7:30 PM
hearts are out of sync. When he finally returns Sundays 2:00 PM
her affections, it’s too late—a rival has appeared.
Featuring the Seattle Opera Chorus
Pushkin’s masterful verse novel fuses with
and members of Seattle
breathtaking music by Tchaikovsky (The
CONNECT WITH US: Nutcracker, Swan Lake, 1812 Overture) for
Symphony Orchestra.
Share your photos using #ListenBoldly and poignant Russian romance at its finest. Lush
orchestrations, elegant ballroom dances, and
MCCAW HALL
follow @seattlesymphony on Facebook,
Instagram, Twitter and Snapchat. Download elaborate costumes bring 1800s Russia to life on 206.389.7676
the Listen Boldly app to easily purchase
the McCaw Hall stage in this achingly beautiful SEATTLEOPERA.ORG/ONEGIN
tale of longing, remorse, and love unfulfilled.
tickets, skip the Ticket Office lines and receive
exclusive offers.
2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN
PRODUCTION SPONSOR: SEATTLE OPERA FOUNDATION
encorespotlight.com 5
THOMAS DAUSGAARD
MUSIC DIRECTOR
Music Director of the Seattle Symphony, Danish conductor Thomas Dausgaard is esteemed
for his creativity and innovative programming, the excitement of his live performances and his
extensive catalogue of critically acclaimed recordings. A renowned recording artist with over
70 discs to his name, Dausgaard’s releases with the Seattle Symphony have garnered critical
acclaim resulting in international honors including a 2017 Gramophone Award nomination
for Mahler’s Symphony No. 10 (Deryck Cooke version), Gramophone’s 2018 Orchestra of
the Year Award, and a 2019 Best Orchestral Performance Grammy nomination for Nielsen’s
Symphonies Nos. 3 and 4.
An avid champion of contemporary works and the music of his homeland, Dausgaard and the
Seattle Symphony will release the much-anticipated cycle of symphonies by Carl Nielsen.
Performing internationally with many of the world’s leading orchestras, Dausgaard is also
the Chief Conductor of the BBC Scottish Symphony Orchestra, Conductor Laureate of the
Photo: Brandon Patoc
Swedish Chamber Orchestra, and Honorary Conductor of the Orchestra della Toscana and
the Danish National Symphony Orchestra.
Dausgaard has been awarded the Cross of Chivalry by the Queen of Denmark and elected to
the Royal Academy of Music in Sweden.
SEATTLE SYMPHONY ROSTER
Joseph Crnko Associate Conductor for Choral Activities Ludovic Morlot Judith Fong Conductor Emeritus
THOMAS DAUSGAARD
Lee Mills Douglas F. King Associate Conductor Gerard Schwarz Rebecca & Jack Benaroya Conductor Laureate
Harriet Overton Stimson Music Director
Lina Gonzalez-Granados Conducting Fellow
FIRST VIOLIN Mara Gearman OBOE Jonathan Karschney KEYBOARD
Noah Geller Assistant Principal Mary Lynch Assistant Principal Joseph Adam
David & Amy Fulton Concertmaster Timothy Hale Principal Jenna Breen Organ +
Open Position Wes Dyring Supported by anonymous donors John Turman
Clowes Family Associate Concertmaster Sayaka Kokubo Ben Hausmann Danielle Kuhlmann PERSONNEL MANAGER
Daniel Stone Associate Principal
Eduardo Rios TRUMPET Scott Wilson
Rachel Swerdlow
First Assistant Concertmaster Chengwen Winnie Lai
David Gordon ASSISTANT PERSONNEL MANAGER
Simon James CELLO Stefan Farkas
Boeing Company Principal Trumpet
Keith Higgins
Second Assistant Concertmaster** Efe Baltacıgil ENGLISH HORN Alexander White
Jennifer Bai Marks Family Foundation Principal Cello LIBRARY
Stefan Farkas Associate Principal
Mariel Bailey Meeka Quan DiLorenzo Jeanne Case
Christopher Stingle
Cecilia Poellein Buss Associate Principal CLARINET Michael Myers Associate Librarian
Timothy Garland
Nathan Chan Benjamin Lulich Robert Olivia
Leonid Keylin TROMBONE
Assistant Principal Mr. & Mrs. Paul R. Smith Principal Associate Librarian
Andy Liang
Mae Lin Eric Han Clarinet Ko-ichiro Yamamoto
Rachel Swerdlow
Mikhail Shmidt Bruce Bailey Emil Khudyev Principal
Assistant Librarian
Clark Story Roberta Hansen Downey Associate Principal David Lawrence Ritt
John Weller Walter Gray Stephen Fissel
Laura DeLuca TECHNICAL DIRECTOR
Jeannie Wells Yablonsky Vivian Gu
Dr. Robert Wallace Clarinet Joseph E. Cook
Arthur Zadinsky Joy Payton-Stevens BASS TROMBONE
David Sabee Eric Jacobs
Stephen Fissel ARTIST IN ASSOCIATION
SECOND VIOLIN
BASS E-FLAT CLARINET Dale Chihuly
Elisa Barston TUBA
Principal Jordan Anderson Laura DeLuca
John DiCesare 2019–2020 SEASON
Mr. & Mrs. Harold H. Heath Principal
Michael Miropolsky BASS CLARINET Principal COMPOSER IN RESIDENCE
String Bass
John & Carmen Delo
Eric Jacobs Tyshawn Sorey
Associate Principal Second Violin Joseph Kaufman TIMPANI
Associate Principal
Kathleen Boyer BASSOON James Benoit 2019–2020 SEASON
Assistant Principal Jonathan Burnstein Principal ARTIST IN RESIDENCE
Seth Krimsky
Jennifer Godfrey Seth Parker Woods
Gennady Filimonov Principal Matthew Decker
Travis Gore
Sydney Adedamola * Luke Fieweger Assistant Principal
Jonathan Green HONORARY MEMBER
Evan Anderson
Will Langlie-Miletich Associate Principal
Cyril M. Harris †
Natasha Bazhanov PERCUSSION
Brittany Breeden Paul Rafanelli
FLUTE Open Position Michael A. Werner
Stephen Bryant + Resident
Linda Cole Demarre McGill Principal
Xiao-po Fei Principal CONTRABASSOON Michael Clark † In Memoriam
Artur Girsky Supported by David and Shelley Hovind Open Position Matthew Decker * Temporary Musician for 2019–2020
Andrew Yeung Jeffrey Barker season
Associate Principal HORN HARP
VIOLA ** On leave for the 2019–2020 season
Judy Washburn Kriewall Jeffrey Fair Valerie Muzzolini
Susan Gulkis Assadi Zartouhi Dombourian-Eby Charles Simonyi Principal Horn Principal
PONCHO Principal Viola Mark Robbins
Arie Schächter PICCOLO Associate Principal
Associate Principal Zartouhi Dombourian-Eby Supported by Stephen Whyte
Robert & Clodagh Ash Piccolo
6 SEATTLESYMPHONY.ORG
■M
EET THE MUSICIANS Bischofberger
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Horn Professional
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Danielle Kuhlmann wants you to know that she loves her spice rack. Not a little. A lot. “I’m for the pass that
obsessively organized, and my spice rack is the crown jewel of my kitchen,” she explains.
entitles you to $5
Its neat labels, clean rows and perfect order enables an adventurous, creative freedom when she
cooks. “I like to experiment with food because I love eating and I love food and I love flavors. I arts & culture tickets.
improvise as I go. Usually it's good, but sometimes it's terrible,” she laughs.
Her willingness to take risks could be connected to her years of studying music. “Playing the horn
requires a lot of confidence and vulnerability at the same time,” she says. “I think, especially being teentix.org
a woman, that it’s been a huge help to put me out there in the world, to feel confident in my voice,
in my opinions, my ideas.”
Danielle exudes confidence whenever she takes the stage. She is a Monday night regular at her Inspiring Gifted Students K-8
favorite karaoke spot in Beacon Hill. “Anyone who will sing karaoke with me, I will sing karaoke
with them,” she says. “My best karaoke partner is probably John Turman, third horn, who I sit next
to in the orchestra. Our signature song is ‘Suddenly Seymour’ from Little Shop of Horrors.”
Despite her fearless attitude, Danielle says she still feels a sense of anticipation and excitement
before concerts on stage at Benaroya Hall. For her, “it's more about sharing with the audience who
we are as people and as musicians, individually, but also who we are as a symphony.”
“When we all come together to share that gift, there is nothing else like it. There are no other
symphonies like ours, there are no other audiences like ours. That's what makes live music a
beautiful experience.”
206 .691.2625 seattlecountryday.org
encorespotlight.com 7
ABOUT THE SEATTLE SYMPHONY
Led by Music Director Thomas Dausgaard, the Seattle Symphony unleashes the power of music, brings people together and lifts the human spirit.
Recognized as one of the “most vital American orchestras” (NPR), the Seattle Symphony is internationally acclaimed for its inventive programming,
community-minded initiatives and superb recordings on the Seattle Symphony Media label. With a strong commitment to new music and a legacy of
over 150 recordings, the orchestra has garnered five Grammy Awards, 26 Grammy nominations, two Emmy Awards and was named Gramophone’s 2018
Orchestra of the Year. The Symphony performs in Benaroya Hall in the heart of downtown Seattle from September through July, reaching over 500,000
people annually through live performances and radio broadcasts.
The Seattle Symphony acknowledges that we gather on Indigenous land: the traditional territory of Coast Salish peoples, specifically the Duwamish Tribe
(Dkhw Duw’Absh).
■ OUR MISSION
THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC,
BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.
SEATTLE SYMPHONY BOARD OF DIRECTORS
RENÉ ANCINAS Chair* Molly Gabel Secretary* Paula Boggs Vice Chair, Audiences & Communities* Dana Reid Vice Chair, Governance*
Michael Slonski Treasurer* Jon Rosen Vice Chair, Development* Stephen Whyte Vice Chair, Finance*
DIRECTORS Viren Kamdar DESIGNEES Bruce Baker Henry James
Marco Argenti Ronald Koo Zartouhi Dombourian-Eby Cynthia Bayley J. Pierre Loebel
Ryo Kubota Musician Representative Sherry Benaroya Yoshi Minegishi
Rosanna Bowles
Isiaah Crawford Stephen Kutz Carla Gifford President, Alexandra Brookshire Marilyn Morgan
Ned Laird* Seattle Symphony Chorale Phyllis Byrdwell Isa Nelson
Susan Detweiler
Rebecca Ebsworth Paul Leach* Carole E. Rush President, Phyllis Campbell Marlys Palumbo
Seattle Symphony Volunteers
Larry Estrada Kjristine R. Lund Mary Ann Champion Sally Phinny
Brian J. Marks Valerie Muzzolini Robert Collett James Raisbeck
Jerry Farley Musician Representative
Judith Fong Scott McCammant David Davis Sue Raschella
Krishna Thiagarajan
Mauricio Gonzalez Hisayo Nakajima President & CEO Nancy Evans Bernice Rind †
de la Fuente Nancy Neraas Dorothy Fluke Jill Ruckelshaus
Alexander White
Lt. Gov. Cyrus Habib Peter Russo Musician Representative David Fulton H. Jon Runstad
Michael Hatch Elisabeth Beers Sandler Jean Gardner Martin Selig
Terry Hecker CHAIR EMERITA
Kathy Savitt Ruth Gerberding John F. Shaw
Jean-François Heitz* Leslie Jackson Chihuly
Jim Schwab* James Gillick Linda Stevens
Parul Houlahan* Lyle Snyder Gerald Grinstein Patricia Tall-Takacs
LIFETIME DIRECTORS
Douglas Jackson Patty Hall Marcus Tsutakawa
* Executive Committee Llewelyn Pritchard
Susan Johannsen* Chair Cathi Hatch Cyrus Vance, Jr.
Aimee Johnson* Steven Hill Karla Waterman
Richard Albrecht
Nader Kabbani Ken Hollingsworth Ronald Woodard
Susan Armstrong
Robert Ash Patricia Holmes Arlene Wright
William Bain † David Hovind † In Memoriam
SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS
JEAN-FRANÇOIS HEITZ Kathleen Wright Vice Chair René Ancinas Viren Kamdar David Tan
Chair Muriel Van Housen Secretary Nancy B. Evans Kjristine R. Lund Rick White
Michael Slonski Treasurer Joaquin Hernandez
BENAROYA HALL BOARD OF DIRECTORS
NED LAIRD Chair Mark Reddington Vice Chair Yao Bailey Jim Duncan Designees:
Nancy B. Evans Secretary Dwight Dively Glen Lee Krishna Thiagarajan President & CEO
Michael Slonski Treasurer Leo van Dorp Tom Owens Zartouhi Dombourian-Eby Musician Representative
8 SEATTLESYMPHONY.ORG
SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF
SENIOR MANAGEMENT TEAM COMMUNICATIONS DEVELOPMENT
Krishna Thiagarajan Heidi Staub Aaron Sumpter
President & CEO Director of Content Development Officer, Assistant to VP of
Leslie Jackson Chihuly Chair Development
James Holt
Jennifer Adair Digital Content Producer Renee Duprel
Vice President & General Manager Associate Vice President of Development
Andrew Stiefel
(Campaign)
Laura Reynolds Senior Digital Communications Manager
Vice President of Education & Community Paul Gjording
Dinah Lu
Engagement Director of Institutional Giving &
Publicist
Government Relations
Cheronne Wong
Vice President & CFO
MARKETING Betsy Groat
Maria Yang Senior Manager of Individual Giving
Rachel Spain
Vice President of Development Marketing Manager Kent Anderson
Gregg Gleasner Donor Relations Officer
Michelle Cheng
Interim Vice President of Artistic Planning Becky Kowals
Digital Marketing Manager
Christy Wood Director of Major Gifts & Planned Giving
Amanda DiCesare
Associate Vice President of Marketing & Sales Marsha Wolf
Marketing Administrator
Shiva Shafii Senior Major Gift Officer
Director of Communications Barry Lalonde
Director of Digital Products Michael Maniaci
Major Gift Officer
EXECUTIVE OFFICE Herb Burke, Jason Huynh
Digital Project Managers Alexa Bayouk, Madyson Ellars
Margaret Holsinger Development Coordinators (Major Gifts)
Executive Assistant to the President & CEO, Gerry Kunkel
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Director of Individual Giving
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Office Assistant Senior Graphic Designer Martin K. Johansson
Communications & Grants Manager
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ARTISTIC PLANNING Graphic Designer Kathleen Shin
Paige Gilbert Annual Fund Coordinator
Forrest Schofield
Manager of Artistic Planning & Popular Group Services Manager Nichole Maiman Waterman
Programming Data Operations Manager
Joe Brock
Michael Gandlmayr Retail Manager Nick Magruder
Assistant Artistic Administrator Data Operations Coordinator
Christina Hajdu
Stephanie Torok Sales Associate Molly Gillette
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Ticket Office Sales Manager Jessica Kittams
Dmitriy Lipay Stewardship Events Officer
Director of Audio & Recording Brian Goodwin
Ticket Office Coordinator Ryan Hicks
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Personal Assistant to the Music Director, Asma Ahmed, Mary Austin,
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Danela Butler, Katrina Fasulo, Michelle FINANCE & FACILITIES
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d
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Accounting Manager
Ana Hinz VENUE ADMINISTRATION
Jenn Hernandez
Production Manager Matt Laughlin AP Accountant
Liz Kane Director of Facility Sales
Erika Najarro
Assistant to VP & GM James Frounfelter, Adam Moomey Payroll & Benefits Administrator
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Jeanne Case, Robert Olivia
Sophia El-Wakil
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Bernel Goldberg
General Counsel our happy hour
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Assistant House Manager & Usher Scheduler
Grant Cagle
Facilities Manager or our nightly prix
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Assistant Technical Director Patrick Weigel
Assistant House Manager
Damien DeWitte
Senior Building Engineer fixe dinner and
John Roberson
Audio Manager Dawn Hathaway, Lynn Lambie,
Mel Longley, Ryan Marsh,
Rodney Kretzer
Building Engineer make it to your
Johnny Baca, Chris Dinon,
Aaron Gorseth, Sarah C. Meyers,
Michael Schienbein, Ira Seigel
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Head Ushers
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Facilities Administrator show on time.
Stage Technicians Laura Banks, Bill Coniff, Katrina HUMAN RESOURCES
Swensen, Carole Unger
EDUCATION & Assistant Head Ushers Kathryn Osburn
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encorespotlight.com 9
ON A HIGH NOTE WELCOME LEE
AND LINA!
NEWS FROM THE SYMPHONY
The Seattle Symphony is excited to welcome
Dear Friends, Lee Mills as the Douglas F. King Associate
Conductor and Lina Gonzalez-Granados as
I cannot believe how quickly October arrived.
the Conducting Fellow! Mills will conduct
It seems like only a few days ago we were
a variety of concerts this season including
getting ready for Opening Night with our new
Family and Community Concerts and
Music Director Thomas Dausgaard, which set
Holiday programs. Gonzalez-Granados
a new record for the Seattle Symphony thanks
will be conducting several Education and
to your support! October brings the return of
Community Engagement concerts. In
Thomas for what is sure to be two spectacular
February, they’ll unite to lead [untitled] 2
concerts! One is with superstar pianist Lang
featuring contemporary Latin American
Lang and in the other, Thomas leads the
Photo: Brandon Patoc
composers. We so look forward to seeing
orchestra in a riveting program of Scriabin’s
them on the podium this season!
Le Poème de l’extase and Stravinsky’s The
Rite of Spring.
Another big name joins us later this month
— pianist Beatrice Rana will perform Robert Schumann’s Piano Concerto.
That piece in particular was heavily influenced by his wife, composer and
pianist Clara Schumann, a force in the classical world at the time. On the same
program, I personally look forward to hearing a work composed as a tribute to
Photo: James Holt
her mother by Anna Clyne titled Within Her Arms.
The Symphony would not be complete without our amazing Chorale and I could
not imagine a more beautiful work to feature than the Mozart Requiem. The
Requiem program will also feature Concertmaster Noah Geller and the return LEE MILLS
of eminent conductor and period performance specialist Masaaki Suzuki to our Douglas F. King Associate Conductor
podium. Finally, the first [untitled] performance will feature the brass section of
Lee Mills is internationally recognized as a
the Seattle Symphony for the first time and for some fun for the entire family, we
multifaceted conductor. Mills has served as
have the music of Bugs Bunny as well as our fall Family Concert this month.
Resident Conductor of the Brazilian Symphony
I look forward to seeing you at our many concerts in Benaroya Hall this month! Orchestra and conducted the National Symphony
Thank you, and enjoy the music. Orchestra and Los Angeles Philharmonic. In 2014,
he conducted in the acclaimed U.S. Premiere of
With best wishes, John Cage’s Thirty Pieces for Five Orchestras with
the St. Louis Symphony. Mills is a two-time recipient
Krishna Thiagarajan of the Solti Foundation U.S. Career Assistance
President & CEO Award. Originally from Montana, Mills received his
Seattle Symphony | Benaroya Hall Graduate Performance Diploma and Artist Diploma
in Orchestral Conducting at the Peabody Institute
under the tutelage of Gustav Meier and Marin Alsop.
LINA GONZALEZ-GRANADOS
Conducting Fellow
Lina Gonzalez-Granados has firmly established
herself as a talented conductor. Gonzalez-Granados
is currently the Philadelphia Orchestra’s Conducting
NOTA BENE
Fellow and was previously assistant conductor
for the Chicago and Nashville Symphonies. She
recently made her guest conducting debut with
WELCOME THOMAS DAUSGAARD The Seattle Symphony opened the season with the Orquesta Sinfónica de Colombia. In 2014, she
two concerts featuring incoming Music Director Thomas Dausgaard. Following a founded Unitas Ensemble, a chamber orchestra
performance of Mahler’s Symphony No. 1, Seattle Times critic Melinda Bargreen wrote specializing in Latin American music. Hailing from
“the cheers rang out long and loudly for the first subscription concert of the Seattle Colombia, Gonzalez-Granados received her
Symphony’s Thomas Dausgaard era.” master’s degree in Conducting and Graduate
Diploma in Choral Conducting from New England
Conservatory. She has studied with Bramwell
FREE CONCERTS THIS MONTH The Seattle Symphony will perform two free side-by-side Tovey, Stefan Asbury, Erica Washburn and Charles
concerts this month with local high school students. The orchestra will perform at Garfield Peltz. Gonzalez-Granados is currently pursuing
High School on Tuesday, October 22 at 7pm and at Roosevelt High School on Thursday, her doctorate degree in Orchestral Conducting at
October 24 at 7pm. Boston University.
10 SEATTLESYMPHONY.ORGOctober 2019 | Volume 33, No. 2 CELEBRATING BEETHOVEN at
MEANY CENTER
with pianist Jonathan Biss
An Exploration of
Beethoven’s Piano Sonatas
PART I: NOVEMBER 5
PART II: DECEMBER 11
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encorespotlight.com 11“AN INVITATION
INTO MY
WORLD”
Music Director
Thomas Dausgaard on
the season ahead
By Catherine Nguyen
Thomas Dausgaard exudes a special energy; shares Thomas. “I find it very inspiring to think “I am always drawn to an element of
one that marvels at the world around him. that we as an orchestra are a giver of life and context, so rethinking how to celebrate
vitality for the community, offering spiritual the humanist ideals of Beethoven in a way
“I love the way nature interacts with the city experiences which inspire on many levels, which meaningfully involves communities in
of Seattle; you are never far from the water, with each program expressing something Seattle is incredibly stimulating, like creating
and that means space, where you can feel about who we are and where we are going a completely new context.”
the elements and the changes of light,” he together.”
says. This same type of sensitive reflection is Thomas brings Beethoven to Seattle from a
most certainly a part of his music as well. The Stravinsky Rite of Spring concert in place of deep passion — for the music and
November fully encapsulates this sentiment. the people.
Thomas is no stranger to Seattle. Our city The concept of inspiration will manifest in
has been a home away from his native an exploration of the composer’s folk music “[In his Ninth Symphony,] Beethoven sets to
Denmark for quite some time. He has been roots. Not only will audiences hear the iconic music the text by Schiller with the famous
the Symphony’s Principal Guest Conductor Rite of Spring, they'll also gain a deeper line that ‘we shall all be brothers.’ [The
since 2014. Together, he and the orchestra understanding of the music by hearing folk celebration presents] his music in the context
achieved international acclaim with recordings music that inspired Stravinsky. of his brothers and sisters here in the United
of Gustav Mahler’s Symphony No. 10 and Carl States, and, in particular, Seattle.”
Nielsen’s Symphonies Nos. 3 and 4. Beethoven is another composer who
wrote music close to Thomas’ heart. This The Seattle Symphony’s Beethoven 2020
Yet we’ve only seen a glimpse of his musical season marks the 250th anniversary of the Festival promises to be a major event for
interests. So, at the start of his first season as composer’s birth. the community, culminating in season-long
Music Director, we share more on Thomas’ creative work that puts community members
musical identity and his vision for the season. Thomas and the Seattle Symphony are taking at the forefront.
the celebration a step further: over three
“This season is an invitation into my world, weeks in June, the orchestra will perform all The festival launches with the stories of local
into some of the music which changed my nine of Beethoven's symphonies alongside a youth, composed and performed by teens
life — music close to my heart and which has series of newly commissioned works created, from across King County led by composer
played a continuous role in my musical life,” inspired or performed by the community. Angelique Poteat and Community Youth
12 SEATTLESYMPHONY.ORGChorus director Megan McCormick. That same week the
Seattle Symphony will give the world premiere of 2017
MacArthur Fellowship recipient — and Seattle Symphony
2019–2020 Composer in Residence — Tyshawn Sorey’s
New Work for Cello & Orchestra featuring Artist in Residence
Seth Parker Woods. Following that, members of regional
native tribes will premiere Potlatch Symphony 2020 with
composer Janice Giteck, featuring the return of violinist Swil
Kanim and native flutist Paul Chiyokten Wagner. A world
premiere composed by clients at Northwest Center for
People of All Abilities and composer Charles Corey will be
featured on the fourth festival concert.
Thomas adds, “Beethoven was my gateway to classical
music. When I was about 10 I formed a rock band together
with three other boys. I loved it. But when I first heard
Beethoven’s Pathétique Sonata about a year later there
was no way back. The rock band disbanded and I reveled
in Beethoven, listening to and playing all I could get hold
Photo: Karya Schanilec
of. I feel a connection to his music, and in some way I
felt understood through it. And it opened my ears to all
those composers who had inspired him — and to those he
inspired afterwards. His music had an elemental force, it was
larger than life, and it had a humanity and warmth. I couldn’t
imagine a life without it.”
This season Thomas invites us to explore his most formative
music, letting us inside his musical identity and showcasing
his personal touch and artistry.
As music inspires Thomas, he is sure to pass on the same to
Photo: Brandon Patoc
Seattle. We look forward to seeing him step on the podium
and begin his new journey with the Symphony.
Reprinted from September 2019, Volume 33, No. 1.
SEE THOMAS IN ACTION!
October 9 November 21 & 23 February 6 & 8
Lang Lang with the Seattle Symphony Stravinsky The Rite of Spring Dvořák Symphony No. 8
SIBELIUS Andante festivo SCRIABIN The Poem of Ecstasy TCHAIKOVSKY Romeo and Juliet Fantasy
Overture
BEETHOVEN Piano Concerto No. 2 “The roots: Stravinsky’s Inspirations”
Lang Lang, piano Juliana & PAVA, folk ensemble WEINBERG Violin Concerto
Gidon Kremer, violin
MOZART Symphony No. 41, “Jupiter” STRAVINSKY The Rite of Spring
Lang Lang’s performances are generously Thomas Dausgaard’s performances are generously DVOŘÁK Symphony No. 8
underwritten by the Nakajima Family through the underwritten by Grant and Dorrit Saviers. Thomas Dausgaard’s performances are
Seattle Symphony’s Guest Artists Circle. Additional support is provided by the Scan|Design generously underwritten by Ilene and Elwood
Foundation by Inner and Jens Bruun. Hertzog. Additional support is provided by the
Scan|Design Foundation by Inner and Jens Bruun.
October 10 & 12
Mozart Jupiter Symphony January 30 & February 1
Shostakovich Violin Concerto No. 1 SAVE THE DATE!
J.S. BACH Brandenburg Concerto No. 4
June 11–28
GRIEG Peer Gynt Suite No. 1
OLGA NEUWIRTH Aello – ballet mécanomorphe Beethoven Festival
(U.S. Premiere) SHOSTAKOVICH Violin Concerto No. 1
Anthony Dean Griffey’s performances are
Claire Chase, flute Patricia Kopatchinskaja, violin
supported in part by the Melvyn Poll Tenor Fund.
MOZART Symphony No. 41, “Jupiter” NIELSEN Symphony No. 1 Beethoven Festival concerts are supported in
Claire Chase’s performances are generously Thomas Dausgaard’s performances are generously part by a generous grant from the American
underwritten by Dale and Leslie Chihuly through underwritten by Charles and Maria Schweizer. Orchestras’ Future Fund, a program of the League
the Seattle Symphony’s Guest Artists Circle. Additional support is provided by the Scan|Design of American Orchestras made possible by funding
Foundation by Inner and Jens Bruun. from the Ann and Gordon Getty Foundation.
encorespotlight.com 1310/9
WEDNESDAY, OCTOBER 9, 2019, AT 7:30PM
PROGRAM NOTES
Lang Lang with the JEAN SIBELIUS
Seattle Symphony Andante festivo
S P E C IAL PE RFO RMA NCES BORN December 8, 1865, in Hämeenlinna,
Grand Duchy of Finland
DIED September 20, 1957, in Ainola, Finland
Thomas Dausgaard, conductor
WORK COMPOSED String quartet in 1922, string
Lang Lang, piano
orchestra in 1938
Seattle Symphony WORLD PREMIERE January 1, 1939 (string
orchestra version)
JEAN SIBELIUS Andante festivo 5’
LUDWIG VAN BEETHOVEN Piano Concerto No. 2 in B-flat major, Op. 19 28’ What to Listen For:
Allegro con brio The melody throughout is simple
Adagio and hymn-like. Listen for how
Rondo: Molto allegro Sibelius uses the string orchestra to climb
LANG LANG, PIANO to a gradual, triumphant climax.
IN T E R M IS S IO N 20'
WOLFGANG Symphony No. 41 in C major, K. 551, “Jupiter” 31’ The early 20th century was ripe with
AMADEUS MOZART Allegro vivace musical possibilities. Most composers
Andante cantabile turned away from the intense emotions
Menuetto: Allegretto of the Romantic era but Jean Sibelius
Molto allegro rejected this new experimentation. Sibelius
was innovative in his own right, but he held
Lang Lang’s performance is generously underwritten by the Nakajima Family through the that music should remain accessible. The
Seattle Symphony’s Guest Artists Circle. Finland native once famously compared
Please note that the timings provided for this concert are approximate.
himself to other composers of the time:
Please turn off all electronic devices and refrain from taking photos or video. “Whereas most other modern composers
Performance ©2019 Seattle Symphony. Copying of any performance by camera, audio or video recording are engaged in manufacturing cocktails
equipment, and any other use of such copying devices during a performance is prohibited. of every hue and description, I offer the
public cold spring water.”
The chance to share his “cold spring
water” worldwide occurred in the late
1930s as New York Times critic Olin
Downes asked Sibelius to compose a
piece for the New York Exhibition that
would broadcast internationally. The
radio broadcast, which Downes framed
as Finland’s greeting to the world, would
be a short piece meant to captivate
listeners and demonstrate the abilities of
orchestral radio music. Sibelius seized on
the opportunity and reorchestrated his
Andante festivo, which he first composed
in 1922 for a string quartet. The new
orchestration of the piece broadcast on
January 1, 1939 and featured a string
orchestra with timpani.
LUDWIG VAN BEETHOVEN
Piano Concerto No. 2 in B-flat major,
Op. 19
BORN December 16, 1770 in Bonn, Germany
DIED March 26, 1827 in Vienna, Austria
WORK COMPOSED Sketches in 1788, completed
1794–95
WORLD PREMIERE Possibly March 29, 1795
14 SEATTLESYMPHONY.ORGCONNECTING COMMUNITIES IN THE AIR AND ON THE GROUND. Proud to support the Seattle Symphony.
THOMAS
THOMAS
DAUSGAARD,
DAUSGAARD,
MUSIC
MUSIC
DIRECTOR
DIRECTOR
AA SYMPHONY
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oror
206.215.4852.
206.215.4852.PROGRAM NOTES
gradually to engross Mozart’s whole WOLFGANG AMADEUS
attention; turning quietly to the bystanders,
What to Listen For he said emphatically, ‘Mark that young MOZART
Melodies during this period were man; he will make himself a name in Symphony No. 41 in C major, K. 551,
expected to be pleasing and the world!’” Though Jahn provided no “Jupiter”
symmetrical. This type of music, known as evidence to substantiate his claim, this
the galant style, is meant to appeal to a story’s depiction of a young Beethoven BORN January 27, 1756, in Salzburg, Austria
wide audience and service human needs revering Mozart provides plenty of fodder DIED December 5, 1791, in Vienna, Austria
and emotions. for the imagination. Beethoven did, in fact, WORK COMPOSED 1788
“
desire to work under Mozart’s tutelage WORLD PREMIERE Unknown
but the composer’s untimely illness and
The first LP I bought was subsequent death lead to Beethoven
Beethoven’s second and instead studying under another master of What to Listen For
third piano concertos, and I listened the galant style, Joseph Haydn. The final movement features an
to them endlessly, feeling energized
exuberant, descending line in the
from every listen. No. 2 has a boldness, Beethoven officially moved to Vienna in
strings that sounds like lightning. Imagine
a directness and humour which I find 1792 to study with Haydn and continued
the Roman God Jupiter throwing lightning
irresistible. And then towards the end work on his Piano Concerto No. 2 in B-flat
from above as you hear Mozart’s
of the second movement it explores the major, Op. 19. Some confusion remains as
triumphant conclusion to his symphony.
elemental musical power of silence in to the order of Beethoven’s concertos as
“
the most delicate way; as if the music he composed the Piano Concerto No. 2
is about to disintegrate, small motifs first, but it was published after his Piano
I think Mozart is underrated. His
in the piano and hushed responses in Concerto No. 1. Beethoven premiered the
music is used as anonymous,
the orchestra are interrupted magically composition soon after its publication,
inoffensive background music or fillers in
performing himself as the soloist in
”
or even uncomfortably by rests, as concerts. Like Easy Listening. And yes,
if time itself is about to come to a Vienna’s Burgtheater.
it can pass by in an undisturbing way if
complete halt. you let it. But once you allow it to unfold
The concerto follows the Viennese
Classical form, providing the audience with in your ears, it has free-flowing richness,
three contrasting movements of fast–slow– endlessly inspired. Nielsen said admiringly
– Thomas Dausgaard
fast. The first movement exudes energy of him that Mozart composed with the
and showcases Beethoven’s grasp of the sure-footedness of a sleep-walker. Yes,
Throughout the late 18th century, an galant style with its exuberant opening he never stumbles. In his music he turns
intellectual movement known as the theme and song-like second melody. water into wine, potentially banal music is
Enlightenment swept across Europe, As was traditional, Beethoven followed turned into something sublime. Perhaps
stirring dreams of progress and a pursuit of sonata-allegro form, a musical structure that is part of the reason why Mahler’s
reason. In many ways, the Enlightenment commonly found in the first movements of “banalities” in his own symphonies
stood as a humanitarian movement and symphonies and concertos. In a concerto created such opposition until recently?
required the ruler of Austria, the Holy sonata-allegro form, the orchestra plays But like Mahler, Mozart’s music explores a
Roman Emperor Joseph II, to advocate for first, laying out the thematic material doubleness — perhaps seemingly happy
social justice and the betterment of society. that the soloist would then repeat and on the surface but with sometimes very
These ideals seeped into all aspects of life, expand upon in its exposition. Together, different undercurrents, so that altogether
including music. Public concerts became the pianist and orchestra then move into a it can feel melancholic. It can be like an
more popular with the ever-growing middle developmental section, meant to transform endlessly turning head or kaleidoscope,
class, which offered new opportunities for and play with the original themes. A where for every slightest turn you realise
up-and-coming musicians. Furthermore, recapitulation brings the thematic material something new. The “Jupiter” Symphony
the aesthetics of music changed to portray back in the original key and provides a is carried by an almost explosive
the Enlightenment ideals of nature, reason, chance for the soloist’s virtuosity to shine creativity, a melting pot of inspiration from
”
and individualism. through an elaborate cadenza. Continuing his own operas and church music, as
to follow the galant style, Beethoven sets well as music by the older masters Bach
Many well-known musicians are children his second movement as slow and lyrical, and Handel.
of the Enlightenment, but perhaps none showcasing the melodic abilities of the
more so than Wolfgang Amadeus Mozart. piano. Finally, the third movement provides
Many music historians speculate that – Thomas Dausgaard
an exhilarating ending, exhibiting the
Beethoven and Mozart met during the soloist’s abilities in a dramatic climax to
former’s visit to Vienna in 1787, though the concerto. In many ways, Beethoven’s As the Enlightenment transformed
no official documentation exists. A 19th- Piano Concerto No. 2 is an archetype of Viennese culture in the eighteenth-
century biographer of Beethoven, Otto the Viennese Classical era, but its dramatic century, music adapted. An increased
Jahn, suggested that the two met at a themes hints at the heroic Beethoven yet focus on public concerts brought new
concert and Mozart was enthralled with to come. opportunities for orchestral compositions
Beethoven’s skill: “Beethoven begged for
that led to the growth in popularity of the
a theme for improvisation, and, inspired
symphony. Many regard Joseph Haydn
by the presence of the master he revered
as the father of the symphony and his
so highly, played in such a manner as
encorespotlight.com 17PROGRAM NOTES
contributions to the genre (over 100 works!) his career in Vienna. By the 1780s, Mozart In the summer of 1788, Mozart successfully
helped establish the Viennese Classical was famous. After meeting Haydn in 1784, completed three symphonies — a feat
symphonic structure. Throughout this time the older composer celebrated Mozart’s that was potentially inspired by the recent
period, many symphonies followed the compositional prowess: “If I could only publication of Haydn’s “Paris” symphonies.
same formula: a buoyant first movement set impress on the soul of every friend of music, The last of these works, Symphony
in sonata-allegro form; a lyrical, slow second and on high personages in particular, how No. 41 in C major, K. 551, stands as the
movement; a dance-centric third movement; inimitable are Mozart’s works, how profound, composer’s colossal final work in the
and a grand and thrilling finale. Combined, how musically intelligent, how extraordinarily genre as he would die three years later
these four movements would provide plenty sensitive! (for this is how I understand them, at the young age of 35. The piece, which
of thematic content and contrast meant to how I feel them) — why then the nations was nicknamed “Jupiter” by musician
captivate and enthrall an audience. would vie with each other to possess such a Johann Peter Salomon, embodies the
jewel within their frontiers.” Viennese Classical symphonic form. The
Though he was popular for much more first movement, set in sonata-allegro form,
than his symphonic compositions, Wolfgang Though Mozart experienced great begins in a burst of joy and is full of vitality
Amadeus Mozart still remains known as success publicly, his personal life became and excitement while the second provides
one of the greatest orchestral composers increasingly fraught and soon affected his a pleasing, sonorous, and purely-Mozart
in history. Mozart composed 41 symphonies work. Between the apex of his career in melody. Following Haydn’s example,
during his lifetime, beginning Symphony 1785 and 1788 Mozart encountered multiple Mozart sets the third movement as a
No. 1 when he was only eight years old. tragedies, including the death of Leopold dance. The fourth movement, however,
The wunderkind’s childhood was abnormal as well as three of his infant children. is the summit of Mozart’s symphonic
as he displayed an extraordinary talent Furthermore, financial struggles from compositions. Five vibrant themes open
for music at such a young age. His father, gambling and household mismanagement the movement, develop throughout, and
Leopold Mozart, toured his son and plagued him and his wife, Constanze. then return in the recapitulation where
daughter Nannerl across Europe as musical Their debts continued to grow even Mozart layers them together in a complex,
prodigies, bringing them into the courts though Mozart’s compositional output was fugal coda. This ending, intricately crafted
Bavaria, Vienna, Prague and London. As extraordinary (premiering both The Marriage and melodically remarkable, stands as
Mozart matured, he left his family home of of Figaro and Don Giovanni during these a transcendent finale in one of history’s
Salzburg and moved to continue pursuing years). greatest symphonic works.
© 2019 Megan Francisco
LANG LANG
Piano
Lang Lang is a leading
figure in classical music
today – as a pianist,
Photo: Gregor Hohenberg
educator and
philanthropist he has
become one of the
world’s most influential
and committed
ambassadors for the
arts in the 21st century. Equally happy
playing for billions of viewers at the 2008
Olympic Opening Ceremony in Beijing or
just for a few hundred children in the public
schools, he is a master of communicating
through music.
Heralded as “the hottest artist on the
classical music planet” by The New York
Times, Lang Lang plays sold-out concerts
all over the world. He has formed ongoing
collaborations with conductors including
Sir Simon Rattle, Gustavo Dudamel, Daniel
Barenboim and Christoph Eschenbach and
performs with all the world’s top orchestras.
18 SEATTLESYMPHONY.ORGTHOMAS DAUSGAARD, MUSIC DIRECTOR
Photo: Brandon Patoc
“Going to the Symphony is always a special event for us.
We love the music and the conversations we get to share
after each performance. We give back so others can enjoy
these special experiences too.”
– Matt & Claire
JOIN MATT AND CLAIRE BY MAKING YOUR GIFT FOR SYMPHONIC MUSIC TODAY!
Concerts like the one you are about to enjoy are only possible through the support of
generous music lovers like you.
SEATTLESYMPHONY.ORG/GIVE | 206.215.4832
encorespotlight.com 1910/10–12
THURSDAY, OCTOBER 10, 2019, AT 7:30PM
SATURDAY, OCTOBER 12, 2019, AT 8PM
Mozart Jupiter Symphony
The Scan|Design
Foundation Thomas Dausgaard, conductor
proudly sponsors the Claire Chase, flute
Seattle Symphony
2019–2020 concerts
conducted by JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 4 17’
in G major, BWV 1049
Thomas Dausgaard. Allegro
Andante
Presto
DEMARRE MCGILL, FLUTE
The Scan|Design CLAIRE CHASE, FLUTE
Foundation is NOAH GELLER, VIOLIN
committed to fostering OLGA NEUWIRTH Aello - ballet mécanomorphe (U.S. Premiere) 18’
=ca.104—
mutual understanding =ca.54—
sub. =96
between Denmark CLAIRE CHASE, FLUTE
and the U.S. through INTE R MISSIO N 20'
WOLFGANG Symphony No. 41 in C major, K. 551, “Jupiter” 31’
educational and AMADEUS MOZART Allegro vivace
cultural activities. Andante cantabile
Menuetto: Allegretto
Molto allegro
On behalf of all the Pre-concert Talk one hour prior to the performance.
Speaker: Thomas Dausgaard, Seattle Symphony Music Director and Claire Chase, flute
proud Danes in the
Ask the Artist on Saturday October 12 in the Samuel & Althea Stroum Grand Lobby
Pacific Northwest, following the concert.
we are delighted to Program notes for Mozart’s Symphony No. 41 in C major, K. 551, “Jupiter” may be found
on pages 17 to 18..
welcome Thomas
Dausgaard as the new Claire Chase’s performances are generously underwritten by Dale and Leslie Chihuly
through the Seattle Symphony’s Guest Artist Circle.
Music Director of the Thomas Dausgaard's performances are sponsored by the Scan|Design Foundation by Inger
and Jens Bruun.
Seattle Symphony.
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 ©2019 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.
20 SEATTLESYMPHONY.ORGPROGRAM NOTES
JOHANN SEBASTIAN BACH contrasts between solos and tuttis, slow preferably an Olivetti Lettera 22! Its keys
and fast-moving figurations, augmentation are used, alternating from the space bar
Brandenburg Concerto No. 4 in G and diminution — and not least another to the shift keys and the return of the
major, BWV 1049 spectacular and frenzied solo from carriage. Bach’s themes are translated into
BORN M
arch 21, 1685, in Eisenach the violin. office sounds of the 20th century! Finally,
the orchestra itself, placed in a semicircle,
DIED July 28, 1750, in Leipzig
is tiny: 6 violins, 2 violas, 2 cellos and no
WORK COMPOSED circa 1721
double bass.
WORLD PREMIERE Unknown OLGA NEUWIRTH
Aello – ballet mécanomorphe To complete the transformation, Neuwirth
tunes the group in 4 different pitches:
Notes from Music Director BORN August 4, 1968, in Graz highest are the cellos (450 Hz), next the
Thomas Dausgaard
WORK COMPOSED 2017 flute, trumpets, first violins, violas and
WORLD PREMIERE February 2018 in glass (443 Hz), then the synthesizer (434
In the Brandenburg Concertos, Bach Stockholm; Thomas Dausgaard conducting the Hz), and lowest the second violins
revised and put together six of his best (430,6 Hz).
Swedish Chamber Orchestra
concertos to date in 1721 … the fact
that so many of his cycles of works
U.S. PREMIERE October 2019 in Seattle; As to the title Aello, the reference is to
are conceived as groups of six gives Thomas Dausgaard conducting the Seattle “a bride of the wind, sent by the gods,
us a clue to how to appreciate his Symphony to restore peace — if necessary, even
unconventional use of solo instruments with force,” a matter, Neuwirth notes, not
in the Brandenburg Concertos. Bach’s without contemporary relevance. The
Notes from Music Director unusual quasi-dadaist sub-title ballet
Brandenburg Concertos offered a new
Thomas Dausgaard mécanomorphe — Ballet having the
experience for the listener of the time who
would be used to hearing all the solos form or quality of a machine — might
by, for example, the concertmaster. In the Olga Neuwirth’s Aello – ballet explain how towards the end the work a
Brandenburg Concertos a whole concerto mécanomorphe is simultaneously wild and mechanical sounding stampede spreads
is now be dominated by two violas, or close to Bach. Its three movements and across all the instruments in a huge
two flutes, or even by the harpsichord! their themes are moulded on Bach’s own, build-up (not unlike a song by the group
Hierarchy has been dissolved and an sometimes even quite strictly. Yet it comes Radiohead), only to be cut off by a whiff
alternative world-order presented. across as very free and unique — what of air on the flute — “Aello” — hopefully
did she do? She puts the sound world of restoring piece.
Brandenburg Concerto No. 4 is scored Bach through a veritable transformation:
for three soloists: violin and two flutes, the “frustrated” violin turns into a flute who
described as “flauti dolci” — and much becomes the dominant soloist; not unlike
debated what that actually means (in in Steven Mackey’s Triceros and Anders
some editions “fiauti d’echo”) — and Hillborg’s Bach Materia, Neuwirth’s soloist
strings and continuo. The choice of is a multitasking superwoman switching
soloists puts two extreme ends of the between flute and bass flute in the last
hierarchy together: the concertmaster movement, and a magician displaying
at the top, and at the bottom the flutes, a huge variety of colours and virtuoso
either played by oboists as their second techniques throughout. Regarding Bach’s
instrument in the military, or by amateur original flutes, Neuwirth suggests that
flautists. To add insult to injury the flutes by fiauti d’echo Bach may have meant
introduce all major themes in this work. a double pipe instrument, and this she
replaces with two muted trumpets; the
The first movement, Allegro, is an “royal” and macho-symbol trumpets
extended variation on the musical ideas “castrated” by being mellowed and
presented at the beginning, with the softened by playing with cup, harmon
orchestra often reduced to playing and straight mutes. The most extensive
a light accompanying role, making transformation is that of the harpsichord,
room for delicate sounds of the flutes. splitting its characteristics up into several
Unexpectedly the violin breaks into “instruments”; its capacity for brilliant
several extended solos, one of which virtuosity is honoured by a synthesizer
so incredibly fast as if to show all of his/ with harpsichord sound and in the
her virtuosity — or frustration with the second movement with glass harmonica
dominance of the flutes! — in a very short sound. The tingling harpsichord sound is
time. The second movement, Andante, recreated by a battery-driven milk frother
is a sarabande, alternating between held to a small triangle, alternatively by a
tuttis and solos, with the violin solo water-filled wineglass pitched in E, and
often reduced to playing a bass line to a reception bell. But the most humorous
the flutes. The final Presto is a brilliant idea is to isolate the plucking sound of the
fugue, at the same time incorporating harpsichord by a (mechanic) typewriter,
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