SEATTLESYMPHONY.ORG/GIVE | 206.215.4832 Photo: Brandon Patoc “At a young age I discovered a love for music that has stayed with me my whole life. I give because I feel a sense of personal responsibility — and pride — for our Symphony, and because I care so much that future generations will experience and love this music as much as I do.” – Keith, proud supporter and Symphony ambassador at Microsoft JOIN KEITH 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.


4 / CALENDAR 6 / THE SYMPHONY 10 / NEWS FEATURES 12 /  PERSEPHONE 14 /  A BOLD NEW SEASON CONCERTS 17 /  March 1, 3 & 4 MOZART VIOLIN CONCERTO NO. 3 20 /  March 9 HAYDN & SCHUBERT 22 /  March 15, 17 & 18 CARMINA BURANA 36 /  March 16 DE FALLA UNTUXED 38 /  March 19 JOSEPH ADAM IN RECITAL 40 /  March 22, 24 & 25 SIBELIUS SYMPHONY NO. 2 43 /  March 29 & 31 JOHN LUTHER ADAMS BECOME DESERT 47 /  March 30 BEETHOVEN EMPEROR CONCERTO 48 /  March 30 BEETHOVEN & KANCHELI 58 /  GUIDE TO THE SEATTLE SYMPHONY 59 / THE LIS(Z)T CONTENTS ON THE COVER: Jeremy Denk (p. 43) by Michael Wilson COVER DESIGN: Helen Hodges EDITOR: Heidi Staub © 2018 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.

MARCH 2018 22 / RAQUEL LOJENDIO 22 / SEATTLE SYMPHONY CHORALE 17 / THOMAS ZEHETMAIR Photo: Michal Novak Photo: Julien Mignot Photo: Jerome Tso 3


CALENDAR ON THE DIAL: Tune in to Classical KING FM 98.1 every Wednesday at 8pm for a Seattle Symphony spotlight and the first Friday of every month at 9pm for concert broadcasts. March & April SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 7pm Haller Lake Community Concert 7:30pm Mozart Violin Concerto No. 3 8pm Live @ Benaroya Hall: Lúnasa 7:30pm Seattle Classic Guitar Society: Xuefei Yang 8pm Mozart Violin Concerto No. 3 1pm Metropolitan Opera National Council Auditions 2pm Mozart Violin Concerto No. 3 7:30pm Seattle Arts & Lectures: Daniel Pink 7pm Friends Open Rehearsal* 5:30pm Be Bold Seattle: International Women’s Day 12pm Haydn & Schubert 7:30pm Ensign Symphony & Chorus presents Hold On 8pm Live @ Benaroya Hall: Celebrating David Bowie 2pm National Geographic Live — A Wild Life 7:30pm National Geographic Live — A Wild Life 7:30pm National Geographic Live — A Wild Life 7:30pm Carmina burana 7pm De Falla Untuxed 7:30pm Northwest Sinfonietta presents Inspirations from the Past 7:30pm Seattle Baroque Orchestra: The Fairy Queen 8pm Carmina burana 2pm Carmina burana 7pm Byron Schenkman & Friends — Beethoven: The Kreutzer and Pathetique Sonatas 7:30pm Joseph Adam in Recital 7:30pm Sibelius Symphony No. 2 8pm Showtunes Theatre Company: The Boys From Syracuse 2 & 8pm Showtunes Theatre Company: The Boys From Syracuse 8pm Sibelius Symphony No. 2 2pm Sibelius Symphony No. 2 2pm Showtunes Theatre Company: The Boys From Syracuse 4pm Annual Meeting* 3:30pm Friends Onstage Rehearsal* 7:30pm John Luther Adams Become Desert 12pm Beethoven Emperor Concerto 7:30pm Seattle Arts & Lectures: Lippman & Simon 8pm Beethoven & Kancheli 2pm Seattle Philharmonic presents The Fifth Evangelist 8pm John Luther Adams Become Desert 8pm Enchanting China 8pm Live @ Benaroya Hall: Sarah Vowell & Michael Giacchino 2pm National Geographic Live 2:30pm Seattle Baroque Orchestra 7:30pm An Evening with Anne Lamott 7:30pm National Geographic Live — Standing at the Water’s Edge 1pm Benaroya Hall Tour 7:30pm National Geographic Live — Standing at the Water’s Edge 8pm The Duke Ellington Orchestra 8pm The Duke Ellington Orchestra 2pm The Duke Ellington Orchestra 7:30pm Debussy La mer 10:30am Tiny Tots: Magical Melody Train Ride! 7pm Debussy Untuxed 9:30, 10:30 & 11:30am Tiny Tots: Magical Melody Train Ride! 7:30pm SRJO: Ellington’s Such Sweet Thunder 8pm Debussy La mer LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information 3pm SYSO: All-Brahms 7pm Byron Schenkman & Friends: Vivaldi and the High Baroque 7:30pm Live @ Benaroya Hall: Bettye LaVette 7:30pm Stravinsky Persephone 10pm [untitled] 2 8pm Stravinsky Persephone National Geographic Live — A Wild Life (March 11–13) by Bertie Gregory ■ MARCH ■ APRIL Seattle Symphony Spring Tour (see p. 10) Spring Tour cont’d 10am Planned Giving Seminar* NATIONAL GEOGRAPHIC LIVE 4 SEATTLESYMPHONY.ORG


CONNECT WITH US: Share your photos using #ListenBoldly and follow @seattlesymphony on Facebook, Instagram, Twitter and Snapchat. Download the Listen Boldly app to easily purchase tickets, skip the Ticket Office lines and receive exclusive offers. TICKETS: 206.215.4747 GIVE: 206.215.4832 ■  ON THE BEAT See Who’s Here to Hear Photo: James Holt I’m an architect. My interest in architecture began as a kid running around the forest, making treehouses. This one time I tried weaving sticks together. You would normally think about a treehouse being about nails and wood, but when I realized you could weave stuff, I thought it was so cool. That approach to design has stayed with me. I start by looking at the materials around me. And I like going to concerts to find inspiration. And not just going to the Symphony. It might be going to Neumos on Capitol Hill or going on a road trip to Bainbridge Island and listening to the sound of the ferry as the wind goes by it.  – Matt BASKETRY IN AMERICA February 3 - May 6, 2018 A traveling exhibition show- casing 93 traditional and contemporary baskets. See it at the Whatcom Museum, Bellingham, Wash. Marilyn Moore, Balance, 2014. JAVILA CREER Premier Associate | Managing Broker 206 794 5284 SHAWNA ADER Executive Premier Director | Broker 206 251 2337 ERICA CLIBBORN Executive Premier Director | Broker 206 251 1869 AMY SAJER Premier Director | Broker 206 550 8903 MICHAEL DOYLE Premier Director | Managing Broker 206 669 0203 DEIRDRE DOYLE Executive Premier Director | Broker 206 234 3386 A GROUP OF TOP-TIER REAL ESTATE BROKERS DELIVERING SUPERIOR SERVICE TO THEIR CLIENTS THROUGHOUT THE GREATER SEATTLE AREA. Private Client & Luxury Real Estate 5


LUDOVIC MORLOT Harriet Overton Stimson Music Director Thomas Dausgaard, Principal Guest Conductor Joseph Crnko, Associate Conductor for Choral Activities Pablo Rus Broseta, Douglas F. King Associate Conductor Gerard Schwarz, Rebecca & Jack Benaroya Conductor Laureate SEATTLE SYMPHONY ORCHESTRA ROSTER FIRST VIOLIN Open Position David & Amy Fulton Concertmaster Open Position Clowes Family Associate Concertmaster Cordula Merks Assistant Concertmaster Simon James Second Assistant Concertmaster Jennifer Bai Mariel Bailey Cecilia Poellein Buss Ayako Gamo Timothy Garland Leonid Keylin Mae Lin Mikhail Shmidt Clark Story John Weller Jeannie Wells Yablonsky Arthur Zadinsky SECOND VIOLIN Elisa Barston Principal Michael Miropolsky John & Carmen Delo Assistant Principal Second Violin Kathleen Boyer Gennady Filimonov Evan Anderson Natasha Bazhanov Brittany Boulding Breeden Stephen Bryant Linda Cole Xiao-po Fei Artur Girsky Andy Liang Andrew Yeung VIOLA Susan Gulkis Assadi PONCHO Principal Viola Arie Schächter Assistant Principal Mara Gearman Timothy Hale Penelope Crane Wes Dyring Sayaka Kokubo Rachel Swerdlow Julie Whitton CELLO Efe Baltacıgil Marks Family Foundation Principal Cello Meeka Quan DiLorenzo Assistant Principal Nathan Chan Eric Han Bruce Bailey Roberta Hansen Downey Walter Gray Vivian Gu Joy Payton-Stevens David Sabee BASS Jordan Anderson Mr. & Mrs. Harold H. Heath Principal String Bass Joseph Kaufman Assistant Principal Ted Botsford ** Jonathan Burnstein Brendan Fitzgerald * Jennifer Godfrey Travis Gore Jonathan Green FLUTE Demarre McGill Principal Supported by David J. and Shelley Hovind Jeffrey Barker Associate Principal Judy Washburn Kriewall Zartouhi Dombourian-Eby PICCOLO Zartouhi Dombourian-Eby Robert & Clodagh Ash Piccolo OBOE Mary Lynch Principal Supported by anonymous donors Ben Hausmann Associate Principal Chengwen Winnie Lai Stefan Farkas ENGLISH HORN Stefan Farkas CLARINET Benjamin Lulich Mr. & Mrs. Paul R. Smith Principal Clarinet Emil Khudyev Associate Principal Laura DeLuca Dr. Robert Wallace Clarinet Eric Jacobs E-FLAT CLARINET Laura DeLuca BASS CLARINET Eric Jacobs BASSOON Seth Krimsky Principal Paul Rafanelli Mike Gamburg CONTRABASSOON Mike Gamburg HORN Jeffrey Fair Charles Simonyi Principal Horn Mark Robbins Associate Principal Jonathan Karschney Assistant Principal Jenna Breen John Turman Danielle Kuhlmann TRUMPET David Gordon The Boeing Company Principal Trumpet Alexander White Assistant Principal Christopher Stingle Michael Myers TROMBONE Ko-ichiro Yamamoto Principal David Lawrence Ritt Stephen Fissel BASS TROMBONE Stephen Fissel TUBA John DiCesare Principal TIMPANI Open Position Principal Matthew Decker Assistant Principal PERCUSSION Michael A. Werner Principal Michael Clark Matthew Decker HARP Valerie Muzzolini Gordon Principal KEYBOARD Joseph Adam, organ + PERSONNEL MANAGER Scott Wilson ASSISTANT PERSONNEL MANAGER Keith Higgins LIBRARY Patricia Takahashi-Blayney Principal Librarian Robert Olivia Associate Librarian Jeanne Case Librarian Rachel Swerdlow Assistant Librarian TECHNICAL DIRECTOR Joseph E. Cook ARTIST IN ASSOCIATION Dale Chihuly 2017–2018 SEASON COMPOSER IN RESIDENCE Alexandra Gardner HONORARY MEMBER Cyril M. Harris † + Resident † In Memoriam ** On Leave * Temporary Musician for 2017–2018 season LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR Photo: Lisa-Marie Mazzucco French conductor Ludovic Morlot has been Music Director of the Seattle Symphony since 2011. Amongst the many highlights of his tenure, the orchestra has won three Grammy Awards and gave an exhilarating performance at Carnegie Hall in 2014. During the 2017–2018 season Morlot and the Seattle Symphony will continue on their incredible musical journey, focusing particularly on the music of Berlioz, Stravinsky and Bernstein. In addition, they will be presenting some exciting new works by John Luther Adams, David Lang and Andrew Norman and welcoming Alexandra Gardner for a residency. The orchestra will also be performing on tour in California, including a two-day residency at the University of California, Berkeley. The orchestra has many successful recordings, available on their own label, Seattle Symphony Media. A box set of music by Dutilleux was recently released to mark the 100th anniversary of the composer’s birth.

Ludovic Morlot was Chief Conductor of La Monnaie for three years (2012–14). During this time he conducted several new productions including La Clemenza di Tito, Jenu °fa and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by Beethoven, Stravinsky, Britten, Webern and Bruneau. Trained as a violinist, Morlot studied conducting at the Royal Academy of Music in London and then at the Royal College of Music as recipient of the Norman del Mar Conducting Fellowship. Morlot was elected a Fellow of the Royal Academy of Music in 2014 in recognition of his significant contribution to music. He is Chair of Orchestral Conducting Studies at the University of Washington School of Music.



“When I was a little girl I wanted to play in the orchestra. It just seemed like the most incredible thing,” says Kathleen Boyer, Seattle Symphony Second Violin. “But my parents didn’t believe in sending girls to college, so I didn’t think I would ever be able to pursue it.” Through her church organist, Jane, Kathleen was introduced to a woman who wanted to create a scholarship in honor of her son. “Jane knew my playing from church and convinced this woman to send me to school,” she explains. It was a difficult choice. Against the wishes of her parents, Kathleen attended Moravian College to study violin, later continuing her studies with Jascha Brodsky in Philadelphia and winning an audition to join the Seattle Symphony in 1985. Today Kathleen is proud to have given her children the opportunities she did not have growing up. Her daughter is studying harp at Yale and her son plays trumpet with jazz groups in New York. “I suppose it’s silly, but I’m super proud of my kids,” says Kathleen. “I consider it a huge compliment that they both chose to go into music.” For more on the Seattle Symphony, visit ■ KATHLEEN BOYER Second Violin Photo: James Holt 7


DIRECTORS Marco Abbruzzese Sherry Benaroya James Bianco Paula Boggs Rosanna Bowles Renée Brisbois Isiaah Crawford Susan Detweiler Rebecca Ebsworth Larry Estrada Jerry Farley Molly Gabel Martin Greene Jeremy Griffin Terry Hecker Jean-François Heitz* Joaquin Hernandez Parul Houlahan* Douglas Jackson Susan Johannsen Aimee Johnson Nader Kabbani Viren Kamdar Ronald Koo Ryo Kubota Stephen Kutz Ned Laird* Paul Leach* Brian Marks Michael Mitrovich Hisayo Nakajima Cookie Neil Nancy Neraas Laurel Nesholm* Jay Picard Dana Reid* Elisabeth Beers Sandler Jim Schwab Robert Wallace DESIGNEES Sasha S. Philip, President, Seattle Symphony Chorale Bonnie Peterson, President, Seattle Symphony Volunteers Open Position, President & CEO Zartouhi Dombourian-Eby, Musician Representative Jonathan Karschney, Musician Representative LIFETIME DIRECTORS Llewelyn Pritchard Chair Richard Albrecht Susan Armstrong Robert Ash William Bain Bruce Baker Cynthia Bayley Alexandra Brookshire Phyllis Byrdwell Phyllis Campbell Mary Ann Champion Robert Collett David Davis Nancy Evans Dorothy Fluke David Fulton Jean Gardner Ruth Gerberding James Gillick Jerry Grinstein Patty Hall Cathi Hatch Steven Hill Ken Hollingsworth Patricia Holmes David Hovind Henry James Hubert Locke J. Pierre Loebel Kenneth Martin Yoshi Minegishi Marilyn Morgan Isa Nelson Marlys Palumbo Sally Phinny James Raisbeck Sue Raschella Bernice Rind Jill Ruckelshaus Jon Runstad Martin Selig John F. Shaw Linda Stevens Patricia Tall-Takacs Marcus Tsutakawa Cyrus Vance, Jr. Karla Waterman Ronald Woodard Arlene Wright * Executive Committee Member SEATTLE SYMPHONY BOARD OF DIRECTORS LESLIE JACKSON CHIHULY Chair* RENÉ ANCINAS, Chair-Elect* Jon Rosen Secretary* Michael Slonski Treasurer* Woody Hertzog Vice Chair, Development* Kjristine Lund Vice Chair, Audiences & Communities* Dick Paul Vice Chair, Governance* Stephen Whyte Vice Chair, Finance* NED LAIRD Chair Mark Reddington Vice Chair Nancy B. Evans Secretary Michael Slonski Treasurer Dwight Dively Jim Duncan Chris Martin Tom Owens Fred Podesta Leo van Dorp Designees: Open Position, President & CEO Zartouhi Dombourian-Eby, Musician Representative BENAROYA HALL BOARD OF DIRECTORS Street Youth Ministries provides youth in Seattle’s University District with life skills, resources and relationships that bring hope and healing to their lives and the community. Street Youth Ministries is committed to building personal relationships with youth and restoring their sense of self-worth.

The Seattle Symphony has been partnering with Street Youth Ministries since the 2014–2015 season and the people that they serve have access to complimentary tickets through the Community Connections program. Street Youth Ministries is one of 18 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who have previously experienced or are currently experiencing homelessness. ■ SIMPLE GIFTS Street Youth Ministries ■  OUR MISSION  THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT. Photo courtesy of Street Youth Ministries JEAN-FRANÇOIS HEITZ Chair SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS Kathleen Wright Vice Chair Muriel Van Housen Secretary Michael Slonski Treasurer Mario Abbruzzese Brian Grant Joaquin Hernandez Leslie Jackson Chihuly J. Pierre Loebel David Tan Rick White 8 SEATTLESYMPHONY.ORG


SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF SENIOR MANAGEMENT TEAM Open Position President & CEO Leslie Jackson Chihuly Chair Charlie Wade Senior Vice President of Marketing & Business Operations Jennifer Adair Vice President & General Manager Maureen Campbell Melville Vice President & Chief Financial Officer Rosalie Contreras Vice President of Communications Elena Dubinets Vice President of Artistic Planning & Creative Projects Jane Hargraft Vice President of Development Laura Reynolds Vice President of Education & Community Engagement Kristen NyQuist Director of Board Relations & Strategic Initiatives EXECUTIVE OFFICE Margaret Holsinger Executive Assistant to the President & CEO/ Office Manager ARTISTIC PLANNING Paige Gilbert Manager of Artistic Planning & Popular Programming Rose Gear Personal Assistant to the Music Director & Artistic Coordinator Dmitriy Lipay Director of Audio & Recording Blaine Inafuku Associate Artistic Administrator ORCHESTRA & OPERATIONS Kelly Woodhouse Boston Director of Operations Ana Hinz Production Manager Scott Wilson Personnel Manager Keith Higgins Assistant Personnel Manager Patricia Takahashi-Blayney Principal Librarian Robert Olivia Associate Librarian Jeanne Case Librarian Joseph E. Cook Technical Director Mark Anderson, Jeff Lincoln Assistant Technical Directors Johnny Baca, Chris Dinon, Aaron Gorseth, John Roberson, Michael Schienbein, Ira Seigel Stage Technicians EDUCATION & COMMUNITY ENGAGEMENT Amy Heald Collaborative Learning Manager Jérémy Jolley Artistic Collaborations Manager Katie Hovde Program Associate Rebecca Aitken, Jessica Andrews- Hall, Lena Console, Kaley Eaton, Sonya Harris, Jessi Harvey, Rafael Howell, Zachary Kambour, Emily Herdeman Kelly, Leanna Keith, Paul Kikuchi, Leslie McMichael Teaching Artists COMMUNICATIONS Shiva Shafii Public Relations Manager Heidi Staub Managing Editor James Holt Digital Content Manager Andrew Stiefel Social Media & Content Manager MARKETING Christy Wood Senior Director of Marketing & Sales Rachel Spain Marketing Manager Kyle Painter Marketing Operations Coordinator Barry Lalonde Director of Digital Products Jason Huynh Digital Marketing Manager Herb Burke Tessitura Manager Gerry Kunkel Corporate & Concierge Accounts Manager Jessica Forsythe Art Director Helen Hodges, Jadzia Parker Graphic Designers Forrest Schofield Group Services Manager Joe Brock Retail Manager Christina Hajdu Sales Associate Nina Cesaratto Assistant Sales Manager Molly Gillette Ticket Office Coordinator Asma Ahmed, Mary Austin, James Bean, Jennifer Boyer, Melissa Bryant, Kimberly Carey, Brian Goodwin, Mike Obermeyer, CaraBeth Wilson, Elizabeth Ylaya Ticket Services Associates VENUE ADMINISTRATION Matt Laughlin Director of Facility Sales James Frounfelter, Adam Moomey Event & Operations Managers Sophia El-Wakil Facilities Sales & Operations Coordinator Keith Godfrey House Manager Tanya Wanchena Assistant House Manager & Usher Scheduler Milicent Savage, Patrick Weigel Assistant House Managers Dawn Hathaway, Lynn Lambie, Mel Longley, Ryan Marsh, Markus Rook Head Ushers Laura Banks, Everett Bowling, Veronica Boyer Assistant Head Ushers Ron Hyder Technical Coordinator DEVELOPMENT Renee Duprel Associate Vice President of Development (Campaign) Maria Kolby Wolfe Major Gifts Officer (Campaign) Betsy Groat Campaign Operations Manager Tess Benson Development Coordinator (Campaign) Becky Kowals Director of Major Gifts and Planned Giving Marsha Wolf Senior Major Gift Officer Amy Bokanev Major Gift Officer Shaina Shepherd Gift Officer Jessica Lee Development Coordinator (Major Gifts) Paul Gjording Senior Major Gift Officer (Foundations & Government Relations) Megan Hall Director of Development Operations Alicia Archambault Stewardship Manager Martin K. Johansson Development Communications Manager Jacob Roy Data Operations Manager Maery Simmons Data Entry Coordinator Jhenn Whalen Annual Fund Coordinator Zoe Funai Special Events Manager Ryan Hicks Corporate Development Manager FINANCE & FACILITIES David Nevens Controller Megan Spielbusch Accounting Manager Jacqueline Moravec Payroll/AP Accountant Jordan Bromley Staff Accountant Tristan Saario Staff Revenue Accountant Bernel Goldberg General Counsel David Ling Facilities Director Owen Santos Facilities & Engineering Manager Aaron Burns, Damien De Witte Building Engineers Rodney Kretzer Facilities & Security Coordinator HUMAN RESOURCES Kathryn Osburn Human Resources Manager Karya Schanilec Receptionist/Marketing Assistant CONTACT US TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700 VISIT US ONLINE: | FEEDBACK: 35 JOIN US! SERIOUS FUN! THE NORTHWEST BOYCHOIR IS CONTACT US: 206.524.3234 | 9


{ { NOTA BENE NEW GEORGE PERLE RECORDING Ludovic Morlot and the Seattle Symphony present five previously unrecorded works by Pulitzer Prize-winning American composer George Perle, released last month on the Bridge Records label. SUBSCRIBE TO THE MUSIC YOU LOVE You won’t want to miss a moment of the 2018– 2019 season! Renewal deadline for current subscribers is March 31, so secure your seats by renewing today. Interested in subscribing? Pick up a season brochure or visit to find the subscription that’s right for you. { { ■ SPRING TOUR Palm Desert Las Vegas Berkeley Welcome to Benaroya Hall. Link Up: Seattle Symphony wraps up this month with 10,000 third to fifth grade students gathering at Benaroya Hall. Through this program, Puget Sound elementary school students have the opportunity to experience music through participatory curriculum learning songs to sing and play on the recorder. This preparation culminates in a live performance at Benaroya Hall when students play along with our orchestra from their seats. This is an unforgettable and invaluable experience for these students, and I am happy to report that the program continues to expand, reaching more schools and kids every year in our state.

As our organization finds new ways to serve, engage and inspire, our musicians are dedicated to their work in the community. They commit their time to presenting chamber concerts in prisons and collaborating with mothers at Mary’s Place who learn to express themselves through lullabies for their children. Our teaching artists regularly bring music to dozens of community partners in an effort to give the gift of music to our most underserved, including kids, the elderly and those experiencing homelessness. Subscriptions are now available for Ludovic Morlot’s final season as the Symphony’s Music Director, which promises to be another outstanding year of music-making. The 2018–2019 season is a wonderful celebration of the past seven years, building on what he and the orchestra have accomplished together with a particular emphasis on French music. Discover his highlights on page 14 or pick up a 2018–2019 season brochure here at the Hall or visit to see all that’s in store.

With gratitude, Leslie Jackson Chihuly Seattle Symphony Board Chair NEWS FROM: LESLIE JACKSON CHIHULY, BOARD CHAIR Photo: Scott Leen Ludovic Morlot and the Seattle Symphony head south April 4–8 with performances in Palm Desert and Las Vegas, where they are joined by pianist Jeremy Denk, and a residency at the University of California, Berkeley that includes unique back-to- back performances of John Luther Adams’ Become Desert and Become Ocean on consecutive days, as well as additional activities on campus at UC Berkeley. Wednesday, April 4, at 7:30pm SOLD OUT McCallum Theatre | Palm Desert, CA Thursday, April 5, at 7:30pm Artemus W. Ham Concert Hall Las Vegas, NV BEETHOVEN: Piano Concerto No. 5, “Emperor” Jeremy Denk, piano SIBELIUS: Symphony No. 2 Saturday, April 7, at 8pm Zellerbach Hall | Berkeley, CA JOHN LUTHER ADAMS: Become Desert SIBELIUS: Symphony No. 2 Sunday, April 8, at 3pm Zellerbach Hall | Berkeley, CA SIBELIUS: The Oceanides BRITTEN: Four Sea Interludes and Passacaglia from Peter Grimes JOHN LUTHER ADAMS: Become Ocean If you have family and friends in these areas, let them know the Seattle Symphony is coming to town! For information about patron activities around the orchestra's Palm Desert and Berkeley concerts, contact Donor Relations at 206.215.4832 or Ludovic Morlot and the Seattle Symphony will give the world premiere of John Luther Adams’ Become Desert on March 29 and 31 at Benaroya Hall, in a program including Beethoven’s Piano Concerto No. 5, “Emperor” with Jeremy Denk. Become Desert is commissioned by the Seattle Symphony with the generous support of Dale and Leslie Chihuly. Become Ocean was commissioned by the Seattle Symphony with the generous support of Lynn and Brian Grant.


JACK QUARTET May 10, 2018, 7:30pm Jack Quartet with Joshua Roman Joshua Roman will join returning favorite Jack Quartet onstage for a night of cutting-edge classical music, including Roman’s composition ‘Tornado,’ co-commissioned by Town Hall. First Baptist Church: 1111 Harvard Ave Tickets:$20/$ Ourbuildingisclosedforconstruction,but ourprogramsaremoreopenthanever. TownHallisInside/Outinaneighborhoodnearyou. Only one art town comes with views like this. March 2018 Volume 31, No. 7 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Andy Fife Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 800.308.2898 x105 Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. 11

When the Seattle Symphony presents Stravinsky’s Persephone on April 26 and 28, the orchestra and chorale will be joined by some larger-than-life characters — puppets created by esteemed director and designer Michael Curry. Produced in his studio outside Portland, Oregon, Curry’s work has been seen around the world in productions for Disney, Cirque du Soleil, the Olympics and even the Super Bowl. Yet, until the co- commission from the Seattle Symphony and Oregon Symphony, he had not had a performance in the Northwest for more than 15 years. So the self-described “Stravinsky maniac” was eager to take on the project, which received its premiere by the Oregon Symphony last May. “I love Stravinsky and I think this piece is under presented,” says Curry. “Persephone is sort of the ugly cousin of Stravinsky’s oeuvre because it tells a complicated story.” The story is a retelling of the ancient Greek myth in which Hades, god of the underworld, kidnaps Persephone, the daughter of Demeter, goddess of the harvest. Hades imprisons Persephone in the underworld, leaving Earth frozen in perpetual winter. In classical mythology, the abduction of Persephone and her subsequent rescue explain the rotation of winter and spring. But in Stravinsky’s version, with a libretto by André Gide, Persephone descends to the underworld as an act of compassion.

“Persephone was the ultimate puppet because she was so manipulated by the gods,” Curry muses. “But one thing we decided is that we wanted to empower Persephone in our version. She wasn’t going to be a victim.” Curry’s production interchanges puppets and humans in a way that heightens the illusion of two worlds. Persephone, for example, is played by both a dancer and a puppet. To accentuate the duality of the character, Curry built the puppet to be an exact likeness of the dancer, who in turns wears a mask of the puppet’s face. “I guess it’s a backward compliment, but many people told me that they didn’t realize there was a puppet Persephone when we did the production in Oregon,” he laughs. He is making some alterations for the performances with the Seattle Symphony at Benaroya Hall, including introducing an additional dancer to play Pluto. “I’m very intrigued by Pluto and I want to give him some depth,” he explains. “I want to emphasize this notion of the loneliness and the need of the underworld to be recognized.” PERSEPHONE Puppet designer Michael Curry vividly animates Stravinsky’s dramatization of the ancient Greek myth.


Photos by Brud Giles of the Oregon Symphony’s performance in 2017 The production involves multiple puppets and handlers in addition to the Seattle Symphony Chorale and the Northwest Boychoir. “The chorus is a staging element that helps frame the action, making it clear that this is a human story,” he adds. At one point during the show, Persephone engages in a beautiful aerial ballet high above the orchestra. “The staging becomes another instrument, another character.” The final result is stunning. Curry’s designs are saturated with bright colors that stand out against the black of the orchestra: blue and violet for the underworld and verdant green filled with orange and yellow flowers for the earth. And the puppetry adds a magical, timeless atmosphere to the story. “My goal is to not get in the way of the music, which is beautiful, but to help tell this story,” he says. “It modernizes what concert presentations can be.” To deepen our experience with Stravinsky, Morlot has programmed a full evening of his music including the Concerto for Piano and Wind Instruments with pianist Marc-André Hamelin and Les noces. Throughout his life, Stravinsky turned to Russian folk music for inspiration and, in Les noces, he sets lyrics from traditional Russian wedding songs. To highlight these early Russian influences, Morlot as has invited the historic Dmitry Pokrovsky Ensemble to perform the original four piano and percussion version of Les noces.

Founded in 1973, the Dmitry Pokrovsky Ensemble was the first group of professional musicians devoted to the performance and preservation of traditional Russian music. The musicians have traveled the length and breadth of Russia, documenting and performing these rapidly disappearing traditions. Morlot adds, “Stravinsky really tried everything and creates all these different jewels for us to discover. We’ve grown so fond of Stravinsky, but sometimes we stop at his ballets when we should continue the exploration of his music.” Stop by the Ticket Concierge in the Grand Lobby (available for most performances) before your concert or during intermission to get tickets, or purchase on our Listen Boldly app, online, in-person at the Ticket Office or by calling 206.215.4747. Marc-André Hamelin’s performances are generously underwritten by Muriel Van Housen and Tom McQuaid.

Support for Stravinsky’s Persephone is generously provided by the Judith Fong Music Director’s Fund. Curry’s production interchanges puppets and humans in a way that heightens the illusion of two worlds. Photo courtesy of Michael Curry Designs 13

A BOLD NEW SEASON Music Director Ludovic Morlot’s farewell season celebrates eight transformative years. BY ANDREW STIEFEL Music Director Ludovic Morlot’s final season is filled with the music, composers and performers that have energized musicians and audiences alike during his tenure. With his flair for intriguing pairings, Morlot returns to familiar classics during the 2018–2019 season — Brahms First Symphony, Tchaikovsky Fourth Symphony and Mozart’s Symphony No. 40 — and continues his commitment to new and creative programming with several world premieres, including Grammy-winning composer Caroline Shaw’s new piano concerto.

But Morlot is most excited about continuing a journey through the French repertoire, and in particular the music of Claude Debussy. “Although we’ve done a little bit of music by Debussy, I find that it needs to be done with a conductor and orchestra that have a long relationship,” explains Morlot. “Debussy has so many different layers. You need to have explored all those different layers completely before you put them all together.” Could you share a little more about the music you are conducting next season?

I want to continue our exploration of French repertoire, and this season we will be playing several Debussy works, including the Suite from Pelléas et Mélisande. Our focus on French repertoire naturally continues into the music of my dear friend, Marc-André Dalbavie, and the premiere of a double concerto by Pascal Dusapin. Which artists are you looking forward to welcoming to Seattle next season? There are always so many! Pianist Jean-Yves Thibaudet, violinist Augustin Hadelich, tenor Kenneth Tarver and pianist Jonathan Biss are all returning. And I love featuring our musicians as soloists. I am looking forward to doing Strauss’ Oboe Concerto with Principal Oboe Mary Lynch. Although I will not be conducting, Demarre McGill, David Gordon, Elisa Barston and Jordan Anderson will all perform on our Baroque series next season.

And I’m happy to welcome Principal Guest Conductor Thomas Dausgaard back, now also our Music Director Designate. He’s bringing some wonderful Danish music to Seattle next season, including a new composer for us, Rued Langgaard. He will also be continuing his Nielsen cycle with the Second Symphony in April 2019. You are conducting one of my favorite works, Bach’s B-minor Mass, next season. What makes it special to you? Although most of his music was written for the church for religious occasions, he didn’t write the Mass in B minor for any particular occasion. It’s the only piece he wrote to leave a legacy behind. When I was thinking about my final season, and all the emotions involved, I wanted to include music about completing a journey, to summarize these eight years together with music.

Pick up a brochure in the lobby, or visit for more details about the concerts in the upcoming 2018–2019 season. “When I was thinking about my final season, and all the emotions involved, I wanted to include music about completing a journey, to summarize these eight years together with music.” Photo by Lisa-Marie Mazzucco 14 SEATTLESYMPHONY.ORG

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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 ©2018 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. THURSDAY, MARCH 1, 2018, AT 7:30PM SATURDAY, MARCH 3, 2018, AT 8PM SUNDAY, MARCH 4, 2018, AT 2PM MOZART VIOLIN CONCERTO NO. 3 Thomas Zehetmair, conductor & violin Seattle Symphony FRANZ JOSEPH HAYDN Symphony No. 49 in F minor, “La passione” 24’ (“The Passion”) Adagio Allegro di molto Menuet Finale: Presto WOLFGANG AMADEUS Violin Concerto No. 3 in G major, K. 216, 24’ MOZART “Straßburg” Allegro Adagio Rondeau: Allegro THOMAS ZEHETMAIR, VIOLIN INTERMISSION ARVO PÄRT Fratres (“Brothers”) for Solo Violin, 12’ Strings and Percussion THOMAS ZEHETMAIR, VIOLIN FRANZ SCHUBERT Symphony No. 8 in B minor, “Unfinished” 22’ Allegro moderato Andante con moto Pre-concert Talk one hour prior to performance. Speaker: Lisa Maria d’Aquila, Music instructor and lecturer Saturday performance sponsored by Microsoft.

Media Sponsor: Classical KING FM 98.1 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! 17 17

PROGRAM NOTES Passion & Serenity Ask most music lovers what it is they value most in music and the answer usually involves the expression of emotion and creation of heightened feeling. The orchestral repertory confirms this. Year after year and across generations, the most outwardly expressive pieces — those by such assertive composers as Beethoven in his heroic-triumphal vein, of Tchaikovsky, of Rachmaninov and others — remain the most popular with listeners the world over. This is hardly surprising, for music is uncanny in its ability to convey passion and dramatic intensity to us directly, even viscerally, unfiltered by words or intellect. Yet no less a musical eminence than the pianist Glenn Gould famously identified the true purpose of art, especially music, as being not the stirring of our emotions but the inducement “of a state of wonder and serenity.” Our concert offers passion and drama in symphonies by Haydn and Schubert and, by contrast, music whose character is deeply serene. The latter comes from the remarkable Estonian composer Arvo Pärt who, after writing his early music in an acerbic late-modern idiom, has spent the last 40 years creating work of austere beauty intimating an imperturbable spirituality. We also hear a concerto by Mozart, music that manages to energize and brighten our spirits without resorting to either high drama or deep contemplation.

FRANZ JOSEPH HAYDN Symphony No. 49 in F minor, “La passione” (“The Passion”) BORN: March 31, 1732, in the Austrian village of Rohrau DIED: May 31, 1809, in Vienna WORK COMPOSED: 1768 WORLD PREMIERE: Uncertain, but probably 1768, under the composer’s direction, at the palace of his employer, Nikolaus, Prince Esterházy, near the present-day border of Austria and Hungary. Haydn’s Sturm und Drang style, which this symphony typifies, is especially evident in the second movement. Here wide melodic leaps and off-beat accents account for much of the music’s turbulent character.

Haydn’s symphonies, which number more than a hundred, range widely in expression. Many convey the bright spirit that seems to have been an intrinsic part of their author’s character. But others reveal considerable power and drama. The latter qualities inform particularly a series of stormy minor-key symphonies Haydn produced in the years around 1770. Influenced in part by the highly emotional tone of the proto-Romantic Sturm und Drang (“Storm and Stress”) school of German writers, they anticipate the expressions of deep pathos Mozart and Beethoven would later achieve. Notable among these works is Symphony No. 49 in F minor, known as “La passione.” The origin of this title is uncertain, but it is an apt designation. All four of the symphony’s movements are in the dark key of F minor, and a sense of sorrow and agitation prevails. Unusually, the symphony’s first movement is in a slow tempo. We get the sort of substantial allegro that usually opens a Classical-period symphony, as well as a tense musical drama, in the movement that follows. The ensuing minuet maintains the somber atmosphere, though its contrasting central section offers an interlude of bright major-key harmonies. The finale returns to the tempest-tossed vein of the second movement.

Scored for pairs of oboes and horns; harpsichord; strings. WOLFGANG AMADEUS MOZART Violin Concerto No. 3 in G major, K. 216, “Straßburg” BORN: January 27, 1756, in Salzburg DIED: December 5, 1791, in Vienna WORLD PREMIERE: Unknown. Mozart may have performed the work, with the Salzburg Court Orchestra, of which he was a member, but there is no record of that performance. As noted below, the composer did play the work on at least one subsequent occasion. Mozart once referred to this piece as “my Strassburg Concerto,” alluding to its use of a melody called “The Strassburger.” This occurs late in its final movement, following a bitter-sweet arietta sung by the solo violin over a plucked accompaniment from the orchestral strings. Mozart wrote his Violin Concerto in G major, K. 216, in September 1775, a year in which the 19-year-old composer created at least three other works of this kind. As do so many compositions from Mozart’s late adolescence, this one conveys a feeling of almost carefree assurance. Ideas seem to flow from the young composer’s pen so abundantly that he scarcely has time to develop each one properly.

Mozart’s prodigal invention is a conspicuous feature of the opening movement. After presenting a series of attractive melodic ideas in the initial orchestral statement, he entrusts the introduction of still more material to the soloist. Many of the ideas entail varieties of musical laughter, imparting a bright character to the proceedings. Alfred Einstein, an eminent Mozart scholar, described the concerto’s second movement as “an adagio that seems to have fallen straight from heaven.” Indeed, the music seems, if not celestial, certainly ethereal, with the orchestral violins muted, the low strings playing pizzicato, and flutes replacing the oboes used in the rest of the concerto. As often with his concertos, Mozart builds the finale on a recurring main theme that alternates with contrasting material. The latter includes a popular dance tune, a merry melody known as “The Strassburger.” Scored for solo violin; pairs of flutes, oboes and horns; strings.

ARVO PÄRT Fratres (“Brothers”) for Solo Violin, Strings and Percussion BORN: September 11, 1935, in Paide, Estonia WORK COMPOSED: 1977, arranged 1992 WORLD PREMIERE: 1993, in Perth, Australia The title Fratres is a Latin word meaning “brethren,” and it is not difficult to imagine the music played by the orchestral strings as the chanting of a monastic brotherhood. Onto this music, the composer has overlaid a part for solo violin, one whose modern individuality provides an intriguing contrast with the archaic sound of the string choir’s chant.

During the last 30 years and more, the Estonian composer Arvo Pärt has won a devoted following among listeners entranced by his music written in a style that has been called “mystical minimalism.” The elements of that style are spare sonorities and luminous textures in conjunction with simple and often repetitive melodic figures, static harmonies and steady rhythmic pulses. The resulting sound inevitably has led to comparisons with the minimalism of such American composers as Steve Reich and Philip Glass. But there are significant differences. While American minimalism typically presents a quick micro- pulse and busy rhythmic surface, Pärt’s compositions generally cultivate a slow, meditative quality and often evoke the sound of medieval chant.


Moreover, many of the works Pärt has written during the past four decades are settings of sacred texts. The composer is a deeply religious man who regularly attends services at the great Russian Orthodox Church in Berlin, where he has lived with his family since 1981. Since then, religious works have assumed an ever greater part in his oeuvre and have come to form the most substantial body of sacred music by any major composer of our time. Fratres, which opens our concert, is not one of Pärt’s ecclesiastical works, but it does evoke an atmosphere of meditative spirituality. The composer initially wrote this piece in 1977, arranging it at that time for several different ensembles. Over the ensuing years he has continued to create or sanction different renditions of the work, which now total no less than 18 distinct scorings. The one we hear, for solo violin, string orchestra and percussion, was created by Pärt in 1992.

The music’s underlying character is contemplative, ethereal and vaguely medieval. Typically of Pärt’s work, its texture and unfolding are simple and clear. Over a low drone, sustained by basses and cellos, the string choir sounds what seems like choral chanting. Percussion instruments (claves and bass drum) punctuate this chant, marking each conclusion and recommencement of the melody. With each repetition, the music grows in volume and sonority. Eventually Pärt reverses course, effecting a long diminuendo back to the hushed level of the opening. The piece thus describes a broad sonic arch, one that rises from quietude to fullness and back. In the version we hear, the composer has embroidered this music with a part for solo violin somewhat in the manner of a concerto. A virtuoso solo bowed quickly across all four of the instrument’s strings prefaces the piece. Later, the soloist adds counter-melodies to the chant, sometimes playing very delicately, sometimes lyrically, sometimes vehemently. Scored for solo violin; strings; percussion. FRANZ SCHUBERT Symphony No. 8 in B minor, “Unfinished” BORN: January 31, 1797, in Vienna DIED: November 19, 1828, in Vienna WORK COMPOSED: 1822 WORLD PREMIERE: December 17, 1865, in Vienna, under the direction of Johann von Herbeck Schubert’s truncated symphony is a composition of surprising drama. The brief statement from the low strings that prefaces the first movement returns midway through this portion of the symphony to fulfill its dark promise. The second movement begins placidly before unleashing a musical tempest. Franz Schubert composed the two movements of his Eighth Symphony in the autumn of 1822, when he was 25 years old. Despite his youth, the composer still had six years in which he might have completed this work, and his failure to do so has never been satisfactorily explained. Some commentators have attributed it to Schubert’s mounting discouragement in the face of public indifference to his orchestral music, some to an alleged lack of confidence. Other Schubert authorities, however, have disputed these and further claims, and it seems unlikely that the truth of the matter will ever be known with certainty. In any event, we must accept the two movements of what has come to be called Schubert’s “Unfinished” Symphony as they stand — “a mighty torso,” to borrow the words of the musicologist Alfred Einstein. Just how mighty can scarcely be appreciated unless we consider the music in its historical context. In 1839, Robert Schumann wrote of Schubert’s late C-major Symphony (No. 9): “It is the greatest achievement in instrumental music since Beethoven.” Had he known the B-minor Symphony, which lay undiscovered until 1865, he might have included it in his encomium, for it is on the same high level. Not until Brahms, writing nearly half a century after Schubert, would a composer come to terms so successfully with the implications of Beethoven’s symphonic works. The deep pathos we encounter in the B-minor Symphony, its broad harmonic terrain, and the ambitious scale of the musical developments all mark the “Unfinished” Symphony as a worthy successor to Beethoven’s mature symphonies. In the first movement, Schubert condenses the typical slow introduction to a brief statement for the cellos and basses. Oboe and clarinet then give out what is nominally the movement’s principal theme over a restless accompaniment in the strings. A second subject is introduced by the cellos. Although it promises a respite from the somber tone that has prevailed to this point, Schubert soon undercuts its lyrical character with a series of harsh chords and a passage that makes of the theme THOMAS ZEHETMAIR Conductor & violin Thomas Zehetmair enjoys widespread international acclaim not only as a violinist, but also a conductor and chamber musician. His international career as a conductor is defined primarily by his position as Artistic Partner of the Saint Paul Chamber Orchestra, as well as Principal Conductor of the Musikkollegium Winterthur. Taking the helm of the Royal Northern Sinfonia as Principal Conductor in 2002, he sculpted it into one of England’s leading orchestras during his term ending in 2014. Zehetmair has recorded the largest amount of repertoire for the violin; many of his releases have earned multiple awards. He is also the founding member of the Zehetmair Quartet, with which he was awarded the Paul Hindemith Prize by the City of Hanau in November 2014. Zehetmair was awarded the certificate of honor by the Preis der Deutschen Schallplattenkritik as well as the Karl Böhm Interpretation Prize by the federated state of Styria. Zehetmair is an Honorary Doctor at the University of Music Franz Liszt in Weimar and Newcastle University.

Photo: Julien Mignot something more substantial and powerful than the waltz melody it initially appears to be. These two themes would provide excellent material for Schubert to expand, but he instead bases the movement’s central development section entirely on the motif of the introduction, working this into a harrowing expression of tragedy. The composer then recalls the two longer themes, much in their original forms, and the movement closes with a coda bringing final consideration of the opening motif. The ensuing movement also surprises us with strong developments of its themes. This is particularly true of the second subject, a long melody introduced by solo clarinet and extended by the oboe and flute. It seems utterly placid, but immediately the full orchestra takes it up with Beethovenian fury. By the time the movement reaches its peaceful conclusion it is clear that these initially still waters have run very deep indeed. Where the flow of Schubert’s inspiration might have led from here we can only guess. Scored for pairs of woodwinds, horns and trumpets; 3 trombones; timpani; strings.

© 2018 Paul Schiavo 19 19

OVERVIEW 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 ©2018 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. FRIDAY, MARCH 9, 2018, AT 12 NOON HAYDN & SCHUBERT Pablo Rus Broseta, conductor Benjamin Lulich, clarinet Seattle Symphony FELIX MENDELSSOHN The Fair Melusina Overture, Op. 32 10’ CARL NIELSEN Clarinet Concerto, Op. 57 24’ BENJAMIN LULICH, CLARINET INTERMISSION FRANZ JOSEPH HAYDN Symphony No. 49 in F minor, “La passione” 24’ (“The Passion”) Adagio Allegro di molto Menuet Finale: Presto FRANZ SCHUBERT Symphony No. 8 in B minor, “Unfinished” 22’ Allegro moderato Andante con moto Program notes for Haydn’s Symphony No. 49 in F minor, “La passione” (“The Passion”) and Schubert’s Symphony No. 8 in B minor, “Unfinished” may be found on pages 18–19.

High Drama Music is often described as being “dramatic,” usually as a compliment. Some music is dramatic in an abstract, or purely musical, way. It suggests crisis or strife, often with a sense of final resolution, unattached to any specific narrative scenario. But some compositions pin such expression to an actual story or situation. Our concert presents both kinds of musical drama. In Felix Mendelssohn’s concert overture The Fair Melusina, contrasting turbulent gentle moods represent elements in a tragic German folk legend. Carl Nielsen’s Clarinet Concerto conveys a scenario in which an obstreperous soloist comes into conflict with his orchestral colleagues before achieving a measure of amity at the end. The second half of our program comprises two symphonies, each intensely dramatic in abstract terms. Franz Joseph Haydn’s “Passion” Symphony epitomizes a highly emotional style that came to be called Sturm und Drang (“Storm and Stress”), though the passion it expresses is not that of any particular character or drama. Much the same can be said of Franz Schubert’s “Unfinished” Symphony, whose music intimates both sorrow and serenity in soul- stirring measure.

FELIX MENDELSSOHN The Fair Melusina Overture, Op. 32 BORN: Hamburg, February 3, 1809 DIED: Leipzig, November 4, 1847 WORK COMPOSED: 1833, revised 1834 and 1835 WORLD PREMIERE: April 7, 1834, in London. Mendelssohn’s close friend, Ignaz Moschelles, conducted the orchestra of the London Philharmonic Society. “The whole begins and ends with an enchanting water-like motif, ebbing and flowing with such effect that we seem to be carried ... to the sublime, earth-embracing ocean . How tenderly and endearingly the melody in A-flat, in which we seem to see Melusine, lingers in our memory!” –  Robert Schumann (a respected critic as well as a composer), 1835 The German folk legend of Melusine tells of a beautiful woman who, through a magic spell, is transformed into a water nymph every seventh day. She has made her husband promise not to attempt to discover 20 SEATTLESYMPHONY.ORG

where she goes each week, nor the reason for her disappearances. But one day Melusine’s spouse breaks his vow and follows her — a tragic error. With her secret known, Melusine must leave her husband and their children and live forever beneath the water’s surface as a sprite. This story touches on two themes central to 19th-century Romanticism — the supernatural and doomed love — and it attracted numerous poets, dramatists and composers active during the 1820s and ’30s, when the Romantic tide reached its first high-water mark. Among these was Felix Mendelssohn, who in February 1833 noted in a letter to his sister his intention to compose a concert overture based on the Melusine legend. He completed an initial version of Die schöne Melusine, or The Fair Melusina, as it is usually translated to English, in November that year.

From the start, the composer was enthusiastic about the overture. In October 1833, he wrote: “I think ... that the Melusine overture will be the best thing I have yet done.” The overture begins with a pastoral section featuring a theme whose contours suggest Melusina’s watery habitat. Shortly, however, the music turns to darker harmonic terrain and assumes a more agitated air. Here Mendelssohn presents two well-contrasted themes. The first is urgent and impassioned. The second, a more lyrical idea assigned to the violins, surely represents the heroine of the tale. The flowing theme of the initial measures reappears as a brief interlude and again at the close.

Scored for pairs of woodwinds, horns and trumpets; timpani; strings. CARL NIELSEN Clarinet Concerto, Op. 57 BORN: June 9, 1865, in Sortelung, Denmark DIED: October 3, 1931, in Copenhagen WORK COMPOSED: 1928 WORLD PREMIERE: October 2, 1928, in Copenhagen. Aage Oxenvad was the clarinet soloist, and the composer conducted. This concerto is, among other things, a musical drama that pits the solo clarinet against the orchestra. Often the two appear to be quarreling. In particular, the featured instrument repeatedly seems to provoke the snare drum into contentious dialogue. It is always a great honor to perform as soloist with my own symphony. It can feel a bit strange at first standing in front of the orchestra, instead of my normal seat in the middle of it, but it is an exhilarating experience to perform with such a wonderful group no matter where I am on stage. This is my first time performing Carl Nielsen’s Clarinet Concerto; I remember studying the piece in college, but I never performed it. It is well known as a particularly challenging work, technically demanding on everyone, but especially the solo clarinet and the snare drum, which has a significant role. Nielsen was writing for a specific clarinetist, Aage Oxenvad, a fellow Dane who was known for his bipolar outbursts, so there are many sudden changes of mood and character throughout the piece. I think one of the challenges of this piece is to provide cohesive and natural phrasing through all the difficult technical passages, and to show the various moods and characters in a manner that makes sense musically.

– Benjamin Lulich In 1921, the Danish composer Carl Nielsen became acquainted with the members of the Copenhagen Woodwind Quintet, and for them wrote his Quintet for Winds, Op. 43. Nielsen was intrigued with the different personalities that made up this ensemble, and he decided he would try to portray them in a series of five concertos, one for each member of the quintet. Sadly, he did not live to complete this project, but his concertos for flute and clarinet, written in 1926 and 1928 respectively, have enriched the literature of each of these instruments.

Nielsen composed his Clarinet Concerto for Aage Oxenvad, a fine clarinetist but reportedly a temperamental fellow. He could be difficult, often angry, and possessed a cutting wit. But evidently he was capable of more gentle humor and a certain affability also. These are the qualities of the Clarinet Concerto. Nielsen compresses the three movements (fast–slow–fast) of traditional concerto form into a single large movement. The work begins with an energetic little theme announced by the cellos and basses, but the cheery character it promises is short-lived. With the entrance of the soloist the mood becomes tense and then violent. There are moments of respite, particularly in the central Adagio section, but a final reconciliation is achieved only in the concerto’s closing measures. Scored for solo clarinet; 2 bassoons; 2 horns; percussion; strings.

© 2018 Paul Schiavo BENJAMIN LULICH Clarinet Principal Clarinet of the Seattle Symphony and Seattle Opera, Benjamin Lulich has been praised for “standout” performances (Seattle Times) that are “expert and lush” (Los Angeles Times), and solos that are “superb” and “especially eloquent” (Orange County Register). He has held prominent positions in The Cleveland Orchestra, Pacific Symphony and Kansas City Symphony, and has performed as guest principal with the Philadelphia Orchestra and frequently with the Los Angeles Philharmonic. Lulich has performed on Oscar and Grammy Award- winning albums and film scores. He has performed solo, chamber and orchestral music across the globe. Lulich attended Interlochen Arts Academy, Cleveland Institute of Music and Yale School of Music, where he studied with Richard Hawkins, Franklin Cohen and David Shifrin. A native of the Pacific Northwest, Lulich previously performed with the Seattle Youth Symphony and Marrowstone Music Festival and studied with Seattle Symphony clarinetist Laura DeLuca. He is a performing artist for Backun Musical Services, and he plays Backun MoBa clarinets made from cocobolo wood. Photo: Larey McDaniel PABLO RUS BROSETA Conductor Pablo Rus Broseta is Associate Conductor of the Seattle Symphony, having originally been appointed Assistant Conductor in 2015. During the 2017– 2018 season, he leads the Seattle Symphony in a wide variety of concerts, including an all-Russian program with pianist Beatrice Rana, Carmina burana and a festival of Prokofiev concertos. In 2016–2017, he conducted a festival of Shostakovich concertos as well as a concert with Yo-Yo Ma. He is rapidly building a wide-ranging repertoire from Handel to John Adams, with a focus on the great symphonic repertoire. As guest conductor, Rus Broseta’s 2017–2018 season includes debuts with the Houston and Kitchener-Waterloo symphonies, and return engagements with the SWR Symphonie­ orchester and Orquesta de Valencia. Rus Broseta studied composition and saxophone at the Conservatory of his native Valencia, with further studies in conducting in Lyon, at the Conservatorium van Amsterdam, and Universität der Künste Berlin. Photo: Chuck Moses, Yuen Lui Studio PROGRAM NOTES 21 21

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 ©2018 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. THURSDAY, MARCH 15, 2018, AT 7:30PM SATURDAY, MARCH 17, 2018, AT 8PM SUNDAY, MARCH 18, 2018, AT 2PM CARMINA BURANA Pablo Rus Broseta, conductor | Raquel Lojendio, soprano | Ross Hauck, tenor Jarrett Ott, baritone | Northwest Boychoir | Seattle Symphony Chorale Seattle Symphony MANUEL DE FALLA El sombrero de tres picos 38’ /text Gregorio Martínez Sierra (“The Three-Cornered Hat”) after Pedro Antonio Introducción (“Introduction”)— de Alarcón Part I: La tarde (“Afternoon”)— Danza de la molinera: Fandango (“Dance of the Miller’s Wife”)— Las uvas (“The Grapes”) Part II: Danza de los vecinos: Seguidillas (“The Neighbors’ Dance”) Danza del molinero: Farruca (“The Miller’s Dance”)— Danza del corregidor (“Dance of the Magistrate”) Danza final: Jota (“Final Dance”) RAQUEL LOJENDIO, SOPRANO INTERMISSION CARL ORFF Carmina burana 60’ Fortuna imperatrix mundi (“Fortune, Empress of the World”) Primo vere (“In Springtime”) Uf dem anger (“On the Green”) In taberna (“In the Tavern”) Cour d’amours (“The Court of Love”)— Blanziflor et Helena (“Blanziflor and Helena”)— Fortuna imperatrix mundi (“Fortune, Empress of the World”) RAQUEL LOJENDIO, SOPRANO ROSS HAUCK, TENOR JARRETT OTT, BARITONE NORTHWEST BOYCHOIR SEATTLE SYMPHONY CHORALE See Pablo Rus Broseta’s biography on page 21. Pre-concert Talk one hour prior to performance. Speaker: Andrew Kohler Ask the Artist on Thursday, March 15 in the Samuel & Althea Stroum Grand Lobby following the concert.

Guests: Raquel Lojendio, Ross Hauck & Jarrett Ott Moderator: Pablo Rus Broseta Sponsored by Wells Fargo Private Bank. Media Sponsor: Classical KING FM 98.1 CONCERT SPONSOR Wells Fargo Private Bank is delighted and honored to sponsor the Seattle Symphony’s performance of Carl Orff’s Carmina burana. Like the Seattle Symphony, Wells Fargo has long been a part of Washington State’s history, serving the financial needs of families and business since 1852. With nearly 5,000 team members, we are one of the region’s largest employers and are grateful for the contribution that the Seattle Symphony makes to the Puget Sound’s vibrancy, economy and quality of life.

Our commitment to the Symphony, and to so many other excellent organizations around the region, is reflected in our corporate and team member giving, community development investments, and the tens of thousands of volunteer hours contributed by Wells Fargo team members. This corporate commitment represents a legacy of leadership for which we are quite proud, both as employees and as members of this community. On behalf of Wells Fargo Private Bank, our team members and their families, thank you for supporting the Seattle Symphony. We hope that you thoroughly enjoy the performance. Marco Abbruzzese Regional Managing Director, Washington and Alaska 22 SEATTLESYMPHONY.ORG

OVERVIEW PROGRAM NOTES 23 In the Realm of the Senses Music appeals to us through both the senses and intellect. The latter is especially true of certain kinds of highly developed concert music. Bach’s fugues, for example, with their intricate webs of counterpoint, or Beethoven’s sonatas and quartets, with their ingenious manipulation and variation of melodic motifs, are impressive intellectual achievements as well as auditory delights. Yet music’s sensual aspects can hardly be ignored, even in such decorous surroundings as Benaroya Hall. The effect rhythm has on our pulse and muscles, the strange sway melody and harmony exert on our emotions, the visceral thrill we feel when sonic tempo and volume increase — these are what first draw us to music, and they remain powerful attractions for even the most sophisticated listeners. While by no means devoid of intellectual substance, the two compositions that form the program for our concert lean strongly toward the sensual. And each in its own way celebrates sensuality. Manuel de Falla’s ballet The Three-Cornered Hat is a paean to young married love as well as a satirical jab at old men’s lechery. De Falla’s evocation of cante jondo, the erotically charged flamenco vocal style, and of several traditional Spanish dances give his ballet score an irresistible physical appeal. Carl Orff’s sprawling cantata Carmina burana sings of nature, inebriation and love. Its propulsive rhythms, roaring sonority and sheer aural energy have made this the most popular choral work of the last century. I have great memories spending a couple of weeks every year in Granada, one of my favorites cities in my country. De Falla lived there around 20 years. I was studying at a seminar about de Falla’s music and his relation with the impressionism and the flamenco, somehow his music is in between these two influences. We could visit his house, he lived very close to the Alhambra, an astonishing place not to be missed if you visit Spain! De Falla’s not so well known as Stravinsky or Ravel, or other great composers of the 20th century, but I always believed in his music. It’s very special for me to share this music with the Seattle Symphony.

– Pablo Rus Broseta MANUEL DE FALLA El sombrero de tres picos (“The Three-Cornered Hat”) BORN: November 23, 1876, in Cádiz, Spain DIED: November 14, 1946, in Alta Gracia de Córdoba, Argentina WORK COMPOSED: 1916–19 WORLD PREMIERE: July 22, 1919, in London. Ernest Ansermet conducted the orchestra of the Ballets Russes. De Falla’s marvelous ballet score imparts a strongly Spanish flavor through its allusions to traditional Spanish music and dances. The song that precedes the action imitates cante jondo, the traditional singing of Spain’s gypsies. A series of dances — the first act’s fandango, and the ensuing seguidilla, farruca and jota — show de Falla’s command of both a folkloric Spanish idiom and a dazzling palette of orchestral color. Manuel de Falla was the most important Spanish composer of the last century. His standing as such is due not only to the outstanding quality of his music but also to its essentially Spanish tone and spirit. De Falla thoroughly absorbed the melodic and rhythmic inflections of Spanish folk music and used these as elements of his own compositional style. Moreover, his theatrical works are drawn from Spanish subjects and deliberately evoke a Spanish atmosphere.

The most substantial of those works is the ballet The Three-Cornered Hat. De Falla initially completed this piece in 1917 as a modest pantomime with music scored for a small instrumental ensemble. Two years later he expanded his score to a full-length ballet for large orchestra. In this form the work was first presented in 1919, the production featuring sets by Pablo Picasso. The ballet’s plot is based on a traditional Spanish story, El corregidor y la molinera (“The Magistrate and the Miller’s Wife”), a semi-serious farce that resembles, in spirit and in many details, the plot of Mozart’s opera The Marriage of Figaro. In it, a lecherous and despotic magistrate, whose emblem of authority is a three- cornered hat, conceives a fancy for the pretty wife of a poor miller. When she spurns his advances, he has her husband arrested in order to clear the field for his conquest. Still he is unable to win her. In the end the magistrate is defeated and thoroughly humiliated by the miller and his clever spouse.

The ballet score begins with an Introduction, a song for soprano. “Young wife, shut and bar the door,” she sings between shouts of “olé” and the clicking of castanets. “For though the devil is asleep, he may awake.” This prefatory music flows into that of the first scene, Afternoon, in which the miller and his wife work in their garden. His vain attempts to train a blackbird bring chirps from flute and piccolo, as well as angry outbursts from the frustrated miller. She succeeds in coaxing the bird and a warmly romantic phrase suggests the affection the couple share. As he returns to work, the miller whistles a tune that serves as his musical signature.

Now a procession approaches. It is the provincial magistrate, whose pompous character is reflected in the lumbering accompaniment figures heard at the outset of his processional music. Noticing how he gazes lustfully at the miller’s wife, the couple decide to toy with him. The miller strolls off and his wife begins to perform a fandango, a dance of highly passionate character. Soon the governor approaches (indicated by a solo bassoon). The miller’s wife greets him (gracious music for the strings) and offers some grapes, which become the prop in a flirtatious dance. He tries to grab her, but she always manages to evade his lunges. Their dalliance grows increasingly animated until the miller appears, brandishing a stick and frightening the magistrate away. Together the couple triumphantly conclude the fandango. In the second act, neighbors of the miller and his wife gather at the mill. In the warm Andalusian night there is drinking and dancing — a seguidilla, which all join in. De Falla’s music captures the fluid rhythms of this dance and provides a wonderful mosaic of changing instrumental colors. The miller responds with a dance of his own, a more vigorous farruca. It is prefaced by rhapsodic solos for horn and English horn, and its gradual acceleration creates an impression of mounting energy. De Falla, through his scoring, manages to imitate the strumming of guitars that traditionally accompanies this dance.

Suddenly there is a knock at the door. (De Falla indicates this with a humorous quotation of the famous motif from

PROGRAM NOTES 24 SEATTLESYMPHONY.ORG Beethoven’s Fifth Symphony.) It is the police, sent by the magistrate with a warrant for the miller’s arrest. The miller is led away and the guests depart. Here de Falla interpolates another song, warning that the devil is afoot and invoking the sound of a cuckoo, the symbol of deceived husbands. At midnight the magistrate arrives (bassoon again), confident that he will enjoy the miller’s wife now that her spouse is incarcerated. He primps and preens (to a mock-classical passage) but loses his way in the dark and plunges into the mill pond (a loud orchestral outburst). Quickly recovering, the magistrate endeavors to seduce the miller’s wife. She manages to flee, and the magistrate hides just as the miller, having escaped from the village jail, returns to the house (de Falla signals his arrival by a variant of the tune he had whistled near the start of the ballet). Devising a new plan to foil the magistrate, the miller strolls off whistling his cheery tune, leaving the magistrate (signaled again by the bassoon) alone and dejected. Returning with all his neighbors, the miller exposes the magistrate’s lechery for all to see. The townsfolk dance around the magistrate, mocking him and finally tossing him on a blanket. De Falla’s closing dance, a jota, sounds a kaleidoscope of shifting melodic figures, several alluding to themes heard earlier in the ballet. The orchestration is exceptionally colorful, its extensive use of percussion contributing much to the music’s festive Spanish character.

Scored for solo soprano; 3 flutes (the 1st and 3rd flute doubling piccolo); 2 oboes and English horn; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani and percussion; harp; piano and celeste; strings. CARL ORFF Carmina burana BORN: July 10, 1895, in Munich DIED: March 29, 1982, in Munich WORK COMPOSED: 1935–36 WORLD PREMIERE: June 8, 1937, in Frankfurt am Main, by the Frankfurt Opera under the direction of conductor Bertil Wetzelsberger. Carl Orff stated that he intended Carmina burana to convey intense physical feeling. In this he succeeded. The work’s pounding and repetitive rhythms, simple motifs, elemental harmonies and huge orchestral sound blocks convey a pagan and often quite orgiastic energy. But there are moments of quiet lyricism also, particularly in songs of love, and even intimations of innocence in the voices of a children’s choir.

In 1803 a remarkable manuscript was discovered in a medieval Benedictine monastery at Beuren, in what is now southern Germany: a collection of secular songs and poems written by wandering students and minstrels during the 12th and 13th centuries. The verses, in Latin, Old French and Middle-High-German, touched a broad range of topics. They satirized the clergy and nobility, celebrated the passing seasons, complained of poverty and corruption, praised the pleasures of wine and song, and above all sang the joys and sorrows of love — all while expressing a fatalistic view of human destiny controlled by a “wheel of fortune.” By turns blatant and refined, these verses revealed a freshness that is striking even today. They were published in 1847 under the title Carmina burana (“Beuren Songs”). In 1935 they came to the attention of an obscure German composer named Carl Orff. Orff is one of the more curious figures of 20th-century music. He received a solid if unremarkable musical training and, like so many composers of his generation, absorbed the influence first of the German late-Romantics, particularly Richard Strauss, and later of Stravinsky. But his interests soon spread beyond the concerns of modern composition. As a young man, he became involved with the theater and soon became fascinated with the possibility of combining the various arts to produce a spectacle whose total effect was greater than the sum of its parts. At about the same time, Orff developed a strong interest in early music, particularly that of the medieval and Renaissance periods. Finally, in 1924, he began an association with the dancer Dorothee Gunther and with her established an educational method aimed at “reviving the natural unity of music and movement.” Orff’s work in this area, and in early music education generally, continued for decades, resulting in the famous Orff-Schulwerk, a teaching program employing simple percussion instruments and rhythmic movement now widely used throughout the world.

Far from remaining isolated, these interests came together in a fascinating synthesis in Orff’s creative work. He sought new ways to dramatize concert music, presenting staged versions of oratorios and other pieces. His own compositions relied increasingly on modal melodies derived from medieval chant, and on the percussion instruments and simplicity of utterance that characterize Orff-Schulwerk. Orff plainly was searching for a vehicle by which to bring these disparate elements together in a telling and original way. He found it in the Carmina burana. Orff composed his setting of Beuren monastery verses in 1935–36. Upon completing it, he wrote to his publisher: “Everything I have written to date ... can be destroyed. With Carmina burana, my collected works begin.” One can understand how Orff might have been tempted to make this extreme declaration, for the sound of Carmina burana was virtually unprecedented. In an audacious gambit, Orff deliberately abandoned Western music’s traditional techniques of counterpoint and thematic development in favor of a deliberately primitive rhetoric. This aimed unapologetically for physical and emotional sensation rather than aesthetic response, and its raw emotive power cannot be ignored.

Framing Carmina burana is a massive chorus, “O Fortuna,” whose allusion to both happiness and woe, “power and poverty alike,” sets out a broad canvass of human experience to be filled by the intervening numbers. These are divided into three large sections. The first, Springtime, is a hymn to reawakening nature and love. In the Tavern treats the pains and pleasures of hedonistic abandon. The Court of Love, the work’s final section, celebrates love and sensuality. A reprise of the opening chorus brings the work full circle to conclude as it began. Scored for solo soprano, tenor and baritone; large chorus, small chorus and children’s chorus; 3 flutes (the 2nd and 3rd doubling piccolo); 3 oboes (the 3rd doubling English horn); 3 clarinets (the 2nd clarinet doubling bass clarinet, the 3rd clarinet doubling E-flat clarinet); 2 bassoons and contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani and percussion; 2 pianos and celeste; strings.

© 2018 Paul Schiavo

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TEXT & TRANSLATION Fortuna imperatrix mundi (“Fortune, Empress of the World”) 1. O Fortuna O Fortuna, O Fortune, velut Luna like the moon statu variabilis, of ever-changing state, semper crescis you are always aut decrescis; waxing or waning; vita detestabilis hateful life nunc obdurat now is brutal, et tunc curat now pampers our feelings ludo mentis aciem; with its game; egestatem, poverty, potestatem, power, dissolvit ut glaciem. it melts them like ice. Sors immanis Fate, savage et inanis, and empty, rota tu volubilis, you are a turning wheel; status malus, your position is uncertain, vana salus your favor is idle semper dissolubilis; and always likely to disappear; obumbrata covered in shadow et velata and veiled, mihi quoque niteris; you bear upon me too; nunc per ludum now my back dorsum nudum is naked fero tui sceleris. through the sport of your wickedness.

Sors salutis The chance of prosperity et virtutis and of virtue mihi nunc contraria; is not now mine; est affectus whether willing or not, et defectus a man is semper in angaria. always liable for Fortune’s service. Hac in hora At this hour, sine mora without delay, cordae pulsum tangite! touch the strings! Quod per sortem Because through luck, sternit fortem, she lays low the brave; mecum omnes plangite! all join with me in lamentation! Part I: Primo vere (“In Springtime”) 2. Fortunae plango vulnera Fortunae plango vulnera I mourn the blows of Fortune stillantibus ocellis, with flowing eyes, quod sua mihi munera because her gifts she has subtrahit rebellis. treacherously taken back from me. Verum est, quod legitur Opportunity is rightly described fronte capillata, as having hair on her forehead, sed plerumque sequitur but there usually follows Occasio calvata. the bald patch at the back. In Fortunae solio On the throne of Fortune sederam elatus, I sat elated, prosperitatis vario crowned with flore coronatus; the gay flower of prosperity; quicquid enim florui however much I flourished, felix et beatus happy and blessed, nunc a summo corrui now I have fallen from the pinnacle, gloria privatus. deprived of my glory.

Fortunae rota volvitur; The wheel of Fortune turns; descendo minoratus; I sink, debased; alter in altum tollitur; another is raised up; nimis exaltatus lifted too high, rex sedet in vertice. a king sits on top. Caveat ruinam! Let him beware of ruin! Nam sub axe legimus Under the axis is written Hecubam reginam. Queen Hecuba. 3. Veris laeta facies Veris laeta facies The happy face of Spring mundo propinquatur. comes to the world. Hiemalis acies The army of Winter, conquered, victa iam fugatur. is now put to flight. In vestitu vario Flora principatur, In gay clothes Flora rules, nemorum dulcisono and she is praised quae cantu celebratur. by the sweet sound of the woods. Florae fusus gremio Stretched out in the lap of Flora, Phoebus novo more Phoebus in his new way risum dat, hoc vario laughs; she is now covered iam stipatae flore. with these gay flowers. Zephyrus nectareo Zephyrus goes blowing spirans it odore. the scent of nectar. Certatim pro bravio In competition for the prize, curramus in amore. let us run the race of love. Cytharizat cantico Sweet Philomela dulcis Philomena. accompanies her song with the lyre. Flore rident vario The fields, now bright, prata iam serena. Smile with gay flowers. Salit coetus avium A flock of birds hops silvae per amoena. through the pleasant places of the world.

Chorus promit virginum A dancing band of girls iam gaudia millena. now brings a thousand joys. CARL ORFF Carmina burana MANUEL DE FALLA El sombrero de tres picos (“The Three-Cornered Hat”) Ole! Casadita, Cierra con trance la Puerta; que aunque el diablo esté dormido a lo major se despierta! Por la noche cantael cuco. Advirtiendo a los casados que corran bien los cerrojos que el diabloesta desvelado! Por la noche cantael cuco: Cucú! Cucú! Cucú! Young bride, lock the door with a crossbar. For, even if the devil is sleeping, like as not he’ll wake up! At night the cuckoo calls, warning married people to shut their bolts tightly, because the devil isn’t sleeping! At night the cuckoo calls: “Cuckoo! Cuckoo! Cuckoo!” 26 SEATTLESYMPHONY.ORG

4. Omnia sol temperat Omnia Sol temperat The Sun calms all things purus et subtilis; pure and gentle; novo mundo reserat the face of April facies Aprilis, opens to the new world; ad amorem properat the mind of a young man animus herilis, hastens to love, et iocundis imperat and over men of charm deus puerilis. rules the boy-god. Rerum tanta novitas So great a renewal in sollemni Vere of the world in festive Spring, et Veris auctoritas and the authority of Spring iubet nos gaudere; orders us to rejoice; vias praebet solitas; it shows its familiar ways; et in tuo Vere and, in the Spring of your life, fides est et probitas sincerity and honesty require tuum retinere. that you keep him who is yours. Ama me fideliter! Love me faithfully! fidem meam nota; Mark my loyalty; de corde totaliter completely in my heart et ex mente tota and in my whole mind sum praesentialiter I am with you absens in remota. though absent in a far place. Quisquis amat taliter, Whoever loves in this way volvitur in rota. is turned on the wheel of torture. 5. Ecce gratum Ecce gratum Behold, the welcome et optatum and desirable Ver reducit gaudia. Spring brings back joys. purpuratum The brightly colored meadow floret pratum. is in flower. Sol serenat omnia. The sun brightens everything. Iamiam cedant tristia! Now let sorrows depart! Aestas redit, Summer returns, nunc recedit now the rage Hiemis saevitia. of Winter retires. Iam liquescit Now hail, snow et decrescit and the rest grando, nix et cetera. turn to water and flow away. Bruma fugit, Winter flees, et iam sugit and already Ver Aestatis ubera. Spring sucks at the breasts of Summer.

Illi mens est misera, He bears an unhappy heart qui nec vivit, who neither lives nec lascivit nor plays sub Aestatis dextera. under Summer’s right hand. Gloriantur They who strive et laetantur to enjoy in melle dulcedinis the reward of Cupid qui conantur, rejoice and take ut utantur pleasure in praemio Cupidinis. honey sweetness. Simus iussu Cypridis Let us be at the command of the Cyprian, gloriantes et glorying and laetantes rejoicing pares esse Paridis. to be the equals of Paris. Uf dem Anger (“On the Green”) 6. Tanz (“Dance”) 7. Floret silva nobilis Floret silva nobilis The noble forest is in bloom floribus et foliis. with flowers and leaves. Ubi est antiquus meus amicus? Where is my old companion? hinc equitavit. He has ridden away.

Eia, quis me amabit? Alas, who will love me? Floret silva undique. The forest is in bloom on all sides. Nach mime gesellen ist mir we. I grieve for my companion. Gruonet der walt allenthalben, The forest is green on all sides. Wa ist min geselle also lange? Why is my companion so long? Der ist geriten hinnen. He has ridden away. Owi, wer sol mich minnen? Alas, who will love me? 8. Chramer, gip die varwe mir Chramer, gip die varwe mir Merchant, give me the color die min wengel roete, to redden my cheeks damit ich die jungen man so that I may make young men an ir dank der minnenliebe noete. love me whether they wish it or not. Seht mich an, jungen man! Look at me, young men!

Lat mich iu gevallen! Let me please you! Minnet, tugentliche man, Give your love, virtuous men, minnechliche frouwen! to lovely women! Minne tuot iu hoch gemuot Love gives you high spirits unde lat iuch in hohen eren and lets you shine in high schouwen. honor. Seht mich an, jungen man! Look at me, young men! Lat mich iu gevallen! Let me please you! Wol die, werlt, das du bist O world, I wish you well, as you are also freudenriche! so rich in pleasures. Ich wil dir sin undertan I will surely always be your servant durch din liebe immer sicherliche. on account of your bounty. Seht mich an, jungen man! Look at me, young men! Lat mich iu gevallen! Let me please you! 27

TEXT & TRANSLATION 9. Reie (“Round Dance”) Swaz hie gat umbe, Those who dance around here daz sint allez megede, are all girls die wellent an man who wish to spend alle disen sumer gan. all this summer without men. Chume, chum, geselle min, Come, come, my beloved, ih enbite harte din, I am awaiting you with desire, ih enbite harte din, I am awaiting you with desire, chume, chum, geselle min. come, come, my beloved. Suozer rosenvarwer munt, Sweet mouth, the color of roses, chum unde mache mich gesunt, come and make me well again. suozer rosenvarwer munt. sweet mouth, the color of roses. 10. Were diu werlt alle min Were diu werlt alle min If the world were all mine von dem mere unze an den Rin, from the sea up to the Rhine, des wolt ih mih darben this I would willingly forego daz diu chunegin von Engellant to have the queen of England lege an minen armen. lie in my arms.

Part II: In taberna (“In the Tavern”) 11. Aestuans interius Aestuans interius Burning inwardly ira vehementi with strong anger, in amaritudine in my bitterness loquor meae menti; I speak to my soul; factus de materia, created out of matter, cinis elementi, ashes of the earth, similis sum folio, I am like a leaf de quo ludunt venti. with which the winds play. Cum sit enim proprium Whereas it is proper viro sapienti for a wise man supra petram ponere to place his foundations sedem fundamenti, on rock, stultus ego comparor I, in my folly, fluvio labenti am like a flowing river, sub eodem tramite never staying numquam permanenti. on the same course. Feror ego veluti I am borne along like a ship sine nauta navis, without a sailor, ut per vias aeris just as a wandering bird vaga fertur avis; is carried along paths of air; non me tenent vincula, chains do not keep me non me tenet clavis; nor does a key; quaero mihi similes, I seek men like myself, et adiungor pravis. and I am joined with rogues. Mihi cordis gravitas For me, a serious heart res videtur gravis; is too serious a matter; iocus est amabilis a joke is pleasant dulciorque favis; and sweeter than honeycombs; quicquid Venus imperat, whatever Venus orders labor est suavis, is pleasant toil; quae numquam in cordibus she never dwells habitat ignavis. in faint hearts. Via lata gradior I go on the broad way more iuventutis, after the manner of youth; implicor et vitiis and I entangle myself in vice, immemor virtutis, forgetful of virtue; voluptatis avidus greedy for pleasure magis quam salutis, more than for salvation, mortuus in anima I, dead in my soul, curam gero cutis. attend to the needs of my flesh. 12. Olim lacus colueram Olim lacus colueram, Once I had dwelt on lakes, olim pulcher exstiteram, once I had been beautiful, dum cygnus ego fueram. when I was a swan. Miser, miser! Poor wretch!

Modo niger Now black et ustus fortiter! and well roasted! Girat, regirat garcifer; The cook turns me back and forth; me rogus urit fortiter; I am roasted to a turn on my pyre; propinat me nunc dapifer. now the waiter serves me. Miser, miser! Poor wretch! Modo niger Now black et ustus fortiter! and well roasted! Nunc in scutella iaceo, Now I lie on the dish, et volitare nequeo; and I cannot fly; dentes frendentes video. I see the gnashing teeth. Miser, miser! Poor wretch! Modo niger Now black et ustus fortiter! and well roasted! 28 SEATTLESYMPHONY.ORG

13. Ego sum abbas Ego sum abbas Cucaniensis I am the Abbot of Cockaigne et consilium meum est cum and my counsel is with bibulis, soaks, et in secta Decii voluntas mea and my pleasure is in the order of est, gamblers, et qui mane me quaesierit and whoever seeks me early in in taberna the tavern post vesperam nudus egredietur, will leave naked after vespers, et sic denudatus veste clamabit: and stripped of his clothing he will cry: Wafna, wafna! quid fecisti, Woe! Woe! What have you done, Sors turpissima? Luck most foul!

Nostrae vitae gaudia You have taken away abstulisti omnia! all the joys of our life! 14. In taberna quando sumus In taberna quando sumus, When we are in the tavern, non curamus quid sit humus, we do not care about what earth is; sed ad ludum properamus, we set about gambling, cui semper insudamus. and over that we always sweat. Quid agatur in taberna We must investigate ubi nummus est pincerna, what happens in the tavern hoc est opus ut quaeratur; where money is the butler; si quid loquar, audiatur. pay attention to what I say. Quidam ludunt, Some gamble, quidam bibunt, some drink, quidam indiscrete vivunt. some live without discretion. Sed in ludo qui morantur, From those who spend their time in gambling, ex his quidam denudantur, some are stripped bare, quidam ibi vestiuntur, some win clothes, quidam saccis induuntur; some are dressed in sacks; ibi nullus timet mortem, there no one fears death, sed pro Baccho mittunt sortem. but for the wine they throw dice. Primo pro nummata vini; First, for the payment of the wine; ex hac bibunt libertini; then the boozers start to drink; semel bibunt pro captivis, they drink once to those in prison, post haec bibunt ter pro vivis, after that, three times for the living, quater pro Christianis cunctis, four times for all Christendom, quinquies pro fidelibus defunctis, five times for the faithful departed, sexies pro sororibus vanis, six times for sisters of loose virtue, septies pro militibus silvanis. seven times for soldiers of the forest. Octies pro fratribus perversis, Eight times for brothers in error, nonies pro monachis dispersis, nine times for scattered monks, decies pro navigantibus, ten times for those who sail, undecies pro discordantibus, eleven times for men quarreling, duodecies pro paenitentibus, twelve times for those doing penance, tredecies pro iter agentibus. thirteen times for those on journeys. Tam pro papa quam pro rege For Pope and king alike, bibunt omnes sine lege. all drink without restraint. Bibit hera, bibit herus, The mistress drinks, so does the master, bibit miles, bibit clerus, the soldier drinks, so does the cleric, bibit ille, bibit illa, that man drinks, that woman drinks, bibit servus cum ancilla, the servant drinks with the maid, bibit velox, bibit piger, the fast man drinks, so does the slow, bibit albus, bibit niger, the white man drinks, so does the black, bibit constans, bibit vagus, the stay-at-home drinks, so does the wanderer, bibit rudis, bibit magus. the fool drinks, so does the scholar. Bibit pauper et aegrotus, The poor drink, and the sick, bibit exul et ignotus, the exiled and the unknown, bibit puer, bibit canus, the boy, the greybeard, bibit praesul et decanus, the bishop, the deacon, bibit soror, bibit frater, sister, brother, bibit anus, bibit mater, old woman, mother, bibit ista, bibit ille, that woman, this man, they drink bibunt centum, bibunt mille. by the hundred, by the thousand. Parum sescentae nummatae Large sums of money durant cum immoderate last too short a time bibunt omnes sine meta, when everybody drinks without limit, quamvis bibant mente laeta; even though they drink with a happy heart; sic nos rodunt omnes gentes, in this everyone sponges on us, et sic erimus egentes. and it will make us poor. Qui nos rodunt confundantur Damnation to those who sponge on us! et cum iustis non scribantur. Put not their names in the book of justice.

Part III: Cour d’amours (“The Court of Love”) 15. Amor volat undique Amor volat undique, Love flies everywhere, captus est libidine. and is seized with passion. Iuvenes, iuvenculae, Young men and women coniunguntur merito. come together, as is right. Siqua sine socio, If a girl has no boyfriend, caret omni gaudio; she is quite without joy; tenet noctis infima she harbors the depths of night sub intimo shut up in her inmost heart. cordis in custodia; fit res It is pure bitterness. amarissima. 29

TEXT & TRANSLATION 16. Dies, nox Dies, nox, Day, night, et omnia mihi sunt contraria; everything is hostile to me; virginum colloquia the talk of maidens me fay planszer, makes me weep, alas!, oy suvenz suspirer, makes me sigh often, plu me fay temer. makes me more afraid. O sodales, ludite, O friends, make merry, vos qui scitis dicite, speak to me, you who know, mihi maesto parcite; have mercy on me in my misery; grand ey dolur, my pain is great, attamen consulite but advise me per voster honur. for your honor’s sake. Tua pulchra facies, Your fair face me fay planszer milies, makes me weep a thousand times, pectus habens glacies. but your heart is ice. A ramender ... To restore me … statim vivus immediately would I return to life fierem per un baser. with one kiss. 17. Stetit puella Stetit puella A girl stood rufa tunica; in a red dress; si quis eam tetigit, if anyone touched it, tunica crepuit. the dress rustled. Eia! Eia!

Stetit puella A girl stood tamquam rosula; like a little rose; facie splenduit, her face shone, os eius floruit. and her mouth bloomed, Eia! Eia! 18. Circa mea pectora Circa mea pectora In my heart multa sunt suspiria there are many sighs de tua pulchritudine, for your beauty, quae me laedunt misere. which tortures me miserably. Manda liet, manda liet, Send a message, send a message, min geselle my beloved chumet niet. does not come. Tui lucent oculi Your eyes shine sicut solis radii, like the rays of the sun, sicut splendor fulguris like a flash of lightning lucem donat tenebris. which gives light to darkness. Manda liet, manda liet, Send a message, send a message, min geselle my beloved chumet niet. does not come. Vellet Deus, May God grant, vellent dii, may the gods grant, quod mente proposui: what I have set myself to do: ut eius virginea and that is to unlock reserassem vincula. the bonds of her virginity. Manda liet, Send a message, manda liet, send a message, min geselle my beloved chumet niet. does not come. 19. Si puer cum puellula Si puer cum puellula If a boy lingers moraretur in cellula, with a little girl in a cellar, felix coniunctio. their meeting is fortunate. Amore succrescente, As love increases, pariter e medio and, for both, propulso procul taedio, boredom is dispatched far from their midst, fit ludus ineffabilis an indescribable game occurs membris, lacertis, labiis. with limbs, shoulders, lips. 20. Veni, veni, venias Veni, veni, venias, Come, come, please come, ne me mori facias, don’t make me die, hyrca, hyrce, nazara, hyrca, hyrce, nazara, trilirivos. trilirivos.

Pulchra tibi facies, Beautiful is your face, oculorum acies, the glance of your eyes, capillorum series; the tresses of your hair; o quam clara species! oh, how beautiful is your appearance! Rosa rubicundior, You are redder than the rose, lilio candidior, brighter than the lily, omnibus formosior; more beautiful than all; semper in te glorior! you are my constant pride! 21. In trutina mentis dubia In trutina mentis dubia In my mind’s wavering balance, fluctuant contraria wanton love and chastity lascivus amor et pudicitia. sway in opposite scales. Sed eligo quod video, But I choose what I see, collum iugo praebeo; I offer my neck to the yoke; ad iugum tam suave transeo. to a yoke so sweet I cross. 30 SEATTLESYMPHONY.ORG

22. Tempus est iocundum Tempus est iocundum, It is the time of joy, o virgines, o maidens; modo congaudete now enjoy yourselves together, vos iuvenes. o young men. Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying. Mea me comfortat I am elated promissio, when I say yes, mea me deportat I am depressed negatio. when I say no. Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying. Tempore brumali In the time of winter vir patiens, a man is sluggish, animo vernali when spring is in his heart, lasciviens. he is wanton.

Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying. Mea mecum ludit My innocence virginitas, plays with me, mea me detrudit my shyness simplicitas. pushes me back. Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying. Veni, domicella, Come, my mistress, cum gaudio; with your joy; veni, veni, pulchra, come, come, fair girl, iam pereo. already I die.

Oh, oh, totus floreo, Oh, oh, I am all aflower iam amore virginali now with my first love; totus ardeo; I am all afire; novus, novus amor est, a new love it is, quo pereo. of which I am dying. 23. Dulcissime Dulcissime, Sweetest of men, totam tibi subdo me! I give myself to you wholly! Blanziflor et Helena (“Blanchefleur and Helen”) 24. Ave formosissima Ave formosissima, Hail, fairest of women, gemma pretiosa, precious gem; ave, decus virginum, hail, glory of maidens, virgo gloriosa, noble maiden; ave, mundi luminar, hail, light of the world; ave, mundi rosa, hail, rose of the world; Blanziflor et Helena, you are Blanchefleur and Helen, Venus generosa. noble Venus.

Fortuna imperatrix mundi (“Fortune, Empress of the World”) 1. O Fortuna O Fortuna, O Fortune, velut Luna, etc. like the moon, etc. 31

VERDI’S MONUMENTAL MASTERPIECE In this profoundly personal love story, Verdi’s power to translate human emotions into magnificent music is on full display. The high-stakes love triangle unfolds on a grand scale amid glorious spectacle and rousing choruses—including the famous Triumphal March. Francesca Zambello’s all-new production includes evocative choreography by Jessica Lang, and largescale visuals by visionary artist RETNA, who cites the structures of Egyptian hieroglyphics as the basis for his striking designs.

SEATTLEOPERA.ORG/AIDA New Production In Italian with English subtitles. Evenings 7:30 PM Sunday 2:00 PM Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra. MCCAW HALL 206.389.7676 PRODUCTION SPONSORS: LENORE M. HANAUER C.E. STUART CHARITABLE TRUST ADDITIONAL SUPPORT FROM: 4CULTURE Artwork © RETNA (Marquis Duriel Lewis), Photo © Philip Newton verdi AIDA may 5–19 32 SEATTLESYMPHONY.ORG RAQUEL LOJENDIO Soprano The versatility of the Spanish soprano Raquel Lojendio has enabled her to build an extensive concert and operatic repertoire, which spans composers as diverse as Bach, Mozart, Stravinsky, Verdi, de Falla, Shostakovich or Wagner. She has performed with all the major Spanish orchestras, and with the Berlin Philharmonic, Boston Symphony Orchestra, BBC Philharmonic, Orchestra Sinfonica Nazionale della RAI in Torino, Bergen Philharmonic Orchestra, Dresden Philharmonic, Hamburg Symphony Orchestra, Orchestra Filarmonica “Giuseppe Verdi” in Trieste and the Orchestre National du Capitole de Toulouse, among many others. She has recorded for major record labels such as Deutsche Grammophon, Naxos, Licanus, Chandos and RTVE Música. She studied at the Conservatorio Superior in her native city of Santa Cruz de Tenerife and Conservatori Liceu in Barcelona. Photo: Michal Novak ROSS HAUCK Tenor Ross Hauck, “Locally sourced” tenor, lives in the greater Seattle area. Alumnus of Cincinnati- College Conservatory of Music. Faculty Member at Seattle University. Music Director at Covenant Presbyterian Church in Issaquah. Specializes in Early Music and Sacred Oratorio. Prefers Handel, hymns and Irish folk tunes. Recordings with Apollo’s Fire of Messiah and a new CD of Appalachian/Celtic music: Sugarloaf Mountain. He has won some awards, and a few newspapers/websites have said some good things (for that, visit, but his greatest prize is his wife and four kids.

SIMON TRPČESKI April 5, 7:30 p.m. From the intimate world of Mendelssohn’s Songs Without Words to the kaleidoscopic bombast of Rimsky-Korsakov’s Scheherazade, pianist Simon Trpčeski’s performance is set to dazzle and delight. KATHLEEN BATTLE: UNDERGROUND RAILROAD — A SPIRITUAL JOURNEY April 14, 8 p.m. Returning to Seattle for the first time in two decades, the legendary opera star explores music and words from the Underground Railroad, together with jazz pianist Joel Martin, the UW Chamber Singers and gospel choir The Sound of the Northwest. Check out to learn more Premier Residential Retirement Since 1987 Era Living is here to help make checking off ALL of your retirement goals a breeze. Visit one of our eight innovative Independent and Assisted Living communities across Seattle, Renton, and the Eastside today!

Re–imagine your to–do list. Era Living is here to help make checking off Re–imagine your to–do list. 33 JARRETT OTT Baritone American baritone Jarrett Ott was recently named one of 25 “Rising Stars” by Opera News, which described his voice in Cold Mountain as having an “often ravishing, airy vocal finish.” In his continued career ascension, Ott will make many important role debuts this coming season, including Papageno in Die Zauberflöte with Opera Philadelphia, Figaro in Il Barbiere di Siviglia with Lyric Opera Kansas City and Dayton Opera, Jupiter in Offenbach’s Orpheus in the Underworld with New Orleans Opera and at Santa Fe Opera, Harlequin and Maximilian in Ariadne auf Naxos and Candide, respectively. Concert debuts include Carmina burana with Seattle Symphony, Brahms’ Requiem with Columbus Symphony and Stanford’s Songs of the Fleet with the New York Choral Society at Carnegie Hall. Ott will join the Ensemble of Staatsoper Stuttgart beginning in the 2018–2019 season. Photo: Dario Acosta JOSEPH CRNKO Seattle Symphony Associate Conductor for Choral Activities Joseph Crnko was appointed Associate Conductor for Choral Activities for Seattle Symphony in September 2007. Crnko brings a wealth of choral conducting, arranging, recording and education experience to his position. He has prepared the Seattle Symphony Chorale for numerous critically acclaimed performances, including Bach’s St. Matthew Passion, Britten’s War Requiem, Handel’s Messiah and Verdi’s Requiem. Crnko is currently in his 34th year as Music Director of the Northwest Choirs. During his tenure, he has established the Northwest Choirs’ reputation as one of the nation’s premier children’s choirs. Crnko tours worldwide with the elite Northwest Boychoir, most recently with concert tours throughout our nation and Europe. Under his directorship, the Northwest Boychoir has produced four top-selling Christmas recordings. In addition to his work with the Northwest Choirs, Crnko regularly conducts orchestral and choral recording sessions for movie and video game soundtracks, including those for the video games Halo, Medal of Honor and World of Warcraft. Some of his recent film projects include Boondock Saints, The Celestine Prophecy, The Last Stand and Let Me In.

MAR 28 Faculty Recital: Melia Watras and Atar Arad, viola Works by Arad, Britten, Penderecki and Watras, with special guest violinist Michael Jinsoo Lim. 7:30 pm Meany Theater UW Symphony Orchestra with Ben Lulich, clarinet Works by Lutoslawski, Ravel, and Haydn. David Alexander Rahbee, conductor. 7:30 pm Meany Theater APR 27 MORE AT: WWW.MUSIC.WASHINGTON.EDU ArtsUW TICKET OFFICE: 206.543.4880 APR 16 Faculty Recital: Craig Sheppard, piano; Sæunn Thorsteinsdóttir, cello Performing the Beethoven Cello Sonatas-- Opus 5 #1 in F Major and Opus 102 #2 in D Major--and Rachmaninoff’s Cello Sonata Opus 19.

7:30 pm Meany Theater 34 SEATTLESYMPHONY.ORG The Northwest Boychoir’s musical sophistication, rich tonal quality and dedication to exacting perfection have established its reputation as one of the nation’s premier boychoirs. Along with Vocalpoint! Seattle, the Northwest Boychoir has trained thousands of young singers for more than 40 years, and more significantly, shaped the lives of our region’s youth by teaching important lessons in personal commitment and the value of teamwork. Led by Joseph Crnko, now in his 34th year as Music Director, the Choir’s staff of professional musicians and educators is engaged in the teaching of a rigorous curriculum that trains young singers, 6–18 years old, to be fully skilled musicians who sing at the highest level, read music fluently and perform in professional settings with confidence. The Seattle Symphony leads a long list of professional arts groups that rely on the talents of the Boychoir. Last year, the Choir received high praise for their performance of Messiaen’s difficult Trois petites liturgies de la Présence Divine with the Seattle Symphony under the direction of Ludovic Morlot. The choir returned to Benaroya Hall to perform Ravel’s magical opera, L’enfant et les sortilèges last June. This season the Northwest Boychoir has performed Vivaldi Gloria and looks forward to Carmina burana, and Stravinsky’s Persephone with the Seattle Symphony. The Northwest Boychoir closed the season with its annual presentation of A Festival of Lessons & Carols at Benaroya Hall, presented by the Seattle Symphony.

Northwest Boychoir Tigran Avakyan Thure Bendix Bang Andrew Barnes Henry Barnes Henry Bauck Dominic Bennett Max Boyd Simon Branch Mason Collins Henry Dejanikus Max Dorn Paddy Dunn Dominic Giuzio Matteo Horvat Rohan Kapur Kenan Lauder Justin Lee Hanri Luo David Magidson Keiyu Mamiya Mateo Mihm Johan Novak Rayjin Olson Blake Perti Will Rayment Max Rivera Kieran Rogers Leo Rosales Nathaniel Rose Nico Santa Lucia Sebastian Santa Lucia Jordan Scherr Theo Schill Benjamin Smith Layth Stauffer Aidan Su Zach Wilson Leo Winkler Forrest Wu Andrew Young Vocalpoint! Men Ben Allwright Fletcher Anderson William Austin Donovan Blackham Oliver Cauble Aidan Cazeau Jackson Cecil Avery Cole Julian Collins Nathan Condon Jacob Espling Enrique Garcia Doran Goldman Greg Guettler Juan Hillon James Kerrigan Hugh Killalea Lukas Mihm Eric Mueser Cael Mulligan Jess Olmstead Shane Persaud Ben Puryear Altay Sarikaya Soren Smith Liam Sternberg Kepler Swanson Andrew Torgelson Xander Uyttendaele Sam Viebrock Hayden Wainwright Robert Waltenbaugh NORTHWEST BOYCHOIR Joseph Crnko, Music Director Northwest Boychoir Vocalpoint! Men Photos: Ben VanHouten

VERDI’s REQUIEM 2PM SATURDAY, MARCH 24, 2018 BENAROYA HALL, SEATTLE KIM GIORDANO, SOPRANO MELISSA PLAGEMANN, MEZZO-SOPRANO TIM JANECKE, TENOR CLAYTON BRAINERD, BASS-BARITONE KIRKLANDCHORALSOCIETY.ORG PHILHARMONIANW.ORG Kirkland Choral Society & Philharmonia Northwest present BV 071811 repair 1_12.pdf Bischofberger Violins est. 1955 206-324-3119 1314 E. John St. Seattle, WA Professional Repairs Appraisals & Sales 35 SEATTLE SYMPHONY CHORALE The Seattle Symphony Chorale serves as the official chorus of the Seattle Symphony. Over the past four decades, the Chorale has grown in artistry and stature, establishing itself as a highly respected ensemble. Critics have described the Chorale’s work as “beautiful, prayerful, expressive,” “superb” and “robust,” and have praised it for its “impressive clarity and precision.” The Chorale’s 120 volunteer members, who are teachers, doctors, attorneys, musicians, students, bankers and professionals from all fields, bring not only musical excellence, but a sheer love of music and performance to their endeavor. Directed by Joseph Crnko, Associate Conductor for Choral Activities, the Chorale performs with the Seattle Symphony both onstage and in recorded performances. Photo: Ben VanHouten Soprano Caitlin Anderson-Patterson Laura Ash Lolly Brasseur Ellen Cambron Emma Crew Erin M. Ellis Jacquelyn Ernst Kaitlyn Gervais Emily Han Teryl Hawk Elizabeth Husmann Caitlin Hutten Sharon Jarnigan Elizabeth Johnson Katy Kaltenbrun Seung Hee Kim Lori Knoebel Kori Loomis Janelle Maroney Megan McCormick Adrienne Selvy Mildon Geraldine Morris Kristen Nelson Rachel Nofziger Helen Odom Nicolle Omiste Margaret Paul Sasha S. Philip Kaitlin Puryear Emily Reed Kirsten Ruddy Ana Ryker Emily Sana Barbara Scheel* Laura A. Shepherd Joy Chan Tappen Catherine Thornsley Andrea Wells Alto Cynthia Beckett Cyra Valenzuela Benedict Ivy Rose Bostock Nancy Brownstein Carol Burleson Kathryn Cannon Miller Terri Chan Rachel Cherem Lauren Cree Paula Corbett Cullinane Aurora de la Cruz Lisa De Luca Robin Denis Cindy Funaro Carla J. Gifford Amy Gleixner Kelly Goodin Catherine Haddon Shan Jiang Shreya Joseph Inger Kirkman* Sara Larson Rachel Lieder Simeon Monica Namkung Erica J. Peterson Angela Petrucci Karis Pratt Beth Puryear Alexia Regner Valerie Rice Emily Ridgway Dale Schlotzhauer Darcy Schmidt Carreen A. Smith Heather Allen Strbiak Kathryn Tewson Paula Thomas JoAnn Wuitschick Mindy Yardy Tenor Matthew Blinstrub James Clarke Spencer Davis Anton R. du Preez Jacob Garcia Jim Howeth Neil Johnson Kevin Kralman* Patrick Le Quere Ian Loney James H. Lovell Andrew Magee Lucky James Middaugh Ed Morris Alexander Oki James Pham Theodore Pickard Vijay Ramani Christopher Reed Jonathan M. Rosoff Bert Rutgers Peter Schinske Alan Sheaffer Spencer Small M. Scott Spalding Max Willis Bass John Allwright Christopher Benfield Jay Bishop Hal Bomgardner Andrew Cross Darrel Ede Morgan Elliott Evan Figueras Curtis Fonger Steven Franz David Gary Raphael Hadac Kelvin Helmeid Rob Jones Ronald Knoebel Tim Krivanek KC Lee Thomas C. Loomis Bryan Lung Glenn Nielsen Brandon John Reid Ken Rice Martin Rothwell* Edward Sam Christopher Smith Garrett Smith Jim Snyder Joseph To Michael Uyyek Jared White * principal of section

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 ©2018 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. FRIDAY, MARCH 16, 2018, AT 7PM DE FALLA UNTUXED UNTUXED SERIES Pablo Rus Broseta, conductor Jonathan Green, host Raquel Lojendio, soprano Jeffrey Barker, flute Chengwen Winnie Lai, oboe Dan Williams, English horn Eric Jacobs, clarinet Paul Rafanelli, bassoon Seattle Symphony HEITOR VILLA-LOBOS Quintette en forme de chôros 10’ JEFFREY BARKER, FLUTE CHENGWEN WINNIE LAI, OBOE DAN WILLIAMS, ENGLISH HORN ERIC JACOBS, CLARINET PAUL RAFANELLI, BASSOON MANUEL DE FALLA El sombrero de tres picos 38’ (“The Three-Cornered Hat”) Introducción (“Introduction”)— Part I: La tarde (“Afternoon”)— Danza de la molinera: Fandango (“Dance of the Miller’s Wife”)— Las uvas (“The Grapes”) Part II: Danza de los vecinos: Seguidillas (“Dance of the Neighbor’s”) Danza del molinero: Farruca (“The Miller’s Dance”)— Danza del corregidor (“Dance of the Magistrate”) Danza final: Jota (“Final Dance”) RAQUEL LOJENDIO, SOPRANO Program notes for Manuel de Falla’s El sombrero de tres picos (“The Three-Cornered Hat”) may be found on pages 23–24. See Pablo Rus Broseta’s biography on page 21 and Raquel Lojendio’s biography on page 32. All other biographies may be found at PROGRAM NOTES HEITOR VILLA-LOBOS Quintette en forme de chôros BORN: March 5, 1887, in Rio de Janeiro DIED: November 17, 1959, in Rio de Janeiro WORK COMPOSED: 1928 WORLD PREMIERE: March 14, 1930, at the Salle Chopin, Paris This composition reveals an original musical imagination. Episodic in form, it juxtaposes florid solos, rhythmic ensemble passages, sensuous tropical melodies and hints of South American dances. The music flows from one thought to the next in stream-of-consciousness fashion.

Heitor Villa-Lobos was and remains Brazil’s great national composer. His early compositions attempted to express an unambiguously Brazilian character, including a raw, exotic energy. But as he matured, his music came to reflect his study of European composers, notably Debussy and Bach. The result was a sophisticated style that nevertheless remained rooted in the rhythms and melodic inflections of Brazilian folk music. During the 1920s, Villa-Lobos composed a series of works he called Chôros, a word indicating a type of popular music improvised since the 19th century by bands of instrumentalists in Rio de Janeiro. Chôros is comparable to jazz in its improvisational character and virtuosity, and it bears roughly the same relationship to Brazilian folk song as jazz does to our popular “standards.” Closely related to this series of pieces, though not properly part of it, is the Quintette en forme de chôros for five wind instruments. Villa-Lobos composed it in 1928, toward the end of a sojourn of several years in Paris, and his contact there with the musical vanguard represented by Stravinsky and Ravel is reflected in the work’s modernist idiom. In this piece Villa- Lobos abstracted elements of chôros music in a manner comparable to Stravinsky’s treatment of Russian folk music in his ballet Petrushka, retaining some of its general features but distorting them through complex harmonies and rhythms. Even so, its Brazilian provenance remains evident. Scored for flute; oboe; English horn; clarinet; bassoon. © 2018 Paul Schiavo 36 SEATTLESYMPHONY.ORG

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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 ©2018 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. MONDAY, MARCH 19, 2018, AT 7:30PM JOSEPH ADAM IN RECITAL FLUKE/GABELEIN ORGAN RECITAL SERIES Joseph Adam, organ PIERRE DUMAGE Premier livre d’orgue (“First Organ Book”) 15’ Plein jeu Fugue Trio Tierce en taille Basse de trompette Grand jeu MAURICE RAVEL Andante: Très lent /trans. Édouard Commette from String Quartet in F major 9’ CÉSAR FRANCK Choral No. 1 in E major 14’ INTERMISSION LOUIS VIERNE Symphony No. 4 in G minor, Op. 32 38’ Prélude Allegro Menuet Romance Final Few details are known about the life of the French organist and composer Pierre Dumage. He was born around 1674 in Beauvais; his father was the organist of the cathedral in Beauvais, and surely must have supplied his son with his first musical training. Dumage moved to Paris in 1694 to study with the celebrated Louis Marchand, without question the finest French organist of the day. First appointed organist at St.-Quentin in Paris, he became organist at the cathedral of Laon in 1710. Dumage found many of the conditions of his employment intolerable, and resigned in 1719. He spent the remainder of his life as a civil servant. His only extant composition, the Premier livre d’orgue (“First Organ Book”) was completed in 1708. In the dedication, Dumage acknowledges the influence of his teacher Marchand. These short pieces are typical of French organ music around 1700, and most likely were written to be played in alternatum with sung verses of the Magnificat during Sunday Vespers, a standard practice in French cathedrals and churches during this era. Dumage’s sole contribution to the organ repertoire has been praised for its craftsmanship, heightened sensitivity and genuine emotion.

Maurice Ravel’s sole contribution to the string quartet literature was completed in 1903, when he was still a student at the Paris Conservatoire. Though dedicated to his teacher Gabriel Fauré, it shows decided influences of both Fauré and Claude Debussy, whose own string quartet had been completed only nine years earlier. Ravel certainly acknowledged the similarities with Debussy (“For Debussy the musician and man, I felt a profound admiration, but I differ from him by nature.”) Ravel’s own work may have been inspired by Debussy’s emphasis on musical colors and textures, but it also bore the influence of Fauré in Ravel’s ability to write within traditional structures and techniques of thematic development. The work’s third movement is a free fantasy on the opening theme of the first movement, with particular emphasis on exploring instrumental color and texture. The transcription on tonight’s program is the work of Édouard Commette, a French organist and composer who enjoyed a long career as an educator and cathedral organist in his native city of Lyon. Though Belgian by birth, César Franck spent most of his life in Paris. He was a tireless worker, rising early each morning to devote a few hours to composition PROGRAM NOTES 38 SEATTLESYMPHONY.ORG

before beginning a day filled with lessons all over the city. Franck’s most enduring influence was his work as professor of organ at the Paris Conservatoire and organist titulaire of the great Cavaillé-Coll organ at the church of St. Clotilde. In the final summer of his life, he composed three “chorals” for the organ, works infused with the inspiration of Bach and Beethoven. These three chorals were never performed by Franck in public, but only privately at the piano for his own students shortly before his death. Franck had wished to write chorals for the organ as J.S. Bach had, but a very different type of choral. Whereas Bach’s are based on preexisting congregational melodies, Franck’s works are based on original choral-like melodies that provided material for a fantasy-type work. The composer remarked: “You will see, the real chorale is not the chorale itself; it is something that grows out of the piece.” More than a century later, these three works have come to represent the pinnacle of Franck’s essential contribution to the rebirth of organ composition in France. The first of the three, the Choral in E major opens with a series of alternating episodes before the choral first appears; it is then developed through a series of variations before a final heroic statement.

Organist of the Cathedral of Notre-Dame beginning in 1900, Louis Vierne’s life was one filled in equal measure of triumph and disappointment. Born nearly blind, he entered César Franck’s class at the Paris Conservatoire only two months before Franck’s death. Charles-Marie Widor, Franck’s successor, gave invaluable instruction and encouragement to the young organist-composer. Vierne emulated his mentor with six symphonies for organ, composed over a thirty-five year span. Though a child of the 19th century, Vierne’s compositional language was shaped by the new trends of the 20th century. While his use of chromaticism sometimes pushed tonal harmony almost to the breaking point, Vierne was careful to work within established compositional structures. Vierne enjoyed many professional successes as a recitalist, teacher and composer; however, his personal life was filled with one catastrophe after another. In addition to the burdens of his near blindness, within only a few years he experienced the death of his mother and son, the breakup of his marriage, near death from typhoid and a compound fracture of his leg that nearly cost him his career. Throughout his life, Vierne’s compositions were an outlet and reflection of his inner emotional life; his Symphony No. 4 in G minor, written in the summer of 1914, was no exception.

The work is cast in cyclical form — the same themes are found throughout the entire composition, reworked and transformed rhythmically and harmonically — giving the symphony a particular cohesiveness. The opening movement serves to present the two major melodic themes and the overall anguished mood of the work. The Allegro that follows is cast in traditional sonata- allegro form with a fugal development. The third movement, an angular Menuet, eases the overall tension somewhat. In many ways, the movement pays tribute to Vierne’s own mentor, Charles-Marie Widor, with the use of piquant reeds, lightly articulated 8’ pedal lines and double pedal in the trio section, all techniques used by Widor in his own symphonies. The Romance is one of Vierne’s most inspired and expressive slow movements, constructed around a new opening theme presented in the lower octaves on the solo reeds and celestes of the organ, all cast in the sonorous key of D-flat major. The Final reestablishes the wild anguish of the work, with the principal themes now transformed into a brutal perpetuum mobile, easily seen as the musical depiction of Vierne’s almost never-ending personal sorrows and agonies.

© 2018 Joseph Adam JOSEPH ADAM Organ Organist Joseph Adam was appointed Cathedral Organist at St. James Cathedral in Seattle in 1993, in 2016 he assumed additional duties as Associate Director of Music. Since 1997 he has also been a faculty member at the University of Puget Sound in Tacoma. His playing received international attention when he was awarded the First Prize in the St. Albans International Organ Competition in 1991, one of the most prestigious organ competitions in the world. His performances have included recitals in notable venues throughout Europe and America. Last season, he performed the complete works of Maurice Duruflé, both in Seattle and as part of the annual East Texas Pipe Organ Festival.

As Resident Organist of the Seattle Symphony since 2003, Joseph Adam performs regularly with the orchestra, and can be heard on numerous recent recordings by the Seattle Symphony in works by Dutilleux, Stravinsky, Debussy, John Luther Adams, Charles Ives and the Saint-Saëns Organ Symphony. For the past 30 years, music written by the great French organists has been an essential part of my recital repertoire. There’s so much to love about this music — I love the élan and bite of the classical repertoire, like the Dumage that opens the program. But it’s the late 19th and 20th century composers that inspire me the most. Franck was able to capture a serenity at the organ unmatched by perhaps any other composer; the Trois Chorals were his last compositions, and are a profound valedictory contribution to our repertoire. Since my days as a piano student, I have adored the music of Maurice Ravel; sadly, he wrote nothing for the organ, so tonight’s program includes a transcription of the ravishing slow movement from his only string quartet. Finally, I particularly love the music of Louis Vierne. Little came easy for Vierne, and he was plagued with all manner of hardships throughout his career. Luckily for us, he was able to channel this into music of great expressiveness and emotion.

Photo: James Holt 39 39

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 ©2018 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. THURSDAY, MARCH 22, 2018, AT 7:30PM SATURDAY, MARCH 24, 2018, AT 8PM SUNDAY, MARCH 25, 2018, AT 2PM SIBELIUS SYMPHONY NO. 2 Ludovic Morlot, conductor Seattle Symphony JEAN SIBELIUS The Oceanides, Op. 73 11’ BENJAMIN BRITTEN Four Sea Interludes and Passacaglia 23 from Peter Grimes, Op. 33a and 33b Dawn: Lento e tranquillo— Sunday Morning: Allegro spiritoso— Moonlight: Andante comodo e rubato— Passacaglia— Storm: Presto con fuoco INTERMISSION JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 44’ Allegretto Tempo andante, ma rubato Vivacissimo— Finale: Allegro moderato Pre-concert Talk one hour prior to performance. Speaker: Gavin Borchert, Seattle Weekly Music Critic To the Sea Within the orchestral literature is a group of compositions inspired by the sea and endeavoring to evoke it through various musical devices. Probably the earliest is a concerto by Antonio Vivaldi titled La tempesta di mare (“The Storm at Sea”). Other notable examples include Felix Mendelssohn’s “Hebrides” Overture, with its own vivid sea storm; Claude Debussy’s symphonic seascape La mer; and John Luther Adams’ Become Ocean, which Seattle Symphony commissioned and premiered, and which won the Pulitzer Prize for music in 2014.

It is not surprising that the sea should have inspired these and other composers. The rise and fall of waves finds parallel in the rising and falling pitch of melodic lines. The varied movement of water produces rhythms that music readily can represent. Basses and low brass can suggest oceanic depths, violins and woodwinds intimate spray and foam. Our concert begins with further instances of music inspired by the sea. Jean Sibelius’ The Oceanides paints a musical portrait not only of the ocean but of mythological water nymphs who reside within it. Benjamin Britten’s Sea Interludes, from his opera Peter Grimes, are tonal pictures of sea and shore that double as expressions of mood and psychological state of the opera’s characters.

The second half of our concert brings us back to dry land — or, more accurately, to the realm of abstract music that is neither land nor water, nor anywhere particular. Sibelius’ Second Symphony does not intend to transport us to sea or forest, mountains or desert, but it is one of the works on which the composer’s popularity firmly rests. Benjamin Britten’s Peter Grimes has always been one of my favorite operas. The incredibly inventive sound world of Britten is instantly recognizable. His Four Sea Interludes and Passacaglia together provide a window into the anxiety, anger and loneliness felt by the opera’s titular character. I am particularly fond of how Britten depicts the storm at sea in the last of these interludes while using a style reminiscent of Mahler’s Kindertotenlieder. Sibelius’ Second Symphony is one of the most powerful expressions of Romantic symphonic music. Its finale contains one of the most gorgeous melodies of all time. I love Sibelius’ virtuosic writing for the orchestra, which we can witness in the thrilling scherzo movement. Oceanides provides a nice OVERVIEW 40 SEATTLESYMPHONY.ORG

of the oceanides themselves. The work’s opening measures, with their gently rising and falling string figures, may convey the motion of a calm sea, wide and empty. But the more sprightly phrases presented moments later by the flutes sound like vocal calls, then expand to evoke movement that is both playful and graceful. Here are the oceanides, singing, swimming and frolicking in their natural element. Sibelius recalls their theme from time to time, weaving it through the sea music. Scored for 2 flutes and piccolo; 2 oboes and English horn; 2 clarinets and bass clarinet; 2 bassoons and contrabassoon; 4 horns; 3 trumpets; 3 trombones; 2 timpani and percussion; 2 harps; strings. BENJAMIN BRITTEN Four Sea Interludes and Passacaglia from Peter Grimes, Op. 33a and 33b BORN: November 22, 1913, in Lowestoft, England DIED: December 4, 1976, in Aldeburgh, England WORK COMPOSED: 1944 WORLD PREMIERE: Britten’s opera Peter Grimes premiered on June 7, 1945, in London. Less than a week later, on June 13, the composer conducted the London Symphony Orchestra at the Cheltenham Music Festival in the first independent performance of the Four Sea Interludes. Another orchestral entr’acte, the Passacaglia, received its first independent performance on August 29, 1945, in London, when the BBC Symphony Orchestra played it under the direction of Adrian Boult.

The Sea Interludes, entr’actes from Peter Grimes, are really tonal pictures evoking scenes in the coastal village in which Britten’s opera is set. They conjure the stillness of a North Sea sunrise, the flight of birds, the sound of church bells, the ghostly calm of a moonlit night and, inevitably, a storm at sea. Benjamin Britten was one of the several great composers of opera active during the last century. His combination of an instinctively lyrical approach to music and keen sense of drama produced a series of deeply eloquent works for the theater, the first being Peter Grimes.

Based on a story by the English poet George Crabbe, Peter Grimes tells of a rough fisherman whose sullen and unsociable demeanor leads to his persecution by the suspicious inhabitants of his isolated fishing village. The sea and bleak East Anglian shoreline provides an evocative background. Britten knew this coast well. He had grown up within sight of the North Sea and subsequently built a studio in an abandoned windmill near the coastal town of Aldeburgh. It was here, in 1944, that he composed Peter Grimes, and he vividly captured the atmosphere of the place in four Sea Interludes that link various scenes in the opera.

Dawn serves as a prelude to Act I. It is based on three motifs: an ethereal melody heard high in the violins and flute; a running figure that suggests the flight of birds; and a chorale-like theme for the brass. Sunday Morning, the second piece, juxtaposes pealing church bells — heard at the outset as horn calls and rhythmic figures in the woodwinds — with a broad melody assigned to the low strings and embroidered with elaborate figuration by the flute. The third Sea Interlude, Moonlight, paints a nocturnal picture, its somber phrases for the strings and low winds flecked with flute, piccolo, percussion and harp tones. The final Interlude, Storm, prefaces the opera’s second scene. Here rising wind and turbulent waters indicate not only a meteorological event but the state of Grimes’s soul. Britten’s violent music suggests his protagonist’s tortured existence as much as the sea lashed by a gale. In addition to the four Sea Interludes, Britten wrote a more extensive piece, a Passacaglia, to bridge the two scenes of the opera’s second act. A centuries-old compositional procedure, passacaglia entails a melodic idea, usually introduced in a low register, that repeats continuously through the course of the piece. Against this recurring theme, the composer weaves an ever-changing contrapuntal fabric. Britten establishes the recurring theme of his Peter Grimes passacaglia at the outset, scoring it for low strings (playing pizzicato) and timpani. The immediate restatement of this idea brings with it a lamenting soliloquy for solo viola, and most of the ensuing developments are related to its melody. Subsequent elaborations of the passacaglia subject are remarkably varied and shaped so that the music builds inexorably to a climax marked by thundering timpani strokes and a great tam-tam crash. From this emerges a haunting reprise of the viola melody (now with an atmospheric accompaniment by celeste), then a final statement of the passacaglia theme, sounding as stark and unadorned as when we first heard it.

PROGRAM NOTES thematic link to the world of the sea, and to John Luther Adam’s Become Ocean — a fitting connection as the orchestra and I will be presenting that work alongside Sibelius and Britten during our upcoming tour to California and Nevada. – Ludovic Morlot See Ludovic Morlot’s biography on page 6. JEAN SIBELIUS The Oceanides, Op. 73 BORN: December 8, 1865, in Hämeenlinna, Finland DIED: September 20, 1957, in Järvenpää, Finland WORK COMPOSED: 1914 WORLD PREMIERE: June 4, 1914, in Norfolk, Connecticut, with the composer conducting a specially assembled orchestra.

Lines and textures sounded by the string and brass instruments create aural pictures of rolling waves, sprays of foam and wind whipping up large swells. But we also hear the sea nymphs of the work’s title, mostly in music for woodwinds. Our first glimpse of them comes with the sound of flutes in the initial minutes, the last in a closely harmonized phrase for clarinets shortly before the end. In ancient Greek legend, the oceanides were daughters of Oceanus, god of the primordial water that encircled the world from its beginning, and Tethys, his wife and sister. Aeschylus, in his drama Prometheus Bound, describes them as “children of teeming Tethys and of him / who girdles all the world with stream unsleeping, / Father Ocean ” Although descriptions are few in classical Greek literature, we can imagine them as something like mermaids. These sea nymphs are the subject of the tone-poem by Jean Sibelius that begins our concert. The Finnish composer wrote The Oceanides in 1914 for a music festival in Norfolk, Connecticut, and he conducted the work’s first performance during his only visit to America. At this time Olin Downes, longtime music critic of the Boston Post and New York Times, thought it “the finest evocation of the sea ever produced in music.” He went on to describe “free sonorities which reflect natural phenomena” and the music’s “picture of limitless and eternal power.” It is curious, however, that Downes missed what seem to be fairly clear evocations 41

Sibelius’ Second Symphony can serve to dispel another misconception surrounding his music. Because the moods presented by his compositions are often intensely subjective, it has been widely assumed that their creation was guided by expressive rather than formal considerations. In fact, Sibelius achieved a remarkable mastery of tonal architecture. The Second Symphony reveals a four-movement structure in the classical mold: a strong opening followed by a slow movement, scherzo and rapid finale, with thematic cross-references between movements helping to unify the design. The symphony opens with eight measures of throbbing chords. These function as a motivic thread binding the first movement: they accompany both the pastoral first theme, announced by oboes and clarinets (and echoed by horns), and a contrasting second theme consisting of a sustained high note followed by a sudden descent. The latter merits careful attention, since it will appear in several transformations later in the work.

A drum roll announces the second movement. Sibelius sketched its initial theme while considering writing a tone poem on the Don Juan legend, and much of the music that follows has an intensely dramatic character that seems suited to that story. Distant echoes of the series of chords that opened the symphony can be heard throughout the scherzo third movement: in the repeated notes that start both the violin runs at the beginning of the movement and the limpid oboe melody later on, as well as in the trombone chords that accompany a triumphant theme that appears near the movement’s end. This latter passage leads without pause into the last movement, which begins modestly but builds to one of the most exultant finales in the symphonic literature.

Scored for pairs of woodwinds; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; strings. © 2018 Paul Schiavo PROGRAM NOTES Scored for 2 flutes and piccolo (the 2nd flute doubling 2nd piccolo); 2 oboes; 2 clarinets (the 2nd clarinet doubling E-flat clarinet); 2 bassoons and contrabassoon; 4 horns; 2 trumpets and piccolo trumpet; 3 trombones; tuba; timpani and percussion; harp; celeste; strings. JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 WORK COMPOSED: 1901–02 WORLD PREMIERE: March 8, 1902, in Helsinki. The composer conducted the Helsinki Philharmonic Orchestra.

The pulsating chords with which this symphony begins recur throughout the first movement and, in altered form, in the third movement as well. Other thematic recurrences include the plummeting second theme of the opening movement, variations of which produce some of the most stirring moments in the ensuing movement. The music of Jean Sibelius has waxed and waned in popularity over the last century. Although he worked through the 1920s, Finland’s great composer never adopted the innovations or the spirit of the modernist revolution that reshaped music after 1900. As a result, his work inevitably was caught up in the polemical battles over modernism versus Romanticism that raged for much of the twentieth century. During his lifetime, Sibelius enjoyed international acclaim amounting, in some quarters, to adulation. But following his death, in 1957, his star was partially eclipsed by the growing appreciation of the early modernists, and the frequency with which his compositions were performed fell sharply.

Today it is possible to view Sibelius in a more objective light, and the past three decades have seen a significant revival of interest in his music: new recorded cycles of the complete symphonies, increasingly frequent performances of his works and praise from a new generation of composers. Sibelius’ ultimate place in the history of music will surely be as neither the savior his partisans hailed nor the arch-reactionary derided by his detractors. Rather, he may best be understood as a 19th-century composer whose hearty constitution allowed him to live and work well into the 20th century, continuing to use the rich tonal language of the late-Romantic era to create a powerful and personal body of music. 42 SEATTLESYMPHONY.ORG

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 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. THURSDAY, MARCH 29, 2018, AT 7:30PM SATURDAY, MARCH 31, 2018, AT 8PM JOHN LUTHER ADAMS BECOME DESERT Ludovic Morlot, conductor Jeremy Denk, piano Women of the Seattle Symphony Chorale Seattle Symphony LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, 38’ “Emperor” Allegro Adagio un poco mosso— Rondo: Allegro JEREMY DENK, PIANO INTERMISSION JOHN LUTHER ADAMS Become Desert (World Premiere) 40’ WOMEN OF THE SEATTLE SYMPHONY CHORALE See the Seattle Symphony Chorale’s biography and roster on page 35. Pre-concert Talk one hour prior to performance.

Speaker: Dave Beck, Classical KING FM 98.1 Host Following Saturday’s performance, join KUOW’s Front Row Center in the Samuel & Althea Stroum Grand Lobby for a conversation with Ludovic Morlot and John Luther Adams, hosted by Marcie Sillman. Jeremy Denk’s performances are generously underwritten by Dr. Susan Detweiler, in memory of Dr. Alexander Clowes, through the Seattle Symphony’s Guest Artists Circle. Become Desert is commissioned by the Seattle Symphony with the generous support of Dale and Leslie Chihuly.

Media Sponsor: Classical KING FM 98.1 Performances sponsored by Seattle Symphony GiveBIG supporters. Mark your calendar for GIVEBIG SEATTLESYMPHONY.ORG/GIVEBIG Wednesday, May 9, 2018 Today’s concert is made possible by the generous community of people who supported the Seattle Symphony during the Seattle Foundation’s 2017 GiveBIG. Symphony donors make it possible for us to attract and retain outstanding orchestra musicians, bring world-class conductors and soloists to the stage, and keep ticket prices affordable so more people can share in the joy of symphonic music.

To each and every Symphony supporter, thank you for bringing outstanding symphonic music to this community! 43

Become Desert Among the highlights of Ludovic Morlot’s tenure as Music Director of Seattle Symphony, the 2013 premiere of John Luther Adams’ Become Ocean shines brightly. Commissioned by Seattle Symphony, this composition presented a large-scale sonic environment inspired by and modeled on patterns of oceanic tides, currents and waves. The piece gained quick recognition for its accomplished craftsmanship and novel premise. “The music unfolds in the sonic equivalent of waves,” wrote Anthony Tommasini, head music critic of The New York Times, after Seattle Symphony performed it at Carnegie Hall, “with … oscillating figures, rippling riffs, spiraling motifs, pulsating rhythms.” He added that a listener “must enter into a ruminative state to experience this work on its own terms.” In 2014 Become Ocean received the Pulitzer Prize in music. This week, we hear a sequel to that work. Become Desert completes a trilogy with Become River and Become Ocean. (Adams composed Become River in 2010 for the Saint Paul Chamber Orchestra, interrupting his work on Become Ocean to do so.) The composer, who spent four decades in Alaska before relocating to the desert of Mexico, has declared himself “highly suspicious of political art.” Nevertheless, he writes in a preface to Become Desert: “Living in Alaska for much of my life, I’ve experienced first-hand the accelerating effects of anthropogenic climate change on the tundra, the forest, the glaciers, the plants, animals and people of the Far North. Living in this desert by the sea, I’ve pondered from a new perspective the melting of the polar ice and the rising of the seas. And now I’m considering more deeply Chateaubriand’s observation: ‘Forests precede civilizations, and deserts follow…’” It is wonderful to revisit the sound world of John Luther Adams, even though his new composition Become Desert promises to be a very different sonic landscape than Become Ocean. With this new composition, Adams returns to a technique from his early days: organized sound in space. As will be obvious from the stage set-up, you will soon find yourselves immersed within great sound waves.

It is a joy to have Jeremy Denk with us this season as one of our Featured Artists. Each opportunity to share a stage with Jeremy is such a gift. I know he will challenge us all to find new and fresh ideas in this repertoire. Beethoven’s “Emperor” Concerto expresses such ambition in form and sound — a good compliment to John Luther Adams’ vision to create sonically the vastness of the desert landscape and how one becomes part of that landscape. – Ludovic Morlot See Ludovic Morlot’s biography on page 6. LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” BORN: Bonn, December 16, 1770 DIED: March 26, 1827, in Vienna WORK COMPOSED: 1809 WORLD PREMIERE: November 28, 1811, in the Leipzig Gewandhaus. Friedrich Schneider performed as soloist, and Johann Schulz conducted the famed Gewandhaus Orchestra. Beethoven establishes the lordly character of his “Emperor” Concerto in its opening moments, as three sonorous orchestral chords each give way to cadenza-like flourishes from the piano. This serves as a prelude to the usual orchestral paragraph, one of the grandest and longest in any concerto. A deeply expressive slow movement proceeds to the finale by way of an ingenious transition. The title “Emperor,” by which Beethoven’s Fifth Piano Concerto has been known since the early 19th century, probably stems from one of the many apocryphal anecdotes that have come to us concerning the composer. According to this story, a French army officer stationed in Vienna attended the first performance of the work in the Austrian capital and was so moved by the grandeur of Beethoven’s music that he cried out: “C’est l’Empereur!” (“It is the Emperor!”) Even if this story were true, and even if Beethoven was able to hear the exclamation — he was, by this time, nearly deaf — the comparison with Napoleon would hardly have flattered the composer. Once an ardent admirer of Bonaparte, Beethoven had become bitterly disenchanted as the French ruler’s ambition revealed itself. The most famous evidence of this change of heart is the well-known account of how the composer, after hearing that Napoleon had assumed the throne, changed the title of his Third Symphony from its original homage, Buonapart, to the anonymous Sinfonia eroica (“Heroic Symphony”). But despite the unfortunate political connotation, “Emperor” does not seem an inappropriate title for the E-flat Piano Concerto. In 1809, when Beethoven composed it, this work far surpassed all other concertos in its expression of majesty and heroism. During the first decade of the 19th century, Beethoven transformed the piano concerto as thoroughly as he had the symphony. His first two keyboard concertos, like his First Symphony, were cast along classical lines defined by Haydn and Mozart. These were attractive, skillfully constructed compositions, but they spoke the relatively restrained musical language of the previous generation. In his Third and Fourth Piano Concertos, however, Beethoven created works more sweeping in scope and more grand in sonority than any previous concerto. The Fifth, his final piano concerto, crowned his endeavors in this field, and it retains an imperious position among compositions in its genre even today.

Ironically, this composition, which is today so widely admired, began its career on a decidedly inauspicious note. Of its first performance, which took place in Leipzig in 1811, little is known. The Vienna premiere was given two years later. Contemporary reviews report the concerto’s poor reception. One journalist observed that “Beethoven, full of proud confidence in himself, never writes for the multitude; he demands understanding and feeling, [which] he can receive only at the hands of the knowing.” A public sufficiently “knowing” to appreciate this work did not emerge until the middle of the 19th century, and the piece was played publicly only once more during Beethoven’s lifetime. Only thanks to pianists like Clara Schumann and Franz Liszt, who made a point of performing Beethoven’s final concerto, did it finally receive proper recognition.

While this work follows the traditional concerto format of three movements in a fast–slow–fast pattern, Beethoven introduces several formal innovations. The first comes at the very outset, with the thrice-stated gesture of a grand orchestral chord that seems to propel the piano into a flight of virtuoso fancy. The orchestra then presents the initial theme of the first movement. Its quasi-martial character places the music in the Classical-period tradition of “military concerto” openings, a tradition to which several of Mozart’s keyboard concertos and Beethoven’s PROGRAM NOTES OVERVIEW 44 SEATTLESYMPHONY.ORG

earlier Piano Concerto in C, Op. 15, also belong. We have not heard the last of the magisterial flourishes that opened the concerto, however. They sound again late in the movement at a key juncture: the return to the tonic key of E-flat major, following much harmonic peregrination and an inventive, at times turbulent, development of the proud main subject. The Adagio second movement is a serene and devout meditation, one of Beethoven’s most beautiful and tender creations. It concludes with a final musing by the piano that evolves magically into the principal theme of the third movement. (This transition, another formal innovation, recalls the similar passage linking the scherzo and finale of Beethoven’s Fifth Symphony.) The music that follows fits the description of the eminent English conductor and commentator Donald Francis Tovey, who extolled “this most spacious and triumphant of concerto [finale]s.” Scored for solo piano; pairs of woodwinds, horns and trumpets; timpani; strings.

JOHN LUTHER ADAMS Become Desert BORN: January 23, 1953, in Meridian, Mississippi NOW RESIDES: Mexico and New York WORK COMPOSED: 2016 WORLD PREMIERE: March 29 and 31, at Benaroya Hall, Seattle. Ludovic Morlot conducts Seattle Symphony and Chorale. As everyone who has spent time in a southern desert knows, light is a constant and imposing presence throughout the day. It shimmers, glares, sometimes softens. It can reveal the beauty of wide vistas and small details; it can be nearly blinding. And it is constantly changing. Become Desert renders desert light into sound. The music evolves slowly and seamlessly, without episodic events or drama. It requires, and induces, a contemplative form of listening. Among the paradoxes that define civilization in the early 21st century, perhaps none is more striking than growing reverence for the natural world, and acknowledgement of our dependence on it, even as environmental crises deepen across the planet. Nearly half a century has passed since the first Earth Day observance marked the beginning of modern ecological consciousness and activism. Today, as nature is relentlessly degraded by human activity, three in four Americans say that YOUR SYMPHONY. YOUR LEGACY.

Making a gift through your will or estate ensures the orchestra thrives long into the future, continuing to bring people together and lift the human spirit through the power of music. For more information on how you can make a gift through your estate, contact Becky Kowals at 206.215.4852 or EAP 1_3 S template.indd 1 2/28/17 11:05 AM 45

PROGRAM NOTES JEREMY DENK Piano Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur Genius Fellowship and the Avery Fisher Prize, Denk was recently elected to the American Academy of Arts and Sciences. Denk returns frequently to Carnegie Hall and has recently performed with the Chicago Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland Orchestra, as well as on tour with Academy St. Martin in the Fields and at the Royal Albert Hall this summer performing Bartók 2 in his return to the BBC Proms. Denk’s last disc for Nonesuch was his widely acclaimed recording of the Goldberg Variations, which reached No. 1 in the Classical Billboard Charts. Denk graduated from Oberlin College, Indiana University and The Juilliard School, and currently lives in New York City. Photo: Shervin Lainez environmental protection is an important issue for them.

The new environmental awareness has, inevitably, found its way into the arts. British sculptor Richard Long, for instance, has turned from conventional sculptural materials and procedures in favor of rearranging branches, stones and other natural substances found in situ to form temporary outdoor sculptures. Seattle-based photographer Chris Jordan has created disturbing images that bring home the reality and cost of nature’s despoiling. Among today’s creative musicians, none embodies the new environmental consciousness more than John Luther Adams. For some four decades, this American composer has made the sounds and processes of nature the source and subject of his work. Birdsongs, winds, the boom of ice breaking in the Alaskan wilderness, the electrical fields that produce the aurora borealis — this and much more has found its way into his music. A milestone in Adams’ career came in 2013, when Seattle Symphony, under the direction of Ludovic Morlot, gave the first performances of Become Ocean, a large orchestral piece it had commissioned. The work attracted widespread notice and garnered the Pulitzer Prize for music composition in 2014.

With the success of Become Ocean, Seattle Symphony commissioned Adams to write another composition, one that turns out to be a companion piece of sorts. This commission, which the New York Philharmonic and San Diego Symphony Orchestra have joined in tendering, coincided with a major alteration in the composer’s circumstances. Since the 1970s Adams had lived in Alaska, whose landscape and weather provided a frequent source of inspiration for his music. But having entered his seventh decade, he felt ready for a change. Accordingly, he left his adopted home state and now divides his time between New York and the Sonoran desert of northwest Mexico.

The latter location inspired his second composition written for Seattle Symphony. “I used to say that if I ever left the tundra it would be for the desert,” Adams observes. “Now, some 40 years after first coming to Alaska, I’ve finally made that move. As I’ve begun to learn the landforms, the light, the weather, the plants and the birds, I’ve dreamed of music that echoes this extraordinary landscape.” The music thus dreamed is Become Desert, which receives its premiere here this week. Though sonically quite different from the earlier work, Become Desert shares two important traits with Become Ocean. One is its conception as music for several ensembles that are distinct yet part of a larger whole. Adams has divided the orchestra for Become Desert into five ensembles, each with its own palette of sounds and each stationed in a separate location. (The composer notes that the physical placement of instruments is a fundamental element of this piece.) One ensemble, made up of strings, harps and percussion, is stationed on stage. The remaining four groups are placed at different spots around the auditorium. One of these ensembles consists largely of voices, which Adams, following a modern tradition that is now more than a century old, uses as though they were instruments rather than to convey a text. Their singing intones just one single- syllable word: luz, Spanish for “light.” The other unusual aspect Become Desert shares with Become Ocean concerns its musical rhetoric — or, more accurately, lack of it. The composition is neither a picturesque tone painting of a desert scene nor a musical narrative of a desert journey. Nor does it offer vivid episodes, dramatic gestures or intimations of human tragedy, triumph or jest. Rather, it presents a sonic environment in which to immerse oneself. From the start, that environment is enveloped by sustained tones, played by the onstage string section, that expand from a single pitch to form open, widely spaced chords, a luminous wash of sound at volumes that range from quiet to barely audible. Gradually the other ensembles join in, altering and enriching the sonic hue, much as daylight changes with the rising position of the sun. No less gradually, the music expands in volume and harmonic complexion, becoming a dense roar midway through its 40-minute duration. Then, in near- palindromic fashion, it reverses direction, slowly thinning and subsiding until it reaches the single tone on which it began. Clearly, such music requires a different kind of attention than that we usually bring to the concert hall. A hint as to what this might be lies in a short poem by the Mexican writer Octavio Paz, which Adams has inscribed as a preface to the score of Become Desert. One line reads, in English translation: “Close your eyes and listen to the singing of the light.” Scored for 5 separate ensembles: Choir I – 4 flutes; 4 oboes; 4 clarinets; 4 bassoons; crotales. Choir II – 8 horns; chimes. Choir III – 4 trumpets; 4 trombones; chimes. Choir IV – mixed chorus; handbells. Choir V – percussion; 4 harps; strings. © 2018 Paul Schiavo 46 SEATTLESYMPHONY.ORG

Please note that the timings provided for this concert are approximate. Please turn off all electronic devices and refrain from taking photos or video. Performance ©2018 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. FRIDAY, MARCH 30, 2018, AT 12 NOON BEETHOVEN EMPEROR CONCERTO Ludovic Morlot, conductor Jeremy Denk, piano Seattle Symphony LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat major, 38’ Op. 73, “Emperor” Allegro Adagio un poco mosso— Rondo: Allegro JEREMY DENK, PIANO INTERMISSION JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 44’ Allegretto Tempo andante, ma rubato Vivacissimo— Finale: Allegro moderato Program notes for Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” may be found on page 44 and program notes for Sibelius’ Symphony No. 2 in D major, Op. 43 may be found on page 42.

See Jeremy Denk’s biography on page 46. Jeremy Denk’s performances are generously underwritten by Dr. Susan Detweiler, in memory of Dr. Alexander Clowes, through the Seattle Symphony’s Guest Artists Circle. The Benefit of Hindsight In 1952, the maverick conductor and musicologist Nicholas Slonimsky published an anthology of music criticism titled Lexicon of Musical Invective. The volume consists entirely of contemporary reviews savaging compositions now regarded as masterworks. For example, the first New York performance of Brahms’ majestic Fourth Symphony provoked one reviewer to conclude that “Brahms evidently lacks the breadth and power of invention eminently necessary for the production of a truly great symphonic work.” The two pieces on the program for our concert also were misapprehended at various times in the past. Beethoven’s “Emperor” Concerto, which today is all but universally admired, evidently eluded most listeners who heard its initial performance in Vienna, where it was written and where a sophisticated audience was supposed to exist. (A review noted scant applause on that occasion.) Like many of Beethoven’s major works, it was long considered impenetrably complex. Sibelius’ Second Symphony also received scathing criticism. The composer Virgil Thomson, writing in his capacity as critic for the New York Herald Tribune, condemned the work as “vulgar, self-indulgent and provincial beyond all description.” Those who attend and enjoy classical music are fortunate in its centuries-long history. These afford us the benefit of hindsight, of perspective that comes with repeated performances and unbroken traditions. The process of sifting through the work of composers to find gold among the dross can be daunting (though also exhilarating). Yet the reward is the accumulation of, and acquaintance with, a body of great music that speaks to generations of listeners, the kind of music we hear this afternoon. © 2018 Paul Schiavo OVERVIEW 47

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 ©2018 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. FRIDAY, MARCH 30, 2018, AT 8PM BEETHOVEN & KANCHELI CHAMBER SERIES Jeremy Denk, piano | Elisa Barston, violin | Brittany Boulding Breeden, violin Simon James, violin | Mae Lin, violin | Mikhail Shmidt, violin Susan Gulkis Assadi, viola | Mara Gearman, viola | Sayaka Kokubo, viola Meeka Quan DiLorenzo, cello | Walter Gray, cello | Eric Han, cello BEDŘICH SMETANA String Quartet No. 1 in E minor, “From My Life” 28’ Allegro vivo appassionato Allegro moderato à la Polka Largo sostenuto Vivace ELISA BARSTON, VIOLIN MIKHAIL SHMIDT, VIOLIN MARA GEARMAN, VIOLA WALTER GRAY, CELLO GIYA KANCHELI Piano Quartet In l’istesso tempo 20’ MIKHAIL SHMIDT, VIOLIN SUSAN GULKIS ASSADI, VIOLA MEEKA QUAN DILORENZO, CELLO JEREMY DENK, PIANO INTERMISSION ALFRED SCHNITTKE Violin Sonata No. 1 20’ Andante Allegretto Largo Allegro scherzando—Largo SIMON JAMES, VIOLIN JEREMY DENK, PIANO LUDWIG VAN BEETHOVEN String Quartet No. 4 in C minor, Op. 18 23’ Allegro ma non tanto Andante scherzoso quasi allegretto Menuetto: Allegretto Allegro BRITTANY BOULDING BREEDEN, VIOLIN MAE LIN, VIOLIN SAYAKA KOKUBO, VIOLA ERIC HAN, CELLO Musicians’ biographies may be found at Bedřich Smetana (1824­ –1884), born in a small Bohemian castle town, came into his own as a composer at a time when his country was pushing back against Austrian political and cultural influence. He devoted himself to studying Czech (having grown up speaking and writing mainly in German), and his Czech-language operas helped bolster a new theater scene in Prague. Even the sudden loss of his hearing in 1874 did not halt Smetana’s drive to establish a Czech musical legacy; he still assembled a monumental collection of symphonic poems in honor of his homeland, and he added three more operas before he died a national hero in 1884.

Smetana wrote very little chamber music, even though he had played violin in a string quartet in his youth. Returning to chamber music in 1876 after a 20‑year gap, his String Quartet No. 1 in E minor, “From My Life” took shape as an unprecedented musical autobiography. “The first movement depicts my youthful leanings toward art, the Romantic atmosphere, the inexpressible yearning for something I could neither express nor define, and also a kind of warning of my future,” Smetana explained in a letter he sent to a friend in 1878. The viola delivers a full-throated first statement of the impassioned primary theme. Instead of a typical scherzo, the second movement mimics the style of a polka. For Smetana, “this music brings to my mind the joyful days of youth when I composed dance tunes and was known everywhere as a passionate lover of dancing.” The Largo sostenuto slow movement, he wrote, “reminds me of the happiness of my first love, the girl who later became my first wife.” Lively textures redolent of folk music and shuddering memories of the first movement’s main theme stand out in a finale that, in Smetana’s words, “describes the discovery that I could treat national elements in music, and my joy in following this path until it was checked by the catastrophe of the onset of my deafness, the outlook into the sad future, the tiny rays of hope of recovery; but remembering all the promise of my early career, nonetheless a feeling of painful regret.” Giya Kancheli (b. 1935) comes from the former Soviet republic of Georgia, a territory wedged between Russia and Turkey along the Black Sea, and a site that has suffered wave after wave of political, religious and economic turmoil. PROGRAM NOTES 48 SEATTLESYMPHONY.ORG

He left in 1991 and eventually settled in Belgium, but his music has never lost touch with the collective suffering in and beyond his homeland. Kancheli dedicated his piano quartet, In l’istesso Tempo, to his first music teacher. The title is itself a musical term (Italian for “In the same tempo”), which signifies that the underlying pulse should remain steady even if the time signature or metric units change. Except for a few pauses and one poignant slowdown near the end, this meditative score maintains an unyielding pulse of 50 beats per minute. This deeply personal score returns to Seattle nearly 20 years after its world premiere here by the Bridge Ensemble, a performance that featured the Seattle Symphony’s own Mikhail Shmidt, who once again takes the violin part. That premiere also featured David Tonkonogui, a co- founder of the Bridge Ensemble and a Seattle Symphony cellist who has been sorely missed since his death in 2003. Kancheli’s program note for the Seattle debut in 1998 is all the more meaningful today: “Again and again, with deep regret, we see how alongside obvious achievements of the civilized world, our planet is being torn apart by bloodshed and antagonisms. And no creative deed is able to withstand that destructive force, which so easily strikes out the fragile means of progress. “Taking very close to my heart all that is happening around me, I am trying to express in my music the state I feel in my soul, writing basically for myself, without contriving any illusions that, as Dostoyevsky said, ‘Beauty will save the world.’ “This is where my music is more sad than happy, and is addressed more to the lone individual, rather than to society. Here you won’t find appeals for striving, equality, or ‘a bright future.’ Most likely, you will find threads of sorrow caused by the imperfection of the world which keeps disregarding the most horrendous examples from human history. “My thoughts are expressed in an extremely simple musical language. And I hope that the audience in Seattle will be affected by my composition, written for the Bridge Ensemble, and will not mistake my deliberate simplicity for what, in my opinion, is the most dangerous phenomenon — the feeling of indifference.” The Russian composer Alfred Schnittke (1934–98) received his earliest musical training in Vienna, while his father served there as a translator. He went on to study at the Moscow Conservatory in the 1950s, but Schnittke chafed against Soviet dogma and musical rule-following in general. Over the next decades, he honed a “polystylistic” sound that borrowed freely from music of just about any style and era, from the holiest church music to the bawdiest songs.

Schnittke composed the Violin Sonata No. 1 in 1963 for Mark Lubotsky, a classmate from the Moscow Conservatory who had recently premiered Schnittke’s First Violin Concerto. Schnittke’s trust and affection for the virtuoso violinist is self-evident in a part full of double-stops, chords, artificial harmonics and other technical feats. The other overarching factor in this sonata is the application of serial techniques (otherwise known as “twelve-tone” composition) patterned after Schoenberg and his Viennese disciples. It may seem out of step for a perpetual rule- breaker such as Schnittke to experiment with a technique built on the strict ordering of pitches, but it was actually quite a rebellious act for a young Soviet composer to try on a forbidden style that was just starting to filter in from the West. Lest you think that serial music is cold and joyless, just wait for the sonata’s playful finale, which sounds a whole lot like a trippy, atonal rendition of “La cucaracha.” While Ludwig van Beethoven (1770– 1827) established himself as a freelance pianist and composer in Vienna, he shied away from the two genres most closely associated with his onetime teacher, Joseph Haydn. Beethoven finally tackled string quartets with a set of six completed between 1798 and 1800, and he completed a symphony in 1800 as well. These breakthrough scores helped to unlock the mature, independent style that allowed Beethoven to eclipse even the mighty Haydn.

Of the six initial quartets, only the String Quartet No. 4 in C minor, Op. 18 was constructed in a minor key, continuing Beethoven’s fascination with that particular tonality that had already manifested in two recent piano sonatas and a string trio. These experimental compositions chafed against the pleasant stereotypes of salon music, and they established a tradition wherein Beethoven channeled his most inflamed passions into music in the key of C minor — most famously in the Fifth Symphony that came a decade later. That turbulent mood is evident from the start of the quartet’s first movement, especially when brutal fortissimo chords interrupt the first violin’s singing melody. In place of a slow movement, rather quick and playful music arrives in a tempo marked Andante scherzoso quasi allegretto (At a walking pace, jokingly, almost a little fast). The third movement also takes a lively approach, placing jolting accents on the third beat of the minuet’s three-beat pulse.

The rondo finale incorporates the type of rustic, Hungarian-influenced themes that Haydn so enjoyed. Instead of resolving the tension with a major-key ending as Haydn might have, Beethoven preserved the C-minor tonality all the way through a wild, accelerated ending. © 2018 Aaron Grad 49

SEATTLE SYMPHONY DONORS PRINCIPAL MUSICIANS CIRCLE The following donors have generously underwritten the appearances of principal musicians this season. Thomas and Susan Bohn Sue and Robert Collett John Delo and Elizabeth Stokes Patricia and Jon Rosen Anonymous SYMPHONY MUSICIANS CIRCLE The following donors have generously sponsored a section musician this season. Dr. Mark and Laure Carlson Stephen Elop and Susan Johannsen Jan and Brit Etzold Andrew and Molly Gabel Terry Hecker and Dan Savage Nancy Neraas and Michael King The Nakajima Family Cookie and Ken Neil Melvyn* and Rosalind Poll Dana Reid and Larry Hitchon Norm and Elisabeth Sandler/The Sandler Foundation Selena and Steve Wilson Anonymous Thank you to Judith A. Fong for providing matching funds for this new program. For more information about musician sponsorship, please contact Amy Bokanev at 206.336.6623.

INDIVIDUALS The Seattle Symphony gratefully recognizes the following individuals for their generous Annual Fund and Special Event gifts through January 23, 2018. If you have any questions or would like information about supporting the Seattle Symphony, please visit us online at or contact Donor Relations at 206.215.4832. Supporters fulfill our mission of bringing people together and lifting the human spirit through the power of music. Thank you! STRADIVARIUS CIRCLE Platinum ($250,000+) The Benaroya Family 15 Leslie and Dale Chihuly ° 15 Judith A. Fong and Mark Wheeler 5 Lenore Hanauer 15 Marks Family Foundation ° Anonymous (2) Gold ($100,000 - $249,000) Rebecca and Barney Ebsworth ° 5 David J. and Shelley Hovind ^ Martin Selig and Catherine Mayer ^ Joan S. Watjen, in memory of Craig M. Watjen 15 Anonymous (2) Silver ($50,000 - $99,999) Dr.* and Mrs.* Ellsworth C. Alvord, Jr. 5 Dave and Amy Fulton ^ 5 Lynn and Brian Grant Family 5 Jeffrey S. Hussey Paul Leach and Susan Winokur ° 15 Pamela Merriman 10 Jerry Meyer and Nina Zingale 5 Norm and Elisabeth Sandler/ The Sandler Foundation ° 5 Douglas* and Theiline Scheumann Elizabeth and Justus Schlichting Anonymous (4) Bronze ($25,000 - $49,999) Chap and Eve Alvord 15 Elias and Karyl Alvord 5 Bob and Clodagh Ash ^ 15 Peter Russo and Kit Bakke 5 Sherry and Larry Benaroya ° 5 Paula Boggs and Randee Fox ° Clise Properties, Inc.

Dr. Susan Detweiler and Dr. Alexander Clowes* ° 15 William O. and K. Carole Ellison Foundation Katharyn Alvord Gerlich 15 Betty Graham 5 Dr. Martin L. Greene and Kathleen Wright ° 5 Lyn and Gerald Grinstein ^ 15 Jean-François and Catherine Heitz ° 10 Ilene and Elwood Hertzog ° 15 Charles E. Higbee, MD and Donald D. Benedict* 15 Dr. Kennan H. Hollingsworth ^ 15 Parul and Gary Houlahan ° 5 Dana and Ned Laird ° 15 Jeff Lehman and Katrina Russell 5 Edmund W., Jr. and Laura Littlefield Harold Matzner JoAnn McGrath The Nakajima Family ° 5 John and Laurel Nesholm ° 15 Sheila B. Noonan and Peter M. Hartley 15 Linda Nordstrom 15 Leona Pazina and Susan Pazina, in memory of Robert Pazina James and Sherry Raisbeck ^ 15 Patricia and Jon Rosen ° 10 Eric and Margaret Rothchild 5 Grant and Dorrit Saviers 5 Charles and Maria Schweizer Eliza and Brian Shelden Charles and Lisa Persdotter Simonyi Mel and Leena Sturman Atsuhiko and Ina Goodwin Tateuchi Foundation 10 Muriel Van Housen and Tom McQuaid 5 Stephen Whyte ° 5 H.S. Wright III and Katherine Janeway 15 Virginia and Bagley* Wright 15 Rick and Debbie Zajicek Anonymous (4) MAESTROS CIRCLE Gold ($15,000 - $24,999) Warren A. and Anne G. Anderson 10 Thomas and Susan Bohn 15 Sue and Robert Collett ^ 15 The Martine and Dan Drackett Family Foundation 5 Senator and Mrs. Daniel J. Evans ^ 15 Jerald Farley ° 15 Jeremy Griffin ° Terry Hecker and Dan Savage ∞ ° Richard and Elizabeth Hedreen 15 Chuck and Pat Holmes ^ 15 Nader and Oraib Kabbani ° 5 Will and Beth Ketcham 5 Klorfine Foundation Moe and Susan Krabbe 15 Dawn Lepore and Ken Gladden 10 Richard and Francine Loeb 5 Dr. Pierre and Mrs. Felice Loebel ^ 15 Kjristine R. Lund ° 5 Dick and Joyce Paul ° 10 Sally G. Phinny ^ Vivian and Jim Schwab ° Seattle Symphony Volunteers Patricia Tall-Takacs and Gary Takacs ^ 15 Anonymous Silver ($10,000 - $14,999) René and April Ancinas ° Alison S. Andrews Minoru and Yoko Arakawa Jeanne Berwick and James Degel, Berwick Degel Family Foundation 10 Dr. Jim Bianco ° Jeffrey* and Susan Brotman 15 Paul B. Brown and Margaret A. Watson 5 Dr. Mark and Laure Carlson 10 Isiaah Crawford ° Calisle Dean Jan and Brit Etzold 5 PRINCIPAL BENEFACTORS The Seattle Symphony acknowledges with gratitude the following donors who have made lifetime commitments of more than $1 million as of January 23, 2018.

4Culture Dr.* and Mrs.* Ellsworth C. Alvord, Jr. Andrew W. Mellon Foundation ArtsFund ArtsWA Beethoven, A Non Profit Corporation/ Classical KING FM 98.1 Alan Benaroya Sherry and Larry Benaroya The Benaroya Family Bill & Melinda Gates Foundation The Boeing Company C.E. Stuart Charitable Fund Charles Simonyi Fund for Arts and Sciences Leslie and Dale Chihuly The Clowes Fund, Inc. Priscilla Bullitt Collins* Jane* and David R. Davis Delta Air Lines Estate of Marjorie Edris Judith A. Fong and Mark Wheeler The Ford Foundation Dave and Amy Fulton William and Melinda Gates Lyn and Gerald Grinstein Lenore Hanauer David J. and Shelley Hovind Illsley Ball Nordstrom Foundation Kreielsheimer Foundation The Kresge Foundation Marks Family Foundation Bruce and Jeanne McNae Microsoft Corporation Microsoft Matching Gifts Program M.J. Murdock Charitable Trust National Endowment for the Arts Nesholm Family Foundation The Norcliffe Foundation PONCHO James and Sherry Raisbeck Estate of Gladys Rubinstein Gladys* and Sam* Rubinstein S. Mark Taper Foundation Jeff and Lara Sanderson Seattle Office of Arts & Culture Seattle Symphony Foundation Seattle Symphony Women’s Association Leonard* and Patricia Shapiro Samuel* and Althea* Stroum Dr. Robert Wallace The Wallace Foundation Joan S. Watjen, in memory of Craig M. Watjen Virginia and Bagley* Wright Anonymous (5) GUEST ARTISTS CIRCLE The following donors have generously underwritten the appearances of guest artists this season. Bob and Clodagh Ash Dr. Susan Detweiler, in memory of Dr. Alexander Clowes Judith A. Fong and Mark Wheeler Ilene and Elwood Hertzog Nader and Oraib Kabbani Paul Leach and Susan Winokur Nesholm Family Foundation Sheila B. Noonan and Peter M. Hartley Dana and Ned Laird James and Sherry Raisbeck Eric and Margaret Rothchild Grant and Dorrit Saviers Charles and Maria Schweizer Mel and Leena Sturman Atsuhiko and Ina Goodwin Tateuchi Foundation Muriel van Housen and Tom McQuaid Stephen Whyte Anonymous 50 SEATTLESYMPHONY.ORG

SEATTLE SYMPHONY DONORS Kathy Fahlman Dewalt and Stephen R. Dewalt 5 Henry M. Finesilver 5 Andrew and Molly Gabel ° Katie and Jason Garms Natalie Gendler 15 Jeffrey and Martha Golub 10 Neil M. Gray and Meagan M. Foley 10 Margaret Haggerty Patty Hall ^ 15 Margaret M. Hess 5 Hot Chocolate Fund 5 Douglas Howe and Robin DuBrin Juniper Foundation 10 Viren Kamdar and Srilakshmi Remala ° Sally Schaake Kincaid Nancy Neraas and Michael King ° 10 Ron Koo and Lisa Olmos de Koo ° Frances Kwapil Leslie Lackey 5 John Laughlin Rhoady* and Jeanne Marie Lee 15 Flora Ling and Paul Sturm Everil Loyd, Jr. and Joanne DelBene Kevin McGuire Yoshi and Naomi Minegishi ^ 15 The Mitrovich Family ° 5 Cookie and Ken Neil ° Erika J. Nesholm Sally and Bill Neukom Gary and Susan Neumann 15 John and Deanna Oppenheimer Kristen and Phillip O’Reilly Jay Picard ° Melvyn* and Rosalind Poll 5 Frank Powers* 10 Vishwa and Vandana Prasad Mr. and Mrs. W. H. 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Graham, Jr. 15 Joaquin and Jennifer Hernandez ° Carole and Rick Horwitz Dustin and Michelle Ingalls 10 Karen Koon 10 Eva and Jon LaFollette 10 Stacey and Dan Levitan Corrinne Martin Bob and Annette Parks 5 Michael Slonski and Jennifer Wilson ° 10 Michel and Christine Suignard Kirsten and Bayan Towfiq 5 Hans and Joan* van der Velden 15 Anonymous Silver ($5,000 - $7,499) Jim and Catherine Allchin 15 Terry Allen Inessa and Eric Anderson Claire Angel 5 Susan Y. and Charles G. Armstrong ^ 5 Dr. C. Bansbach Suzanne M. Barker Carol Batchelder 15 Donna Benaroya 5 Kathy Binder Robert Bismuth 5 Barbara BonJour 15 Jim and Marie Borgman 15 Phillip and Karla Boshaw Matt Brannock and Claire Taylor Renée Brisbois and Jay Burrell ° 5 Steve and Sylvia Burges 15 Susan Y. Buske ∞ 5 Barbara A. Cahill 10 Charlotte Chandler Children Count Foundation ° 10 Rashmi and Gagan Chopra David and Leigh Anne Clark Steven and Judith Clifford 5 Jacqueline B. 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Vadman 5 Gary and Karla Waterman ^ 5 Ronald and Devorah Weinstein Laurie and Allan Wenzel 5 Stephen and Marcia Williams 5 Rosalind Horder Williams Kenneth and Rosemary Willman Simon Woods and Karin Brookes 5 Woodworth, Charleson Charitable Fund Barbara and Richard Wortley 5 Marcia and Klaus Zech Anonymous (4) Bronze ($3,500 - $4,999) John and Andrea Adams AFCO & Sons, LLC Ignacio Alvarado-Cummings ∞ Geoffrey Antos 5 Kendall and Sonia Baker 5 Tracy L. Baker 15 Tom Barghausen and Sandy Bailey Dr. and Mrs. Ronald J. Beck 5 Dr. Melvin Belding and Dr. Kate Brostoff ∞ 5 Janice Berlin Rebecca Galt Black 15 Alec and Maddy Brindle 5 Zane and Celie Brown 10 Steven Bush and Christine Chang April Cameron 10 Joshua D. 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Justine and John Milberg 5 Laina and Egon Molbak 15 Eric Noreen and Suzi Hill 5 Lourdes M. Orive Brian Pao and Susan Leu Chip Ragen Jason Reuer 5 E. Paul and Gayle Robbins 5 Richard and Bonnie Robbins Chuck and Annette Robinson 10 John Robinson and Maya Sonenberg 15 James T. and Barbara Russell Dr. and Mrs. Werner E. Samson ∞ 5 Susan Schroeter-Stokes and Robert Stokes 5 Jeffrey C. Sherman Evelyn Simpson 15 Nepier Smith and Joan Affleck-Smith 5 Margaret W. Spangler 15 Sonia Spear 15 Craig and Sheila Sternberg Esther M. Su ∞ Ronald and Pamela Taylor ∞5 Jean Baur Viereck 10 Steve Vitalich 5 M. Elizabeth Warren 5 Bryna Webber and Dr. Richard Tompkins 5 Judith A. Whetzel 5 Wayne Wisehart 5 Jeff Wood and Diane Summerhays Keith Yedlin 5 Robert and Eileen Zube 5 Anonymous (2) Conductors Club ($2,000 - $3,499) Bill and Janette Adamucci 5 Harriet and Dan Alexander 5 Drs. 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Bell Patricia Bell Patricia Benca Joyce and Alan Bender Judith and Arnold Bendich Matthew and Nealan Blinstrub Marilyn Braarud Bob* and Jane Ann Bradbury 10 Ann L. Brand Rosemary and Kent Brauninger 5 Herb Bridge and Edie Hilliard S. Lori Brown 5 Dr. Margaret Burke Lisa Bury and John R. Taylor Cy and Kathleen Butler Mary and Patrick Callan Karen Cameron 5 Corinne A. Campbell 5 Elizabeth M. Campbell Wally and Sally Campbell Dr. Lysanne Cape 5 Nora Capron Sherry and Bruce Carbary Louis Carbonneau and Agnes Mallet Carol and John Austenfeld Charitable Trust 5 Trish Carpenter Patrick Cazeau Terri Chan and Tony Dexter 5 Kent and Barbara Chaplin 15 Jorge Chavez Gerrie Cherry Mr. James Chesnutt 5 Chien-her Chin 5 Lisa Chiou Michelle and Abhineet Chowdhary Marian Christjaener 5 John Clawson 5 Mark Cockerill and Marie Kennedy Michelle Codd Robert and Janet Coe Sam and Karen Coe Ida Cole Ellen and Phil Collins 15 Susan and Laurence Commeree 15 SEATTLE SYMPHONY DONORS 52 SEATTLESYMPHONY.ORG

SEATTLE SYMPHONY DONORS Mr. and Mrs. Frank Conlon Ray Conner Herb and Kathe Cook 5 Beryl and Nick Crossley Richard Cuthbert and Cheryl Redd-Cuthbert Dr. Kevin Thomas Damour Lloyd G. Danku Robert Darling 5 Tom DeBoer Karin Desantis David and Helen Dichek Anthony DiRe Dwight and Susan Dively 5 Everett and Bernie DuBois 10 Ken Duncan and Tanya Parish 5 Charlie Dunn Maria Durham and Viva la Música Club 15 Jeff Eby and Zart Dombourian-Eby  5 Mr. Scott Eby ∞ 5 Branndon R. Edwards Bill and Erin Ellis 5 Leo and Marcia Engstrom 5 Mr. David Epstein Luis Espinosa Dr. and Mrs. R. Blair Evans 10 Kim and Scott Fancher Karen and Bill Feldt 5 Junko and Glen Ferguson Maria Ferrer Murdock Lori and Miguel Ferrer* Helga Filler Jerry and Gunilla Finrow 15 Marilyn First Ashley Myers and Andrew Fitz Gibbon Patty Fleischmann Shari and Michael Fleming Debra and Dennis Floyd Jack and Jan Forrest 5 Steve Francks Judith Frank Ms. Janet Freeman-Daily 15 Donald and Ann Frothingham Terri and Joseph Gaffney 5 Jacob Garcia Rosemary Gee Martin and Ann Gelfand Ruth and Bill* Gerberding ^ 5 James and Carol Gillick ^ 10 George Gilman 5 Lester E. Goldstein 10 Bill and Joy Goodenough 15 Catherine B. (Kit) Green 10 Maridee Gregory ∞ 5 Julie Gulick Robert Grey and Kathryn Guykema 5 Patricia Hackett and Mark Houtchens Megan Hall and James Janning ∞ + 5 Deena C. Hanke ∞ Dave and Sandy Hanower Linda and Wolfram Hansis 15 Dr. and Mrs. James M. Hanson 5 Karin and Frederic Harder Walter Harley and Anne Sustar 15 Racha and Wassef Haroun Doug and Barbara Herrington Kate Harris and Andrew Jones Mary Heckman Stuart and Evelyn Henderson Toni and Rod Hoffman 5 Norm Hollingshead 5 Bob Holtz and Cricket Morgan 5 Hannah Hoose Mr. Roy Hughes ∞ 5 George and Peggy Hunt 5 Michael Hunter Joyce and Craig Jackson Ralph E. Jackson 15 Randall Jahren 5 Clyde and Sandra Johnson 10 Dr. Kari Jones Shreya Joseph Gretchen Kah 5 Shirley Kah Hannah and Sarah Kane Peter Kelly Sean and Lisa Kelly 5 Janet Wright Ketcham Foundation 5 Ford W. Kiene 10 Dibra and Kent Kildow Mike and Mary Killien 15 Karol King 5 Virginia King 5 Carolyn and Robert Kitchell Alana Knaster Peter and Susan Knutson Vera Koch Maryann and Tom Kofler Sarah Kohut Jodi Krause Norbert and Kimberly Kusters Eric Lam 5 Aidan Lang and Linda Kitchen Ron and Carolyn Langford 15 Peter M. Lara 15 J&J Latino O’Connell Timothy Lee Virginia and Brian Lenker ∞ 15 Derek Leung 5 Phyllis Leventhal Don and Carla Lewis 5 Jerry and Marguerite Lewis Henry Li Bobbie Lindsay and Douglas Buck Michael Linenberger and Sallie Dacey Robert and Monique Lipman Anne and Steve Lipner Anamaria T. Lloyd Sharon and Marty Lott Lovett-Rolfe Family Trust Mr. and Mrs. Louis Lundquist 5 Sandy Mackie Rebecca and Laird Malamed Rhonda Maloney ∞ 10 Elliot Margul 5 Mark Litt Family DAF of the Jewish Federation of Greater Seattle 5 Charles T. Massie ∞ 15 Lois Mayers Florence and Charlie Mayne Michael and Rosemary Mayo 15 Jennifer McCausland John and Gwen McCaw John McGarry and Michelle Wernli Diane and Scott McGee Heather and Mike McKay Karen and Rick McMichael ∞ 15 Dr. and Mrs. James F. McNab Mary McWilliams 10 Jerry Meharg David Meinert Mary Mikkelsen 15 Dr. Stewart Miller Laurie Minsk and Jerry Dunietz Chie Mitsui ∞ Charles Montange and Kathleen Patterson 15 James Monteith and Marita Caya 5 Alex and Nayla Morcos Mary and Alan Morgan Christine B. Moss 15 Kevin Murphy 15 Marcia Murray Mr. and Mrs. J. P. Naughton 15 Paul Neal and Steven Hamilton ∞ 5 Kirsten Nesholm 5 Mark Nickerson Paul and Linda Niebanck 5 Linda Nordberg Ken and Pearl Noreen Lise Obeling Rena and Kevin O’Brien Mary Odermat Douglas and Alida Oles Mr. and Mrs. Thomas Olson Gordon Orians Leo Ortiz and Adriana Aguirre Thomas and Cynthia Ostermann 10 Richard and Peggy Ostrander Meg Owen 5 John Palo David and Gina Pankowski 5 Christopher Parker Richard and Sally Parks 5 Margaret Paul and Paul J. Johansen 15 Mary and Kerry Person Perspectives of New Music Lisa Peters and James Hattori Rosemary Peterson Don and Sue Phillips 5 Derek and Anna Pierce Valerie and Stanley Piha Andrey Popov Ruth Ann and Jim Powers Lori and Bill Price Jo-Anne D. Priebe Alexander Prior Llewelyn G. and Joan Ashby Pritchard ^ 15 Harry* and Ann Pryde Ann Ramsay-Jenkins Paul and Bonnie Ramsey Mary C. Ransdell and Keith B. Wong Wendy and Murray Raskind 10 Christopher and Lila Rayl Reverend Kerry and Robin Reese 10 Cecilia Paul and Harry Reinert 10 Kristi Rennebohm-Franz ∞ Jean A. Rhodes 5 Valerie Rice Fred Richard 15 John Richardson II 5 Jennifer Ridewood Mr. and Mrs. Charles Riley 5 Deborah and Andrew Rimkus 5 Melissa Rivello Melissa and Manuel Rivelo Dr. and Mrs. Tom Robertson 5 David Robinson Ms. Jean C. Robinson 5 Eric Robison Jack Rodman and Koh Shimizu Dina Rohm Stan and Michele Rosen Dr. Len and Gretchen Jane Rosoff 5 Helen and Ivan Rouzanov 5 Michelle and Jerry Rubin Don and Toni Rupchock 15 David Sabee and Patricia Isacson Sabee  Sarah and Shahram Salemy Matthew Salisbury John and Margaret Sanders Sara Delano Redmond Fund Thomas and Collette Schick Art Schneider and Kim Street 5 Judith Schoenecker and Christopher L. Myers 10 Patrick and Dianne Schultheis Nancy and James Schultz + 5 Janet Sears ∞ 15 Virginia Senear 15 Dr. Anita Shaffer 5 Julie Shankland Julie and Don Shaw Linda Sheely ∞ 15 Charles Shipley 15 Jon and Kim Shirley Todd Shively and Christopher Woods Dr. Charles Simrell and Deborah Giles 15 Jill Singh Randip Singh Connie Smith Stephen and Susan Smith 5 Michele Souligny ∞ Fawn and Jim Spady Kathleen and Robert Spitzer 5 Doug and Katie Sprugel 5 Stella Stamenova Steve and Sandy Hill Family Fund at the Seattle Foundation ^ 15 Diane Stevens 5 Ton Swan and Kayley Runstad Swan David Tan and Sherilyn Anderson-Tan Priscilla and Theodore Tanase Chee Wei Tang Bob and Mimi Terwilliger 10 John and Eleanor Toews Peter Chuang and Elaine Tsai 5 Kenneth Tschritter Dr. and Mrs. H. B. Tukey 15 Lorna Tumwebaze Dolores Uhlman 15 Sami Uotila and Tuula Rytila Janice and Neill Urano Mr. Leo van Dorp 5 Jan van Horn ∞ Gretchen Van Meter 15 Johanna P. VanStempvoort ∞ 15 Karoline Vass Tara and John Verburg Donald J. Verfurth 5 Doug* and Maggie Walker 10 Stephanie Wallach Connie Wang and Zachary Pollack Lois Waplington Debra Ward ∞ Judith F. Warshal and Wade Sowers John Watson 5 Jonathan Weintraub Greg Wetzel 5 Charles Wheeler Amy and Jeff Wilcox Mitch Wilk 5 Elizabeth and Troy Wormsbecker Carol Wright Talia Silveri Wright Michael and Gail Yanney Mindy Yardy Lee and Barbara Yates 15 Mr. Rocky Yeh Anonymous (28) 5 5 years of consecutive giving 10 10 years of consecutive giving 15 15 years or more of consecutive giving ∞ Monthly Sustaining Donor  Musician ° Board Member ^ Lifetime Director + Staff * In Memoriam To our entire donor family, thank you for your support. You make our mission and music a reality.

Did you see an error? Help us update our records by contacting or 206.215.4832. Thank you! HONORARIUM GIFTS Gifts to the Seattle Symphony are a wonderful way to celebrate a birthday, honor a friend or note an anniversary. In addition to recognition in the Encore program, your honoree will receive a card from the Symphony acknowledging your thoughtful gift. Gifts were made to the Seattle Symphony in recognition of those listed below between January 1, 2017 and January 23, 2018. Please contact Donor Relations at 206.215.4832 or if you would like to recognize someone in a future edition of Encore.

1201 Third Avenue Parking Garage, by Charles Montange and Kathleen Patterson Bob Ash, by Jeff Eby and Zart Dombourian-Eby Sue and Thomas Raschella 53

SEATTLE SYMPHONY DONORS Susan and Armin Baumgartel, by Zanne and Ian Gerrard Erica Peterson Bill Beery, by Madeline Beery Steve Bush and Christine Chang, by Clarius Group T.J. Callahan, by Tim Callahan The Cello Section, by Betty Graham Dale and Leslie Chihuly, by April and René Ancinas Brookshire Green Foundation Susan Brotman Liz Chambers and Jim Johnson Highland Street Foundation Marks Family Foundation Linda and Gerald Nordberg Jane and Joel Scott Linda Stevens Barbara and Donald Tober Elaine Cho, by Samuel Plott Terry Clark, by Lara Clark Samuel Clarke, by David Gaglione Marianne Cole, by Mitzi Cieslak Rosalie Contreras, by Robert Haeger Dr. David Davis, by Carissa Hussong Samantha DeLuna and Jesse Bearden, by Jennifer Lee Jordan Louie Brandon Patoc Dr. Geoffrey Deschenes and Dr. Meredith Broderick, by Kathleen Deschenes Raemarie Duclos, by Francis Powers* Maria Durham and Viva la Música Club, by Angela Henrick Norm Hollingshead Gloria Ortiz and Pedro Trujillo Jorge E. Restrepo Nicolle Durham Rey Steve Frank, by Pat and Jon Rosen Janice Gerth, by Robert Gerth Sam Glatstein, by Benjamin Glatstein Nancy Paige Griffin, by Michael Schick and Katherine Hanson David Haggerty, by Marc Stiles Lenore Hanauer, by Penelope Burke Dr. James Hanson, by Jeanette Hanson Mary Henderson, by Linda Werner Mr. and Mrs. Glen Hiner, by Eugene Leibowitz The Horn Section, by Carl de Marcken and Marina Meila Virginia Hunt-Luce, by Thomas Luce Linda Jones, by Rochelle Morrissey Jean and Roger Leed, by John Burg Pierre and Felice Loebel, by Marilyn Layton Constance and Larry Martin Marcia Mason, by Kathleen and Eric Ottum Reid and Marilyn Morgan, by Ilene and Elwood Hertzog Ludovic Morlot, by Martine and Dan Drackett Laurel Nesholm, by Moya Vazquez Llewelyn Pritchard, by Carol and Thomas Olson Pat and Jon Rosen W. David Rambo, by Trenton Rambo Stella Rolph, by Simone Spiess Pat Rosen, by Mina Miller and David Sabritt Norman and Elisabeth Sandler, by Stephanie and Michael Beers Virgina Senear, by Kelly Schmidt T.E. and Peggy Spencer, by John and Nancy McConnell Rachel Swerdlow, Walter Gray, and Paul Rafanelli, by Mark Linsey and Janis Traven Janice and Neill Urano Donald Thulean, by Gerard Fischer Toshio Uno, by Anthony Uno Ralph Wedgwood, by J. Mary and Alan Morgan Stephen Whyte, by Mark Schletty and Jan Laskey James and Mary Lou Wickwire, by Melissa and David Wickwire Simon Woods, by Leslie and Dale Chihuly Nancy and Daniel Evans Dana and Ned Laird Laurel and John Nesholm Llewelyn and Jonie Pritchard Pat and Jon Rosen Mr. Anthony Uno MEMORIAL GIFTS Gifts were made to the Seattle Symphony to remember those listed below between January 1, 2017 and January 23, 2018. For information on remembering a friend or loved one through a memorial gift, please contact Donor Relations at 206.215.4832 or Nancy Alvord, by Laurel and John Nesholm Joseph and Carol Andrews, by Robin and Zev Siegl Rose and Richard Bender, by Alan Cordova Beatrice and Arlene Berlin, by Janice Berlin Grandma Bosma, by Andrew Emory Bob Bradbury, by Jane Ann Bradbury LouAnne Shelton Richard M. Campbell, by Alison Andrews Joyce Franich Eugene and Sue John Edna Kelso Janet Ketcham, in honor of Music Beyond Borders Mary Langholz Debra and Gary Larson Erika Lim John Marshall Llewelyn and Jonie Pritchard Randy Robinson and Jane Hadley Fred Simons Carole Tingstad Arthur Caputi, Jr., by Marti Caputi Kathryn G. Cavin, by James Cavin Frederic Chopin, by Xiaoxia Zhou Kent Coleman, by Jan Coleman Charles Crane, by Muriel Martin Jane Davis, by Clodagh and Robert Ash Laurel and John Nesholm Llewelyn and Jonie Pritchard Lucy J. Ding, by Paula Ding Beulah Frankel, by Ginny Gensler Shirley H. Fuller, by Marise and Randy Person Barbara Bye Goesling, by Llewelyn and Jonie Pritchard Allan Granquist, by Steven Lundholm Martin Greenfield, by Pat and Jon Rosen Sarah Hamilton, by Barbara and Charles Jennings Frederick Hayes, by Sue and Robert Collett David Howe, by Mary Howe Richard Howe Jane Qualia Christopher Weeks Gretchen Hull, by Anonymous Susan Kane, by Hannah and Sarah Kane Milton Katims, by Pamela and Patrick Steele Laurence Lang, by Rosalie Lang Isaac Michael Levin, by Sophie-Shifra Gold Richard Lundquist, by Jinja Yutzy Kenneth A. Moore Jr., by Renate and David Stage Melvyn Poll, by Friends of Abbott Construction Janet Abrams Asma Ahmed Ash Family Foundation Larry and Sherry Benaroya Maureen and Joel Benoliel Lisa Bergman Carolyn Burnett Everyone at Cactus Restaurant Barbara Calvo and Al Benoliel Dale and Leslie Chihuly Joan and Frank Conlon Maryann Crissey Sandra and Gary Etlinger Timotha and Charles Freedenberg Sharon Friel Marlene and Jon Fuson Laurie Griffith Jane Hargraft and Elly Winer David and Sharron Hartman Delney and Andrew Hilen Ned and Kristen Lumpkin Carolee and Tom Mathers Marilyn McManus Stewart Miller Linda Nordberg Jack Norman Patricia Oye William Poll Ann Pryde Pat and Jon Rosen Milicent Savage SRG Partnership, Inc Carlyn Steiner Leena and Mel Sturman Diane and Dennis Warshal Wyman Youth Trust Barbara and Jonathan Zweig Frank Powers, by Richard Andler and Carole Rush Dr. Kennan H. Hollingsworth Isa Nelson Ruth Ann and Jim Powers Shawn Powers Seattle Symphony Volunteers Virginia Senear Nancy Tracy Elaine Raines, by Cindy Chang Linda and Randy Ebberson Laurel Kalina Sheila Lukehart Karen and Randall Nelson Sheri Sharp Katherine and Douglas Sprugel Carole Wilson 54 SEATTLESYMPHONY.ORG

$5 Million + The Benaroya Family Charles Simonyi Fund for Arts and Sciences Anonymous $1,000,000 - $4,999,999 Leslie and Dale Chihuly The Clowes Fund, Inc. Priscilla Bullitt Collins* Judith A. Fong The Ford Foundation Dave and Amy Fulton Kreielsheimer Foundation Marks Family Foundation Estate of Gladys and Sam Rubinstein Samuel* and Althea* Stroum Dr. Robert Wallace $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 James D. and Sherry L. Raisbeck Foundation Joan S. Watjen, in memory of Craig M. Watjen $100,000 - $499,999 Estate of Glenn H. Anderson Andrew W. Mellon Foundation Bob and Clodagh Ash Drs. Janet P. and George* Beckmann Alan Benaroya Estate of C. Keith Birkenfeld Mrs. Rie Bloomfield* The Boeing Company C.E. Stuart Charitable Fund Richard* and Bridget Cooley Dr. Susan Detweiler and Dr. Alexander Clowes* Mildred King Dunn E. K. and Lillian F. Bishop Foundation Estate of Clairmont L. and Evelyn Egtvedt Estate of Ruth S. Ellerbeck Senator and Mrs. Daniel J. Evans Fluke Capital Management Estate of Dr. Eloise R. Giblett Agnes Gund Helen* and Max* Gurvich Estate of Mrs. James F. Hodges Estate of Ruth H. Hoffman Estate of Virginia Iverson Estate of Peggy Anne Jacobsson Robert C. Jenkins Estate of Charlotte M. Malone Bruce and Jolene McCaw Bruce and Jeanne McNae Microsoft Corporation National Endowment for the Arts Northwest Foundation Estate of Helen A. Overton Peach Foundation Estate of Elsbeth Pfeiffer Estate of Elizabeth Richards Jon and Judy Runstad Estate of Joanne M. Schumacher Weyerhaeuser Company The William Randolph Hearst Foundations Estate of Helen L. Yeakel Estate of Victoria Zablocki Anonymous (3) $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 Lenore Ward Forbes 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 Estate of Susanne F. Hubbach John Graham Foundation Mr. and Mrs. Stanley P. Jones Estate of Betty L. Kupersmith John and Cookie* Laughlin E. Thomas McFarlan Estate of Alice M. Muench Nesholm Family Foundation Estate of Opal J. Orr M. C. Pigott Family PONCHO Estate of Mrs. Marietta Priebe Mr. and Mrs. Paul R. Smith Estate of Frankie L. Wakefield Estate of Marion J. Waller Washington Mutual Anonymous $25,000 - $49,999 Edward and Pam Avedisian Estate of Bernice Baker The Boeing Company 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 JNC Fund Sonia Johnson* The Keith and Kathleen Hallman Fund David and Karen Kratter Estate of Marlin Dale Lehrman Estate of Coe and Dorothy Malone Estate of Jack W. McCoy Estate of Robert B. McNett Estate of Jean and Peter J. McTavish Estate of Shirley Callison Miner PACCAR Foundation Mr. and Mrs. W. H. Purdy Estate of Elizabeth Parke Sue and Tom Raschella Keith and Patricia Riffle Rita* and Herb* Rosen and the Rosen Family Seafirst Bank Security Pacific Bank Jerry and Jody Schwarz Seattle Symphony Women’s Association Patricia Tall-Takacs and Gary Takacs U S WEST Communications Estate of Dr. and Mrs. Wade Volwiler Estate of Marion G. Weinthal Estate of Ethel Wood Anonymous (2) * In Memoriam SEATTLE SYMPHONY ENDOWMENT FUND 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 January 23, 2018. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or

Jean Robbins, by Nancy Kyler Alice Laitner Giovina Da Sessions Carole Sanford, by Horizon House Supported Living Langdon Simmons, by Llewelyn and Jonie Pritchard Donald Strong, by Mary Anne Strong Lois Timlin, by Margaret and Mark Van Gasken Kathleen Trier, by Horizon House Supported Living B. K. Walton, by Penelope Yonge Ralph Wedgewood, by Thomas Chatriand and Cindy Gustafson Horizon House Supported Living Jane Kippenhan Michael Vargas Brian Weiss, by Sue Eriksen Dina Jacobson Lars Sorensen Janice T. Whittaker, by Jody Friday ESTATE GIFTS We gratefully remember the following individuals for their generosity and forethought, and for including the Seattle Symphony in their will, trust or beneficiary designation. These legacy gifts provide vital support for the Symphony now and for future generations. (Estate gifts since September 1, 2015.) Dr. William and Mrs. Laura Andrews Harriet C. Barrett Trust Barbara and Lucile Calef Robert E. and Jeanne Campbell Charles Robb Chadwick Phyllis B. Clark Frances L. Condie Trudel Dean Carmen Delo Nancy Lee Dickerson Sherry Fisher Jane B. Folkrod Lenore Ward Forbes Marion O. Garrison Elizabeth C. Giblin Merle P. Griff and Nadine Griff Mack Helen and Max Gurvich Carol Hahn-Oliver Sarah C. Hamilton Allan and Nenette Harvey Yveline Harvey Anne Marie Haugen Susanne F. Hubbach Gretchen and Lyman Hull Betty L. Kupersmith E. Marian Lackovich Anna L. Lawrence Arlyne Loacker Olga M. McEwing Jean and Peter J. McTavish Norman D. Miller Nuckols-Keefe Family Foundation Beatrice Olson Carl A. Rotter John C. Rottler Dorothy Faye Scholz Allen E. Senear Amy Sidell Phillip Soth Dr. Joseph S. Spinola Morton Stelling Samuel and Althea Stroum Ida L. Warren 55

MUSICAL LEGACY SOCIETY The Musical Legacy Society celebrates those who have remembered the Seattle Symphony with a future gift through their estate or retirement plan. Legacy donors ensure a vibrant future for the Seattle Symphony, helping the Orchestra sustain its exceptional artistry and its commitment to making live symphonic music accessible to youth and the broader community. To learn more about the Musical Legacy Society, or to let us know you have already included the Symphony in your long-term plans, please contact Director of Major Gifts and Planned Giving Becky Kowals at 206.215.4852 or The following list is current as of January 23, 2018. Charles M. and Barbara Clanton Ackerman Joan P. Algarin Kathleen Amberg Richard Andler and Carole Rush Ron Armstrong Elma Arndt Bob and Clodagh Ash Susan A. Austin Rosalee Ball David W. Barker Donna M. Barnes Carol Batchelder Drs. Janet P. and George* Beckmann Alan Benaroya Rebecca Benaroya Donald/Sharon Bidwell Living Trust Dona Biermann Bob* and Jane Ann Bradbury Rosemary and Kent Brauninger Sylvia and Steve Burges Dr. Simpson* and Dr. Margaret Burke Dr. William and Mrs. Mary Ann Champion Sue and Robert Collett Dr. Marshall Corson and Mrs. Lauren Riker Betsey Curran and Jonathan King Frank and Dolores Dean Robin Dearling and Gary Ackerman Lorraine Del Prado and Thomas Donohue John Delo Dr. Susan Detweiler and Dr. Alexander Clowes* Fred and Adele Drummond Mildred King Dunn Renee Duprel Sandra W. Dyer Ann R. Eddy David and Dorothy Fluke Gerald B. Folland Judith A. Fong Jack and Jan Forrest Russell and Nancy Fosmire Ernest and Elizabeth Scott Frankenberg Cynthia L. Gallagher Jane and Richard Gallagher Jean Gardner Cheryl and Billy Geffon Natalie Gendler Carol B. Goddard Frances M. Golding Jeffrey Norman Golub Dr. and Mrs. Ulf and Inger Goranson Betty Graham Catherine B. Green Dr. Martin L. Greene Roger J.* and Carol* Hahn-Oliver James and Darlene Halverson Barbara Hannah Harriet Harburn Ken and Cathi Hatch Michele and Dan Heidt Ralph and Gail Hendrickson Deena J. Henkins Charles E. Higbee, MD Harold and Mary Frances Hill Bob Hoelzen and Marlene Botter Frank and Katie Holland Dr. Kennan H. Hollingsworth Chuck and Pat Holmes David and Shelley Hovind Richard and Roberta Hyman Janet Aldrich Jacobs Jennifer James, MD Robert C. Jenkins Dr. Barbara Johnston Norman J. Johnston* and L. Jane Hastings Johnston Atul R. Kanagat Don and Joyce Kindred Dell King Douglas F. King Stephen and Barbara Kratz Frances J. Kwapil M. LaHaise Ned Laird Paul Leach and Susan Winokur Kathleen Leahy Lu Leslan Marjorie J. Levar Mel Longley and Tanya Wanchena-Longley Thomas and Virginia Hunt Luce Ted and Joan Lundberg Judsen Marquardt and Constance Niva Ian and Cilla Marriott Doug and Joyce McCallum Tom McQuaid William C. Messecar Jerry Meyer and Nina Zingale Charles N. Miller Elizabeth J. Miller Mrs. Roger N. Miller Murl G. Barker and Ronald E. Miller Reid and Marilyn Morgan George Muldrow Marr and Nancy Mullen Isa Nelson Gina W. Olson Sarah M. Ovens Donald and Joyce Paradine Dick and Joyce Paul Jane and Allan Paulson Lisa Peters and James Hattori Stuart N. Plumb Roger Presley and Leonard Pezzano Mrs. Eileen Pratt Pringle Mr. and Mrs. W. H. Purdy James and Sherry Raisbeck Dana Reid and Larry Hitchon J. Stephen and Alice Reid Bernice Mossafer Rind Bill* and Charlene Roberts Junius Rochester Jan Rogers Patricia and Jon Rosen James T. and Barbara Russell Mary Ann Sage Thomas H. Schacht Judith Schoenecker and Christopher L. Myers Annie and Leroy Searle Virginia and Allen* Senear Leonard* and Patricia Shapiro Jan and Peter Shapiro John F. and Julia P.* Shaw Barbara and Richard Shikiar Valerie Newman Sils Evelyn Simpson Betty J. Smith Katherine K. Sodergren Althea C. and Orin H.* Soest Sonia Spear Karen J. Stay Diane Stevens Patricia Tall-Takacs and Gary Takacs Gayle and Jack Thompson Art and Louise Torgerson Betty Lou and Irwin* Treiger Muriel Van Housen Sharon Van Valin Jean Baur Viereck Dr. Robert Wallace Nicholas A. Walls Jeffrey Ward and Charles Crain Judith Warshal and Wade Sowers Douglas Weisfield James and Janet Weisman John and Fran Weiss Robert T. Weltzien Dorothy E. Wendler Gerald W. and Elaine* Millard West Selena and Steve Wilson Ronald and Carolyn Woodard Arlene A. Wright Janet E. Wright Rick and Debbie Zajicek Anonymous (52) * In Memoriam 56 SEATTLESYMPHONY.ORG SEATTLESYMPHONY.ORG/GIVE 206.215.4832 I GIVE BECAUSE ... WHY DO YOU GIVE? I have enjoyed the Seattle Symphony for 15 years and want it to continue. – James

The Seattle Symphony gratefully recognizes the following corporations, foundations and united arts funds for their generous outright and In-Kind support at the following levels. This list includes donations to the Annual Fund and Event Sponsorships, and is current as of January 23, 2018. Thank you for your support — our donors make it all possible! $50,000 - $99,999 Classical KING FM 98.1 ◊ Geekwire † Google Inc. † John Graham Foundation KEXP † Laird Norton Wealth Management Microsoft Corporation Microsoft Matching Gifts Nesholm Family Foundation Precept Wine ◊ Seattle Met Magazine † Scan|Design Foundation by Inger and Jens Bruun $25,000 - $49,999 Alaska Airlines Bank of America Boeing Matching Gifts Program Chihuly Studio † Classic Pianos ◊ DSquared † Encore Media Group † J.P. Morgan Chase & Co. Nordstrom Seattle Cancer Care Alliance Wells Fargo Private Bank $15,000 - $24,999 Chihuly Garden + Glass Clowes Fund, Inc. Jean K. Lafromboise Foundation KCTS 9 † Northwest Center Peach Foundation Port Blakely Rosanna, Inc. † Sheri and Les Biller Family Foundation Virginia Mason Medical Center Wild Ginger Restaurant † $10,000 - $14,999 Aaron Copland Fund For Music The Benaroya Company Bill & Melinda Gates Foundation Matching Gifts BNY Mellon Coca-Cola Company Matching Gifts Foster Pepper PLLC Four Seasons Hotel † Fran’s Chocolates ◊ Garvey Schubert Barer † Holland America Line ◊ Lakeside Industries Lino Tagliapietra Inc. Perkins Coie LLP RBC Wealth Management Robert Chinn Foundation Treeline Foundation U.S. Bank Foundation Weill Music Institute † Wells Fargo Foundation Anonymous $5,000 - $9,999 AETNA Casualty and Surety Apex Foundation Atsuhiko & Ina Goodwin Tateuchi Foundation Brown Bear Car Wash Citi Community Capital Creelman Foundation Davis Wright Tremaine GE Foundation Glazer’s Camera † Google Matching Gifts Heartwood Provisions † The Lark Ascends † MG2 Foundation Muckleshoot Indian Tribe Neiman Marcus Peg and Rick Young Foundation Puyallup Tribe Of Indians RBC Foundation RN74 Seattle † S. L. Pitts PC Silverstein Properties Skanska USA Starbucks Coffee Company The Westin Hotel, Seattle † $3,000 - $4,999 Amphion Foundation The Capital Grille † Clark Nuber Dick’s Drive-In ◊ Fast Water Heater Co Grand Image Art † Lane Powell PC Schwabe, Williamson & Wyatt Tesla Motors † Yamaha $1,000 - $2,999 Alfred and Tillie Shemanski Trust Fund Bank of America Foundation Matching Gifts Program Big Mario’s Pizza † Butler Valet † Cadence Winery † Consulate of the Republic of Poland in Seattle DreamBox Learning Ebay Educational Legacy Fund Eli Lilly & Company Foundation Finlandia Foundation Seattle Chapter Firestone Walker Brewing Company † Fox’s Seattle † Genworth Foundation Grand Hyatt Hotel New York † Grousemont Foundation Kane Environmental, Inc Kerloo Cellars † KeyBank Foundation Lagunitas Brewing Company LAUGH Studios † Mitsubishi Corporation (Americas) Neon Taco † O Wines † Paul & Dottie Foundation of the DuPage Foundation The PONCHO Foundation The Ruth and Robert Satter Charitable Trust Steinway & Sons Seattle/Bellevue ◊ Sun Liquor † Thompson Seattle † Tolo Events † Tulalip Tribes Charitable Fund UBS Employee Giving Programs Wilson Sonsini Goodrich & Rosati Foundation Wyman Youth Trust † In-Kind Support ◊ Financial and In-Kind Support CORPORATE & FOUNDATION 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 GOVERNMENT SUPPORT $500,000+ Seattle Symphony Foundation $100,000 – $499,999 Seattle Symphony Volunteers ◊ 57

SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES OPENING NIGHT GALA, SEPTEMBER 16, 2017 Honoring Leslie and Dale Chihuly SUPPORTING SPONSORS JPMorgan Chase & Co. Nordstrom CO-CHAIRS Renée Brisbois Terry Hecker COMMITTEE Kathleen Boyer Dr. Meredith Broderick Zartouhi Dombourian-Eby Kathy Fahlman Dewalt Beth Ketcham Hisayo Nakajima Paul Rafanelli Elizabeth Roberts Jon Rosen Christine Suignard HOLIDAY MUSICAL SALUTE, DECEMBER 5, 2017 CO-CHAIRS Rebecca Ebsworth Michelle Codd COMMITTEE Dr. Meredith Broderick Roberta Downey Kathleen Mitrovich Tiffany Moss Kirsten Towfiq TEN GRANDS, MAY 12, 2018 Kathy Fahlman Dewalt Co-Founder and Executive Director COMMITTEE Rosanna Bowles Cheri Brennan Stephen Dewalt Tom Horsley Ben Klinger Carla Nichols Ryan Matthew Porter Fawn Spady Saul Spady Stephanie White David Woolley-Wilson Jessie Woolley-Wilson Barbara Wortley CLUB LUDO, JUNE 9, 2017 CHAIR Tiffany Moss COMMITTEE Eric Berlinberg Brittany Boulding Duncan Carey Samantha DeLuna Jackie Ernst Erica Gomez Eric Jacobs Jason Perkizas Talia Silveri Saul Spady Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our presenting sponsors and committees who make these events possible. Individuals who support the events below are included among the Individual Donors listings. Likewise, our corporate and foundation partners are recognized for their support in the Corporate & Foundation Support listings. For more information about Seattle Symphony events, please visit YOUR GUIDE TO THE SEATTLE SYMPHONY SYMPHONICA, THE SYMPHONY STORE: Located in The Boeing Company Gallery, Symphonica is open weekdays from 11am–2pm and 90 minutes prior to all Seattle Symphony performances through intermission. PARKING: Prepaid parking may be purchased online or through the Ticket Office. COAT CHECK: The complimentary coat check is located in The Boeing Company Gallery. LATE SEATING: Late-arriving patrons will be seated at appropriate pauses in the performance, and are invited to listen to and watch performances on a monitor located in the Samuel & Althea Stroum Grand Lobby. CAMERAS, CELL PHONES & RECORDERS: 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. 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. EMERGENCY PHONE NUMBER: Please leave the 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.

COUGH DROPS: Cough drops are available from ushers. 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 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. LOST AND FOUND: Please contact the Head Usher immediately following the performance or call Benaroya Hall security at 206.215.4715. HOST YOUR EVENT HERE: 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. Visit for more information.

LOBBY BAR SERVICE: Food and beverage bars in the Samuel & Althea Stroum Grand Lobby are 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. MUSE, IN THE NORCLIFFE FOUNDERS ROOM AT BENAROYA HALL: 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 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 or call 206.336.6699.

DAVIDS & CO.: Davids & Co. presents a mashup of barbecue traditions which includes choices like spoon tender pulled pork, homemade quiche of the day, smoked sliced brisket and other delightful surprises, offering the perfect spot to grab a quick weekday lunch or a casual meal before a show. Davids & Co., located in The Boeing Company Gallery, is open weekdays from 11am–2pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. HONOR COFFEE: High-end espresso, served exceptionally well, in a warm and welcoming environment. Honor Coffee, located in The Boeing Company Gallery, is open weekdays from 6:30am–3:30pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium.

DELICATUS: Delicatus is Seattle’s own cross cultural Delicatessen specializing in premium deli sandwiches, salads, specialty meats, artisan cheeses, craft beer and wine. Delicatus @ Benaroya Hall, located on the Second Avenue side of the Hall, is open weekdays from 8am–4pm and two hours prior to most performances in the S. Mark Taper Foundation Auditorium. TICKET OFFICE: The Seattle Symphony Ticket Office is located at Third Avenue & Union Street and is open weekdays 10am–6pm, Saturdays 1–6pm, and two hours prior to performances through intermission. | 206.215.4747 or 1.866.833.4747 | P.O. Box 2108, Seattle, WA 98111-2108 GROUP SALES: | 206.215.4818 SUPPORT YOUR SYMPHONY: The concert you’re about to enjoy is made possible through donations by generous music lovers like you. Learn more and make your gift for symphonic music at You can also call us at 206.215.4832 or mail your gift to P.O. Box 21906, Seattle, WA 98111-3906.


THE LIS(Z)T SEEN & HEARD @ THE SEATTLE SYMPHONY On January 23 Friends of the Symphony enjoyed an Open Rehearsal & Discussion with Principal Guest Conductor & Music Director Designate Thomas Dausgaard. The discussion, hosted by Board Chair-Elect René Ancinas, was the first opportunity for Symphony supporters to get to know Dausgaard in person since he was named the Symphony’s next Music Director last October. Dausgaard will begin his role as Music Director in September 2019. Following the discussion, Friends joined Dausgaard and the orchestra for a working rehearsal of the week’s Brahms program. Open Rehearsals occur throughout the season and are a unique opportunity for Friends of the Symphony to go behind the scenes and witness the interplay between conductor and musicians that goes into each Symphony performance. Thank you to Thomas Dausgaard, René Ancinas and the orchestra for sharing this exclusive, insider experience. And a special thank you to all the Friends of the Symphony who make the music possible.

Generous music lovers like you bring our music to life! For more information about Open Rehearsals or supporting your Symphony, visit us online at or call 206.215.4832. FRIENDS GO BEHIND THE SCENES Photos: James Holt Thomas Dausgaard’s performances are generously underwritten by Grant and Dorrit Saviers through the Seattle Symphony’s Guest Artists Circle. Thomas Dausgaard’s performances receive additional funding from the Scan|Design Foundation by Inger and Jens Bruun. 59 59

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