DAUSGAARD C O N D U C T SSIBELIUSK U L L E R VOC O M P O S E R IN RESIDENCEALEXANDRAGARDNER

K A R I N A CANELLAKISC O N D U C T SPROKOFIEVROMEO & JULIET

MAY 2018

LUDOVIC MORLOT, MUSIC DIRECTOR

CONTENTSPRESENTING SPONSOR OF THE SEATTLE SYMPHONY ORCHESTRA

MASTERWORKS SEASON SPONSOR OF THE SEATTLE SYMPHONY

OFFICIAL AIRLINE OF THESEATTLE SYMPHONY ORCHESTRA

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4 / CALENDAR

6 / THE SYMPHONY

10 / NEWS

FEATURES

12 / ALEXANDRA GARDNER

25 / YOUTH, EQUITY & ACCESS

CONCERTS16 / May 4 & 5

VIVALDI & HANDEL

ARIAS & CONCERTOS

20 / May 6

MOZART VIOLIN CONCERTO NO. 5

24 / May 10

A SPECIAL CONCERT SUPPORTING

YOUTH, EQUITY & ACCESS TO

THE ARTS

30 / May 17 & 20

PROKOFIEV ROMEO & JULIET

34 / May 31, June 2 & 3

SIBELIUS KULLERVO

44 / June 1

BRAHMS & SCHUMANN

54 / GUIDE TO THE

SEATTLE SYMPHONY

55 / THE LIS(Z)T

CONTENTS

ON THE COVER: Karina Canellakis by Todd Rosenberg

COVER DESIGN: Jessica Forsythe

EDITOR: Heidi Staub

© 2018 Seattle SymphonyAll 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.

MAY 2018

16 / JULIA LEZHNEVA

24 / MACKLEMORE & RYAN LEWIS24 / CIARA

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encoremediagroup.com/programs 3

CALENDARON 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.

May & June

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

1 2 3 4 5

6 7 8 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

NATIONAL GEOGRAPHIC LIVE

7:30pm Live @ Benaroya Hall: Angélique Kidjo’s REMAIN IN LIGHT 

10am Friends Onstage Rehearsal*

6pm Volunteer Wine & Wisdom*

7:30pm Live @ Benaroya Hall: Alan Cumming: Legal Immigrant

7:30pm Seattle Arts & Lectures: An Evening with Jenny Han & Nicola Yoon

8pm Vivaldi & Handel Arias & Concertos

11am Family Concerts: Romeo & Juliet

7:30pm Seattle Classic Guitar Society: Jérémy Jouve

8pm Vivaldi & Handel Arias & Concertos

2pm Mozart Violin Concerto No. 5

7:30pm Seattle Arts & Lectures: Viet Thanh Nguyen

8pm Alaska Airlines presents A Special Concert Supporting Youth, Equity & Access to the Arts

7:30pm Ensign Symphony & Chorus: Glorious

7pm Ten Grands

11am Lullaby Project Celebration Concert

2pm National Geographic Live — A Rare Look: North Korea to Cuba

7:30pm National Geographic Live — A Rare Look: North Korea to Cuba

7:30pm National Geographic Live — A Rare Look: North Korea to Cuba

7:30pm Seattle Arts & Lectures: Ariel Levy

12pm Musical Legacy Society Luncheon*

7:30pm Prokofiev Romeo & Juliet

7:30pm Ze Ze Xue

2pm Prism Project Concert at the Seattle Art Museum

3pm SYSO: 5 Orchestras & Firebird

2pm Prokofiev Romeo & Juliet

5pm Music of Remembrance: Gaman: to persevere

7:30pm Seattle Arts & Lectures: The Moth Mainstage

6:30pm CWU Music at Benaroya Hall

7:30pm Sibelius Kullervo

8pm Brahms & Schumann

2pm Seattle Philharmonic Orchestra

8pm Sibelius Kullervo

2pm Sibelius Kullervo

10:30am Tiny Tots: The Three Little Pigs

7:30pm Northwest Sinfonietta

8pm The Sounds of Simon & Garfunkel

9:30, 10:30 & 11:30am Tiny Tots: The Three Little Pigs

8pm The Sounds of Simon & Garfunkel

2pm The Sounds of Simon & Garfunkel

7:30pm Bernstein Wonderful Town

Post-concert Founders Circle Party*

10pm [untitled] 3

7pm Puget Sound Music Academy

10am & 12pm Sensory Friendly Concert

2pm Northwest Girlchoir

7:30pm SRJO

8pm Bernstein Wonderful Town

10am & 12pm Sensory Friendly Concert: Journey of Invention & Discovery

1pm Benaroya Hall Tour

7:30pm Wayne Marshall in Recital

7:30pm Copland Symphony No. 3

5pm Volunteer Appreciation Event*

7pm Copland Untuxed

8pm Copland Symphony No. 3

LEGEND: Seattle Symphony Events Benaroya Hall Events *Donor Events: Call 206.215.4832 for more information

7:30pm Andrea Bocelli with the Seattle Symphony at Key Arena

9am Friends Open Rehearsal & Discussion*

7:30pm Saint-Saëns Symphony No. 3 Organ

8pm Saint-Saëns Symphony No. 3 Organ

■ JUNE

■ MAY

BIGG I V E

National Geographic Live — A Rare Look: North Korea to Cuba (May 13–15) by David Guttenfelder

SSO098-Calendar.indd 1 4/19/18 3:27 PM

4 SEATTLESYMPHONY.ORG

CONNECT WITH US:Share your photos using #ListenBoldly and

follow @seattlesymphony on Facebook, Ins-

tagram, Twitter and Snapchat. Download the

Listen Boldly app to easily purchase tickets,

skip the Ticket Office lines and receive exclu-

sive offers.

seattlesymphony.org

TICKETS: 206.215.4747

GIVE: 206.215.4832

■ ON THE BEAT See Who’s Here to Hear

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ORCHESTRATING BETTER HEARING FOR EVERYONE. At Virginia Mason’s Listen for Life Center, our goal is to help children and adults attain the best level of hearing possible. The Center includes audiologists, surgeons and other hearing loss specialists. We also have the Northwest’s largest cochlear implant program.With three clinic locations, we serve patients throughout Puget Sound. From research to treatment, better hearing is music to our ears!

©2018 Virginia Mason

VirginiaMason.org/ListenBe Remarkable.

Virginia Mason is the only hospital in the Pacific Northwest to be named one of Healthgrades® 2018 America’s 50 Best Hospitals.™

LISTEN FOR LIFE CLINICSSEATTLE: 206-223-8802 FEDERAL WAY: 253-874-1750 ISSAQUAH: 425-557-8040

This is our first time here, actually!

We wanted to be extremely fancy,

and what’s fancier than going to the

Symphony? There’s no special occasion

— just going out for a Saturday night.

I’ve had symphony music in my life

forever, but I’ve never actually been

here. I used to kind of play the cello. But

Lucas goes to a lot of live music, almost

a show a week. I love to go to theater

productions, and I act and direct.

– Linnea, pictured with Lucas

encoremediagroup.com/programs 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 PositionDavid & Amy Fulton Concertmaster

Open PositionClowes Family Associate Concertmaster

Cordula MerksAssistant Concertmaster

Simon JamesSecond 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 BarstonPrincipal

Michael MiropolskyJohn & 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 AssadiPONCHO Principal Viola

Arie SchächterAssistant Principal

Mara Gearman

Timothy Hale

Penelope Crane

Wes Dyring

Sayaka Kokubo

Rachel Swerdlow

Julie Whitton

CELLO

Efe BaltacıgilMarks Family Foundation Principal Cello

Meeka Quan DiLorenzoAssistant Principal

Nathan Chan

Eric Han

Bruce Bailey

Roberta Hansen Downey

Walter Gray

Vivian Gu

Joy Payton-Stevens

David Sabee

BASS

Jordan AndersonMr. & Mrs. Harold H. Heath Principal String Bass

Joseph KaufmanAssistant Principal

Ted Botsford **

Jonathan Burnstein

Brendan Fitzgerald *

Jennifer Godfrey

Travis Gore

Jonathan Green

FLUTE

Demarre McGillPrincipal Supported by David J. and Shelley Hovind

Jeffrey BarkerAssociate Principal

Judy Washburn Kriewall

Zartouhi Dombourian-Eby

PICCOLO

Zartouhi Dombourian-EbyRobert & Clodagh Ash Piccolo

OBOE

Mary LynchPrincipal Supported by anonymous donors

Ben HausmannAssociate Principal

Chengwen Winnie Lai

Stefan Farkas

ENGLISH HORN

Stefan Farkas

CLARINET

Benjamin LulichMr. & Mrs. Paul R. Smith Principal Clarinet

Emil Khudyev Associate Principal

Laura DeLucaDr. Robert Wallace Clarinet

Eric Jacobs

E-FLAT CLARINET

Laura DeLuca

BASS CLARINET

Eric Jacobs

BASSOON

Seth KrimskyPrincipal

Paul Rafanelli

Mike Gamburg

CONTRABASSOON

Mike Gamburg

HORN

Jeffrey FairCharles Simonyi Principal Horn

Mark RobbinsAssociate Principal

Jonathan KarschneyAssistant Principal

Jenna Breen

John Turman

Danielle Kuhlmann

TRUMPET

David GordonThe Boeing Company Principal Trumpet

Alexander WhiteAssistant Principal

Christopher Stingle

Michael Myers

TROMBONE

Ko-ichiro YamamotoPrincipal

David Lawrence Ritt

Stephen Fissel

BASS TROMBONE

Stephen Fissel

TUBA

John DiCesarePrincipal

TIMPANI

Open PositionPrincipal

Matthew DeckerAssistant Principal

PERCUSSION

Michael A. WernerPrincipal

Michael Clark

Matthew Decker

HARP

Valerie Muzzolini GordonPrincipal

KEYBOARD

Joseph Adam, organ +

PERSONNEL MANAGER

Scott Wilson

ASSISTANT PERSONNEL MANAGER

Keith Higgins

LIBRARY

Robert OliviaAssociate Librarian

Jeanne CaseLibrarian

Rachel SwerdlowAssistant Librarian

TECHNICAL DIRECTORJoseph E. Cook

ARTIST IN ASSOCIATIONDale Chihuly

2017–2018 SEASON COMPOSER IN RESIDENCEAlexandra Gardner

HONORARY MEMBERCyril M. Harris †

+ Resident

† In Memoriam

** On Leave

* Temporary Musician for 2017–2018 season

LUDOVIC MORLOT SEATTLE SYMPHONY MUSIC DIRECTOR

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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 Composer in Residence Alexandra Gardner. 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.

6 SEATTLESYMPHONY.ORG

When the warm sunshine returns, you’ll find Brittany walking between her home in Queen Anne and Benaroya Hall, where she plays violin with the Seattle Symphony. The walk takes about 45 minutes one way. Brittany says the long walks help her focus and find inspiration. “Mostly I listen to music, whatever I’m working on at the time,” she explains. “There’s a lot that can be learned without the violin, just by listening.”

Her favorite walking companions are her dog, Wotan — a Leonberger — and husband, Prescott. Brittany often escapes with Wotan to visit the park near their home. “All I have to do is hang out with Wotan and I am good. He’s a wonderful, wonderful beast. A giant fluffy bear,” she laughs.

But when they have more time, they like to adventure further afield. “Our favorite place to go is Cannon Beach, but it’s a bit far. So when we have a couple days off we go down to the Oregon coast,” says Brittany.

Growing up in Olalla, Washington, Brittany and her family frequently visited Cannon Beach, playing Celtic music together as part of her parents’ group, Magical Strings. “I think I was onstage with my parents for the first time when I was six months old, in a little basket under my mother’s hammered dulcimer,” recalls Brittany. Cannon Beach is also where her husband proposed. “We have lots of special memories there,” she smiles.

For more on the Seattle Symphony, visit seattlesymphony.org/stories.

■ BRITTANY BOULDING BREEDEN Second Violin

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“an intimate musical conversation”

“a refreshing communalexperience”

“a modern and sophisticated space”

“a world-class acoustic”

MAY

316:30 & 8:15 PM

Curtis Stigers & the Full Circle Jazz Band

Curtis Stigers channels the hip, swinging chemistry of

Frank Sinatra and the Count Basie Orchestra

www.resonance.events

encoremediagroup.com/programs 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+ In memoriam

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

New Horizons partners with youth to exit street life. Since 1978 New Horizons has connected youth experiencing homelessness in Downtown Seattle to resources they need through basic services and positive relationships. Along with fellow Simple Gifts partners YouthCare and Accelerator YMCA, youth from New Horizons have been working alongside Seattle Symphony Composer in Residence Alexandra Gardner on the Prism Project, a new community composition written in collaboration with the youth that will be premiered by Seattle Symphony musicians on Saturday, May 19, 2pm at the Seattle Art Museum. More information can be found at seattlesymphony.org.

The Seattle Symphony has been partnering with New Horizons since 2017 and the people that they serve have access to complimentary tickets through the Community Connections program. New Horizons is one of 19 partners in the Seattle Symphony’s Simple Gifts initiative which brings the healing power of music to those who have experienced homelessness.

■ SIMPLE GIFTS New Horizons

■ OUR MISSION THE SEATTLE SYMPHONY UNLEASHES THE POWER OF MUSIC, BRINGS PEOPLE TOGETHER, AND LIFTS THE HUMAN SPIRIT.

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JEAN-FRANÇOIS HEITZ Chair

SEATTLE SYMPHONY FOUNDATION BOARD OF DIRECTORS

Kathleen Wright Vice Chair

Muriel Van Housen Secretary

Michael Slonski Treasurer

Marco Abbruzzese

Brian Grant

Joaquin Hernandez

Leslie Jackson Chihuly

David Tan

Rick White

8 SEATTLESYMPHONY.ORG

SEATTLE SYMPHONY | BENAROYA HALL ADMINISTRATIVE STAFF

SENIOR MANAGEMENT TEAM

Open PositionPresident & CEO Leslie Jackson Chihuly Chair

Charlie WadeSenior Vice President of Marketing & Business Operations

Jennifer AdairVice President & General Manager

Maureen Campbell MelvilleVice President & Chief Financial Officer

Rosalie ContrerasVice President of Communications

Elena DubinetsVice President of Artistic Planning & Creative Projects

Jane HargraftVice President of Development

Laura ReynoldsVice President of Education & Community Engagement

Kristen NyQuistDirector of Board Relations & Strategic Initiatives

EXECUTIVE OFFICE

Margaret HolsingerExecutive Assistant to the President & CEO/Office Manager

ARTISTIC PLANNING

Paige GilbertManager of Artistic Planning & Popular Programming

Rose GearPersonal Assistant to the Music Director & Artistic Coordinator

Dmitriy LipayDirector of Audio & Recording

Blaine InafukuAssociate Artistic Administrator

ORCHESTRA & OPERATIONS

Kelly Woodhouse BostonDirector of Operations

Ana HinzProduction Manager

Scott WilsonPersonnel Manager

Keith HigginsAssistant Personnel Manager

Robert OliviaAssociate Librarian

Jeanne CaseLibrarian

Joseph E. CookTechnical Director

Mark Anderson, Jeff LincolnAssistant Technical Directors

Johnny Baca, Chris Dinon, Aaron Gorseth, John Roberson, Michael Schienbein, Ira SeigelStage Technicians

EDUCATION & COMMUNITY ENGAGEMENT

Amy HealdCollaborative Learning Manager

Jérémy Jolley Artistic Collaborations Manager

Katie HovdeProgram Associate

Rebecca Aitken, Jessica Andrews-Hall, Lena Console, Kaley Eaton, Sonya Harris, Jessi Harvey, Rafael Howell, Zachary Kambour, Emily Herdeman Kelly, Leanna Keith, Paul KikuchiTeaching Artists

COMMUNICATIONS

Shiva ShafiiPublic Relations Manager

Heidi StaubManaging Editor

James HoltDigital Content Manager

Andrew StiefelSocial Media & Content Manager

MARKETING

Christy WoodSenior Director of Marketing & Sales

Rachel SpainMarketing Manager

Kyle PainterMarketing Operations Coordinator

Barry LalondeDirector of Digital Products

Jason HuynhDigital Marketing Manager

Herb BurkeTessitura Manager

Gerry KunkelCorporate & Concierge Accounts Manager

Jessica ForsytheArt Director

Helen Hodges, Jadzia ParkerGraphic Designers

Forrest SchofieldGroup Services Manager

Joe BrockRetail Manager

Christina HajduSales Associate

Nina CesarattoTicket Office Sales Manager

Molly Gillette, Brian GoodwinTicket Office Coordinators

Asma Ahmed, Mary Austin, James Bean, Jennifer Boyer, Melissa Bryant, Mike Obermeyer, Carl Williamson, CaraBeth Wilson Ticket Services Associates

VENUE ADMINISTRATION

Matt LaughlinDirector of Facility Sales

James Frounfelter, Adam MoomeyEvent & Operations Managers

Sophia El-WakilFacilities Sales & Operations Coordinator

Keith GodfreyHouse Manager

Tanya WanchenaAssistant House Manager & Usher Scheduler

Milicent Savage, Patrick WeigelAssistant House Managers

Dawn Hathaway, Lynn Lambie, MelLongley, Ryan Marsh, Markus RookHead Ushers

Laura Banks, Everett Bowling, Veronica BoyerAssistant Head Ushers

Ron HyderTechnical Coordinator

DEVELOPMENT

Aaron SumpterDevelopment Officer, Assistant to VP of Development

Renee DuprelAssociate Vice President of Development (Campaign)

Maria Kolby WolfeMajor Gifts Officer (Campaign)

Betsy GroatCampaign Operations Manager

Tess BensonDevelopment Coordinator (Campaign)

Becky KowalsDirector of Major Gifts and Planned Giving

Marsha WolfSenior Major Gift Officer

Amy BokanevMajor Gift Officer

Shaina ShepherdGift Officer

Jessica Lee, Carson RennekampDevelopment Coordinators (Major Gifts)

Paul GjordingSenior Major Gift Officer (Foundations & Government Relations)

Megan HallDirector of Development Operations

Martin K. JohanssonDevelopment Communications Manager

Jacob RoyData Operations Manager

Maery SimmonsData Entry Coordinator

Jhenn WhalenAnnual Fund Coordinator

Peter GammellDirector of Corporate Development & Special Events

Zoe FunaiSpecial Events Manager

Ryan HicksCorporate Development Manager

FINANCE & FACILITIES

Alexandra PerwinController

Megan SpielbuschAccounting Manager

Jacqueline MoravecPayroll/AP Accountant

Jordan BromleyStaff Accountant

Tristan SaarioStaff Revenue Accountant

Bernel GoldbergGeneral Counsel

David LingFacilities Director

Aaron Burns, Damien De WitteBuilding Engineers

Rodney KretzerFacilities & Security Coordinator

HUMAN RESOURCES

Kathryn OsburnHuman Resources Manager

CONTACT US

TICKETS: 206.215.4747 | DONATIONS: 206.215.4832 | ADMINISTRATIVE OFFICES: 206.215.4700

VISIT US ONLINE: seattlesymphony.org | FEEDBACK: president@seattlesymphony.org

35

frans.com

SEATTLECHAMBERMUSICSOCIETYJAMES EHNES Artistic Director

BOX OFFICE206.283.8808 // seattlechambermusic.org

SUMMER FESTIVALJULY 2-28, 2018ILLSLEY BALL NORDSTROM RECITAL HALL at Benaroya Hall

Ticketsfrom

$52

encoremediagroup.com/programs 9

{{

NOTA BENELULLABY PROJECT PERFORMANCE Seattle Symphony musicians and teaching artists

collaborated with parents from Mary’s Place to compose personal lullabies for their

children. Hear their lullabies and others at soundcloud.com/carnegiehalllullaby and see

them performed live at Benaroya Hall on May 13 at 11am.

TEN GRAND PIANOS. TEN AMAZING PIANISTS. Be part of the thrill! Join us for an

unforgettable evening with award-winning pianists on Saturday, May 12. Ten Grands is an

annual fundraiser, presented in partnership with the Seattle Symphony, that benefits music

education programs throughout Washington State. seattlesymphony.org/tengrands

{{

■ SUMMER WITH THE SYMPHONY There’s something for everybody

YOU LOVE …

… MASTERPIECES & MUSICALSThe Symphony celebrates Bernstein’s 100th birthday with a concert version of Wonderful Town. This is a rare treat to hear the seldom-performed Broadway classic live. Also, don’t miss the American essential, Copland’s Symphony No. 3, and Saint-

Saëns’ one-of-a kind “Organ” Symphony.

… MOVIESExperience two of John Williams’ iconic scores like never before — watching the films on the big screen as the Seattle Symphony plays the music live. JAWS is the original summer blockbuster and Star Wars: A New Hope takes you to a galaxy far, far away.

… DISCOVERING Be one of the first to hear the future of classical music. [untitled] 3 presents music from today’s rising composers: Mason Bates and Composer in Residence Alexandra Gardner. Wayne Marshall bookends his program of organ classics with improvisation, just like audiences first experienced the instrument.

… FAMILY TIMEYour littlest ones will love the string duet version of The Three Little Pigs at a Tiny Tots concert designed for kids 5 and under. Families with 5–8-year-olds on the autism spectrum or with sensory sensitivities should check out Journey of Invention & Discovery, a specially designed Sensory Friendly Concert.

… NOSTALGIA The Sounds of Simon & Garfunkel features favorites like “The Sounds of Silence,” “I Am a Rock,” “Bridge Over Troubled Waters,” “Mrs. Robinson” and “Cecilia,” all reimagined for orchestra. And the Symphony joins world-renowned tenor Andrea Bocelli at Key Arena for a performance of Bocelli’s unmatched repertoire of famed arias, love songs and crossover hits from the past 20 years.

Jaws is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All rights reserved.Presentation of Star Wars: A New Hope licensed by DISNEY CONCERTS in association with 20th Century Fox, Lucasfilm and Warner/Chappell Music. © 2018 & TM Lucasfilm Ltd. All rights reserved.

Our Annual Meeting in March was a day of good news at the Symphony. Not only did we share the audited 2016–2017 season financial results of increases in both ticket sales and fundraising, we announced a four-year extension of the musicians’ contract — five months prior to the expiration of the current contract. The extension includes a groundbreaking new pension plan and wage increases for our musicians and is the result of collaboration between representatives

from the orchestra, administration and board. This is a true testament to the collegial, open and respectful environment fostered at the Symphony that gives space for creative solutions to take root. After a moving and critically acclaimed world premiere of John Luther Adams’ Become Desert here at Benaroya Hall, the orchestra went on tour to Nevada and California at the beginning of April. The tour started with performances in Palm Desert and Las Vegas where the orchestra was joined by pianist Jeremy Denk. The tour wrapped up with a two-day residency at the University of California, Berkeley with a unique opportunity to hear Adams’ Become Ocean and Become Desert performed on consecutive days. It is such a rewarding experience to share our incredible orchestra and the important work we are doing with other communities. This summer I will wrap up my duties as Board Chair of this fabulous organization after nine years. We have shown what is possible when we lead with a strong vision, when we live our mission and values, when we build a more inclusive board and a great management team, and when we support the artistic ambitions of our orchestra. Through our community work and the power of music, we have deepened our connections and impact and have found many creative ways to serve some of our vulnerable populations. I look forward to continuing to support the Symphony as a board member and fan. Thanks to each of you for supporting the work we do on and off the stage. Together as a strong arts community we are making Seattle a better place, and we are giving hope, healing and inspiration to the many people who come and go from Benaroya Hall.

With gratitude, Leslie Jackson Chihuly Seattle Symphony Board Chair

NEWS FROM: LESLIE JACKSON CHIHULY, BOARD CHAIR

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10 SEATTLESYMPHONY.ORG

BV 071811 repair 1_12.pdf

BischofbergerViolins est. 1955

206-324-3119

1314 E. John St.Seattle, WA

www.bviolins.com

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2018 SUMMER SEASON

IN PARTNERSHIP WITH CENTRUM

FORT WORDEN | PORT TOWNSEND

World Class Chamber Music on the Olympic Peninsula

TICKETS ON SALE MAY 1ST

olympicmusicfestival.org

July 14 & 15 | Aug 11 - Sept 9Saturdays & Sundays at 2PM

TICKETS & INFO

May 2018Volume 31, No. 9

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ALEXANDRA GARDNER From a world premiere to projects in the community, the Seattle Symphony’s Composer in Residence delights in inspiring creativityBY ANDREW STIEFEL

When you spend time with Alexandra Gardner, you immediately feel more creative, more hopeful. Talking with her over coffee on a rainy day in downtown Seattle, her excitement for creating something, anything, was contagious.

Gardner brings one of the rarest emotions to her work — joy. It’s not to say that all her music sounds joyful, but that she delights

in the medium, in the sounds that she elicits from the orchestra. Writing music takes a lot of work, she assures me, and it is not always easy. “But I tend to work intuitively, especially at the beginning of the composing process,” Gardner explains. “I experiment by combining musical ideas to discover what works, and then once I have a palette of materials, and I know where the music wants to go, I pull the strings tighter to bring it all together.”

Gardner is the Seattle Symphony’s Composer in Residence this season. In addition to writing a new work for the orchestra to perform in June, she is leading a community composition project for youth experiencing homelessness and teaching local high school composers in the Merriman Family Young Composers Workshop. “What most excites me about this residency is the opportunity to do so much other work in addition to writing a new piece,” Gardner tells me. “I feel like I am serving the community as a composer.”

This integrated approach to the composer in residence — connecting artistic projects to community service and education programs — is an ambitious model. And it takes a special composer to make the program work.

“It’s a very different type of inspiration,” says Elena Dubinets, the Seattle Symphony’s Vice President of Artistic Planning & Creative Projects. “The Composer in Residence needs to know how to work with people who are not musicians at all and to be comfortable addressing social issues through an artistic project. Not every composer will be skilled at doing this. But I believe this is the future.”

“What most excites me about this residency is the opportunity to do so much

other work in addition to writing a new piece. I feel like I am serving

the community as a composer.”

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Alexandra Gardner at work in her home studio in Baltimore, Maryland.

12 SEATTLESYMPHONY.ORG

World Premiere of Significant Others

Music Director Ludovic Morlot and the Seattle Symphony will perform the world premiere of Gardner’s new piece, Significant Others on concerts including Leonard Bernstein’s Wonderful Town on June 14 and 16.

After learning that her work was going to be paired with Bernstein’s music, Gardner spent time reading about the American composer and conductor to learn more about his life. “I was struck by the fact that although he was always the life of the party, a real extrovert, he was also so internally conflicted.” she relates.

Gardner describes her new work as “a party with a bittersweet streak running through it.” The musical material transforms as the piece progresses, changing its outward appearance in each section. But the entire piece is united by a restless rhythmic motion that threads its way throughout. “My instrumental background is in percussion; I studied orchestral, Afro-Cuban and West African percussion. So I love a good groove,” she grins, as if admitting a guilty secret. “Rhythm and pulse are major forces in my music.”

That love of rhythm was evident in her first commission from Morlot and the Seattle Symphony in 2012 — a piece for orchestra featuring Alan White, the

long-time drummer of the band YES. “I honestly had no idea what to expect going into the project,” laughs Gardner. “But Alan was a joy to work with — a fantastic musical mind, full of ideas and excited about all sorts of music. Needless to say, his drumming chops are amazing beyond description!”

Gardner grew up playing piano and singing in her school chorus, later picking up percussion herself. “I was really involved in music and loved it, but composing wasn’t even a blip on my musical radar until college,” she tells me. All that changed in her first year at Vassar College. “I signed up for an electronic music class because I thought it would be fun to play with synthesizers, and I was struck by lightning. I knew right away that music was what I wanted to do.”

She fell in love with the physicality of electronic music at the time, cutting tape and layering sounds. As she began writing for instruments, she brought that freedom of experimentation to her compositions. “It was wonderful that my ears became opened to the musicality of all kinds of sounds early on. I think that was really important for my future musical growth,” Gardner adds.

Young Composers Workshop

She wants to share that sense of creative freedom with the students of the Merriman

Family Young Composers Workshop. The workshop gives local high school students the opportunity to meet with guest composers and learn about writing for orchestral instruments from Seattle Symphony musicians. “I feel like I can provide experiences and guidance that will stretch them, open their ears to different sounds and musical forms, and help them connect with their own creativity,” says Gardner.

Watching a session of the workshop, you can see the excitement on the students’ faces when they meet with guest composers like John Luther Adams and musicians from the orchestra. Whenever they have a moment, the students rush the piano to play for each other.

“Classical music can be very serious, but it’s important to play, to have fun with it too. And that’s what I love about music, that you can be playful and at the end have something that is rigorously constructed,” Gardner explains. “I used to think that composing felt like archeology — digging up little pieces of something, brushing the dust off and figuring out how they fit together. But lately it seems more like carving marble, that there’s something hidden in this block of material and you’re chipping away, trying to discover what it is.”

But the students are also hard at work. They have twelve weeks to each write

Principal Percussionist Michael A. Werner talks with students from the Merriman Family Young Composers Workshop about writing for percussion.

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Cherub, a participant in the Prism Project, playing with a bell during a workshop session.

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a new piece for Seattle Symphony musicians to perform. The workshop culminates with a final concert of world premieres on June 4 in the Recital Hall at Benaroya Hall.

Prism Project

Across town at the Accelerator YMCA, Gardner is working with youth from New Horizons and YouthCare on the Prism Project. Part of the Seattle Symphony’s Simple Gifts initiative, the project brings together youth to create a new composition with Gardner.

“Youth homelessness is a critical issue in Seattle and King County where nearly 8,000 youth under the age of 25 experience homelessness in any given year,” says Seattle Symphony Vice President of Education & Community Engagement Laura Reynolds. “Our Simple Gifts community compositions are one way for the Symphony to provide space for these youth to connect with their creativity and for their messages and stories to be heard by our broader community.”

One of the challenges of the project, Gardner tells me, is creating an environment where the participants feel safe expressing themselves. They started by experimenting with sounds, playing with bells and creating melodies based on the words they use to greet people. Gradually, as the participants

begin to feel more comfortable, they start sharing their stories.

“They quickly agreed on what they wanted the piece to be about,” recalls Gardner during our conversation. “They wanted everyone to know that, despite the hardships they have faced, they have a lot of love that they want to share with the world.”

Entitled Stay Elevated the music is whimsical, joyful and filled with hope. The world premiere of their composition — along with visual art created during the residency — will be presented in a free community concert performed by Seattle Symphony musicians at the Seattle Art Museum on May 19.

“When you’re young, you’re bombarded with rules and you don’t necessarily see the alternative pathways to solving problems or navigating around situations,” Gardner reflects. “If nothing else, I want to make them aware that it is perfectly valid to approach problems differently than what they may see around them, to find the loopholes and experience successes in their lives on their own terms.

“I think as composers and artists we are more tuned into our creativity because we are trained to be, but we’re not really special or different. Everyone is creative, and often people just need a little nudge, so they can discover it for themselves.”

Natalie, a participant in the Prism Project, and Alexandra Gardner trade ideas for the group’s new composition that will be performed at the Seattle Art Museum.

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RESIDENCY CONCERTS

SATURDAY, MAY 19, AT 2PM

PRISM PROJECT COMMUNITY CONCERT

Seattle Art Museum

MONDAY, JUNE 4, AT 7PM

MERRIMAN FAMILY YOUNG

COMPOSERS WORKSHOP

Illsley Ball Nordstrom Recital Hall

FRIDAY, JUNE 15, AT 10PM

[UNTITLED] 3

Samuel & Althea Stroum Grand Lobby

ALEXANDRA GARDNER: Coyote Turns

MASON BATES: Red River

THURSDAY, JUNE 14, AT 7:30PM

SATURDAY, JUNE 16, AT 8PM

BERNSTEIN WONDERFUL TOWN

S. Mark Taper Foundation Auditorium

ALEXANDRA GARDNER: Significant

Others (World Premiere)

BERNSTEIN: Prelude, Fugue and Riffs

BERNSTEIN: Wonderful Town

Simple Gifts is supported by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann & Gordon Getty Foundation.

The Seattle Symphony’s Community programs are supported by the Ann & Gordon Getty Foundation, Citi Community Capital, KeyBank Foundation, the League of American Orchestras, the Puyallup Tribe of Indians, Tulalip Tribes Charitable Fund, the U.S. Bank Foundation, Wells Fargo Foundation, the Wilson Sonsini Goodrich & Rosati Foundation, and individual contributions to the Seattle Symphony Annual Fund.

The Merriman Family Young Composers Workshop is generously underwritten by the Merriman Family Foundation. The concert is presented as part of the Seattle Symphony’s New Music WORKS initiative, which is supported in part by a grant from the National Endowment for the Arts. New Music WORKS features commissions, concerts and educational activities that use composition as a catalyst for collaboration and engagement in music. Additional support for The Merriman Family Young Composers Workshop is provided by Michel and Christine Suignard.

[untitled] is generously supported by the Judith Fong Music Director’s Fund.

14 SEATTLESYMPHONY.ORG

SEATTLESYMPHONY.ORG/GIVE | 206.215.4832

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JOIN ANDREW AND MEGHAN 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.

“Growing up our house was always full of music. Supporting the Symphony helps me feel a connection to my father, as a love for music is something that brought us together. I’m very fortunate to have been surrounded by great music, so I’m honored to contribute to that here in Seattle. There’s nothing quite like hearing a piece of music that you love performed live in front of you.” – Andrew, with wife and fellow Symphony-fan Meghan

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, MAY 4, 2018, AT 8PM

SATURDAY, MAY 5, 2018, AT 8PM

VIVALDI & HANDEL ARIAS & CONCERTOSBAROQUE & WINE SERIES

Dmitry Sinkovsky, conductor, countertenor & violin

Julia Lezhneva, soprano

Seattle Symphony

GEORGE FRIDERIC HANDEL Overture to Agrippina 8’

ANTONIO VIVALDI “Agitata da due venti” 6’ (“Shaken by two winds”) from Griselda

JULIA LEZHNEVA, SOPRANO

ANTONIO VIVALDI “Zeffiretti, che sussurrate” 8’ (“Whispering little breezes”)

JULIA LEZHNEVA, SOPRANO

DMITRY SINKOVSKY, COUNTERTENOR & VIOLIN

GEORGE FRIDERIC HANDEL “Alla sua gabbia d’oro” 7’ (“To her gilded cage”) from Alessandro

JULIA LEZHNEVA, SOPRANO

GEORGE FRIDERIC HANDEL “Brilla nell’alma” (“My soul is trembling”) 5’ from Alessandro

JULIA LEZHNEVA, SOPRANO

INTERMISSION

GEORGE FRIDERIC HANDEL Concerto grosso in G minor, Op. 6, No. 6 17’ Largo affettuoso A tempo giusto Musette: Larghetto Allegro Allegro

ANTONIO VIVALDI Violin Concerto in D major, “Il grosso mogul” 16’ Allegro Grave Recitativo Allegro

DMITRY SINKOVSKY, VIOLIN

Dmitry Sinkovsky’s performances are generously underwritten by Nader and Oraib Kabbani through the Seattle Symphony’s Guest Artists Circle.

Baroque & Wine Series Sponsor: Four Seasons Hotel Seattle

Better Hearing and Speech Month Sponsor: Virginia Mason Medical Center

16 SEATTLESYMPHONY.ORG

PROGRAM NOTES

The German-born George Frideric Handel (1685–1759) found his greatest fame in England, but he got there by first mastering Italian opera. After working for the opera orchestra in Hamburg, Germany, he left for Italy to learn firsthand from the trendsetting composers in Rome, Florence, Venice and other musical hotspots. He enjoyed the patronage of several cardinals during his time in Italy, and he even co-wrote an opera with one, using a libretto supplied by Cardinal Vincenzo Grimani. Agrippina, set in ancient Rome during the reign of the Emperor Nero, was a hit when it premiered in 1709 in Venice. Ironically, this Italian opera begins with an Overture in the French style: The outer sections are slow and regal, filled with noble “dotted” rhythms (the snapping alternation of short and long notes), while the central body of the Overture strikes up lively counterpoint.

Antonio Vivaldi (1678–1741), a sensational violinist, first made his mark as a composer of concertos, sonatas and other instrumental music, much of it created for the orphanage in Venice where he taught violin and directed concerts. He didn’t compose an opera until he was 35, but he went on to create dozens that were produced at home in Venice and as far away as Prague and Vienna. When writing Griselda in 1735, he created the title role for the contralto Anna Girò, a former student and possible mistress with only a mediocre voice. (She supposedly made up for it with her acting abilities and her great beauty.) The more exciting music was written for Griselda’s daughter, the princess Costanza — a soprano role that requires a singer with the agility of a violinist. In “Agitata da due venti” she sings of being shaken vigorously by two winds, a metaphor for the conflict between duty and love.

The earliest version of “Zeffiretti, che sussurrate” comes from Vivaldi’s personal collection of miscellaneous arias, so we don’t know which opera it first appeared in, but clearly this atmospheric depiction of “whispering little breezes,” colored with crisp violin duets and spacious echoes, was too good to use only once. (Like most composers of their time, both Vivaldi and Handel recycled their own music and even lifted material from their peers without hesitation.) A slightly modified version of this aria found a place in Vivaldi’s opera Ercole sul Termodonte from 1723.

Handel’s talents as an opera composer and his relationship with the future

King George I of Great Britain — a fellow German — led to the opportunity of a lifetime in 1711. Handel created the first Italian opera specifically for the London stage, Rinaldo, and it proved to be the first of many triumphs in a run that lasted for decades, until the British finally soured on Italian opera. For the opera Alessandro in 1726, Handel employed an all-star cast of Italian singers, including the castrato known as Senesino in the title role of Alexander the Great, and two top sopranos who played princesses competing for Alexander’s love. Both arias excerpted here come from the part written for Faustina Bordoni, the new arrival who threatened to upstage Handel’s usual leading lady, Francesca Cuzzoni. The flirtatious aria “Alla sua gabbia d’oro” finds the character Rossane, who was taken prisoner in Persia, singing of a bird (represented by a solo flute) that willingly returns to its cage out of love for its captor. Rossane is all smiles after Alexander picks her, as heard in the third-act aria “Brilla nell’alma.”

When Handel’s Italian opera series collapsed from a lack or subscribers, he pivoted to a new form he had been experimenting with: the English oratorio, in which he dramatized biblical stories for concert presentations with soloists, chorus and orchestra, in the language his audience could actually understand. For his second season of oratorios in 1740, he had the idea to enliven the entertainment by composing instrumental works to be played during the intermissions. These “Grand Concertos” followed the tradition established decades earlier in Rome by Archangelo Corelli, who pioneered the concerto grosso with its contrasting colors of string soloists and larger string ensemble. Corelli’s twelve concertos published as Opus 6 were hugely popular in London, and Handel, ever the entrepreneur, tailored his own set to capitalize on the Corelli craze; it even worked out that his set shared the same opus number. Handel’s Concerto grosso in G minor (Op. 6, No. 6) shares many features with Corelli’s examples, including a solo group of two violins and cello, but it also draws from other traditions. The longest and most striking movement is the central Musette, with its steady bass notes that evoke a bagpipe’s drone. (The musette was a type of small French bagpipe, typically used to accompany a dance known by the same name.)

Vivaldi composed at least 230 violin concertos, many of them originating at the Ospedale della Pietà in Venice,

where he taught violin to “orphaned” girls — most of whom were actually the illegitimate offspring of aristocrats, which explains why their school was endowed with such excellent music instruction. The solo concerto was already a specialty of northern Italy before Vivaldi, but he refined and advanced the art form, and in the process he did more than anyone else to spread it north of the Alps to Germany and beyond. One of his greatest admirers was Johann Sebastian Bach, who transcribed several Vivaldi concertos for solo keyboard, including the Violin Concerto in D major, RV 208 “Il grosso mogul.” Even before Vivaldi’s published concertos were available for purchase, private bootleg copies circulated widely, which is how Bach came to create his transcription at least seven years before this concerto was published in 1720, in a slightly altered form, as part of Vivaldi’s Opus 7. The earlier version heard here was only rediscovered in the 1980s, when it turned up in the archives of a small Italian town in the foothills of the Alps, near the Slovenian border. The concerto’s nickname, “The Grand Mughal,” is the title by which Europeans referred to the ruler of India’s Mughal Empire. It’s possible that Vivaldi used this concerto in connection with one of his operas set in India, whether or not he composed it with such scene painting in mind. The central movement, written in free-flowing phrases like an operatic recitative, is full of serpentine ornamentations that certainly suggest an Eastern orientation.

© 2018 Aaron Grad

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TEXT & TRANSLATION

ANTONIO VIVALDI “Agitata da due venti” (“Shaken by two winds”) from Griselda

Agitata da due venti,

freme l’onda in mar turbato

e ‘l nocchiero spaventato

già s’aspetta a naufragar.

 

Dal dovere da l’amore

combattuto questo core

non resiste e par che ceda

e incominci a desperar.

Shaken by two winds,

trembling waves in the turbulent sea

and the frightened steersman

already awaits to be shipwrecked.

By duty and by love

this heart is battered;

he cannot resist and seems to give up

and begins to despair.

ANTONIO VIVALDI “Zeffiretti, che sussurrate” (“Whispering little breezes”)

Zeffiretti, che sussurrate,

ruscelletti, che mormorate,

consolate

il mio desio,

dite almeno all’idol mio

la mia pena, e la mia brama.

Ama risponde il rio,

Ama risponde il vento,

ama la rondinella,

ama la pastorella.

Vieni, vieni, o mio diletto,

gia il mio core tutto affetto,

gia t’aspetta, e ognor ti chiama.

Whispering little breezes,

murmuring rivulets,

soothe

my desire;

at least tell my beloved

of my suffering, and my longing.

Love, replies the stream,

Love, replies the wind,

love the little swallow,

love the shepherdess.

Come, come, o my delight,

my heart, full of love,

is waiting for you, ever calling you.

18 SEATTLESYMPHONY.ORG

GEORGE FRIDERIC HANDEL “Alla sua gabbia d’oro” (“To her gilded cage”) from Alessandro

Alla sua gabbia d’oro

suol ritornar talor

quell’augellin canoro

che rapido fuggì:

sai perchè torna ancor donde partì? 

la sua prigion gli è cara 

più della libertà.

Mà la prigione d’oro

sai perchè piace allor

all’augellin canoro?

Più caro al suo signor

sà ben che tornerà.

To her gilded cage

will often return

that little singing bird

that quickly flew away;

do you know why she returns

to the place she left?

Her prison is dearer to her

than her freedom.

But, do you know why

the little singing bird

likes her gilded prison?

Because she knows her master

will love her more when she comes back.

GEORGE FRIDERIC HANDEL “Brilla nell’alma” (“My soul is trembling”) from Alessandro

Brilla nell’alma

un non inteso ancor

dolce contento,

e d’alta gioia il cor

soave inonda.

Sì nella calma

azzurro brilla il mar,

se splende il sole,

e i rai fan tremolar

tranquilla l’onda.

My soul is trembling

with a gentle contentment 

that I do not understand, 

and through great joy, 

my heart is gently bathed in softness. 

Just like in calm weather 

the blue sea sparkles in the sun, 

and in its beams

the tranquil water

shimmers.

DMITRY SINKOVSKYConductor, countertenor & violin

Dmitry Sinkovsky was

groomed for an

international career by

the Moscow

Conservatory where he

studied violin with

Alexander Kirov, and

Zagreb Music Academy

in Croatia where he

studied conducting with Tomislav Facini. He

has since taken numerous prizes in major

competitions from the Premio Bonporti in Italy

(2005) to the Bach Competition in Leipzig

(2006), the Musica Antiqua Competition in

Bruges (First Prize, Audience Prize and Critics’

Prize, 2008) to the Romanus Weichlein Prize

at the Biber Competition in Austria in 2009 for

his “extraordinary interpretation of Biber’s

Rosary Sonatas” and First Prize at the

Telemann Competition in Magdeburg (2011).

Critics and public alike praise his ability to

“play from the heart” while interpreting with

ease music of dazzling difficulty. He has

recorded for both Naïve and the Russian

label, Caro Mitis. His recording Per Pisendel

together with the orchestra Il Pomo D’oro, on

which he is both soloist and conductor, was

released in 2013 in Naïve’s Vivaldi Edition

series and was awarded a Diapason d’Or.

Sinkovsky continues to teach violin at the

Moscow Conservatory, a post he has held

since 2005.

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JULIA LEZHNEVA Soprano

Julia Lezhneva is one of

the leading artists of her

generation. The young

Russian soprano with

the voice of “angelic

beauty” (The New York

Times), “pure tone”

(Opernwelt) and

“flawless technique”

(Guardian) brings “unforgettable spiritual

expression” and “perfect artistry” (Guardian)

performing worldwide. Her international

career skyrocketed when she created a

sensation at the Classical Brit Awards at

London’s Royal Albert Hall in 2010, singing

Rossini’s Fra il padre at the invitation of

Dame Kiri Te Kanawa. Born December 5,

1989 in a family of geophysicists on

Sakhalin Island, she began playing piano

and singing at the age of five. She

graduated from the Gretchaninov Music

School and continued her vocal and piano

studies at the Moscow Conservatory

Academic Music College. Julia Lezhneva

became an exclusive Decca artist in 2011.

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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.

SUNDAY, MAY 6, 2018, AT 2PM

MOZART VIOLIN CONCERTO NO. 5

Dmitry Sinkovsky, conductor, countertenor & violin

Julia Lezhneva, soprano

Seattle Symphony

GEORGE FRIDERIC HANDEL Overture to Agrippina 8’

ANTONIO VIVALDI “Agitata da due venti” 6’ (“Shaken by two winds”) from Griselda

JULIA LEZHNEVA, SOPRANO

ANTONIO VIVALDI “Zeffiretti, che sussurrate” 8’ (“Whispering little breezes”)

JULIA LEZHNEVA, SOPRANO

DMITRY SINKOVSKY, COUNTERTENOR & VIOLIN

GEORGE FRIDERIC HANDEL “Brilla nell’alma” (“My soul is trembling”) 5’ from Alessandro

JULIA LEZHNEVA, SOPRANO

INTERMISSION

WOLFGANG AMADEUS Violin Concerto No. 5 in A major, “Turkish” 31’MOZART Allegro aperto Adagio Rondo: Tempo di Menuetto—Allegro

DMITRY SINKOVSKY, VIOLIN

WOLFGANG AMADEUS “Ch’io mi scordi di te?” (“Will I forget you?”) 8’MOZART JULIA LEZHNEVA, SOPRANO

MIKHAIL ANTONENKO, PIANO

See biographies for Dmitry Sinkovsky and Julia Lezhneva on page 19.

Pre-concert Talk one hour prior to performance.

Speaker: Amy Heald, Seattle Symphony Collaborative Learning Manager

Dmitry Sinkovsky’s performances are generously underwritten by Nader and Oraib Kabbani through the Seattle Symphony’s Guest Artists Circle.

Media Sponsor: Classical KING FM 98.1

PROGRAM NOTES

20 SEATTLESYMPHONY.ORG

The German-born George Frideric Handel (1685–1759) found his greatest fame in England, but he got there by first mastering Italian opera. After working for the opera orchestra in Hamburg, Germany, he left for Italy to learn firsthand from the trendsetting composers in Rome, Florence, Venice and other musical hotspots. He enjoyed the patronage of several cardinals during his time in Italy, and he even co-wrote an opera with one, using a libretto supplied by Cardinal Vincenzo Grimani. Agrippina, set in ancient Rome during the reign of the Emperor Nero, was a hit when it premiered in 1709 in Venice. Ironically, this Italian opera begins with an Overture in the French style: The outer sections are slow and regal, filled with noble “dotted” rhythms (the snapping alternation of short and long notes), while the central body of the Overture strikes up lively counterpoint.

Antonio Vivaldi (1678–1741), a sensational violinist, first made his mark as a composer of concertos, sonatas and other instrumental music, much of it created for the orphanage in Venice where he taught violin and directed concerts. He didn’t compose an opera until he was 35, but he went on to create dozens that were produced at home in Venice and as far away as Prague and Vienna. When writing Griselda in 1735, he created the title role for the contralto Anna Girò, a former student and possible mistress with only a mediocre voice. (She supposedly made up for it with her acting abilities and her great beauty.) The more exciting music was written for Griselda’s daughter, the princess Costanza — a soprano role that requires a singer with the agility of a violinist. In “Agitata da due venti” she sings of being shaken vigorously by two winds, a metaphor for the conflict between duty and love.

The earliest version of “Zeffiretti, che sussurrate” comes from Vivaldi’s personal collection of miscellaneous arias, so we don’t know which opera it first appeared in, but clearly this atmospheric depiction of “whispering little breezes,” colored with crisp violin duets and spacious echoes, was too good to use only once. (Like most composers of their time, both Vivaldi and Handel recycled their own music and even lifted material from their peers without hesitation.) A slightly modified version of this aria found a place in Vivaldi’s opera Ercole sul Termodonte from 1723.

Handel’s talents as an opera composer and his relationship with the future King George I of Great Britain — a fellow German

MIKHAIL ANTONENKO Piano

Mikhail Antonenko was

born in Moscow in 1989

and studied piano and

organ at the Moscow

State Conservatory

Academic Music

College and the

Moscow State

Tchaikovsky

Conservatory. Antonenko performs

extensively throughout Russia as well as

around the globe. Antonenko has been

permanent pianist for soprano Julia

Lezhneva since 2007.

PROGRAM NOTES

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— led to the opportunity of a lifetime in 1711. Handel created the first Italian opera specifically for the London stage, Rinaldo, and it proved to be the first of many triumphs in a run that lasted for decades, until the British finally soured on Italian opera. For the opera Alessandro in 1726, Handel employed an all-star cast of Italian singers, including the castrato known as Senesino in the title role of Alexander the Great, and two top sopranos who played princesses competing for Alexander’s love. The aria excerpted here come from the part written for Faustina Bordoni, the new arrival who threatened to upstage Handel’s usual leading lady, Francesca Cuzzoni. Rossane is all smiles after Alexander picks her, as heard in the third-act aria “Brilla nell’ alma.”

Stuck in a stifling job in his provincial hometown, Wolfgang Amadeus Mozart (1756–91) was forced to find his own creative outlets in his late teenage years. The exact circumstances that brought about the Violin Concerto No. 5 are unknown, but clearly this genre filled some void for Mozart, since he wrote four concertos just in 1775. Mozart was a very good violinist (his father was, after all, a leader in the field of violin pedagogy), and he probably performed these concertos himself for the patrons he cultivated among Salzburg’s wealthy families.

The first movement of the Fifth Violin Concerto takes its cue from a rarely seen tempo indication, Allegro aperto, which moderates the fast pulse with a more broad and open character. The musical materials are similarly expansive, starting with a spacious theme pecked out in rising arpeggios by the violin sections. Breaking with convention, the soloist enters with a slow passage that postpones the repeat of the main themes.

The tender Adagio expands upon the quietude first explored in the opening movement’s slow interlude. The orchestra makes way at the end for a cadenza, which, as in the preceding movement, is left to the soloist to flesh out, since Mozart did not leave notated versions.

The finale, a rondo set in the three-beat tempo of a minuet, provides the source of the concerto’s “Turkish” nickname. In a minor-key episode in the center of the movement, droning accompaniments, thudding rhythmic patterns and swelling chromatic passages evoke the neighboring Ottoman Empire and its

frightful military, a longstanding foe of the Holy Roman Empire centered in Austria.

Anna Selina “Nancy” Storace was an operatic soprano and the original Susanna in The Marriage of Figaro. Before she returned to her hometown of London in 1787, she performed a farewell concert in Vienna, which probably included the debut of a concert aria Mozart wrote for her, “Ch’io mi scordi di te.”

Mozart wrote several dozen standalone arias in his Viennese years, sometimes using them as substitute pieces in existing operas, and other times designing them expressly for concert performance. Earlier in 1786, he created a recitative and aria to insert into the 1781 opera Idomeneo, weaving a solo violin around the voice. In his work for Storace, he reused the same text to create a new concert setting, and this time he included a featured part for piano that he surely performed himself.

The recitative begins with upward inflections framing the title question: “Will I forget you?” The orchestra bolsters the soprano’s fearless talk of death with valiant accompaniment, and it provides a subtle continuation past the recitative’s resigned conclusion, prompting the entrance of the solo piano. The aria starts with a reassuring line — “Fear nothing, my beloved” — but before long the soprano swoons (“my spirit fails me”), and the piano tumbles down a cascade of diminished chords alongside her. Prodded and encouraged by the piano, the soprano launches into coloratura flights before she takes her leave, using vocal virtuosity to heighten her suffering.

© 2018 Aaron Grad

ANTONIO VIVALDI “Agitata da due venti” (“Shaken by two winds”) from Griselda

Agitata da due venti,

freme l’onda in mar turbato

e ‘l nocchiero spaventato

già s’aspetta a naufragar.

 

Dal dovere da l’amore

combattuto questo core

non resiste e par che ceda

e incominci a desperar.

Shaken by two winds,

trembling waves in

the turbulent sea

and the frightened steersman

already awaits to be shipwrecked.

By duty and by love

this heart is battered;

he cannot resist and

seems to give up

and begins to despair.

ANTONIO VIVALDI “Zeffiretti, che sussurrate” (“Whispering little breezes”)

Zeffiretti, che sussurrate,

ruscelletti, che mormorate,

consolate

il mio desio,

dite almeno all’idol mio

la mia pena, e la mia brama.

Ama risponde il rio,

Ama risponde il vento,

ama la rondinella,

ama la pastorella.

Vieni, vieni, o mio diletto,

gia il mio core tutto affetto,

gia t’aspetta, e ognor ti chiama.

Whispering little breezes,

murmuring rivulets,

soothe

my desire;

at least tell my beloved

of my suffering, and my longing.

Love, replies the stream,

Love, replies the wind,

love the little swallow,

love the shepherdess.

Come, come, o my delight,

my heart, full of love,

is waiting for you, ever calling you.

GEORGE FRIDERIC HANDEL “Brilla nell’alma” (“My soul is trembling”) from Alessandro

Brilla nell’alma

un non inteso ancor

dolce contento,

e d’alta gioia il cor

soave inonda.

Sì nella calma

azzurro brilla il mar,

se splende il sole,

e i rai fan tremolar

tranquilla l’onda.

WOLFGANG AMADEUS MOZART “Ch’io mi scordi di te?”

(“Will I forget you?”)

Ch’io mi scordi di te?

Che a lui mi doni puoi consigliarmi?

E puoi voler che in vita?

Ah no! Sarebbe il viver mio

di morte assai peggior.

Venga la morte, intrepida l’attendo.

Ma, ch’io possa struggermi ad altra face,

ad altr’oggetto donar gl’affeti

miei, come tentarlo?

Ah, di dolor morrei!

Non temer, amato bene,

per te sempre il cor sarà.

Più non reggo a tante pene,

l’alma mia mancando va.

Tu sospiri? O duol funesto!

Pensa almen, che istante è questo!

Non mi posso, oh Dio! spiegar.

Stelle barbare, stelle spietate,

perchè mai tanto rigor?

Alme belle, che vedete

le mie pene in tal momento,

dite voi, s’egual tormento

può soffrir un fido cor?

TEXT & TRANSLATION

22 SEATTLESYMPHONY.ORG

OR A

HEAR IT ALL AT TOWN HALL

WHETHER IT’S A

Townhallseattle.org/hearitall

Give homegrown talents a world-class performance hall.

My soul is trembling

with a gentle contentment 

that I do not understand, 

and through great joy, 

my heart is gently bathed in softness. 

Just like in calm weather 

the blue sea sparkles in the sun, 

and in its beams

the tranquil water

shimmers.

Will I forget you?

You can advise me to give myself to her?

And this while yet I live?

Ah no! My life would be far

worse than death.

Let death come, I await it fearlessly.

But how could I attempt to warm

myself to another flame,

to lavish my affections on another?

Ah! I should die of grief!

Fear nothing, my beloved,

my heart will always be yours.

I can no longer bear such pain,

my spirit fails me.

Do you sigh? O mournful sorrow!

Just think what a moment this is!

O God! I cannot express myself.

Cruel stars, pitiless stars,

why are you so stern?

Kind souls, who see

my sufferings at such a moment,

tell me if a faithful heart

could suffer such torment?

encoremediagroup.com/programs 23

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, MAY 10, 2018, AT 8PM

ALASKA AIRLINES PRESENTS

A SPECIAL CONCERT SUPPORTING YOUTH, EQUITY & ACCESS TO THE ARTS Russell Wilson, host

Macklemore & Ryan Lewis

Ciara

Pablo Rus Broseta, conductor | Kimberly Roy, conductor

Glasshouse | Martin Luther King Jr. Elementary School

Garfield High School Symphony Orchestra | Seattle Symphony

The program will be announced from the stage and includes one 20-minute intermission.

Presenting Sponsor

Major Sponsor

Supporting Sponsors

Contributing Sponsors

Larry & Brittni Estrada

Linda Rae Hickey & Mark Grant

Jeffrey & Grace Roh

Platinum SponsorsLeslie and Dale ChihulyBarney and Rebecca EbsworthRob HarrisLiz and Mike Hilton & Jill and Rajeev Singh

Teresa HuberJeff Lehman and Katrina RussellDan MadsenBarbara and Michael MaloneLaura and Michael MillerKirsten Nesholm

Tricia and Peter NoraOne Eighty Foundation Jesse and Rebecca Proudman & Noreen and Kabir ShahaniPamela and Bryan WeeksEvan Wyman

Thank you for supporting the Seattle Symphony, the Why Not You Foundation and the Macklemore & Ryan Lewis Equity Fund at Seattle Foundation. All proceeds from tonight’s performance benefit youth programs presented by each organization.

Community PartnersDSquaredEthan Stowell RestaurantsFour Seasons

Kevin Bradford DesignMidtown CollectivePrecept Wine

Seattle FoundationSouthdown CreativeYoung’s Market Company

24 SEATTLESYMPHONY.ORG

YOUTH, EQUITY & ACCESSWith all-star artists sharing the stage, the spotlight will be on projects supporting equity and access to the arts for local youth

It’s a night unlike any other: Macklemore & Ryan Lewis, Ciara and the Seattle Symphony performing together at a concert hosted by Seattle Seahawks Quarterback Russell Wilson. But when the stage lights come up on May 10, they will illuminate more than an all-star cast of artists. The spotlight will be on important work happening across King County in support of greater equity and opportunities for youth, and access to the arts.

The benefit concert grew out of conversations between the artists and organizations about how to come up with creative ways to engage the community in supporting efforts focused on youth, equity and arts access.

“I was fortunate growing up to have access to equipment and opportunities that helped me find my passion in music. We want to do whatever we can to help give young people great

opportunities, so they can discover their passions,” explains Ryan Lewis.

Since 2015, Macklemore & Ryan Lewis have hosted The Residency — a four-week, intensive hip-hop artist residency — in collaboration with MoPOP and Arts Corps. The Residency brings together 45 young artists from Seattle and the greater King County region to learn about creative songwriting, performance techniques and beat production. The program concludes with a final performance at MoPOP’s Sky Church.

Many teens face a difficult choice when asked to pick between paying for an experiential learning opportunity like The Residency or getting a summer job to support their families. Aiming to directly address these barriers to access, The Residency is open only to students who meet King County’s low-income verification. It also compensates for the four weeks in the program.

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Talaya performs her music at MoPOP’s Skychurch during The Residency. Each year more than 10,000 students have the opportunity to perform with the orchestra through Link Up: Seattle Symphony.

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encoremediagroup.com/programs 25

“As our city grows and changes, it’s so important for us to be supporting and investing in young people,” says Macklemore. “If we want this generation and the next generation to be healthy, fulfilled and to make progress, then we need to give young people the space and platform to express themselves.” 

One of those young artists is Talaya. “The Residency has given me inspiration, direction, focus and hope for a career in music,” she says. “Before the program I knew music was my passion, but I knew nothing about the industry, the process of creating a project, who to try and connect with, or anything of that matter. Now, I plan on releasing an EP in just a few months almost entirely created by myself.” 

Music and arts programs, however, teach much more than the skills needed to mix a track or perform an instrument. They also help young people develop confidence and explore their creativity. For approximately 10,000 students each year, one of their first performance experiences comes through the Seattle Symphony’s Link Up program and concerts.

A national program of New York’s Carnegie Hall Weill Music Institute, Link Up is a multi-year curriculum that invites students in third through fifth grade to fully participate in the process of creating and performing music. Taught in collaboration with school staff and by Seattle Symphony teaching artists, it culminates with students singing and playing along with the orchestra at Benaroya Hall.

“The Seattle Symphony shares the joy and inspiration of music with more than 10,000 school children each year who have their first experience making music with the orchestra,” says Leslie Jackson Chihuly, Seattle Symphony Board Chair. “We believe arts and music are important not only for their intrinsic beauty, but for their ability to connect us to one another and to our humanity.”

For students like Oliver, a third-grade student from Lawton Elementary, the concerts can inspire confidence in their abilities. “I thought learning to play an instrument was going to be really, really hard, but it turned out to be a lot of fun,” he bubbles. “Now I love playing music with people!”

For all the artists on stage, the concert is about providing opportunities for young people to create, discover and gain confidence in their abilities, and find success, no matter what they choose to do. Those values intersect in Russell and Ciara’s Why Not You Foundation, which is dedicated to motivating, inspiring and empowering kids.

The Why Not You Foundation is committed to supporting a number of organizations that directly impact children’s lives, such as Seattle Children’s Hospital, Strong Against Cancer, Friends of the Children and AileyCamp. An annual partner of the foundation, Friends of the Children is committed to mentoring students from kindergarten through graduation. This revolutionary approach provides children with a long-term, consistent relationship with a caring adult — one of the single most important factors for helping children succeed.

A new partner for the Why Not You Foundation, AileyCamp supports a fun-filled, six-week summer day camp where young people ages 11 to 14 learn to dance and explore their creativity, helping youth develop their self-confidence in an atmosphere of warmth, respect and trust.

“At the Why Not You Foundation, we are driven by a vision that one day every child’s needs are met and they have the opportunity to truly thrive,” says Ciara. “We are proud to partner with and support organizations like Friends of the Children and AileyCamp that are providing inspiration, guidance and support to the amazing kids they serve.”

Tah-jae (right), an aspiring singer and Friends of the Children mentee, meets with Ciara (left) during a Why Not You Foundation visit to the organization.

Join the artists in supporting equity and access to the arts with your donation today! You can make your gift to the organizations using the contact information below:

SEATTLE SYMPHONY seattlesymphony.org/donate

MACKLEMORE & RYAN LEWIS EQUITY FUND bit.ly/mrlequityfund

WHY NOT YOU FOUNDATION whynotyoufdn.org/donate-1

“We want to do whatever we can to help give young people great opportunities, so they can discover their

passions.”

26 SEATTLESYMPHONY.ORG

PABLO RUS BROSETAConductor

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.

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es, Y

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Lui S

tudi

oKIMBERLY ROY Conductor

Kimberly Roy is a

celebrated conductor,

educator, violist and

clinician in the greater

Seattle area and is in

her second year as

Director of Orchestras

at Garfield High School.

Roy concurrently

serves as the Music Director of the Seattle

Rock Orchestra and Seattle Rock

Orchestra Summer Intensive and has

previously conducted the West Seattle

Symphony, Seattle Metropolitan Chamber

Orchestra and Everett Youth Symphony

Orchestras. Praised by musicians for her

“clear, no-nonsense” approach to

orchestral leadership, Roy brings a positive

atmosphere to rehearsal and an infectious

energy to performance. A passionate

leader in music education, Roy served as

Director of Orchestras at Renton High

School and Dimmit Middle School. Roy

was named one of the 50 Women Who

Rock by Seattle Weekly for her work with

the Seattle Rock Orchestra.

RUSSELL WILSON

Russell is a Super Bowl

Champion quarterback,

a business leader, an

innovative

entrepreneur, a

dedicated husband and

father, and a passionate

philanthropic visionary

focused on supporting

and inspiring kids through all aspects of

their lives. In 2014, Russell launched the

Why Not You Foundation with a goal

of empowering change in the world, one

individual and one child at a time.  “Why

Not You?” was instilled in Russell by his

father and represents a core belief that

everyone, no matter where they come

from or challenges they face, has the

potential to excel and do great things. 

 

CIARA 

Ciara is a Grammy

Award-winning singer/

songwriter, producer,

model and actress.

Over her 13-year

career, she has sold

more than 23 million

records and 16 million

singles worldwide,

including chart-topping hits “Goodies,”

“Ride,” “Oh,” “1 2 Step,” “Body Party,” and “I

Bet.” Known for her incredible visuals and

stellar dance abilities, Ciara’s videos have

been viewed more than 1.4 billion times

accurately earning her the moniker of

“Queen of Dance.” 

 

Ciara is also a devoted wife, mother of

two, and philanthropist who through her

work with the Why Not You Foundation

is dedicated to improving the lives of

children and empowering girls and young

women across the globe. 

 

WHY NOT YOU FOUNDATION

On a mission to empower change in the

world, one individual and one child at a

time, the Why Not You Foundation strives

to inspire kids to approach life with a

“Why not you?” attitude by encouraging

them to embrace opportunities,

overcome obstacles and make a positive

impact within themselves, their family,

their community and the world. The

Foundation’s current areas of focus

include addressing poverty, education,

health and wellness, and empowering girls

and young women. To learn more, visit

whynotyoufdn.org.

RYAN LEWIS

With multiple Platinum

singles, including two

number one hits, under his

belt, Ryan Lewis, the

Grammy Award-winning

producer and music video

director has performed on

Saturday Night Live along

with nearly every other

late night TV show. The Seattle-based artist

has also garnered attention in The New York

Times, NPR, USA Today, TIME, graced the

cover of Billboard twice, and was named

Billboard’s 2013 Producer of the Year. In April

of 2014 Ryan Lewis launched the 30/30

Project with his mother Julie Lewis, a 30-year

HIV survivor. The campaign seeks to build

healthcare facilities in communities impacted

by HIV/AIDS that will sustain for at least 30

years. In 2017 Ryan Lewis produced and

co-wrote Kesha’s platinum hit “Praying” from

her album Rainbow.

MACKLEMORE

Gemini, Macklemore’s

first solo effort in 12

years, was released in

the fall of 2017 and

debuted at number two

on the Billboard 200

chart. It follows two

releases with producer

Ryan Lewis: the multiple-

Grammy Award-winning album The Heist

and 2016 release This Unruly Mess I’ve

Made (featuring Platinum-certified single

“Downtown.” Gemini includes hit singles

“Glorious” (featuring Skylar Grey), and “Good

Old Days” (featuring Kesha). Collectively

Macklemore’s music videos have been

viewed over 2 billion times and he is one of

only two rappers to have a Diamond-

certified single. In 2016 he was featured in

an MTV documentary with President Obama

about the opioid epidemic in America called

Prescription for Change.

MACKLEMORE & RYAN LEWIS EQUITY FUND 

Macklemore & Ryan Lewis are committed

to using their resources and platform to

advance issues of racial and social justice

and through the M&RL Equity Fund, they

are supporting and partnering with dozens

of organizations dedicated to these values.

In 2015, along with MoPOP and Arts Corps,

they founded The Residency, an innovative

program that provides mentorship, skill

building and leadership development

opportunities to young aspiring hip-hop

artists in the greater Seattle area.

encoremediagroup.com/programs 27

GARFIELD HIGH SCHOOL ORCHESTRAS

The Garfield High School Orchestra program, under the direction of Kimberly Roy, is a stand

out among public high school programs and is one of the pre-eminent training grounds for

young musicians in the Pacific Northwest. Graduates of the program have been admitted to

study music at top schools throughout the country, including Oberlin, Curtis, Juilliard, Harvard,

Eastman, Yale, University of Chicago, Northwestern, Cleveland Institute, San Francisco

Conservatory of Music, Berklee College of Music, University of Southern California and the

University of Washington. The program has grown from 19 students in 1985 to 220 students

(more than one-tenth of the school population). The Garfield Symphony Orchestra has been

named Downbeat magazine’s top high school orchestra of the year three times since 2001.

FIRST VIOLIN

Adrian Steele*

Elizabeth Farr

Nicholas Gjording

Emili Rice

Amy Li

Brendan Freeman

Marte Borgemann

SECOND VIOLIN

Carl Dutton*

Quinn Edgerton

Calvin Nilson

Connor Zhang

Carter Rasnic Olson

Phoebe Anderson

Anika Meisel

VIOLA

Hannah Gudeman*

Nat Reid

Mari Morikawa

Jennifer Chiu

Annika Lundsgaard

CELLO

Zofia Sabee*

Jonathan Lin

Sarah Day

Carmelita Ro-Mendez

Sho Kiami

DOUBLE BASS

Will Jammes*

Colm Scott

Izzy Bennett

FLUTE

Phoebe Rawn

OBOE

Ben Kass Mullet

CLARINET

Elam Grekin

BASSOON

Sofie Friedlander

FRENCH HORN

Kosimo Tonn

TRUMPET

Aadi Lahiri

BASS TROMBONE

Jonny Sabath

TUBA

Ben Laverde

PERCUSSION

Cyrus Graham*

* section leader

Become a Founding Member

today!

28 SEATTLESYMPHONY.ORG

GLASSHOUSE

Glasshouse is a group of hip-hop artists who participated in The

Residency, a six-month program focusing on creative songwriting,

performance techniques and song production, offered in

partnership from Grammy Award-winning duo Macklemore & Ryan

Lewis, MoPOP and Arts Corps. The Residency directly addresses

the access barriers many underserved youth and families face

to experiential arts and learning opportunities. It provides up to

45 low-income teen artists with a high-quality arts experience

that supports them in pursuing their artistic development while

being compensated for their talent. During the summer intensive,

all participants write and record their own original music at a

professional studio and put on a final performance in MoPOP’s

Sky Church.

Glasshouse:

Derrick White

Brandon Barnes

Joseph Robi

Kookie Jordan

Monica Elenes

MARTIN LUTHER KING JR. ELEMENTARY SCHOOL

Martin Luther King Jr. Elementary School (MLK) has been participating

in Link Up: Seattle Symphony since the 2013–2014 school year. MLK

is located in the Brighton neighborhood in the southeast region of

Seattle. MLK’s 280 students reflect the richness of the diversity in the

community with over seven major languages and numerous racial and

ethnic groups represented in the student population. The school is

focused on bringing student voice to the forefront and utilizing the arts

as a pathway for this work. The school currently has a music program

run by Jamall White and several art-based partnerships such as Link

Up which provide students the opportunity to express themselves and

develop their own identities. MLK is part of the Creative Advantage

Arts Plan which is a city-wide initiative to establish equitable access

to arts learning for all Seattle Public Schools students. The principal of

MLK is Dr. Christopher Thomas.

The students performing tonight are from the classrooms of

Ms. Friedman (3rd grade), Ms. Liukko (3rd grade), Ms. Sauls (4th grade),

Ms. Elder (4th grade), Ms. Corley (5th grade) and Mr. Lawton (5th grade).

Makiya Abdirahman

Medina Abdirahman

Ibrahim Abdulqadir

Nardos Assefa

Yededya Assefa

Marcell Burns

Imani Bussey

Alejandra Campos Lopez

Ethan Chung

Valeria Contreas Barrales

Lisbet Cortes Arriaga

Luis Cortes Arriaga

Roni Dao

Elaine Diep

Kevin Doan

Sophia Doan

Rochelle Eleccion

Yassir Eltom

Apple Foronda

Gelila Gabriel

Elsa Gebre

Hana Gebre,

Jenny Giang

Emily Granizo

Anthony Hernandez

David Hua

Khairah Kally

Amanuel Kassaye

Madjouma Kone

Nhu Lac

Vivian Lai

Cherish Larry

Suri Lau

JarVae Lindsay

Raniqua Lynn

Chris Madrigal

Hewan Maru

Rafael Moreno-Morales

Navarette Nega

Angela Nguyen

Jenny Nguyen

Prasad Nickledge

Hanan Nyaulawa

Henry Pham

Hong An Pham

Miguel Rendon Perez

Dylan Robancho

Jada Ross

Filigata Ahriel Saianna

Adi Saru

Herani Sirag

Aaliyah Stevens

Erica Tran

Claudette Urtula

Tony Vo

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encoremediagroup.com/programs 29

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, MAY 17, 2018, AT 7:30PM

SUNDAY, MAY 20, 2018, AT 2PM

PROKOFIEV ROMEO & JULIET

Karina Canellakis, conductor

Efe Baltacıgil, cello

Seattle Symphony

ANTONÍN DVOŘÁK Holoubek (“The Wild Dove”) 19’

FRANZ JOSEPH HAYDN Cello Concerto No. 2 in D major, H. VIIb:2 26’ Allegro moderato Adagio Rondo: Allegro

EFE BALTACIGIL, CELLO

INTERMISSION

SERGEY PROKOFIEV Romeo and Juliet Suite No. 2 29’ Montagues and Capulets Juliet - The Young Girl Friar Laurence Dance Romeo and Juliet Before Parting Dance of the Maids from the Antilles Romeo at Juliet’s Grave

Pre-concert Talk one hour prior to performance. Speaker: Steve Reeder, KING FM Classical Host

Ask the Artist in the Samuel & Althea Stroum Grand Lobby following the Thursday concert.

Karina Canellakis’ performances are generously underwritten by Eric and Margaret Rothchild through the Seattle Symphony’s Guest Artists Circle. Efe Baltacıgil’s performances are generously underwritten by Patricia and Jon Rosen through the Seattle Symphony’s Principal Musicians Circle. Better Hearing and Speech Month Sponsor: Virginia Mason Medical Center

30 SEATTLESYMPHONY.ORG

PROGRAM NOTES OVERVIEW

Fatal Attractions

“If I don’t find [it] tomorrow, it’s gonna be heartaches ‘n’ sorrow.Our love’s gonna be destroyed like a tragedy, just like Romeo and Juliet.”

– Just Like Romeo and Juliet (1964), Bob Hamilton and Freddie Gorman

Or, as another song proposes, “The joy of love is but a moment long, / The pain of love lasts a whole life long.” And it is the tragic outcome that so often attends romantic passion, far more than its fleeting joy, that has inspired poets and musicians throughout the ages. Dido and Aeneas, Tristan and Isolde, Anna Karenina and Count Vronsky — these and countless other doleful paramours have engendered a good portion of the world’s great literature and a not insignificant amount of music.

Of course, the most famous of all tragic lovers are Shakespeare’s Romeo and Juliet. Their story has inspired many musical compositions, Berlioz’s “dramatic symphony” Roméo et Juliette, Charles Gounod’s opera of the same title, Tchaikovsky’s Romeo and Juliet Fantasy Overture and Sergey Prokofiev’s ballet music to Shakespeare’s play being especially notable. The second half of our program presents a concert suite drawn from Prokofiev’s Romeo and Juliet, one of the most popular orchestral works of the 20th century.

We begin, however, with a different tale of love gone fatally wrong, Antonín Dvořák’s tone poem based on a Czech folk tale. But not all the music we hear is tragic in character. Indeed, Franz Joseph Haydn’s Cello Concerto in D, played for us by Seattle Symphony’s splendid principal cellist, Efe Baltacıgil, gives us this master-composer at his sunniest.

It is wonderful to perform Haydn’s Cello Concerto with my classmate,

Efe Baltacıgil, from my days as a student at the Curtis Institute of Music! And I am looking forward to sharing Prokofiev’s Romeo and Juliet with you. I love his ability to depict varying characters and tell a story with both his orchestration and his melodies. There can be an intensity of sound in parts, and then an ethereal, lighter-than-air quality just a few

seconds later.

– Karina Canellakis

ANTONÍN DVOŘÁK

Holoubek (“The Wild Dove”)

BORN: September 8, 1841, in Nelahozeves,

Bohemia,

DIED: May 1, 1904, Prague

WORK COMPOSED: 1896

WORLD PREMIERE: March 20, 1898, in Brno,

Moravia, where it was conducted by another

outstanding Czech composer, Leoš Janáček.

The dirge heard in the initial moments indicates the funeral cortege with which the story of the

Wild Dove begins. Happier music accompanies a wedding scene, with bagpipe-like drone harmonies and conspicuous use of a tambourine imparting a rustic air. Later the voice of the dove is sounded by flutes and oboe.

Antonín Dvořák was not the first Czech composer to attain international prominence, but for many music-lovers he is, and long has been, the musical voice of his homeland. Dvořák felt deeply proud of his native country and its culture, and as he matured he drew increasingly on Czech folk tales for inspiration. We find this in, among other works, four tone poems, orchestral pieces based on dramatic or literary ideas, which Dvořák composed in 1896. Each was inspired by a Czech folk legend.

The last of these four pieces to be written, The Wild Dove, relates through music a story of murder and guilt revealed through an unexpected agent. This tale begins with a young widow attending the burial of her husband. She makes a proper show of grief, even though she secretly has poisoned him. In time, she meets a young man who urges her to abandon her mourning and marry him. Eventually she agrees, and the village celebrates the couple’s wedding with music and dancing. But a wood dove has taken up residence in the tree overhanging the late husband’s grave, and its mournful song seems to the woman an indictment. At last her feelings of guilt drive her to madness, and she takes her own life.

In his score to The Wild Dove, Dvořák delineated five sections corresponding to the major episodes of this story. As the piece begins, the woman follows the hearse bearing her husband to his grave. The appearance of the young man is announced by a jaunty melody for trumpet, but he does not dispel the widow’s grieving immediately. Rather, the funeral dirge heard

at the start resumes until a coy melody sung by the flute indicates that she at last accepts him.

The couple’s wedding celebration occasions a merry peasants’ dance and, later, a country waltz, but the festivities suddenly give way to unhappy sounds: ominous tremolo figures in the strings and sinister phrases intoned by bass clarinet and horns. We also hear the singing of the dove. The music grows increasingly agitated, finally reaching a violent climax as the guilty woman meets her end. Dvořák now recalls the dirge of the opening minutes, but the final moments of the composition bring something different: bright, serene sonorities that seem to suggest a restoration of purity, justice, moral equilibrium.

Scored for 2 flutes, the second flute doubling piccolo; 2 oboes and English horn; 2 clarinets and bass clarinet; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani and

percussion; harp; strings.

FRANZ JOSEPH HAYDN

Cello Concerto No. 2 in D major, H. VIIb:2

BORN: March 31, 1732, in Rohrau, Austria

DIED: May 31, 1809, in Vienna

WORK COMPOSED: 1780s

WORLD PREMIERE: Unknown

Although the first movement of this concerto unfolds in moderate tempo, the music nevertheless challenges

the featured performer. Much of the solo part lies in the cello’s high register, requiring a fluent command of the instrument’s wide compass. The finale’s recurring main theme has the flavor of a folk tune; the British conductor and commentator Donald Francis Tovey noted its resemblance to an English ditty called “Here We Go Gathering Nuts in May.”

Franz Joseph Haydn was, with his admiring friend Wolfgang Amadeus Mozart, one of the two outstanding composers active during the last quarter of the 18th century. His Cello Concerto in D major has long been among Haydn’s most familiar works in concerto form, yet its origins remain obscure. We do not know with certainty when or for whom the composer wrote this music, though it seems likely that it dates from the 1780s and was

encoremediagroup.com/programs 31

PROGRAM NOTES

Prokofiev’s ballet Romeo and Juliet, the outstanding choreographic treatment of Shakespeare’s perennially popular tragedy, endured a troubled genesis. Indeed, it must have seemed to its creators that difficulty and the making of this work were as “star-crossed” as the drama’s celebrated lovers.

Prokofiev was in the process of re-establishing ties to the Soviet Union after 15 years of living in the West when, in the late summer of 1934, he began discussing a choreographic setting of Shakespeare’s play with Sergei Radlov, a stage director with the famed Kirov ballet company. The two men agreed on a lengthy and detailed rendition, “an opera without words,” as one commentator would describe it, and began devising a scenario made up of a series of short numbers. Composer and director consulted closely during this initial stage of the ballet’s creation, Prokofiev sketching thematic ideas as each scene took shape. Composition of the score began in the late spring. By the end of July Prokofiev would write: “Juliet is tripping through the third act.” The entire ballet was completed on September 8, 1935.

But trouble soon befell the collaborators, as first the Kirov and then the Bolshoi Theater, to whom Radlov and Prokofiev later turned, summarily canceled plans to mount the work. Although no official reason was given, it was made known that Prokofiev’s music was considered too awkward for dance. The composer salvaged what he could of the situation, extracting from his full score a pair of concert suites. Romeo and Juliet was finally staged in Brno, Czechoslovakia, in December 1938. Meanwhile, the two orchestral suites both had been performed in public, one of the few times in history that concert music drawn from a ballet score has been premiered before the ballet itself.

Eventually, the Kirov presented Romeo and Juliet to the Soviet public, in January 1940. Despite a difficult rehearsal process, the production triumphed, and Prokofiev’s music soon proved one of the most popular dance scores of the 20th century. While Romeo and Juliet has become a staple of the ballet repertory, the two orchestral suites Prokofiev extracted from the full score in 1936 have taken on a life of their own in the concert hall. (The composer fashioned a third suite in 1947, but this is less frequently performed.)

We hear the second of these suites. It begins with a musical portrait of Verona’s two feuding clans. Swaggering rhythms suggest the proud bearing of

the Montague and Capulet patriarchs; a more restrained central episode offers our first glimpse of Juliet, chiefly in a signature melody played by solo oboe.  Prokofiev’s sketches her in greater detail during the ensuing movement, Juliet, the Young Girl. The story’s heroine seems still very much a youth, indulging in childish play (the vivacious opening music) and falling easily into reverie.

Next we encounter the young couple’s confidant, Friar Laurence, warmly depicted by bassoon and strings. The ensuing Dance is music from the ball where Romeo and Juliet first set eyes on each other.

The lovers meet for the last time in Romeo and Juliet Before Parting. Already in its opening moments the song of a lark warns of the coming of dawn. Prokofiev later turns to the ballet’s love theme, and the movement concludes with a musical reference to the sleeping potion Juliet will use to feign death.

The following section, Dance of the Maids from the Antilles provides an interlude with no real connection to the drama. Prokofiev and his collaborators decided to imagine that the Veronese nobles had West Indian slave girls on hand, a notion supported by neither Shakespeare nor history, but which allowed the injection of some exoticism into their scenario.

The suite concludes with music from the ballet’s final scene. Romeo at Juliet’s Grave, recalls the memorable love theme. Here, however, it is overwhelmed by music of a more tragic character.

Scored for 2 flutes and piccolo; 2 oboes and English horn; 2 clarinets and bass clarinet; 2 bassoons and contrabassoon; tenor saxophone; 4 horns; 2 trumpets and cornet; 3 trombones; tuba; timpani and percussion; harp; piano and celeste; strings.

© 2018 Paul Schiavo

intended for Anton Kraft, a cellist with the chamber orchestra maintained by the music-loving Hungarian aristocrat Nikolaus, Prince Esterházy, an ensemble Haydn directed for some 30 years.

The composition unfolds in the customary concerto form of three movements. The first begins with an extended orchestral paragraph, the usual opening of a Classical-period concerto. Only with this accomplished does the solo instrument join in exploring the thematic ideas set forth by the orchestra. The music does not convey the robust and brilliant character we often find in initial movements. Rather, its melodies express a relaxed elegance — a refined, one might even say courtly, lyricism. 

In the slow central movement, the musings of the soloist establish a tranquil atmosphere that occasional interjections by the orchestra fail to dispel. Haydn concludes the work with a brief finale. Its principal theme, which recurs repeatedly between episodes of contrasting material, is introduced by the cello in the opening measures. This melody is simplicity itself, but Haydn manages to discover in it considerable interest. Each reappearance finds the theme slightly varied: decorated with new instrumental figuration or, at one point, colored with somber minor-key harmonies. The intervening episodes offer vigorous passagework for the soloist.

Scored for solo cello; 2 oboes; 2 horns; strings.

SERGEY PROKOFIEV

Romeo and Juliet Suite No. 2

BORN: April 23, 1891, Sontsovka, Ukraine

DIED: March 5, 1953, in Moscow

WORK COMPOSED: 1935; suite arranged 1936

WORLD PREMIERE: April 15, 1937, in Leningrad;

Evgeny Mravinsky conducted the Leningrad

Philharmonic Orchestra.

Both principal elements of Shakespeare’s theme in Romeo and Juliet, young love and the violent

enmity that crushes it, find musical representation in Prokofiev’s ballet music. The opening portion of the suite we hear conveys arrogance and stern pride in its portrayal of the feuding Montague and Capulet families. By contrast, Romeo and Juliet Before Parting introduces an ardent love theme. That melody vies with a searing lament in the suite’s final movement.

32 SEATTLESYMPHONY.ORG

encoremediagroup.com/programs 33

KARINA CANELLAKIS Conductor

Winner of the 2016 Sir

Georg Solti Conducting

Award, Karina Canellakis

is internationally

acclaimed for her

emotionally charged

performances, technical

command and interpretive

depth. Canellakis began

the 2017–2018 season with her debut at the

Proms with the BBC Symphony Orchestra and

a return to Zurich Opera to conduct Mozart’s

Die Zauberflöte. Notable debuts this season

include the Orchestre de Paris, Wiener

Symphoniker, Rundfunk Sinfonie Orchester

Berlin, Guerzenich Cologne, Bamberger

Symphoniker, National Orchestra of Spain,

Netherlands Radio Philharmonic, Hallé

Orchestra and Seattle Symphony; alongside

re-invitations to the Royal Stockholm

Philharmonic, Swedish Radio Orchestra,

Danish National Orchestra, Scottish Chamber

Orchestra, Los Angeles Chamber Orchestra

and Vancouver Symphony. Canellakis was

previously Assistant Conductor of the Dallas

Symphony Orchestra.

Canellakis was initially encouraged to

pursue conducting by Sir Simon Rattle while

playing violin in the Berlin Philharmonic as a

member of their Orchester-Akademie, and

has also played with the Chicago Symphony

Orchestra and served as guest concertmaster

of the Bergen Philharmonic in Norway.

Phot

o: M

athi

as B

otho

r

EFE BALTACIGILCello

Principal Cello of the

Seattle Symphony since

2011, Efe Baltacıgil made

concerto debuts with The

Philadelphia Orchestra in

2010, and with the Berliner

Philharmoniker and Sir

Simon Rattle in 2012.

Named String Player of

the Year in Turkey in 2013, Turkish cellist Efe

Baltacıgil has also received the Peter Jay

Sharp Prize, the Washington Performing Arts

Society Prize, and first prizes in concerto

competitions in Istanbul and New York, as well

as in the Allentown (Pennsylvania) Schadt

String Competition. He was the winner of the

2005 Young Concert Artists International

Auditions and received an Avery Fisher

Career Grant in 2006. Baltacıgil was born in

Istanbul, Turkey, received his bachelor’s

degree from Mimar Sinan University

Conservatory in Istanbul in 1998 and an artist

diploma from the Curtis Institute of Music in

Philadelphia in 2002.

Phot

o: B

rand

on P

atoc

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.

THURSDAY, MAY 31, 2018, AT 7:30PM

SATURDAY, JUNE 2, 2018, AT 8PM

SUNDAY, JUNE 3, 2018, AT 2PM

SIBELIUS KULLERVO

Thomas Dausgaard, conductor

Maria Männistö, soprano

Benjamin Appl, baritone

Members of the Seattle Symphony Chorale

Members of Cappella Romana

Seattle Symphony

TRADITIONAL Excerpts from Kullervo and traditional 11’/arr. Thomas Dausgaard Finnish and Swedish music—

& Timo Alakotila MARIA MÄNNISTÖ, SOPRANO

ILKKA KALLIO, RUNO SINGER

TIMO ALAKOTILA, HARMONIUM

VILMA TIMONEN, KANTELE

MEMBERS OF CAPPELLA ROMANA

MEMBERS OF THE SEATTLE SYMPHONY CHORALE

JEAN SIBELIUS Kullervo 73’/text from The Kalevala Introduction: Allegro moderato Kullervo’s Youth: Grave Kullervo and His Sister: Allegro vivace Kullervo Goes to Battle: Alla marcia [Allegro molto]—Vivace—Presto Kullervo’s Death: Andante

MARIA MÄNNISTÖ, SOPRANO

BENJAMIN APPL, BARITONE

MEMBERS OF CAPPELLA ROMANA

MEMBERS OF THE SEATTLE SYMPHONY CHORALE

Pre-concert Talk one hour prior to performance. Speaker: Thomas Dausgaard, Seattle Symphony Principal Guest Conductor

Thomas Dausgaard’s performances are generously underwritten by Mel and Leena Sturman through the Seattle Symphony’s Guest Artists Circle.

Thomas Dausgaard’s performances receive additional support from the Scan|Design Foundation by Inger & Jens Bruun.

Saturday performance sponsored by Finlandia Foundation National.

Media Sponsor: Classical KING FM 98.1

A Hero’s LifeAs these notes are being written, the movie Black Panther is setting box-office records across the country. The film’s success owes much to the innate human need for heroic stories, tales of larger-than-life persons and deeds. Such stories are at least as old as civilization itself and common to cultures across the globe. The ancient world gave us The Iliad, The Aeneid and the Epic of Gilgamesh. The nordic world produced the web of stories known as the Edda, India the Mahabharata and Ramayana, England the intersecting narratives of King Arthur and his knights. Our American heroic legends include the tales that grew up around Paul Bunyan, Davy Crockett and railroad builder John Henry.

Finland and Karelia — the province directly to the east, now part of Russia — also has a rich heritage of such stories. They tell of heroes such as Lemminkäinen, Väinämöinen, King Kaleva and his son Kullervo; of magical realms and events; of daring feats and daunting quests. Like Arthur and other ancient heroes (Achilles, Aeneas, Wotan), and unlike most manufactured protagonists of comic books and movies, the subjects of the Finnish-Karelian epics are flawed and sometimes tragic characters. And like the Arthurian legends, these tales became a source of national pride and identity, especially in Finland, where, among other things, they proved a potent source of inspiration for that nation’s first great composer, Jean Sibelius. His rarely heard Kullervo is a musical account of the life of a legendary hero.

I am convinced that Sibelius didn’t particularly quote Finnish folk music,

but his keen interest in assimilating and getting to know it most likely formed a strong backdrop to his inspiration when composing. We’ll be joined tonight by several Finnish artists who will share some of these musical styles with us. Getting to know these possible inspirations was a revelation to me and has given my approach to his music a new dimension, as I hope it will for you, as we invite you into the mysterious world of

Kullervo and its roots.

– Thomas Dausgaard

34 SEATTLESYMPHONY.ORG

PROGRAM NOTES

JEAN SIBELIUS

Kullervo

BORN: Hämeenlinna, Finland, December 8, 1865

DIED: Järvenpää, Finland, September 20, 1957

WORK COMPOSED: 1891–92

WORLD PREMIERE: April 29, 1892, in Helsinki.

The composer conducted members of the

Helsinki Orchestral Society and singers

engaged specially for the occasion.

The first two of this work’s five movements consist entirely of orchestral music. Voices join the

proceedings in the third movement. Here solo soprano and baritone take the parts of the title character and his sister. Their passionate embrace brings swelling, throbbing orchestral music, and they trade harrowing laments in the closing minutes. The next portion of the work begins with instrumentation reflecting verses that tell how Kullervo “went piping off to war, rejoicing to the battle,” and the movement continues in that vein. Rarely has battle music sounded so cheery. The final movement begins with bardic singing by the chorus against a spookily still orchestral accompaniment. Later Sibelius recalls music from the Introduction, bringing a palpable sense of closure.

The second half of the 19th century was a period of strong nationalist movements throughout Europe. Struggles for independence and national unification took place throughout the continent, and the sentiments these aroused inevitably found reflection in the works of many musicians. Verdi was regarded in his homeland as an Italian patriot as much as a great composer; Brahms wrote his Triumphlied to celebrate the German victory over France in the Franco-Prussian War; Smetana and Dvořák in Czechoslovakia, and Grieg in Norway, incorporated the inflections of native folk songs into their works; and Russian composers attempted to supplant Western European musical traditions with a more distinctly national style.

Finland found its musical voice in Jean Sibelius. As was true of Dvořák and Grieg, Sibelius’ early development was shaped by the strong current of German Romanticism. As soon as he was able, he left his homeland for study in Berlin and Vienna, and his youthful works were written in the style of his first hero, Brahms. But

upon returning to Finland in 1891, Sibelius was swept up in the spirit of patriotism engendered by his country’s struggle against Russian domination. He immersed himself in Finnish culture and discovered there a particularly rich source of inspiration.

This was the Kalevala, a collection of folk tales that had existed in oral traditions for generations. Early in the 19th century several collectors — today we would call them ethnologists — undertook the task of preserving these stories. Chief among them was a remarkable Finnish doctor, poet and linguist named Elias Lönnrot. Beginning in 1828 and continuing into the 1840s, Lönnrot made extensive journeys through the Finnish and Karelian countryside transcribing the tales, often told in verse, he heard from rural storytellers. In 1835 he published a compendium of these as The Kalevala. (The title bears the same relationship to the name of King Kaleva as The Odyssey does to its hero, Odysseus.) He expanded that volume in 1849.

Brought together in Lönnrot’s collection, the heroic stories of The Kalevala came to be regarded by Finns as their epic national legend. It was embraced especially by Finnish patriots who, in the closing years of the 19th century, increasingly desired their country’s independence from Russia. Among them was a group of artists and writers associated loosely under the name “Young Finland.” Their espousal of indigenous Finnish culture generally, and The Kalevala particularly, found an eager convert in the recently repatriated Sibelius.

During the 1890s the composer wrote, or started to write, several major works based on episodes from the Kalevala. (Over the course of his career he completed a dozen works on subjects from the collection.) Among them were an aborted opera, The Building of the Boat; his Four Orchestral Legends, a quartet of tone poems based on the adventures of Lemminkäinen, including The Swan of Tuonela, one of Sibelius’ most popular compositions; another tone poem, Pohjola’s Daughter; and the earliest of these compositions, Kullervo. Sibelius began writing that work early in 1891, while living and studying in Vienna, and completed it in time for its inclusion in a concert sponsored by Young Finland in April the following year. It was received with tremendous enthusiasm by an audience of patriotically inclined Finns and established Sibelius as his country’s most important musician.

In the program book of that concert, Sibelius described Kullervo as a “symphonic poem in five movements.” Later he called it a symphony. Being scored for orchestra and voices (solo soprano and baritone with men’s chorus), the music might just as accurately be considered a large-scale cantata. In truth, Kullervo conforms to no established genre but embodies aspects of symphony, tone poem and cantata. Its subject, as indicated by its title, is the tragic hero Kullervo, son of King Kaleva, whose life’s story is broadly sketched in its five movements.

The first portion of the work serves as a prelude. It advances nothing in the way of narrative, but it does establish the atmosphere of heroic drama essential to the composition. It also shows something of the symphonic sweep and imaginative use of orchestral sound for which Sibelius is so widely admired.

The second movement also consists entirely of orchestral music. Sibelius intended it to encapsulate Kullervo’s youth. Since there is no text doing so, we should relate here something of that part of the hero’s life. Having been raised by his uncle and sold by him into slavery, Kullervo eventually makes his way back to his father’s home. There he learns that his sister had vanished in the forest and is feared dead. The boy possesses unusual skills, some of them supernatural, but his wild temperament renders him barely fit for society. Accordingly, his father sends him on a mission.

With the third movement, the narrative is taken up in verses of The Kalevala, conveyed by the solo singers and chorus. On his journey, Kullervo meets a beautiful maiden and attempts to seduce her. Initially she declines, but Kullervo finally wins her with gifts of gold and other treasures. Only afterwards do they discover each other’s identities. Distraught at having committed incest with her brother, the young woman leaps to her death in the rapids of a river.

The fourth movement returns to solely orchestral music. This represents Kullervo in battle as, armed with a magic sword, he sets out to take vengeance on his uncle. In the final movement, Kullervo returns home victorious only to find that all his family has died. He then wanders desolately until he comes to the spot where he had seduced his sister. Overcome by grief, he falls on his sword and dies.

encoremediagroup.com/programs 35 encoremediagroup.com/programs 35

PROGRAM NOTES

Karl Flodin, a Swedish music critic who was among the earliest to appreciate Sibelius’ talent, gave an insightful evaluation of Kullervo. Writing in 1916, he proclaimed it “an extraordinarily daring and powerful work. In its rejection of the conventional bon ton and public taste, it can measure swords with the most audacious works of European composers written during the last century. ... It is not the most harmonious of Sibelius’ mythological works. It contains rough, unpolished passages. But it is the most imposing and interesting of its type.”

Scored for solo soprano and solo baritone; men’s chorus; 2 flutes, the second flute doubling piccolo; 2 oboes and English horn; 2 clarinets and bass clarinet; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani and percussion; strings.

© 2018 Paul Schiavo

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36 SEATTLESYMPHONY.ORG

KUORO (CHORUS)

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Hivus keltainen, korea,

Kengän kauto kaunokainen

Läksi viemähän vetoja,

Maajyviä maksamahan.

Vietyä vetoperänsä,

Maajyväset maksettua

Rekehensä reutoaikse

Kohennaikse korjahansa,

Alkoi kulkea kotihin,

Matkata omille maille.

Ajoa järyttelevi,

Matkoansa mittelevi

Noilla Väinön kankahilla,

Ammoin raatuilla ahoilla.

Neiti vastahan tulevi,

Hivus kulta hiihtelevi

Noilla Vaïnon kankahilla,

Ammoin raatuilla ahoilla.

Kullervo, Kalervon poika,

Jo tuossa piättelevi,

Alkoi neittä haastatella,

Haastatella, houkutella:

Kullervo, son of Kalervo,

With the very bluest stockings,

And with yellow hair the finest,

And with shoes of finest leather,

Went his way to pay the taxes,

And he went to pay the land-dues.

When he now had paid the taxes,

And had also paid the land-dues

In his sledge he quickly bounded,

And upon the sledge he mounted,

And began to journey homeward,

And to travel to his country.

And he drove, and rattled onward,

And he travelled on his journey,

Traversing the heath of Väinö,

And his clearing made aforetime.

And by chance a maiden met him,

With her yellow hair all flowing,

There upon the heath of Väinö,

On his clearing made aforetime.

Kullervo, son of Kalervo,

Checked his sledge upon the instant,

And began a conversation,

And began to talk and wheedle:

JEAN SIBELIUS

Kullervo Text: Kalevala XXXV: 69–286, passim

KULLERVO

“Nouse, neito korjahani,

Taaksi maata taljoilleni!”

“Come into my sledge, O maiden,

Rest upon the furs within it.”

NEITO I (MAIDEN I)

“Surma sulle korjahasi,

Tauti taaksi taljoillesi!”

“In thy sledge may Death now enter,

On thy furs be Sickness seated.”

TRADITIONALExcerpts from Kullervo and traditional Finnish and Swedish music

Jos joskus joutuusin kulukeelle

voisikko mua auttaa?

Ja antaasikko leivänpalan jos

tulisin teirän kautta?

Yksi kaksi kolme neljä, anna

iloinen olla,

koska suru tulee, anna hänen

mennä.

Kullervo Kullervo Kullervo

Katsos kuin on pestyn

armozeni, pihamuahuot

suurissa petsualazis

Kullervo, Kalervon poika

On isät täällä taistelleet ja

uskoneet ja toivoneet

Niin kauan minä tramppaan

tämän kylän raittia kun kenkäni

pohojat kestää.

Maailma täynnä turhuuttaan

kiiruhtaa kohti loppuaan.

Vain valtaa, voimaa, kunniaa

niin moni etsii, kumartaa.

If I were forced to wander,

would you be there for me?

And would you give me bread

if I came by your house?

One, two, three, four, let me be

happy,

If sorrow comes, just let it pass.

Kullervo Kullervo Kullervo

Oh, my poor mother; our entire

home is filled with great sorrow.

Kullervo, son of Kalervos

Here our fathers have fought,

holding on to their faith and

hope.

I am going to walk all over this

town until my shoes wear out.

This world of nonsense is

rushing toward its end.

So many people only search

for and bow to power, strength,

and glory.

TEXT & TRANSLATION

encoremediagroup.com/programs 37

TEXT & TRANSLATION

KUORO (CHORUS)

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Koppoi neion korjahansa,

Reualti rekosehensa,

Asetteli taljoillensa,

Alle viltin vieretteli.

“Sylen, kehno, kelkkahasi,

Retkale, rekosehesi!

Vilu on olla viltin alla,

Kolkko korjassa eleä.”

KULLERVON SISAR (NEITO III)

(KULLERVO’S SISTER (MAIDEN III))

KULLERVON SISAR (KULLERVO’S SISTER)

“Päästä pois minua tästä,

Laske lasta vallallensa

Kunnotointa kuulemasta,

Paholaista palvomasta,

Tahi potkin pohjan puhki,

Levittelen liistehesi,

Korjasi pilastehiksi,

Rämäksi re’en retukan!”

KUORO (CHORUS)

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Aukaisi rahaisen arkun,

Kimahutti kirjakannen,

Näytteli hope’itansa,

Verkaliuskoja levitti,

Kultasuita sukkasia,

Vöitänsä hopeapäitä.

Verat veivät neien mielen,

Raha muutti morsiamen,

Hopea hukuttelevi,

Kulta kuihauttelevi.

KULLERVO

“En ole sukua suurta,

Enkä suurta enkä pientä,

Olen kerran keskimmäistä:

Kalervon katala poika,

Tuhma poika tuiretuinen,

Lapsi kehjo keiretyinen.

Vaan sano oma sukusi,

Oma rohkea rotusi,

Jos olet sukua suurta,

Isoa isän aloa.”

KULLERVON SISAR (KULLERVO’S SISTER)

“Mist’olet sinä sukuisin,

Kusta, rohkea, rotuisin?

Lienet suurtaki sukua,

Isoa isän aloa.”

KUORO (CHORUS)

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Iski virkkua vitsalla,

Helähytti helmivyöllä.

Virkku juoksi, matka joutui,

Tie vieri, reki rasasi.

Neiti vastahan tulevi,

Kautokenkä kaaloavi

Selvällä meren selällä,

Ulapalla aukealla.

Kullervo, Kalervon poika,

Hevoista piättelevi,

Suutansa sovittelevi,

Sanojansa säätelevi:

Kullervo, son of Kalervo,

With the very bluest stockings,

With his whip then struck his courser,

With his beaded whip he lashed him.

Sprang the horse upon the journey,

Rocked the sledge, the road was

traversed.

And by chance a maiden met him,

Walking on, with shoes of leather,

O’er the lakes extended surface,

And across the open water.

Kullervo, son of Kalervo,

Checked his horse upon the instant,

And his mouth at once he opened,

And began to speak as follows:

KULLERVO

“Tule korjahan, korea,

Maan valo, matkoihini!”

“Come into my sledge, O fair one,

Pride of earth, and journey with me.”

NEITO II (MAIDEN II)

“Tuoni sulle korjahasi,

Manalainen matkoihisi!”

“In thy sledge may Tuoni seek thee,

Manalainen journey with thee.”

KUORO (CHORUS)

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Iski virkkua vitsalla,

Helähytti helmivyöllä,

Virkku juoksi, matka joutui,

Reki vieri, tie lyheni.

Neiti vastahan tulevi,

Tinarinta riioavi

Noilla Pohjan kankahilla,

Lapin laajoilla rajoilla.

Kullervo, Kalervon poika,

Hevoistansa hillitsevi,

Suutansa sovittelevi,

Sanojansa säätelevi:

Kullervo, son of Kalervo,

With the very bluest stockings,

With his whip then struck his courser,

With his beaded whip he lashed him,

Sprang the horse upon his journey,

Rocked the sledge, the way was

shortened.

And by chance a maiden met him,

Wearing a tin brooch, and singing,

Out upon the heaths of Pohja,

And the borders wide of Lapland.

Kullervo, son of Kalervo,

Checked his horse upon the instant,

And his mouth at once he opened,

And began to speak as follows:

KULLERVO

“Käy, neito rekoseheni,

Armas, alle vilttieni,

Syömähän omeniani,

Puremahan päähkeniä!”

“Come into my sledge, O maiden,

Underneath my rug, my dearest,

And you there shall eat my apples,

And shall crack my nuts in comfort.”

38 SEATTLESYMPHONY.ORG

Kullervo, son of Kalervo,

With the very bluest stockings,

Dragged into his sledge the maiden,

And into the sledge he pulled her,

And upon the furs he laid her,

Underneath the rug he pushed her.

“At your sledge I spit, O villain,

Even at your sledge, O scoundrel,

Underneath your rug is coldness,

And within your sledge is darkness.”

“From the sledge at once release me,

Leave the child in perfect freedom,

That I hear of nothing evil,

Neither foul nor filthy language,

Or upon the ground I’ll throw me,

And will break the sledge to splinters,

And will smash your sledge to atoms,

Break the wretched sledge to pieces!”

Kullervo, son of Kalervo,

With the very bluest stockings,

Opened then his hide-bound coffer,

Clanging raised the pictured cover,

And he showed her all his silver,

Out he spread the choicest fabrics,

Stockings too, all gold-embroidered,

Girdles all adorned with silver.

Soon the fabrics turned her dizzy,

To a bride the money changed her,

And the silver it destroyed her,

And the shining gold deluded.

“Tell me now of your relations,

What the brave race that you spring from,

From a mighty race it seems me,

Offspring of a mighty father.”

“No, my race is not a great one,

Not a great one, not a small one,

I am just of middle station,

Kalervo’s unhappy son,

Stupid boy, and very foolish,

Worthless child, and good for nothing.

Tell me now about your people,

And the brave race that you spring from.

Perhaps from a mighty race descended,

Offspring of a mighty father.”

KULLERVON SISAR (KULLERVO’S SISTER)

“En ole sukua suurta,

Enkä suurta enkä pientä,

Olen kerran keskimmäistä,

Kalervon katala tyttö,

Tyhjä tyttö tuiretuinen,

Lapsi kehjo keiretyinen.

Ennen lasna ollessani

Emon ehtoisen eloilla,

Läkson marjahan metsälle,

Alle vaaran vaapukkahan.

Poimin maalta mansikoita,

Alta vaaran vaapukoita,

Poimin päivän, yön lepäsin.

Poimin päivän, poimen toisen;

Päivälläpä kolmannella

En tiennyt kotihin tietä:

Tiehyt metsähän veteli,

Ura saateli salolle.

Siinä istuin, jotta itkin,

Itkin päivän, jotta toisen,

Päivänäpä kolmantena

Nousin suurelle mäelle,

Korkealle kukkulalle,

Tuossa huusin, hoilaelin.

Salot vastahan saneli,

Kankahat kajahtelivat:

‘Elä huua, hullu tyttö,

Elä mieletön, melua!

Ei se kuulu kumminkana,

Ei kuulu kotihin huuto.’

Päivän päästä kolmen, neljän,

Viien, kuuen viimeistäki

Kohenihin kuolemahan,

Heitihin katoamahan.

Enkä kuollut kuittenkana,

En mä kalkinen kaonnut!

Oisin kuollut, kurja raukka,

Oisin katkennut, katala,

Äsken tuossa toisna vuonna,

Kohta kolmanna kesänä

Oisin heinänä helynnyt,

Kukoistellut kukkapäänä,

Maassa marjana hyvänä,

Punaisena puolukkana,

Nämät kummat kuulematta,

Haukeat havaitematta.”

“No, my race is not a great one,

Not a great one, not a small one,

I am just of middle station,

Kalervo’s unhappy daughter,

Stupid girl, and very foolish,

Worthless child, and good for nothing.

When I was a little infant,

Living with my tender mother,

To the wood I went for berries,

‘Neath the mountain sought for raspberries.

On the plains I gathered strawberries,

Underneath the mountain, raspberries,

Plucked by day, at night I rested.

Plucked for one day and a second;

And upon the third day likewise,

But the pathway home I found not,

In the woods the pathways led me,

And the footpath to the forest.

There I stood, and burst out weeping,

Wept for one day, and a second,

And at length upon the third day,

Then I climbed a mighty mountain,

To the peak of all the highest,

On the peak I called and shouted,

And the woods made answer to me,

While the heaths re-echoed likewise:

‘Do not call, O girl so senseless,

Shout not, void of understanding!

There is no one who can hear you,

None at home to heat your shouting.’

Then upon the third and fourth days,

Lastly on the fifth and sixth days,

I to take my life attempted,

Tried to hurl me to destruction,

But by no means did I perish,

Nor could I, the wretched, perish.

Would that I, poor wretch, had perished,

Hapless one, had met destruction,

That the second year thereafter,

Or the third among the summers,

I had shone forth as a grass-blade,

As a lovely flower existed,

On the ground a beauteous berry,

Even as a scarlet cranberry,

Then I had not heard there horrors,

Would not then have known these terrors.”

encoremediagroup.com/programs 39

KUORO (CHORUS)

Kullervo, Kalervon poika,

Otti koiransa keralle,

Läksi tietä telkkimähän,

Korpehen kohoamahan.

Kävi matka vähäsen,

Astui tietä jikkaraisen,

Tuli tuolle saarekselle,

Tuolle paikalle tapahtui,

Kuss’oli piian pillannunna,

Turmellut emonsa tuoman.

Siin’itki ihana nurmi,

Aho armahin valitti,

Nuoret heinät helliteli,

Kuikutti kukat kanervan

Tuota piian pillamusta,

Emon tuoman turmellusta.

Eikä nousnut nuori heinä,

Kasvanut kanervan kukka,

Ylennyt sijalla sillä,

Tuolla paikalla pahalla,

Kuss’oli piian pillannunna,

Emon tuoman turmellunna.

Kullervo, Kalervon poika,

Tempasi terävän miekan,

Katselevi, kääntelevi,

Kyselevi, tietelevi.

Kysyi mieltä miekaltansa,

Tokko tuon tekisi mieli

Syoä syyllistä lihoa,

Viallista verta juoa.

Miekka mietti miehen mielen,

Arvasi uron pakinan,

Vastasi sanalla tuolla:

“Miks’en söisi mielelläni,

Söisi syylistä lihoa,

Viallista verta joisi?

Syön lihoa syyttömänki,

Juon verta viattomanki.”

Kullervo, Kalervon poika,

Sinisukka äijön lapsi,

Pään on peltohon sysäsi,

Perän painoi kankahasen,

Kären käänti rintahansa,

Itse iskihe kärelle,

Siihen surmansa sukesi,

Kuolemansa kohtaeli.

Se oli surma nuoren miehen,

Kuolo Kullervo urohon,

Loppu ainakin urosta,

Kuolema kovaosaista.

Kullervo, son of Kalervo,

At his side the black dog taking,

Tracked his path through trees to forest,

Where the forest rose the thickest.

But a short way had he wandered,

But a little way walked onward,

When he reached the stretch of forest,

Recognized the spot before him,

Where he had seduced the maiden,

And his mother’s child dishonored.

There the tender grass was weeping,

And the lovely spot lamenting,

And the young grass was deploring,

And the flowers of heath were grieving,

For the ruin of the maiden,

For the mother’s child’s destruction.

Neither was the young grass sprouting,

Nor the flowers of heath expanding,

Nor the spot had covered over,

Where the evil thing had happened,

Where he had seduced the maiden,

And his mother’s child dishonored.

Kullervo, son of Kalervo,

Grasped the sharpened sword he carried,

Looked upon the sword and turned it,

And he questioned it and asked it.

And he asked the sword’s opinion,

If it was disposed to slay him,

To devour his guilty body,

And his evil blood to swallow.

Understood the sword his meaning,

Understood the hero’s question,

And it answered him as follows:

“Wherefore at thy heart’s desire,

Should I not thy flesh devour,

And drink up thy blood so evil,

I who guiltless flesh have eaten,

Drank the blood of those who sinned

not?”

Kullervo, son of Kalervo,

With the very bluest stockings,

On the ground the haft set firmly,

On the heath the hilt pressed tightly,

Turned the point against his bosom,

And upon the point he threw him,

Thus he found the death he sought for,

Cast himself into destruction.

Even so the young man perished,

Thus died Kullervo the hero,

Thus the hero’s life was ended,

Perished thus the hapless hero.

KULLERVON KUOLEMA

(“Kullervo’s Death”) Text: Kalevala XXXVI: 297-346

TEXT & TRANSLATION

KULLERVO

“Voi, poloinen, päiviäni,

Voipa, kurja, kummiani,

Voi kun pi’in sisarueni,

Turmelin emoni tuoman!

Voi isoni, voi emoni,

Voi on valtavanhempani,

Minnekä minua loitte,

Kunne kannoitte katalan!

Parempi olisin ollut

Syntymättä, kasvamatta,

Ilmahan sikeämättä,

Maalle tälle täytymättä.

Eikä surma suorin tehnyt,

Tauti oike’in osannut,

Kun ei tappanut minua,

Kaottanut kaksiöisnä.”

“Woe my day, O me unhappy,

Woe to me and all my household,

For indeed my very sister,

I my mother’s child have outraged!

Woe my father, woe my mother,

Woe to you, my aged parents,

To what purpose have you reared me,

Reared me up to be so wretched!

Far more happy were my fortune,

Had I never been born or nurtured,

Never in the air been strengthened,

Never in this world had entered.

Wrongly I by death was treated,

Nor disease has acted wisely,

That they did not fall upon me,

And when two nights old destroy me.”

40 SEATTLESYMPHONY.ORG

THOMAS DAUSGAARD Conductor

Thomas Dausgaard is

Principal Guest

Conductor and Music

Director Designate

(starting September

2019) of the Seattle

Symphony. He is also

Chief Conductor of the

BBC Scottish Symphony

Orchestra, Chief Conductor of the Swedish

Chamber Orchestra, Honorary Conductor of

the Orchestra della Toscana, and Honorary

Conductor of the Danish National

Symphony Orchestra.

He is renowned for his creativity and

innovative programming, the excitement

of his live performances and his extensive

catalogue of critically acclaimed recordings.

He performs internationally with the world’s

leading orchestras, and is an exponent of

contemporary music, having premiered

works by many living composers.

His over 70 recordings include

complete symphonic cycles by

Beethoven, Schubert, Schumann and

Rued Langgaard. Recent releases with

the Seattle Symphony include Mahler’s

Symphony No. 10 (Deryck Cooke version)

and Nielsen’s Symphonies Nos. 3 and 4.

MARIA MÄNNISTÖ Soprano

Maria Männistö, “one of

the most hauntingly

beautiful voices I have

heard in years,” (Seattle

Times), moves

comfortably among a

wide range of musical

styles to international

acclaim. Specializing in

the technically demanding work of

contemporary composers such as Ligeti,

Scelsi, Schönberg and Berio, Männistö has

premiered works by Wayne Horvitz, Tom

Baker, Garrett Fisher and William O. Smith.

Other recent solo engagements include

Adès’ Life Story with Seattle Symphony at

[untitled], Saariaho’s Leinolaulut with

Philharmonia Northwest, Carmina burana

and excerpts from West Side Story with

Pacific Northwest Ballet, a recital of Finnish

art songs at the Music Instrument Museum in

Brussels, and a performance of her own

compositions at Musiikkitalo concert hall in

Helsinki. A dedicated member of the Finnish

community in Seattle, she serves as the

primary organist at the Finnish Lutheran

Church and performs regularly at local

Nordic festivals and events.

VILMA TIMONEN Kantele

Vilma Timonen is a

versatile musician who

belongs to the new

generation of Kantele

players. She has been a

pioneer in promoting the

Kantele in various artistic

settings. Her extensive

career has taken her to

perform worldwide, including in Japan,

Venezuela, Tanzania, Spain, Germany,

Austria, Italy and Nepal, to name a few. Her

own ensemble Vilma Timonen Quartet

creates an epoch-making musical

arrangement that accentuates strong vocals

and the rich and multifaceted sound of

Kantele. Vilma Timonen has worked

comprehensively in theatre and

contemporary dance productions and finds

interdisciplinary work inspiring and

rewarding. In addition to her artistic career,

Timonen works as a lecturer in Folk Music at

the Sibelius Academy, University of the Arts,

Helsinki and gives instruction in Kantele,

teacher education and improvisation.

Phot

o: S

ini P

enna

nen/

Sini

nenk

uva

BENJAMIN APPLBaritone

Described as “the

current front-runner in

the new generation of

Lieder singers”

(Gramophone

Magazine, UK),

Benjamin Appl,

Gramophone Award

Young Artist of the Year

2016, is celebrated by audiences and critics

in recital, concerts and opera. He was a

member of the BBC New Generation Artist

scheme from 2014–16 and was also a

Wigmore Hall Emerging Artist and ECHO

Rising Star for the 2015–2016 season,

appearing in recital at major European

venues including the Barbican Centre

London, Concertgebouw Amsterdam,

Wiener Konzerthaus, Philharmonie Paris

and Cologne and the Laeiszhalle Hamburg.

He became an exclusive Sony Classical

recording artist in May 2016.

He trained as a chorister at the renowned

Regensburger Domspatzen and

continued his studies at the Hochschule

für Musik und Theater München and

graduated from the Guildhall School

of Music & Drama in London, where

he now teaches German Lieder.

Phot

o cou

rtes

y of L

ars B

orge

s/So

ny C

lass

ical

TIMO ALAKOTILA Harmonium

Timo Alakotila (born 1959) is a Finnish composer and musician who studied composition at the Helsinki Pop & Jazz Conservatory and currently collaborates with the bands JPP, Troka, Nordik Tree, Timo

Alakotila & Johanna Juhola Duo, Maria Kalaniemi band, May Monday, Tango-orkesteri Unto, Pianoilla duo, Psalttamus and T for Three. He has a well-developed method of improvisation of folk music and frequently partners with Jorma Hynninen, Pekka Kuusisto, Meta4 String Quartet and Thomas Dausgaard. Alakotila is a three-time recipient of a five-year grant for composing from the Finnish government. Alakotila has worked on over 200 recordings as a producer, musician, composer or arranger. He teaches at Sibelius-Akatemiassa, Limerick and Newcastle universities, Viljandi kulturkollege and Joensuun and Kokkola conservatories and was named Finland’s Professor of the Arts in 2011 by the Finnish government.

ILKKA KALLIO Runo singer

A native of Oulu, Finland,

Ilkka Kallio grew up

immersed in Finnish folk

culture, music and

storytelling. An avid choir

singer from an early age,

Kallio spent many years

singing with renowned

Finnish choirs Te Deum

and Cassiopeia. He has sung with the Finnish

Choral Society of Seattle since moving to the

area in 2008 and has for many years served

as runo singer for the choir’s annual Kalevala

Festival, a celebration of Finland’s national

epic through music and dance. Kallio has

performed with vocal groups in many of

Finland’s main cathedrals and concert halls,

and recently at Benaroya Hall with local

Scandinavian singers and Philharmonia

Northwest in celebration of 100 years of

Finland’s independence.

encoremediagroup.com/programs 41

JOSEPH CRNKO

Seattle Symphony Associate Conductor for Choral Activities

Joseph Crnko was appointed Associate Conductor for Choral Activities for

the 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.

TenorMatthew BlinstrubJames ClarkeSpencer DavisAnton R. du PreezJacob GarciaJim HowethNeil JohnsonIlkka KallioKevin Kralman*Robert KuchcinskiPatrick Le QuereIan LoneyJames H. LovellAndrew MageeMikko MannistoLucky James MiddaughEd MorrisAlexander OkiJames PhamTheodore PickardVijay RamaniChristopher Reed

Jonathan M. RosoffBert RutgersPeter SchinskeAlan SheafferSpencer SmallM. Scott SpaldingBrian StajkowskiJeremy Paul SwingleSeth WhelanMax Willis

BassJohn AllwrightChristopher BenfieldJay BishopHal BomgardnerAndrew CrossDarrel EdeMorgan ElliottEvan FiguerasCurtis FongerSteven FranzDavid Gary

Ian GwinRaphael HadacKelvin HelmeidRob JonesRonald KnoebelTim KrivanekKC LeeThomas C. LoomisBryan LungGlenn NielsenKen RiceMartin Rothwell*Edward SamChristopher SmithGarrett SmithJim SnyderJoseph ToMichael UyyekMatteus VagaJared WhiteJames Wilkinson

* Principal of Section

42 SEATTLESYMPHONY.ORG

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.

Phot

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en V

anH

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CAPPELLA ROMANA

Its performances “like jeweled light flooding

the space” (Los Angeles Times), Cappella

Romana is a vocal chamber ensemble

dedicated to combining passion with

scholarship in its exploration of the musical

traditions of the Christian East and West,

with emphasis on early and contemporary

music. Founded in 1991, Cappella Romana’s

name refers to the medieval Greek concept

of the Roman oikoumene (inhabited world),

which embraced Rome and Western

Europe, as well as the Byzantine Empire of

Constantinople (“New Rome”) and its Slavic

commonwealth.

Flexible in size and configuration according

to the demands of the repertory, Cappella

Romana is based in the Pacific Northwest,

where it presents annual concert series

in Portland and Seattle. It regularly tours

in Europe and North America, having

appeared at venues including the

Metropolitan Museum of Art, Trinity Wall

Street and Music Before 1800 in New York,

the J. Paul Getty Center in Los Angeles, St.

Paul’s Cathedral in London, the Pontificio

Istituto Orientale in Rome, the Sacred Music

Festival of Patmos, the University of Oxford,

Princeton University and Yale University.

ALEXANDER LINGAS

Cappella Romana Music Director & Founder

Alexander Lingas, music director and

founder of Cappella Romana, is a Reader

in Music at City University London and

a Fellow of the University of Oxford’s

European Humanities Research Centre. He

received his Ph.D. in Historical Musicology

from the University of British Columbia.

His present work embraces not only

historical study but also ethnography

and performance. Formerly Assistant

Professor of Music History at Arizona State

University’s School of Music, Dr. Lingas has

also served as a lecturer and advisor for the

Institute of Orthodox Christian Studies at the

University of Cambridge.

DID YOU KNOW?A robust endowment is the financial foundation of every successful major American orchestra.

When you make a donation to the Endowment your gift is held in perpetuity with annual earnings supporting the Seattle Symphony’s outstanding music and musicians, vital community and education programs, and bold artistic initiatives.

You can donate today or make your gift to the Endowment through your will or estate plans.

To learn more about the Endowment, please contact Becky Kowals at becky.kowals@seattlesymphony.org or 206.215.4852.

ANNUAL FUND OR ENDOWMENT? Annual Fund gifts are essential for maintaining artistic quality and funding the Symphony’s season of concerts. A healthy endowment builds a foundation for the future, helping to maintain a superb and enduring orchestra in our community.

A STRONG ENDOWMENT PROVIDES SECURITY AND RESILIENCE.

Your Gift to the Seattle Symphony Endowment

A SYMPHONY FOR TODAY AND TOMORROW

Robert Schumann (1810–56), amid a lifelong struggle to maintain his mental health, reached a particularly low point in 1844, when he experienced debilitating symptoms of insomnia, phobias, exhaustion, paranoia and auditory hallucinations. As he emerged, he found that the flow of music that had once come so naturally could no longer be taken for granted. He later wrote in a diary, “I used to compose almost all of my shorter pieces in the heat of inspiration. … Only from the year 1845 onwards, when I started to work out everything in my head, did a completely new manner of composing begin to develop.”

Schumann was back in peak form by 1847, when he composed two piano trios that demonstrated the renewed rigor and cohesion of his craft. One key was his embrace of counterpoint, inspired by a detailed study of the music of J.S. Bach. A prime example comes at the start of the Piano Trio No. 1 in D minor; instead of placing the violin’s theme over a subservient accompaniment, the piano’s left hand contributes an equally important bass line, and the cello fills in the middle range with its own counter-line. Still, this new approach did not neutralize that poetic aspect of Schumann, the quality that fueled his hundreds of songs and instrumental miniatures. One particularly sublime moment comes in the first movement’s development section, when the strings play delicate strands of melody near the bridge, creating a quiet, glassy sound.

Another source of inspiration for Schumann was the piano trio in the same key composed eight years earlier by his friend Felix Mendelssohn. Schumann’s lively second movement dances with a sturdier gait than Mendelssohn’s tiptoeing Scherzo, but each serves as a joyful diversion within an otherwise profound trio.

Yet one more undeniable influence on Schumann was his wife, Clara, the piano virtuoso who wrote her own splendid Piano Trio in G minor a year before Robert took up the genre. The third movement, to be played “Slowly, with intimate feeling,” attests to the sensitive and openhearted artistry that Schumann explored within one of music’s sweetest partnerships.

The finale’s tempo marking is “With fire,” and it only burns hotter as the closing coda gradually accelerates. The careful interweaving of contrapuntal voices, a

PROGRAM NOTES

44 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.

ILLSLEY BALL NORDSTROM RECITAL HALL

FRIDAY, JUNE 1, 2018, AT 8PM

BRAHMS & SCHUMANNCHAMBER SERIES

Benjamin Lulich, clarinet

Natasha Bazhanov, violin

Mae Lin, violin

Artur Girsky, violin

Cordula Merks, violin

Susan Gulkis Assadi, viola

Efe Baltacıgil, cello

Meeka Quan DiLorenzo, cello

Eric Han, cello

Jessica Choe, piano

ROBERT SCHUMANN Piano Trio No. 1 in D minor, Op. 63 30’ Mit Energie und Leidenschaft Lebhaft, doch nicht zu rasch Langsam, mit inniger Empfindung— Bewegter—Tempo I— Mit Feuer—Nach und nach schneller

MAE LIN, VIOLIN

ERIC HAN, CELLO

JESSICA CHOE, PIANO

CLAUDE DEBUSSY Piano Trio in G major 23’ Andantino con molto allegro Scherzo—Intermezzo Andante espressivo Finale: Appassionato

CORDULA MERKS, VIOLIN

EFE BALTACIGIL, CELLO

JESSICA CHOE, PIANO

INTERMISSION

JOHANNES BRAHMS Clarinet Quintet in B minor, Op. 115 37’ Allegro Adagio—Più lento Andantino—Presto non assai, ma con sentiment Con moto

BENJAMIN LULICH, CLARINET

ARTUR GIRSKY, VIOLIN

NATASHA BAZHANOV, VIOLIN

SUSAN GULKIS ASSADI, VIOLA

MEEKA QUAN DILORENZO, CELLO

Musicians’ biographies may be found at seattlesymphony.org.

hallmark of this trio from its first notes, continues all the way to the final cadence.

As a student at the Paris Conservatoire, Claude Debussy (1862–1918) fell short of the benchmarks that would have set him on the path of a virtuoso concert pianist, but his keen ear and knack for harmony helped him pivot to his new interest in composition. One of his earliest surviving works is the Piano Trio in G major that he composed as an eighteen-year-old while working quite a remarkable summer job: He joined Nadezhda von Meck, the Russian patron and confidante of Tchaikovsky, during her summer travels through Europe. In one of several letters to Tchaikovsky describing her “little Frenchman,” she explained, “He is such a good partner for four-hand playing; he reads music wonderfully, and I am constantly playing new things — new to him also — this talent is particularly valuable.” Their readings of Tchaikovsky’s music (including his brand new Fourth Symphony) and other Russian composers exposed Debussy to a vital new world of sound, augmenting his conservatory training that favored mainstream French techniques.

When a Russian cellist joined the von Mecks at their villa in the hills above Florence, Debussy had an opportunity to read through a number of piano trios, and also to try his hand at composing one himself. This early manuscript languished in archives for more than a century, and it was not until the 1980s that scholars pieced it back together from a cello part in one collection and a partial score in another.

Will a devotee of Debussy recognize his distinctive voice in this fledgling effort? Probably not. And yet it’s heartening to know that even Debussy, who went on to be one of music’s most radical innovators, had to learn his craft by imitating his heroes, just like everyone else. This pleasing salon music adopts the sentimental, songlike phrases of Jules Massenet, and its formal construction leans on the chamber music foundations laid by César Franck.

In 1890, and again in 1894, Johannes Brahms (1833–97) announced his retirement from composition. Both times, he returned to create more music for one particular performer: clarinetist Richard Mühlfeld, from the court orchestra in Meiningen, Germany. After hearing

Mühlfeld play in 1891, Brahms composed for the first time in a year, crafting both the Clarinet Trio (Op. 114) and the Clarinet Quintet (Op. 115) during his summer holiday in an Austrian spa town. Mühlfeld premiered both works that winter, joined by the string quartet led by Brahms’ longtime friend Joseph Joachim.

Brahms’ model for the Clarinet Quintet was a work that Mozart composed for the same ensemble in 1789. (As with Brahms, Mozart’s inspiration was personal; he wrote the quintet and a later concerto for his close friend Anton Stadler.) It may just be coincidence that these two composers gravitated toward the clarinet in their final years, but it is hard not to project some amount of wistful, nostalgic autobiography onto their autumnal masterpieces.

There is indeed a bittersweet quality to Brahms’ Clarinet Quintet, much of it generated by the continual pull of the listener’s expectations between major and minor tonalities. The first movement begins with sweetness, as the violins twine together in thirds; at this point, the ear perceives the key as D major. Almost a minute passes before the harmony lands with any real force on the actual home key of B minor, and soon enough it leaves again for D major, the setting of the secondary theme. Those two keys are flip sides of the same coin, sharing all the same scale tones, and the movement continually flips that coin such that we bounce from the hopefulness of the major key to the heaviness of the minor. This conflict continues throughout the quintet, like when the slow movement in the key of B major drops into a contrasting passage in B minor tinged with Gypsy flair. The reverse transpires in the theme-and-variations finale, which dangles a possible resolution in B major before arriving definitively in B minor.

© 2018 Aaron Grad

Artists from

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PROGRAM NOTES

encoremediagroup.com/programs 45

SEATTLE SYMPHONY DONORSPRINCIPAL BENEFACTORS

The Seattle Symphony acknowledges with gratitude the following donors who have made lifetime commitments of more than $1 million as of March 28, 2018.

4CultureDr.* and Mrs.* Ellsworth C. Alvord, Jr.Andrew W. Mellon FoundationArtsFundArtsWABeethoven, A Non Profit Corporation/

Classical KING FM 98.1Alan BenaroyaSherry and Larry BenaroyaThe Benaroya FamilyBill & Melinda Gates FoundationThe Boeing CompanyC.E. Stuart Charitable FundCharles Simonyi Fund for Arts and SciencesLeslie and Dale ChihulyThe Clowes Fund, Inc.Priscilla Bullitt Collins*Jane* and David R. DavisDelta Air LinesEstate of Marjorie EdrisJudith A. Fong and Mark WheelerThe Ford FoundationDave and Amy FultonWilliam and Melinda GatesLyn and Gerald GrinsteinLenore HanauerDavid J. and Shelley HovindIllsley Ball Nordstrom FoundationKreielsheimer FoundationThe Kresge FoundationMarks Family FoundationBruce and Jeanne McNaeMicrosoft CorporationMicrosoft Matching Gifts ProgramM.J. Murdock Charitable TrustNational Endowment for the ArtsNesholm Family FoundationThe Norcliffe FoundationPONCHOJames and Sherry RaisbeckEstate of Gladys RubinsteinGladys* and Sam* RubinsteinS. Mark Taper FoundationJeff and Lara SandersonSeattle Office of Arts & CultureSeattle Symphony FoundationSeattle Symphony Women’s AssociationLeonard* and Patricia ShapiroSamuel* and Althea* StroumDr. Robert WallaceThe Wallace FoundationJoan S. Watjen, in memory of Craig M. WatjenVirginia and Bagley* WrightAnonymous (5)

GUEST ARTISTS CIRCLE

The following donors have generously underwritten the appearances of guest artists this season.

Bob and Clodagh AshDr. Susan Detweiler, in memory of

Dr. Alexander ClowesJudith A. Fong and Mark WheelerJeremy GriffinIlene and Elwood HertzogNader and Oraib KabbaniDana and Ned LairdPaul Leach and Susan WinokurNesholm Family FoundationSheila B. Noonan and Peter M. HartleyJames and Sherry RaisbeckEric and Margaret RothchildGrant and Dorrit SaviersCharles and Maria SchweizerMel and Leena SturmanAtsuhiko and Ina Goodwin Tateuchi FoundationMuriel van Housen and Tom McQuaidStephen WhyteAnonymous

PRINCIPAL MUSICIANS CIRCLE

The following donors have generously underwritten the appearances of principal musicians this season.

Thomas and Susan BohnSue and Robert CollettJohn Delo and Elizabeth StokesPatricia and Jon RosenAnonymous

SYMPHONY MUSICIANS CIRCLE

The following donors have generously sponsored a section musician this season.

Dr. Mark and Laure CarlsonStephen Elop and Susan JohannsenJan and Brit EtzoldAndrew and Molly GabelTerry Hecker and Dan SavageNancy Neraas and Michael KingThe Nakajima FamilyCookie and Ken NeilMelvyn* and Rosalind PollDana Reid and Larry HitchonNorm and Elisabeth Sandler/The Sandler FoundationSelena and Steve WilsonAnonymous

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 March 28, 2018. If you have any questions or would like information about supporting the Seattle Symphony, please visit us online at seattlesymphony.org/give or contact Donor Relations at 206.215.4832.

Supporters fulfill our mission of bringing people together and lifting the human spirit through the power of music. Thank you!

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Anonymous (2)

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Douglas* and Theiline ScheumannElizabeth and Justus SchlichtingAnonymous (4)

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Kjristine R. Lund ° 5

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Isiaah Crawford °

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Andrew and Molly Gabel °Katie and Jason GarmsNatalie Gendler15

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Ron Koo and Lisa Olmos de Koo °Steve Kutz and Courtney Womack ° 10

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Cookie and Ken Neil °Erika J. NesholmSally and Bill NeukomGary and Susan Neumann15

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Susan Y. Buske ∞ 5

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Jacqueline B. Coffroth Fund of the Sacramento Region Community Foundation

Rosalie Contreras and David Trenchard + 10

David B. Cross 5

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Dayna and Majdi DaherCarl de Marcken and Marina MeilaBrooke Benaroya DicksonAileen Dong 5

Liz and Miles Drake 10

Judith Z. Feigin and Colin Faulkner 5

David and Dorothy Fluke ^15

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Jack Freelander 5

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D. Wayne* and Anne E. GittingerPhyllis GoldenGlen and Ann HinerDick and Nora Hinton 5

Bob Hoelzen and Marlene Botter 5

Don and Connie IrvingJNC Fund 5

Jeanne Kanach 5

Joan KrajewskiDr. Ryo and Kanori Kubota °Kathleen Leahy 10

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Frank and Judith Marshall FoundationChris H. MartinCarolyn R. Miller15

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Susan and Furman Moseley 5

Robert MoserMika Nakamura and Gary Wood 5

Akino and Bill NeubauerJarick and Tim NoonanBruce and Jeannie NordstromMark and Sally OnettoMr. and Mrs. Charles M. Pigott15

Dr. and Mrs. Richard D. Prince15

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Charitable FoundationSuzanne and Walter Scott FoundationNoreen and Kabir ShahaniJan and Peter ShapiroYuka ShimizuFrank and Harriet* Shrontz15

Klara and Larry Silverstein

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Cynthia StroumSympaticosS. Vadman 5

Gary and Karla Waterman ^ 5

Ronald and Devorah WeinsteinLaurie and Allan Wenzel 5

Stephen and Marcia Williams 5

Rosalind Horder WilliamsKenneth and Rosemary WillmanSimon Woods and Karin Brookes 5

Woodworth, Charleson Charitable FundBarbara and Richard Wortley 5

Marcia and Klaus ZechAnonymous (4)

Bronze ($3,500 - $4,999)

John and Andrea AdamsAFCO & Sons, LLCIgnacio Alvarado-Cummings ∞Kendall and Sonia Baker 5

Tracy L. Baker15

Tom Barghausen and Sandy BaileyDr. and Mrs. Ronald J. Beck 5

Dr. Melvin Belding and Dr. Kate Brostoff ∞ 5

Janice BerlinRebecca Galt Black15

Zane and Celie Brown 10

Steven Bush and Christine ChangApril Cameron 10

Joshua D. ClossonMr. and Mrs. Tony CockburnCogan Family Foundation 10

Samuel and Helen Colombo15

Donald and Ann Connolly 5

Beryl and Nick CrossleyJames and Barbara Crutcher 5

Dr. Bob Day* 5

Dr. Stella DesyatnikovaCindy DobrowJim and Gaylee Duncan 5

Charles Engelke and Laurie WhiteAndrew Faulhaber 5

Gerard FischerDoris H. Gaudette15

Erica L. GomezMichele and Bob Goodmark 5

Douglas GradyTed and Sandy Greenlee15

William Haines15

Barbara Hannah and Ellen-Marie Rystrom15

Jane Hargraft and Elly Winer ∞ + 5

Michèle and Dan Heidt 5

Deena J. HenkinsRobert and Eileen Hershberg ∞ 5

Moira Holley and Scott WasnerThomas Horsley and Cheri Brennan 5

Joni, Scott, and Aedan Humphreys ∞Richard and Roberta Hyman ∞ 5

Robert C. JenkinsCharles and Joan Johnson15

James and Sirkku JohnsonMichael A. Klein and Catherine A. Melfi 5

Ms. Maritta KoAlbert and Elizabeth Kobayashi15

Thomas and Kathleen KoepsellLisa Ann Mikulencak and Bernhard KohlmeierDrs. Kotoku and Sumiko Kurachi 5

Tatyana KutsyAfshan LakhaEugene and Martha LeeSteve Lewis15

Mark Linsey and Janis TravenRichard* and Beverly Luce15

Diena Lukawski and Russ MannBryan Lung 5

Rebecca and Laird MalamedMichael and Barbara Malone 5

Mary Ann and Ted MandelkornJudsen Marquardt and Constance Niva 5

Ken* and Robin Martin ^

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SEATTLE SYMPHONY DONORSDavid MattsonBill and Colleen McAleer15

Brooke and Dre McKinney-RatliffJoy McNichols15

Justine and John Milberg 5

Drs. Pamela and Donald Mitchell15

Laina and Egon Molbak15

Eric Noreen and Suzi Hill 5

Lourdes M. OriveBrian Pao and Susan LeuChip RagenJason Reuer 5

E. Paul and Gayle Robbins 5

Richard and Bonnie RobbinsChuck and Annette Robinson 10

John Robinson and Maya Sonenberg15

Helen and Ivan Rouzanov 5

James T. and Barbara RussellDr. and Mrs. Werner E. Samson ∞ 5

Susan Schroeter-Stokes and Robert Stokes 5

Jeffrey C. ShermanAnne Shinoda-MettlerEvelyn Simpson15

Nepier Smith and Joan Affleck-Smith 5

Margaret W. Spangler15

Sonia Spear15

Craig and Sheila SternbergIsabel and Herb Stusser 10

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

John and Fran Weiss15

Judith A. Whetzel 5

Wayne Wisehart 5

Jeff Wood and Diane SummerhaysKeith Yedlin 5

Robert and Eileen Zube 5

Anonymous (3)

Conductors Club ($2,000 - $3,499)

Bill and Janette Adamucci 5

Robert and Ali AlexanderHarriet and Dan Alexander 5

Drs. Linda and Arthur Anderson ∞ 5

Carlton and Grace Anderson 5

Larry Harris and Betty Azar15

Dr. Larry and DeAnne BaerCharlie Barbour and Diana Lynn Kruis 5

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Patty and Jimmy BarrierCapt. and Mrs. Paul Bloch 10

Hal and Anne Bomgardner 5

William and Beatrice BoothBob and Bobbi Bridge 5

Alexandra Brookshire and Bert Green ^Claire and Aaron BurnettFrank and Phyllis Byrdwell ^Sherry and Bruce CarbaryJanitta and Bob CarithersVicente Cartas EspinelCecily CarverJonathan Caves and

Patricia Blaise-Caves 5

Patrick Chinn and Angela RedmanJeffrey ChristiansonGakyung ChungRobert E. Clapp ∞ 5

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Carol B. Goddard15

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Anonymous (14)

Musicians Club ($1,000 - $1,999)

Jennifer and Kurt Adair +Nance and Steve Adler ∞ 5

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Amira El BastawissiDr. and Mrs. John BaldwinDr. and Mrs. Terrence J. Ball 5

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Mr. and Mrs. Frank ConlonRay ConnerHerb and Kathe Cook 5

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Charlie DunnRenee Duprel ∞ +Maria Durham and Viva la Música Club15

Jeff Eby and Zart Dombourian-Eby 5

Mr. Scott Eby ∞ 5

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Bill and Joy Goodenough15

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Maridee Gregory ∞ 5

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Patricia Hackett and Mark HoutchensMegan Hall and James Janning ∞ + 5

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John McGarry and Michelle WernliDiane and Scott McGeeHeather and Mike McKayKaren and Rick McMichael ∞15

Dr. and Mrs. James F. McNabMary McWilliams 10

Jerry MehargDavid MeinertKaren and James MhyreMary Mikkelsen15

Dr. Stewart MillerLaurie Minsk and Jerry DunietzChie Mitsui ∞Charles Montange and

Kathleen Patterson15

James Monteith and Marita Caya 5

Alex and Nayla MorcosMary and Alan MorganChristine B. Moss15

Kevin Murphy15

Marcia MurrayMr. and Mrs. J. P. Naughton15

Paul Neal and Steven Hamilton ∞ 5

Kirsten Nesholm 5

Olin NicholsMark NickersonPaul and Linda Niebanck 5

Linda NordbergKen and Pearl NoreenLise ObelingRena and Kevin O’BrienMary OdermatLeslie and Kenneth OjaDouglas and Alida OlesMr. and Mrs. Thomas OlsonGordon OriansLeo Ortiz and Adriana AguirreThomas and Cynthia Ostermann 10

Richard and Peggy OstranderMeg Owen 5

John PaloDavid and Gina Pankowski 5

Christopher ParkerRichard and Sally Parks 5

Margaret Paul and Paul J. Johansen15

Mary and Kerry PersonPerspectives of New MusicLisa Peters and James HattoriRosemary PetersonDon and Sue Phillips 5

Derek and Anna PierceValerie and Stanley PihaAndrey PopovRuth Ann and Jim PowersLori and Bill PriceJo-Anne D. PriebeAlexander PriorLlewelyn G. and Joan Ashby Pritchard ^15

Lucy and Herb Pruzan 5

Ann Ramsay-JenkinsPaul and Bonnie RamseyMary C. Ransdell and Keith B. WongWendy and Murray Raskind 10

Christopher and Lila RaylReverend Kerry and Robin Reese 10

Cecilia Paul and Harry Reinert 10

Kristi Rennebohm-Franz ∞Hollace and James RhodesJean A. Rhodes 5

Valerie RiceFred Richard15

John Richardson II 5

Jennifer RidewoodMr. and Mrs. Charles Riley 5

Deborah and Andrew Rimkus 5

Melissa RivelloMelissa and Manuel RiveloDr. and Mrs. Tom Robertson 5

David RobinsonMs. Jean C. Robinson 5

Eric RobisonJack Rodman and Koh ShimizuDina RohmStan and Michele RosenDr. Len and Gretchen Jane Rosoff 5

Michelle and Jerry RubinDon and Toni Rupchock15

David Sabee and Patricia Isacson Sabee

Sarah and Shahram SalemyMatthew SalisburyJohn and Margaret SandersSara Delano Redmond FundThomas and Collette SchickArt Schneider and Kim Street 5

Judith Schoenecker and Christopher L. Myers 10

Steve Schroeder and Cheryl BeighlePatrick and Dianne SchultheisNancy and James Schultz + 5

Janet Sears ∞15

Virginia Senear15

Dr. Anita Shaffer 5

Julie ShanklandJulie and Don ShawLinda Sheely ∞15

Charles Shipley15

Jon and Kim ShirleyTodd Shively and Christopher WoodsDr. Charles Simrell and Deborah Giles15

Jill SinghRandip SinghConnie SmithStephen and Susan Smith 5

Michele Souligny ∞Fawn and Jim SpadyKathleen and Robert Spitzer 5

Doug and Katie Sprugel 5

Susan Yates StephensSteve and Sandy Hill Family Fund at the

Seattle Foundation ^15

Diane Stevens 5

Michelle StraussTon Swan and Kayley Runstad SwanDavid Tan and Sherilyn Anderson-TanPriscilla and Theodore TanaseChee Wei TangMargaret Taylor and Robert Elliott 5

Bob and Mimi Terwilliger 10

John and Eleanor ToewsPeter Chuang and Elaine Tsai 5

Kenneth TschritterWarren and Nancy TuckerDr. and Mrs. H. B. Tukey15

Lorna TumwebazeDolores Uhlman15

Sami Uotila and Tuula RytilaJanice and Neill UranoMr. Leo van Dorp 5

Jan van Horn ∞Gretchen Van Meter15

Johanna P. VanStempvoort ∞15

Karoline VassTara and John VerburgDonald J. Verfurth 5

Doug* and Maggie Walker 10

Stephanie WallachConnie Wang and Zachary PollackLois WaplingtonDebra Ward ∞Judith F. Warshal and Wade SowersJohn Watson 5

Eugene and Marilyn Webb 5

Jonathan WeintraubGreg Wetzel 5

Charles WheelerAmy and Jeff WilcoxMitch Wilk 5

Elizabeth and Troy WormsbeckerCarol WrightTalia Silveri WrightMichael and Gail YanneyMindy YardyLee and Barbara Yates15

Mr. Rocky YehAnonymous (27)

5 5 years of consecutive giving10 10 years of consecutive giving15 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 friends@seattlesymphony.org 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 April 1, 2017 and March 28, 2018. Please contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org if you would like to recognize someone in a future edition of Encore.

1201 Third Avenue Parking Garage, byCharles Montange and Kathleen

Patterson

Bob Ash, byJeff Eby and Zart Dombourian-EbySue and Thomas Raschella

Susan and Armin Baumgartel, byZanne and Ian GerrardErica Peterson

Bill Beery, byMadeline Beery

Steve Bush and Christine Chang, byClarius Group

T.J. Callahan, byTim Callahan

The Cello Section, byBetty Graham

Dale and Leslie Chihuly, byApril and René AncinasBrookshire Green FoundationSusan BrotmanLiz Chambers and Jim JohnsonHighland Street FoundationMarks Family FoundationLinda and Gerald NordbergJane and Joel ScottLinda StevensBarbara and Donald Tober

Elaine Cho, bySamuel Plott

Terry Clark, byLara Clark

Samuel Clarke, byDavid Gaglione

Marianne Cole, byMitzi Cieslak

Rosalie Contreras, byRobert Haeger

Dr. David Davis, byCarissa Hussong

SEATTLE SYMPHONY DONORS

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SEATTLE SYMPHONY DONORSSamantha DeLuna and Jesse Bearden, byJennifer LeeJordan LouieBrandon Patoc

Dr. Geoffrey Deschenes and Dr. Meredith Broderick, by

Kathleen Deschenes

Raemarie Duclos, byFrancis Powers*

Maria Durham and Viva la Música Club, byAngela HenrickNorm HollingsheadGloria Ortiz and Pedro TrujilloJorge E. RestrepoNicolle Durham Rey

Steve Frank, byPat and Jon Rosen

Janice Gerth, byRobert Gerth

Sam Glatstein, byBenjamin Glatstein

Nancy Paige Griffin, byMichael Schick and Katherine Hanson

David Haggerty, byMarc Stiles

Lenore Hanauer, byPenelope Burke

Dr. James Hanson, byJeanette Hanson

Mary Henderson, byLinda Werner

Mr. and Mrs. Glen Hiner, byEugene Leibowitz

The Horn Section, byCarl de Marcken and Marina Meila

Virginia Hunt-Luce, byThomas Luce

Linda Jones, byRochelle Morrissey

Jean and Roger Leed, byJohn Burg

Pierre and Felice Loebel, byMarilyn LaytonConstance and Larry Martin

Diena Lukawski, byRuss Mann

Marcia Mason, byKathleen and Eric Ottum

Reid and Marilyn Morgan, byIlene and Elwood Hertzog

Ludovic Morlot, byMartine and Dan DrackettJay Hereford and Margaret Winsor

Laurel Nesholm, byMoya Vazquez

Llewelyn Pritchard, byCarol and Thomas OlsonPat and Jon Rosen

W. David Rambo, byTrenton Rambo

Stella Rolph, bySimone Spiess

Pat Rosen, byMina Miller and David Sabritt

Norman and Elisabeth Sandler, byStephanie and Michael Beers

Virgina Senear, byKelly Schmidt

T.E. and Peggy Spencer, byJohn and Nancy McConnell

Rachel Swerdlow, Walter Gray, and Paul Rafanelli, by

Mark Linsey and Janis TravenJanice and Neill Urano

Donald Thulean, byGerard Fischer

Toshio Uno, byAnthony Uno

Ralph Wedgwood, byJ. Mary and Alan Morgan

Stephen Whyte, byMark Schletty and Jan Laskey

James and Mary Lou Wickwire, byMelissa and David Wickwire

Simon Woods, byLeslie and Dale ChihulySenator and Mrs. Daniel J. Evans Dana and Ned LairdLaurel and John NesholmLlewelyn and Jonie PritchardPat and Jon RosenMr. Anthony Uno

MEMORIAL GIFTS

Gifts were made to the Seattle Symphony to remember those listed below between April 1, 2017 and March 28, 2018. For information on remembering a friend or loved one through a memorial gift, please contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org.

Nancy Alvord, byDr. Diana BehlerLaurel and John NesholmLlewelyn G. and Joan Ashby Pritchard

Joseph and Carol Andrews, byRobin and Zev Siegl

Rose and Richard Bender, byAlan Cordova

Beatrice and Arlene Berlin, byJanice Berlin

Grandma Bosma, byAndrew Emory

Bob Bradbury, byJane Ann BradburyLouAnne Shelton

Richard M. Campbell, byAlison AndrewsJoyce FranichEugene and Sue JohnEdna KelsoJanet W. KetchamMary Langholz

Debra and Gary LarsonErika LimJohn MarshallLlewelyn G. and Joan Ashby PritchardRandy Robinson and Jane HadleyFred SimonsCarole Tingstad

Arthur Caputi, Jr., byMarti Caputi

Kathryn G. Cavin, byJames Cavin

Frederic Chopin, byXiaoxia Zhou

Kent Coleman, byJan Coleman

Charles Crane, byMuriel Martin

Jane Davis, byClodagh and Robert AshLaurel and John NesholmLlewelyn G. and Joan Ashby Pritchard

Lucy J. Ding, byPaula Ding

Beulah Frankel, byGinny Gensler

Shirley H. Fuller, byMarise and Randy Person

Barbara Bye Goesling, byLlewelyn G. and Joan Ashby Pritchard

Allan Granquist, bySteven Lundholm

Martin Greenfield, byPat and Jon Rosen

Sarah Hamilton, byBarbara and Charles Jennings

Frederick Hayes, bySue and Robert Collett

David Howe, byMary HoweRichard HoweJane QualiaChristopher Weeks

Gretchen Hull, byAnonymous

Susan Kane, byHannah and Sarah Kane

Milton Katims, byPamela and Patrick Steele

Laurence Lang, byRosalie Lang

Isaac Michael Levin, bySophie-Shifra Gold

Richard Lundquist, byJinja Yutzy

Kenneth Martin, byBoy Scout Troop 80Leslie and Dale ChihulyGlen and Ann HinerLlewelyn G. and Joan Ashby PritchardFrancis SzatanekPenny Zaleta

Kenneth A. Moore Jr., byRenate and David Stage

Melvyn Poll, byFriends of Abbott ConstructionJanet AbramsAsma AhmedAsh Family FoundationLarry and Sherry BenaroyaMaureen and Joel BenolielLisa BergmanCarolyn BurnettEveryone at Cactus RestaurantBarbara Calvo and Al BenolielDale and Leslie ChihulyJoan and Frank ConlonMaryann CrisseySandra and Gary EtlingerTimotha and Charles FreedenbergSharon FrielMarlene and Jon FusonLaurie GriffithJane Hargraft and Elly WinerDavid and Sharron HartmanDelney and Andrew HilenNed and Kristen LumpkinCarolee and Tom MathersMarilyn McManusStewart MillerLinda NordbergJack NormanPatricia OyeWilliam PollAnn PrydePat and Jon RosenMilicent SavageSRG Partnership, IncCarlyn SteinerLeena and Mel SturmanDiane and Dennis WarshalWyman Youth TrustBarbara and Jonathan Zweig

Frank Powers, byRichard Andler and Carole RushDr. Kennan H. HollingsworthIsa NelsonRuth Ann and Jim PowersShawn PowersSeattle Symphony VolunteersVirginia SenearNancy Tracy

Elaine Raines, byCindy ChangLinda and Randy EbbersonLaurel KalinaSheila LukehartKaren and Randall NelsonSheri SharpKatherine and Douglas SprugelCarole Wilson

Jean Robbins, byNancy KylerAlice LaitnerGiovina Da Sessions

Carole Sanford, byHorizon House Supported Living

Langdon Simmons, byLlewelyn and Jonie Pritchard

Donald Strong, byMary Anne Strong

Lois Timlin, byMargaret and Mark Van Gasken

Kathleen Trier, byHorizon House Supported Living

50 SEATTLESYMPHONY.ORG

B. K. Walton, byPenelope Yonge

Ralph Wedgewood, byThomas Chatriand and Cindy GustafsonHorizon House Supported Living Jane KippenhanMichael Vargas

Brian Weiss, bySue EriksenDina JacobsonLars Sorensen

Janice T. Whittaker, byJody 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 AndrewsHarriet C. Barrett TrustBarbara and Lucile CalefRobert E. and Jeanne CampbellCharles Robb ChadwickPhyllis B. ClarkFrances L. CondieTrudel DeanCarmen DeloNancy Lee DickersonSherry FisherJane B. FolkrodLenore Ward ForbesMarion O. GarrisonElizabeth C. GiblinMerle P. Griff and Nadine Griff MackHelen and Max GurvichCarol Hahn-OliverSarah C. HamiltonAllan and Nenette HarveyYveline HarveyAnne Marie HaugenSusanne F. HubbachGretchen and Lyman HullBetty L. KupersmithE. Marian LackovichAnna L. LawrenceArlyne LoackerFred J. LorenzOlga M. McEwingJean and Peter J. McTavishNorman D. MillerNuckols-Keefe Family FoundationBeatrice OlsonCarl A. RotterJohn C. RottlerDorothy Faye ScholzAllen E. SenearAmy SidellPhillip SothDr. Joseph S. SpinolaMorton StellingSamuel and Althea StroumIda L. Warren

$5 Million +

The Benaroya FamilyCharles Simonyi Fund for Arts and SciencesAnonymous

$1,000,000 - $4,999,999

Leslie and Dale ChihulyThe Clowes Fund, Inc.Priscilla Bullitt Collins*Judith A. FongThe Ford FoundationDave and Amy FultonKreielsheimer FoundationMarks Family FoundationEstate of Gladys and Sam RubinsteinSamuel* and Althea* StroumDr. Robert Wallace

$500,000 - $999,999

Alex Walker III Charitable Lead TrustMrs. John M. Fluke, Sr.*Douglas F. KingEstate of Ann W. LawrenceThe Norcliffe FoundationEstate of Mark Charles PabenJames D. and Sherry L. Raisbeck FoundationJoan S. Watjen, in memory of Craig M. Watjen

$100,000 - $499,999

Estate of Glenn H. AndersonAndrew W. Mellon FoundationBob and Clodagh AshDrs. Janet P. and George* BeckmannAlan BenaroyaEstate of C. Keith BirkenfeldMrs. Rie Bloomfield*The Boeing CompanyC.E. Stuart Charitable FundSue and Robert CollettRichard* and Bridget CooleyDr. Susan Detweiler and Dr. Alexander Clowes*Mildred King DunnE. K. and Lillian F. Bishop FoundationEstate of Clairmont L. and Evelyn EgtvedtEstate of Ruth S. EllerbeckSenator and Mrs. Daniel J. EvansFluke Capital ManagementEstate of Dr. Eloise R. GiblettAgnes GundHelen* and Max* GurvichEstate of Mrs. James F. HodgesEstate of Ruth H. HoffmanEstate of Virginia IversonEstate of Peggy Anne JacobssonRobert C. JenkinsEstate of Charlotte M. MaloneBruce and Jolene McCawBruce and Jeanne McNaeMicrosoft CorporationNational Endowment for the ArtsNorthwest FoundationEstate of Helen A. OvertonPeach FoundationEstate of Elsbeth PfeifferEstate of Elizabeth RichardsJon and Judy RunstadEstate of Joanne M. SchumacherWeyerhaeuser CompanyThe William Randolph Hearst FoundationsEstate of Helen L. YeakelEstate of Victoria ZablockiAnonymous (3)

$50,000 - $99,999

Dr.* and Mrs.* Ellsworth C. Alvord, Jr.Estate of Mrs. Louis Brechemin

Estate of Edward S. BrignallFrances O. Delaney*John and Carmen* DeloEstate of Lenore Ward ForbesEstate of George A. FranzJean GardnerEstate of Mr. and Mrs. Irvin GattikerAnne Gould Hauberg*Richard and Elizabeth HedreenEstate of William K. and Edith A. HolmesEstate of Susanne F. HubbachJohn Graham FoundationMr. and Mrs. Stanley P. JonesEstate of Betty L. KupersmithJohn and Cookie* LaughlinE. Thomas McFarlanEstate of Alice M. MuenchNesholm Family FoundationEstate of Opal J. OrrM. C. Pigott FamilyPONCHOEstate of Mrs. Marietta PriebeMr. and Mrs. Paul R. SmithEstate of Frankie L. WakefieldEstate of Marion J. WallerWashington MutualAnonymous

$25,000 - $49,999

Edward and Pam AvedisianEstate of Bernice BakerThe Boeing CompanyEstate of Ruth E. BurgessEstate of Barbara and Lucile CalefMrs. Maxwell CarlsonAlberta Corkery*Norma Durst*Estate of Margret L. DuttonEstate of Floreen EastmanHugh S. Ferguson*Mrs. Paul Friedlander*Adele GolubPatty HallThomas P. HarvilleHarold Heath*George Heidorn and Margaret Rothschild*Phyllis and Bob* HenigsonMichael and Jeannie HerrCharles E. Higbee, MD and Donald D. Benedict*Mr. and Mrs. L. R. HornbeckJNC FundSonia Johnson*The Keith and Kathleen Hallman FundDavid and Karen KratterEstate of Marlin Dale LehrmanEstate of Coe and Dorothy MaloneEstate of Jack W. McCoyEstate of Robert B. McNettEstate of Jean and Peter J. McTavishEstate of Shirley Callison MinerPACCAR FoundationMr. and Mrs. W. H. PurdyEstate of Elizabeth ParkeSue and Tom RaschellaKeith and Patricia RiffleRita* and Herb* Rosen and the Rosen FamilySeafirst BankSecurity Pacific BankJerry and Jody SchwarzSeattle Symphony Women’s AssociationPatricia Tall-Takacs and Gary TakacsU S WEST CommunicationsEstate of Dr. and Mrs. Wade VolwilerEstate of Marion G. WeinthalEstate of Ethel WoodAnonymous (2)

* In Memoriam

SEATTLE SYMPHONY ENDOWMENT FUNDThe Seattle Symphony is grateful to the following donors who have made commitments of $25,000 or more to the Endowment Fund since its inception. The following list is current as of March 28, 2018. For information on endowment gifts and naming opportunities in Benaroya Hall, please contact Becky Kowals at 206.215.4852 or becky.kowals@seattlesymphony.org.

SEATTLE SYMPHONY DONORS

encoremediagroup.com/programs 51

MUSICAL LEGACY SOCIETYThe 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 becky.kowals@seattlesymphony.org. The following list is current as of March 28, 2018.

Charles M. and Barbara Clanton AckermanJoan P. AlgarinKathleen AmbergRichard Andler and Carole RushRon ArmstrongElma ArndtBob and Clodagh AshSusan A. AustinRosalee BallDavid W. BarkerDonna M. BarnesCarol BatchelderDrs. Janet P. and George* BeckmannAlan BenaroyaRebecca BenaroyaDonald/Sharon Bidwell Living TrustDona BiermannBob* and Jane Ann BradburyRosemary and Kent BrauningerSylvia and Steve BurgesDr. Simpson* and Dr. Margaret BurkeDr. William and Mrs. Mary Ann ChampionSue and Robert CollettDr. Marshall Corson and Mrs. Lauren RikerBetsey Curran and Jonathan KingFrank and Dolores DeanRobin Dearling and Gary AckermanLorraine Del Prado and Thomas DonohueJohn DeloDr. Susan Detweiler and Dr. Alexander Clowes*Fred and Adele DrummondMildred King DunnRenee DuprelSandra W. DyerAnn R. EddyDavid and Dorothy FlukeGerald B. FollandJudith A. FongJack and Jan ForrestRussell and Nancy FosmireErnest and Elizabeth Scott FrankenbergCynthia L. GallagherJane and Richard GallagherJean GardnerCheryl and Billy GeffonNatalie GendlerCarol B. GoddardFrances M. GoldingJeffrey Norman GolubDr. and Mrs. Ulf and Inger GoransonBetty GrahamCatherine B. GreenDr. Martin L. GreeneRoger J.* and Carol* Hahn-OliverJames and Darlene HalversonBarbara HannahHarriet HarburnKen and Cathi HatchMichele and Dan HeidtRalph and Gail HendricksonDeena J. HenkinsCharles E. Higbee, MDHarold and Mary Frances HillBob Hoelzen and Marlene BotterFrank and Katie HollandDr. Kennan H. HollingsworthChuck* and Pat HolmesDavid and Shelley HovindRichard and Roberta HymanJanet Aldrich JacobsJennifer James, MDRobert C. JenkinsDr. Barbara JohnstonNorman J. Johnston* and L. Jane Hastings JohnstonAtul R. KanagatDon and Joyce KindredDell KingDouglas F. KingStephen and Barbara KratzFrances J. KwapilM. LaHaiseNed Laird

Paul Leach and Susan WinokurKathleen LeahyLu LeslanMarjorie J. LevarMel Longley and Tanya Wanchena-LongleyThomas and Virginia Hunt LuceTed and Joan LundbergJudsen Marquardt and Constance NivaIan and Cilla MarriottDoug and Joyce McCallumTom McQuaidWilliam C. MessecarJerry Meyer and Nina ZingaleCharles N. MillerElizabeth J. MillerMrs. Roger N. MillerMurl G. Barker and Ronald E. MillerReid and Marilyn MorganGeorge MuldrowMarr and Nancy MullenIsa NelsonGina W. OlsonSarah M. OvensDonald and Joyce ParadineDick and Joyce PaulJane and Allan PaulsonLisa Peters and James HattoriStuart N. PlumbRoger Presley and Leonard PezzanoMrs. Eileen Pratt PringleMr. and Mrs. W. H. PurdyJames and Sherry RaisbeckDana Reid and Larry HitchonJ. Stephen and Alice ReidBernice Mossafer RindBill* and Charlene RobertsJunius RochesterJan RogersPatricia and Jon RosenJames T. and Barbara RussellMary Ann SageThomas H. SchachtJudith Schoenecker and Christopher L. MyersLinda ScottAnnie and Leroy SearleVirginia and Allen* SenearLeonard* and Patricia ShapiroJan and Peter ShapiroJohn F. and Julia P.* ShawBarbara and Richard ShikiarValerie Newman SilsEvelyn SimpsonBetty J. SmithKatherine K. SodergrenAlthea C. and Orin H.* SoestSonia SpearKaren J. StayDiane StevensPatricia Tall-Takacs and Gary TakacsGayle and Jack ThompsonArt and Louise TorgersonBetty Lou and Irwin* TreigerMuriel Van HousenSharon Van ValinJean Baur ViereckDr. Robert WallaceNicholas A. WallsJeffrey Ward and Charles CrainJudith Warshal and Wade SowersDouglas WeisfieldJames and Janet WeismanJohn and Fran WeissRobert T. WeltzienDorothy E. WendlerGerald W. and Elaine* Millard WestSelena and Steve WilsonRonald and Carolyn WoodardArlene A. WrightJanet E. WrightRick and Debbie ZajicekAnonymous (53) * In Memoriam

SEATTLESYMPHONY.ORG/GIVE

206.215.4832

I GIVE BECAUSE ...

WHY DO YOU GIVE?

The Symphony is a Seattle treasure!

– Elizabeth

52 SEATTLESYMPHONY.ORG

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 March 28, 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.

Delta Dental of Washington

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

Fran’s Chocolates ◊

Garvey Schubert Barer †

Holland America Line ◊

Lakeside Industries

Lino Tagliapietra Inc.

Perkins Coie LLP

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

Finlandia Foundation National

Four Seasons Hotel †

GE Foundation

Glazer’s Camera †

Google Matching Gifts

Heartwood Provisions †

The Lark Ascends †

League of American Orchestras/ Ford Musicians Award

Muckleshoot Indian Tribe

Neiman Marcus

Peg and Rick Young Foundation

Puyallup Tribe Of Indians

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 ◊

Grand Image Art †

Lane Powell PC

Tesla Motors †

Tulalip Tribes Charitable Fund

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 †

DreamBox Learning

Ebay

Educational Legacy Fund

Eli Lilly & Company Foundation

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 †

MG2 Foundation

Mitsubishi Corporation (Americas)

Neon Taco †

O Wines †

Paul & Dottie Foundation of the DuPage Foundation

The PONCHO Foundation

RBC Wealth Management

The Ruth and Robert Satter Charitable Trust

Sun Liquor †

Thompson Seattle †

Tolo Events †

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 seattlesymphony.org/families-learning.

GOVERNMENT SUPPORT

$500,000+

Seattle Symphony Foundation

$100,000 – $499,999

Seattle Symphony

Volunteers ◊

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SEATTLE SYMPHONY SPECIAL EVENTS SPONSORS & COMMITTEES

OPENING NIGHT GALA, SEPTEMBER 16, 2017Honoring Leslie and Dale Chihuly

SUPPORTING SPONSORSJPMorgan Chase & Co.

Nordstrom

CO-CHAIRSRenée Brisbois

Terry Hecker

COMMITTEEKathleen 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-CHAIRSRebecca Ebsworth

Michelle Codd

COMMITTEEDr. Meredith Broderick

Roberta Downey

Kathleen Mitrovich

Tiffany Moss

Kirsten Towfiq

TEN GRANDS, MAY 12, 2018

Kathy Fahlman DewaltCo-Founder and Executive Director

COMMITTEE

Rosanna BowlesCheri BrennanStephen DewaltTom HorsleyBen KlingerCarla NicholsRyan Matthew Porter

Fawn SpadySaul SpadyStephanie WhiteDavid Woolley-WilsonJessie Woolley-WilsonBarbara Wortley

Special Events provide significant funding each season to the Seattle Symphony. We gratefully recognize our presenting sponsors and committees who make these events possible. Individuals who support the events below are included among the Individual Donors listings. Likewise, our corporate and foundation partners are recognized for their support in the Corporate & Foundation Support listings. For more information about Seattle Symphony events, please visit seattlesymphony.org/give/special-events.

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 seattlesymphony.org.

SERVICES FOR HARD-OF-HEARING PATRONS:

An infrared hearing system is available for patrons

who are hard of hearing. Headsets are available

at no charge on a first-come, first-served basis

in The Boeing Company Gallery coat check and

at the Head Usher stations in both lobbies.

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 seattlesymphony.org/benaroyahall

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

opentable.com 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.

seattlesymphony.org | 206.215.4747 or 1.866.833.4747 | P.O. Box 2108, Seattle, WA 98111-2108

GROUP SALES: groupsales@seattlesymphony.org | 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 seattlesymphony.org/give. You can also call us

at 206.215.4832 or mail your gift to P.O. Box 21906, Seattle, WA 98111-3906.

DINING AT BENAROYA HALL

CONTACT US

THE LIS(Z)TSEEN & HEARD @ THE SEATTLE SYMPHONY

On February 9 Founders Circle Silver supporters were invited to a luncheon with Seattle Symphony musicians, recognizing their generous contributions to the Symphony.

Attendees were treated to a percussion performance by Principal Percussion Michael A. Werner, Assistant Principal Timpani Matthew Decker and percussionist Rob Tucker, followed by a hands-on demonstration. Guests had the opportunity to try a selection of percussion instruments, from common cymbals to a unique lion’s roar drum.

The annual Founders Circle Silver event gives supporters a chance to get to know Seattle Symphony musicians while learning more about the talent, creativity and passion they bring to the stage during each performance.

The Seattle Symphony thanks all the generous music lovers in the community for bringing our music to life — you are at the heart of everything we do. For more information about supporting your Symphony please visit us online at seattlesymphony.org/give or contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org.

A PERCUSSIVE GATHERING

seattlesymphony.org/liszt

Phot

os: B

rand

on P

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PHOTOS: 1 Seattle Symphony Board members Dick Paul, Ned Laird and Laurel Nesholm 2 Supporter Marybeth Austin with Matthew Decker 3 Seattle Symphony

percussionists Matthew Decker and Michael A. Werner 4 Supporter John Delo with Michael A. Werner 5 Supporter Rosalind Poll 6 Seattle Symphony Horn

Danielle Kuhlmann tries her hand at the lion’s roar drum with Matthew Decker

1

2

3

4 5 6

54 SEATTLESYMPHONY.ORG

THE LIS(Z)TSEEN & HEARD @ THE SEATTLE SYMPHONY

On February 9 Founders Circle Silver supporters were invited to a luncheon with Seattle Symphony musicians, recognizing their generous contributions to the Symphony.

Attendees were treated to a percussion performance by Principal Percussion Michael A. Werner, Assistant Principal Timpani Matthew Decker and percussionist Rob Tucker, followed by a hands-on demonstration. Guests had the opportunity to try a selection of percussion instruments, from common cymbals to a unique lion’s roar drum.

The annual Founders Circle Silver event gives supporters a chance to get to know Seattle Symphony musicians while learning more about the talent, creativity and passion they bring to the stage during each performance.

The Seattle Symphony thanks all the generous music lovers in the community for bringing our music to life — you are at the heart of everything we do. For more information about supporting your Symphony please visit us online at seattlesymphony.org/give or contact Donor Relations at 206.215.4832 or friends@seattlesymphony.org.

A PERCUSSIVE GATHERING

seattlesymphony.org/liszt

Phot

os: B

rand

on P

atoc

PHOTOS: 1 Seattle Symphony Board members Dick Paul, Ned Laird and Laurel Nesholm 2 Supporter Marybeth Austin with Matthew Decker 3 Seattle Symphony

percussionists Matthew Decker and Michael A. Werner 4 Supporter John Delo with Michael A. Werner 5 Supporter Rosalind Poll 6 Seattle Symphony Horn

Danielle Kuhlmann tries her hand at the lion’s roar drum with Matthew Decker

1

2

3

4 5 6

encoremediagroup.com/programs 55 encoremediagroup.com/programs 55

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