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2016-2017 SEASON SPONSORS Symphony Tacoma receives support from a wide variety of corporations, foundations, and individual donors. In particular, our season sponsors provide operating support that directly funds our core concert series. Please thank our season sponsors for their leadership support!



Music Director....................................................8 Musicians & Chair Sponsors.............................10 President’s Welcome........................................14 Strategic Plan...................................................15 Board of Associates..........................................16 Community & Patron Support..........................18

ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making. Its Vision is “A community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as a central and critical component to a healthy society.” Ben B. Cheney Foundation makes grants in communities where the Cheney Lumber Company was active. Established in 1955, the Foundation’s goal is to improve the quality of life in those communities by making grants to a wide range of activities.

Boeing’s journey as a global industry leader and corporate citizen parallels its nearly 100-year history of building better communities worldwide. The company believes that with access to lifelong arts and cultural experiences, individuals will develop an appreciation for different perspectives, deepen their critical and creative thinking and be better prepared to excel in work and life. The Forest Foundation is committed to strengthening and enriching the quality of life in Southwest Washington, with a particular emphasis on Tacoma and Pierce County. The Foundation pursues its mission by supporting well-managed

nonprofit organizations and citizen initiatives that achieve measurable, high-quality results. The Tacoma Arts Commission provides leadership in supporting and enhancing the arts for the benefit of the City and its residents. Its purpose is to develop, support, coordinate, sponsor, and present the arts on a year-round basis for the benefit of the residents of Tacoma. Symphony Tacoma receives support through the commission’s Anchor Fund, a biennial program that supports and stabilizes established arts organizations in Tacoma.

Endowment/Legacy Society.............................22 Advertiser Index...............................................94

ORDER TICKETS: The Broadway Center Box Office is located at 901 Broadway, downtown Tacoma. HOURS: Monday - Friday, 11:00 a.m. - 6:00 p.m. Additionally open 2 hours prior to concerts. PHONE: 253.591.5894 or 1.800.291.7593 (toll-free outside local area). We accept MasterCard, Visa, and American Express for phone orders. ONLINE:

Symphony Tacoma 901 Broadway, Suite 600 Tacoma, WA 98402 253.272.7264 Follow us on

New World Season Opening..............27 Saturday, October 22 Pantages Theater Vadim Gluzman, violin Copland & Glass ................................33 Saturday, November 19 Pantages Theater Amy Dickson, saxophone Sounds of the Season.........................39 Sunday, December 4 Pantages Theater Symphony Tacoma Voices Tacoma Youth Chorus Messiah...............................................44 Thursday, December 15 Chapel Hill Presbyterian Church Friday, December 16 St. Charles Borromeo Church Symphony Tacoma Voices Mozart & Tchaikovsky.........................51 Saturday, February 25 Chapel Hill Presbyterian Church Sunday, February 26 Rialto Theater Kristin Lee, violin Beethoven & Mozart...........................57 Saturday, March 25 Rialto Theater Kuok-Wai Lio, piano Symphony Sweethearts......................61 Saturday, April 22 Pantages Theater Jens Lindemann, trumpet Stephanie Porter, vocalist PLU Jazz Ensemble Mountain & Sea...................................63 Saturday, May 13 Pantages Theater Symphony Tacoma Voices

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INNOVATIVE. VIBRANT. ENGAGING. EVERYWHERE! Our new ten-year Vision paints a picture of what your Symphony Tacoma aspires to become in the hearts and lives of the community. We strive for programs that delight an ever-expanding and diverse audience, and that engage and transform both performers and listeners. May the 2016-2017 Season move us far along in realizing this Vision!  In planning these concerts, I have chosen guest artists who will uplift and inspire us, and selected music to provide just the right balance between the unusual and striking, the familiar and cherished. It is our hope that these concerts captivate, relax, inspire, stretch, intrigue and satisfy you—from start to finish! 8

Described by The New York Times as a conductor with “unquestionable strength and authority,” Sarah Ioannides has won praise from audiences and critics alike internationally with engagements spanning five continents. Music Director of Symphony Tacoma and the Spartanburg Philharmonic Orchestra, she is quickly gaining recognition as one of the most active, engaging and innovative conductors of her generation. Recently listed as one of the top 20 female conductors worldwide by Lebrecht’s “Woman Conductors: The Power List” in 2016, she has also been named in the Los Angeles Times as “one of six female conductors breaking the glass podium” and noted in The New York Times as part of “a new wave of female conductors in their late 20s

through early 40s.” Ioannides was A zealous supporter of living awarded the JoAnn Falletta award for composers, Ioannides has conducted the most promising female conductor. over 40 World, North American and European premieres. Under her As a guest conductor she has leadership, Spartanburg Philharmonic appeared internationally with the Orchestra and Symphony Tacoma Tonkünstler Orchestra, Royal have received ArtWorks grants Philharmonic Orchestra, Orchestra from the National Endowment Nationale de Lyon, Gothenburg for the Arts, both for creativity in Symphony Orchestra, Flemish Radio collaborations, commissioning and Orchestra, National Symphony of community involved projects. She Colombia, Daejeon Philharmonic, has both commissioned and directed Freiburg Philharmonic Orchestra, films for live orchestral multimedia Wuttenbergisches Kammerorchester, performances, including Holst’s and the Simon Bolivar Youth The Planets and Steve Reich’s The Orchestra. Desert Music. During the summer of 2016 she was producer and Ioannides has also led orchestras advisor for a new multimedia art extensively in the United States film to accompany Darius Milhaud’s including the Buffalo and Rochester Creation du Monde, directed by Brad Philharmonics and the orchestras of McCombs, using artwork selected Chattanooga, Charleston, Louisville, from the Cincinnati Art Museum as New Haven, New West, North well as her own personal paintings Carolina, Toledo and Tulsa. A protégé and collections internationally; of the late Otto­Werner Mueller, the multimedia performance Ioannides has appeared in special was premiered at Cincinnati’s engagements with the Los Angeles Summermusik Festival 2016. Philharmonic, New World Symphony and the London Symphony Ioannides has collaborated regularly Orchestra working with Pierre with composer/conductor Tan Dun, Boulez and Esa­Pekka Salonen. serving as his Assistant Conductor and Production Coordinator Formerly the Assistant Conductor of between 1999 and 2003. As such, the Cincinnati Symphony Orchestra, she conducted the Gothenburg Ioannides was the first woman Symphony Orchestra, the BBC appointed to its full-time conducting Concert Orchestra, the Flemish staff. She also held appointments Radio Orchestra, BBC Symphony as Music Director of the El Paso Orchestra, London Sinfonietta and Symphony, guest Music Director the Oregon Bach Festival. In 2005, of the Dessoff Choirs, and Music she was selected by Tan Dun to Director of Oxford University. Her conduct his Water Passion After St. extensive and diverse experience in Matthew at the Perth International orchestral, choral, operatic, new works Arts Festival. Opera­Opera depicted and multimedia performance is equal Ioannides’ lyrical conducting to her passion to support learning technique as one “with the most and music education. She continues persuasive of gentle textures, she to coach orchestra at high-level coaxed from the performers an conservatories such as Yale University, extraordinary array of sounds. She Curtis Institute, and Chicago College was grace personified.” Ioannides of Performing Arts. has led many operas and conducted festivals worldwide, including the


European premiere of Stephen Paulus’ The Woodlanders, British Youth Opera, Curtis Opera Theatre, Spoleto Festival and Philadelphia Opera Company, Perth International Festival. Ioannides began performing as a violinist in the National Youth Orchestra of Great Britain in the UK and horn player in the Surrey County Youth Orchestra from the age of 11. With Masters degrees from Oxford University (Instrumental Scholar) and the Juilliard School of Music (Bruno Walter Award), Ioannides studied conducting, violin, piano, singing and French Horn. A recipient of numerous prizes and awards, following studies at the Guildhall School of Music, she came to the United States as a Fulbright Scholar attending the Curtis Institute of Music. Serving on numerous advisory boards, as a competition adjudicator, and public speaker, she has served as panelist for the National Endowment for the Arts.

Photo: Dane Gregory Meyer

MUSICIANS & CHAIR SPONSORS 2016-2017 Janis Upshall

Thane Lewis

Charles Butler

Jake Saunders

Christopher Burns

Mary Jensen

Keith Winkle


Principal Cello

Principal Bass

Svend Rønning, Concertmaster Paul & Lita Luvera Gwendolyn Taylor, Associate Concertmaster Paul & Lita Luvera Evelyn Gottlieb, Assistant Concertmaster James & Phyllis Shoemake Debra Akerlund, Second Assistant Concertmaster Carroll Bryan & Laurie Sorensen Teo Benson Dr. Penny Leah Tanner, PhD, ARNP Karin Choo Dr. Richard & Sara Bowe Lisa Ingraham Bill & Peggy Barton Andrew Kam Mary Hammond Danielle McCutcheon Dr. & Mrs. Jordan Harris

John Ruze

Craig Rine

Principal Oboe


Amy Putnam Principal Percussion


Keith Winkle, Principal Wendell & Pauline Stroud Rebecca Good Mike & Lisa De Luca James & Marilyn Sheasley


Selina Greso

Sarah Ioannides, Music Director Maestro’s Chair Carroll Byron & Laurie Sorensen Dr. Hsushi & Ting-Ling Yeh Dr. Geoffrey Boers, Chorus Director Chorus Director Chair John & Jennifer Guadnola Dale & Diane Kraus Daniel & Karen Lea Don & Mattie Meberg Stephen Moon & Diana Lowry Dan & Karen Patjens

Principal Piano

Principal Timpani

Principal Trombone

Principal Flute

Anne Herfindahl

Matthew Drumm

Principal Trumpet

Principal Viola

Principal Second Violin

Principal Harp

Principal Tuba

Principal Horn

Svend Rønning

Calista Kovin

Paul Evans

Richard Reed

Principal Bassoon

Principal Clarinet

Kristy Preheim Howard & Karen Burd Katrin St. Clair Lisa Lackermayer Janet Utterback Sandy Farewell


Janis Upshall, Principal Gary & Jennifer Smith Lester & Peggy Olson Fred & Paula Bevegni Rachel Nesvig, Assistant Principal Alexis Macdonald Monica Boros J. Patrick & Linda Naughton Cynthia Iverson Andrea Hynes (in memory of Paul C. Bender) Begin Scarseth Eileen & Clark D’Elia Rebecca Soukup Maggie & Greg McGuire (in memory of Thomas F. Horan) Alina To Gordon & Karla Epperson SAI Sigma Alpha Iota Colin Todd Frederick & Jean Hayes Brandon Vance Russ Benfield & S.L. Williamson Maggie Booher Ann Smith Li-Ling Liao Jennifer Yarbrough



Thane Lewis, Principal Don & Joan Brown Maria Bokor, Assistant Principal Mary Cooper Lisa Dyvig Rick Meeder & Sue Barrett Josephine Fogle-Rain Elizabeth Jachim Kimberly Harrenstein Kathryn McAuley Hallie Johnston Kevin Miller Seth May-Patterson Dianne Conway Ilya Shpigelman Natalie & William Whitcomb Rochelle Pearson


Jake Saunders, Principal Gordon & Karla Epperson Karen Schulz-Harmon, Assistant Principal Pamela Boyles & Roger Johnson Margaret Bradley-Thorndill Blaine & Cathy Johnson Kai Chen Michael & Rosemarie Hitt Julie Cho George & Leslie Patton Jai Choi Rebecca Evans Cece & George Dusang Nathan Harrenstein


Christopher Burns, Principal Kenton & Benita Lee Anna Jensen, Assistant Principal Dr. William & Celia Shields Arlyn Curtis Don & Inge Beardsley Joseph Dyvig Jody Suhrbier Michael Berry* Pamela Boyles & Roger Johnson Nick Masters


Mary Jensen, Principal Clark & Eileen D’Elia Jennifer Rhyne Martha Shields Joshua Romatowski Dugald & Norita Stewart Howard “Skip” & Jeannine Stephan


Joshua Romatowski Dugald & Norita Stewart


Selina Greso, Principal Barry & Gretchen Johnsrud Shannon Spicciati* Carol Hitchcock Athalia Rosen Noelle Burns Erick & Ruth Camp

ENGLISH HORN Noelle Burns Roger D. McLennan


Craig Rine, Principal Andy & Beth Buelow Florie Rothenberg Richard Bartolatz & Tom Sawyer Beverly Setzer William & Ruth† Newell


Beverly Setzer William & Ruth† Newell

Benn Hansson Karl & Lois Kreitzer


Paul Evans, Principal Cindy & Jay Peterson


Matthew Drumm, Principal



John Ruze, Principal Anderson Family Steven Morgan*

Amy Putnam, Principal Patricia Mail Frank Ronneburg Dr. Harold & Jean Mayer Denali Williams Jon M. & Sue Duncan



Richard Reed, Principal John Jr. & Judy Woodworth Gina Gillie, Assistant Principal Gordon & Karla Epperson Becky Miller David McBride June L. Lane Larry Vevig Paul & Nancy Rising


Charles Butler, Principal Kathryn Ammerman James Memorial Chair Wayne Timmerman Memorial Endowment Fund Jeffrey Snyder Dick Ammerman Judson Scott Justin & Del Morrill


Calista Kovin, Principal Lynn Wainwright-Palmer Principal Harp Endowment


Anne Herfindahl Greg & Coralie Gustafson Amy Boers, Chorus Accompanist Sharlene & Mike Friel August Giles, Music Librarian Bo & Barbara Ayars Warren Crain, Head Carpenter Don Littrell, Master Audio Engineer Thomas Haman, Master Electrician † Deceased * Temporarily replacing musicians on leave for the 2016-2017 season: Bren Plummer, Noelle Burns, and Elizabeth Paterson.



Recently, Mr. Boers’ teaching has led to the creation and mentoring of local choral cohorts of teachers and conductors interested in building professional communities of ongoing mentorship and musical development. His new thinking regarding gesture, vocal pedagogy and teaching practice is providing teachers with tools to be successful with today’s singers and learners. He has developed mentorship programs in Seattle,Vancouver B.C., Calgary, Wichita, Southern California, and Tacoma.

SOPRANO Sibyl Adams Amy Carter Marisa Castello Kasey Eck Carolyn Flynn Sara Forte Anna Hagen * Amanda Hansel Lindsay Hovey Karen Irwin Alicia Johnson Janine Keat Jenn Kinney Heather Koch Denise Lees Laura Ludwig Karen Patjens Deirdre Quigley Jill Westwood Julie Whalen


Geoffrey Boers is recognized as one of the United States’ foremost choral conductors and pedagogues. In addition to his leadership of the Symphony Tacoma Voices, he is Director of Choral Activities at the University of Washington in Seattle, a program widely recognized as forward thinking, unique, and of distinction.

Mr. Boers’ choirs are well-known for moving artistry, thoughtful programming and a beautiful and expressive tone—be it with

professionals or amateur singers. The volunteer Symphony Tacoma Voices is a blend of gifted amateur and professional singers. They meet weekly throughout the season, working hard to achieve a professional-caliber ensemble and to prepare for performances with the Symphony, stand-alone concerts, and projects with other musical organizations in the region. Last season the choir joined with Tacoma City Ballet for a choreographed Carmina Burana, and in June 2017 will join forces with the University of Washington choirs and orchestra to present Verdi’s Requiem. Last summer, the choir toured in Croatia, Bosnia, and Italy singing to enthusiastic, standingroom-only audiences.

Setting the Stage for Exceptional Learning

ALTO Katie Adams Rebecca Anderson Rachel Border LeeAnne Campos Cheryl Drewes Katie Elshire † Liz Fortenberry Sue Green Jennifer Guadnola * Erika Hagen Judith Herrington Kayla Hoots Linda Kammerer Julie Keeter Coni Liljengren Amanda Mackey Kerstin Shaffer † Karla Stoermer Sharon Stritzel Cara Swenson Kathryn Tuite Keighley Wimett

BASS Jakob Boers Bernard Crouse Scott Donaldson * Kent Edmonds Jared Grimes George Guenther Kevin Hovey J. Edmund Hughes Evin Lambert Pat Michel Richard Nace John Petersen Reinhold Schuetz Kenneth Schwartz Peter Seto David Wimett Tim Wrye * Section Leader † Board Representative


Symphony Tacoma is pleased to welcome these new players to our ensemble! JAKE SAUNDERS Principal Cello Jake Saunders holds a Master’s in music performance from Boise State University and a Bachelor’s in cello performance from the University of Michigan School of Music, Theater and Dance, where he studied with Richard Aaron. Until May 2014, he performed with the Boise Philharmonic Orchestra and as an inaugural member of the Boise State Graduate String Quartet Fellowship (Ezra Quartet). He is the creator, manager, and cellist of 208 ensemble, a professional multiinstrumental ensemble in Boise, Idaho dedicated to the advocacy and performance of music written by living composers.

North Mason High School Performing Arts Center

TENOR Andy Clare Ash Conger Dennis Davenport Ronald Doiron Ben Keller Charles Koonce Kyle Laird Jim Moller Steve Moon * David Olson Tom Oswald Eric Stenerson Chris Trujillo

KAREN SCHULZHARMON Assistant Principal Cello Karen Schulz-Harmon is an avid chamber musician, orchestral player and teacher. She performs with the Portland Concert Opera and the Portland Cello Project, and as a substitute with the Oregon Symphony and Portland Opera. She teaches at the BRAVO Youth Orchestras program and privately from her home studio. Karen attended Northern Illinois University at the invitation of cellist Marc Johnson and was privileged to work with all the members of the Vermeer String Quartet. She graduated in 2005 with a Masters of Music degree in Cello Performance.


CHARLES BUTLER Principal Trumpet Charles Butler also serves as Principal Trumpet of the Portland Opera, and performs regularly as substitute principal trumpet with the Pacific Northwest Ballet (Seattle), Oregon Ballet Theater (Portland), Village Theater (Issaquah, WA) and as a frequent guest of the Grammy nominated Oregon Symphony.  He has spent over 12 years as acting principal trumpet of the Bellingham Festival of Music working with members of the Atlanta Symphony, Boston Symphony, Montreal Symphony, Cincinnati Symphony, Detroit Symphony and many other major orchestras from the continent.


CLARK D’ELIA provide the Board of Directors with clear guidance when making important decisions on behalf of the organization. We spent much time and energy last year crafting a vision of what kind of organization we want to be. Those four words helped lead us to a crisp new Vision Statement of what we strive to become for our community: Innovative. Vibrant. Engaging. Everywhere!



Clark & Eileen D’Elia

Our 2016-2017 season marks the 70th anniversary of this wonderful organization, and we are celebrating it with an updated name and an eye-catching new logo. What has not changed is the dedication we have for serving the greater Tacoma community. What started in 1946 with 30 volunteer musicians from the College of Puget Sound blossomed over time into an admired community orchestra—and ultimately the professional regional symphony orchestra now known as Symphony Tacoma. As we enter the third year under the musical direction of Sarah Ioannides and the ninth year of our executive leader, Andy Buelow, the orchestra has gained considerable professional respect and the entire organization is energized for an exciting season ahead. The words that comprise our Mission Statement are succinct and unambiguous: Building Community Through Music. They continually

We welcome all members of Tacoma and its surrounding communities to celebrate this milestone year for Symphony Tacoma. Join us as we listen to many of our favorite classics and are introduced to exciting soloists and new musical experiences. Support us as we continue to expand our community-focused music education programs. And finally, please let us know how we can better serve you.

James Shoemake William T. Weyerhaeuser

HARMONY OF DIRECTORS HARMONY HARMONYBOARD Clark D’Elia HARMONY HARMONY President “It’s a lovely fit to be able to continue my life here at Franke Tobey Jones. A beautiful place to enjoy friends and family and share my violin music, which I began playing when I was five years old.”

–Jane S. Call Michelle or Shirley today for a tour.

253-752-6621 5340 N. Bristol St., Tacoma

E N G I N E E R S, I N C.

Retired, Intel Corporation

Mike De Luca 1st Vice President/Treasurer Torre Consulting Dianne Conway 2nd Vice President Gordon Thomas Honeywell Deborah Anderson Secretary Composer Dick Ammerman Retired, Intel Corporation


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Robert Haan Retired, Morgan Stanley

since 1986



Andrea Hynes Retired, Bethel School District Daniel Lea Retired, Fife School District Independent Living Assisted Living Skilled Nursing Memory Care

Dr. Kenton Lee Life Center

Rick Meeder Retired, Intel Corporation Cindy Peterson Erickson McGovern Architects


Building community through music.


Innovative. Vibrant. Engaging. Everywhere!

Sharon Williamson Community arts advocate


Ex officio


Katie Elshire Chorus Representative Hallie Johnston Orchestra Representative Kerstin Shaffer Chorus Representative ADMINISTRATION Andrew Buelow Executive Director Denise Cline Finance Manager Saul Cline General Manager Ann Dorn Marketing Coordinator August Giles Librarian/Patron Services Anna Jensen Education Specialist Laura Stone Advancement Manager

We embrace artistic vibrancy as our driving force, delivering creative and transformative musical performances. • Create an inclusive artistic vision that guides programming outcomes • Achieve ever-improving mastery, imagination, artistry and teamwork in our musical performances • Establish Symphony Tacoma as a performing arts leader in the Pacific Northwest


We promise to be an engaged and collaborative community partner, and a musical leader of Tacoma’s cultural renaissance. • Develop meaningful partnerships that embed Symphony Tacoma in the community • Make music education possible for all ages • Ensure that our organization and programming reflect our diverse and evolving community


We commit to inclusive leadership, sustainable growth and continuous improvement. • Advance the financial health and sustainable growth of Symphony Tacoma • Establish policies and capital for managing artistic risk • Develop a culture of open communication and shared purpose among Board, Staff, Orchestra, Chorus and other stakeholders

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WHO ARE THE BOARD OF ASSOCIATES? Symphony Tacoma’s Board of Associates is a group of enthusiastic symphony lovers who contribute their time, talents and resources toward maintaining a strong beachhead for symphonic music in Tacoma. Associates come from different walks of life. Some may be considering future membership on the Board of Directors, the elected body legally charged with governance and financial oversight of the organization. Some may be early in their career and eager to gain experience in community service and nonprofit volunteering. Still others are subscribers and donors of the Symphony who want to deepen their engagement and help advance the Symphony in a hands-on role. The Associates assist in planning special events, volunteer at concerts or in the office, and help with running community engagement and

education programs such as Simply Symphonic. Some serve as ex officio members of the Board’s standing committees: Audience Development, Artistic Development, Stewardship & Advancement, Finance, and Leadership & Governance. Associates attend dress rehearsals and help provide snacks for the musicians (because a well-fed orchestra is a happy orchestra!). A special focus is working to elevate youth engagement. There is no formal application procedure and no annual dues. Interested prospects are usually sponsored by a member of the Board of Directors or a current Associate. Members are encouraged to become or maintain standing as SuperSubscribers by purchasing season tickets and making a donation of at least $100 annually. Meetings are held bimonthly. Call us at 253.272.7264 to learn more.



Proudly serving our community since 1946.

Sustaining the Symphony with time and talent! Al Abbott Sue Barrett Sara Bowe Pam Boyles Sarah Burd Eileen D’Elia Karen Haas Mary Hammond Elizabeth Jachim Cathy Johnson Roger Johnson Diane Kraus Todd LePique Verity Lewis Alexis Macdonald Maggie McGuire Carol Reber-Zukowski Michael Sandner Rosie Townsend Shirley Wilkinson Patty Wyckoff Michelle Yeh Greg Youtz

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COMMUNITY SUPPORT SPONSORS Aetna Amazon Annie Wright School BCE Engineers, Inc. Boeing Company Brown and Brown Callisons CHI Franciscan Health Churchill Management Group Columbia Bank Erickson McGovern Architects Gordon Thomas Honeywell Heritage Bank Intel Johnson, Stone & Pagano KeyBank Leavitt Group Northwest Lexus of Tacoma at Fife Marine Floats MultiCare Health System Olympic Eagle Distributing Pacific Lutheran University Pacific Northwest Eye Associates Panagiotu Pension Advisors Preferred Copier Systems Retina & Macula Specialists Seneschal Advisors, LLC Schwab Charitable Fund Stadium Thriftway Summit Financial Group TAPCO Credit Union Tacoma Philharmonic Endowment Ted Brown Music TOTE Maritime University of Puget Sound FOUNDATIONS Allison Foundation ArtsFund Baker Foundation Bamford Foundation Bates Family Foundation Ben B. Cheney Foundation BNSF Railway Foundation Boulanger Foundation City of Tacoma Anchor Fund De Falco Family Foundation Dimmer Family Foundation Florence Kilworth Foundation

Forest Foundation Gottfried & Mary Fuchs Foundation Harvest Foundation Horizons Foundation Kelly Foundation Korum for Kids Foundation L. T. Murray Family Foundation Mikkelsen Trust MJF Foundation National Endowment for the Arts Sequoia Foundation The Greater Tacoma Community Foundation Titus Will Families Foundation U.S. Bank Foundation Washington State Arts Commission William Kilworth Foundation DONOR ADVISED FUNDS OF THE GREATER TACOMA COMMUNITY FOUNDATION The Barrett/Meeder Legacy Fund The Bob and Mary Hammond Family Fund The Edward P. and Juanita J. Miller Donor Advised Fund The Dr. Hsushi Yeh Donor Advised Fund MEDIA PARTNERS KING FM Northwest Public Radio Parent Map PCTV Showcase Magazine South Sound Magazine The News Tribune TV Tacoma


Roberson Properties Treveri Cellars Wildside Wine Young’s Market NONPROFIT PARTNERS Broadway Center for the Performing Arts Museum of Glass Tacoma Art Museum Tacoma Regional Convention & Visitors Bureau Tacoma Theater District The Grand Cinema Washington State Fair OTHER COMMUNITY SUPPORT Aloha Club Bank of America Matching Gifts Program Microsoft Matching Gifts Program Musicians’ Association of Seattle Pfizer Foundation Matching Gifts Program SAI Tacoma Alumnae Chapter Satori Software United Way of King County United Way of Pierce County Waterfront Massage Clinic Please see page 67 for a directory of our program advertisers.

Innovating Flavor

We Are Proud to Support Symphony Tacoma!

Since the arrival of new Music Director Sarah Ioannides in 2014, Symphony Tacoma has been developing a new Strategic Plan and Artistic Vision to expand and deepen the organization’s artistic and community impact (please see page 15). In order to facilitate this, the Symphony is launching a new Growth & Innovation Campaign: a designated gift category earmarked toward special projects and new growth.

dedicated to keeping shared musical performance alive in the heart of our region. We believe that our community is stronger and more vibrant as we experience great music together. In order to facilitate this, we are developing new, relevant, and engaging presentation styles for our mainstage concerts and expanding access through youth and community offerings outside the core series.

With a mission of Building community through music, Symphony Tacoma is

Donors to the Growth & Innovation Campaign are patrons who have made

In Old Town Presented by Old Town Business & Professional Association

2nd Tuesdays Free Musical Events in Old Town Tacoma

IN-KIND GIFTS Blitz & Co. Florist Celebrity Cake Studio Johnson Candy Co. LeRoy Jewelers Marlene’s Market & Deli Metropolitan Market Northwest Public Radio Olympic Eagle Distributing Pacific Grill Southern Wine & Spirits



a three-year pledge at the Virtuoso ($10,000 or more) gift level. These multiseason commitments, at leadership giving levels, provide Symphony Tacoma with the resources for developing new, groundbreaking concert presentations and formats, as well as community and youth engagement activities. For more information, contact Executive Director Andy Buelow at 253-272-7264.

Symphony Tacoma’s role and image in our community is transforming— through a vision in which artistic excellence, while remaining a core value, is the means to a greater end: Building community through music.



PATRON SUPPORT VIRTUOSO CIRCLE $20,000+ Carroll Bryan & Laurie Sorensen Paul & Lita Luvera Drs. Les & Estelle Reid Dr. Hsushi & Ting-Ling Yeh $10,000-$19,999 Richard Bartolatz & Thomas Sawyer Lisa Lackermeyer Patricia Mail MAESTRA CIRCLE $5,000-$9,999 Dick Ammerman & Verity Lewis Cannon Family Fund Clark & Eileen D’Elia Gordon & Karla Epperson John & Jennifer Guadnola Mary Hammond Frederick & Jean Hayes Kenton & Benita Lee Don & Mattie Meburg Herb & Mimi Simon CRESCENDO CIRCLE $2,500-$4,999 The Anderson Family

William & Peggy Barton Russ Benfield & Sharon Williamson Don & Joan Brown Andy & Beth Buelow Erick & Ruth Camp George & Cece Dusang John & Buzz Folsom Robert & Margaret Haan Andrea Hynes Sarah Ioannides & Scott Hartman Roger Johnson & Pamela Boyles Barry & Gretchen Johnsrud Kathy Keele Bruce & Sara Kendall Dale & Diane Kraus Daniel Kyler Daniel & Karen Lea Rick Meeder & Sue Barrett Cindy & Jay Peterson Dr. Greg & Zari Semerdjian Martha Shields James & Phyllis Shoemake Wendell & Pauline Stroud Carole & Tex Whitney John Woodworth Jr. & Judy Woodworth James & Pat Wooster


VIVACÉ CIRCLE $1,000-$2,499 Donald Ammerman* Charles Anderson Bo & Barbara Ayars Ron Beck Teresa Bell Fred & Paula Bevegni Dr. Richard & Sara Bowe Doug & Michelle Brown Howard & Karen Burd Dianne Conway Mary Cooper Mike & Lisa De Luca Jon & Sue Duncan Sandy Farewell Keith & Susan Galpin William & Noel Hagens Jordan & Judy Harris David Holman Ralph Klose Alexis Macdonald Kathryn McAuley Roger McLennan June & John Mercer Shannon Michlitsch Stephen Moon & Diana Lowry J. Patrick & Linda Naughton Ed & Vicki Nubel

Gifts or pledges received between July 2015 and June 2016

Dan & Karen Patjens George & Leslie Patton James & Marilyn Sheasley Dr. William & Celia Shields Gary & Jennifer Smith David & Patricia Steiner Steve & Jenny Storaasli Jody Suhrbier Rebecca Whitesell FRIENDS CIRCLE $500-$999 Angelia Alexander Don & Inge Beardsley Karen Bellamy Dick & Karla Benedetti Cameron Bennett & Korine Fujiwara Geoffrey & Amy Boers Grace Cannon Jim Carr Andy Fagan Floyd & Helen Fesler Greg & Coralie Gustafson Margo Hass & Ron Klein Joan Hays Carol Hitchcock Larry & Robyn Hogue Elizabeth Jachim Blaine & Cathy Johnson David Johnson

Ken & Nancy Keiter Anne Kilcup Karl J. & Lois Kreitzer June Lane Elizabeth Lufkin Harold & Jean Mayer Maggie & Greg McGuire Kevin J. Miller Robert & Janet Mohr William Newell Lester & Peggy Olson Paul & Nancy Rising Athalia Rosen Ann Smith Mel & Elizabeth Spitler Stephanie Stebich Pastor Howard & Jeannine Stephan Dugald & Norita Stewart Penny Leah Tanner, PhD, ARNP Chris & Vicki Thomas Natalie & William Whitcomb Bob & Debbi Wiggins Janet & Bob Witter ADDITIONAL SUPPORT $250-$499 Jack & Billee Brown Michael & Jennifer Cozart Marcia Cramer Lawrence J. & Carolyn Curles Robert & Natalie Findlay Jean Garrity Robert Gelder Donna Gibbs & Dennis Minor Bruce & Kathryn Gustafson Karen & Patrick Haas Larry & Dorothy Hayden Bob & Judy Herrington Dorothy McBride Justin & Del Morrill Tom & Meg Names Phil & Natalie Nesvig Cap Pearson Wally & Mavis Platt Michael & Sue Sandner Neil & Olga Smith Ron & Carol Stockdale

Alan & Nancy Weaver James Wiley Charles & Shirley Wilkinson Marym Yazdi $100-$249 John Alvitre William & Alice Amblad Bonnie Anderson Burt Ballentine John Howard Bell Barry & Sharon Benson Jan & Brian Berg Marian Berry Frank & Mary Blacker Carolyn Blasdel Margaret Bradley-Thorndill & Steven Thorndill Frances M.D. & Roland Brown Carol Bruda Al & Betsy Buck Jim Burg Dan & Judy Burwell John & Lucille Carter Philip & Susan Carter Ruth Caswell Ralph Chappell USN (Ret.) Donald & Debbie Chin Denise & Saul Cline Nan Colburn David P. Dahl Ruth Daugherty & Bradley Nelson Harry & Shirley Dearth Marlo Delange Richard & Trenna Drumm Patricia Dyhrman Rebecca Evans Frank & Brenda Feeney Stephen & Heidi Giles Catherine Gleason Ramona Griffin Michael & Catherine Hammen Steve & Cynthia Hammer Mike Hankins Delores Havlina Richard & Sonya Hawkins David Hirst Natalie Humphrey Emahlea Jackson


Mark Jensen Gayle Johnston Rick & Karen Jordan Linda & Jim Kammerer Diane Kelly Ralph Kendall Charles Koonce Anne Kroeker Bill Levey Ellen Lowrie James & Janet Macdonald Lawrence & Sharli McCollum Thomas McNeely John & Linda Miller Dick & Marcia Moe Zoeb & Shera Mogri Phil & Natalie Nesvig James & Marian Oberg Donald O’Brian Janice Oldenburg & Steve Wells Linda Olson Richard & Kathleen Olson John & Marcia Ott Carolyn Patterson Harold B. Prescott & Marsha Brady Cynthia Probst Syra Beth Puett Mary Lou Ristine Svend Rønning Doris Ryan Paul & Rosemary Schneringer Steven Schneider Larry & Carla Seaquist Richard Seeger Jan Seferian Harold Shellabarger Jennifer Ssebaggala Sue & Manfred Stibbe Bill & Bobby Street William Street & Barbara Neils Virginia Timmerman Monica Valentine Nancy Vignec Beth Waldron-Nagy Jack & Lilly Warnick Gaylord & Wendy Warren Larry & Darlene Wilder

Charles & Shirley Wilkinson Tim & Carol Williams Betty Willis Sandra Wright Virginia Yanoff Gregory Youtz & Becky Frehse Gloria Ziegler *deceased

DONOR BENEFITS VIRTUOSO all benefits below, plus: • Undying appreciation • Category recognition pin • Pair of VIP tickets to Season Opening Gala MAESTRA all benefits below, plus: • Category recognition pin • Drink vouchers for Member Lounge • Opportunity to present artist thank you gift onstage • Opportunity to sit with Orchestra on stage at dress rehearsal CRESCENDO all benefits below, plus: • Category recognition pin • Member Lounge usage at Pantages Classics concerts • Annual Appreciation Dinner with Sarah VIVACE all benefits below, plus: • Opportunity to be recognized as a chair sponsor • Recognition on lobby PPT & on website FRIENDS • Free ticket exchange • Annual Appreciation Reception • Recognition in program book • Invitation to Music Mixers



Named Endowment Funds

Symphony Tacoma’s Endowment is comprised of donor-restricted and unrestricted gifts that are invested according to policies approved by the Board. Allocation of assets is maintained in accordance with Investment Policy guidelines and monitored by the Finance Committee. Named endowments in memory of a specific person or family begin at $25,000 and may be designated to fund an orchestra chair or specific program or activity. Anonymous Donors Jon Speck Education Endowment Fund Kilworth Education Fund Lynn Wainwright Palmer Principal Harp Chair Marco Heidner Trust Pierce County Stabilization Fund The Greater Tacoma Community Foundation Endowment Fund for Symphony Tacoma Wayne Timmerman Principal Trumpet Chair William Randolph Hearst Endowed Fund for Education

Legacy Society of Symphony Tacoma

The Society’s mission is to provide a base of financial stability that supports its artistic quality, performances, youth and community engagement activities. This is to be achieved by growing the organization’s existing reserves and permanent endowment. The following Legacy Society members have informed us of bequests or other planned gifts. John Haynes Bowen Samuel & Natalie Brown* Andy & Beth Buelow Clark & Eileen D’Elia Karla & Gordon Epperson Floyd & Helen Fesler Drew H. Foss Georgia Beatrice Hermann* Pamela Boyles & Roger Johnson George A. Lagerquist* Nelly Sleeth* Rick & Maggie Oldenburg Jon Speck* Barbara Walter Annette B. Weyerhaeuser* * indicates an estate has completed the gift

Interested in learning more about planned giving options? If you would like further information about making a legacy gift or bequest, please contact the Advancement Office at 253.272.7264.You may have questions about the best assets to make a planned gift; gifts of cash, securities and property; or gift options that provide tax and income benefits. We can help you find the tax and legal advice necessary to help you meet your philanthropic goals. If you have already made a bequest or other provision for Symphony Tacoma, we invite you to contact us. We would like to properly thank you, and your gift will inspire others. Thank you!

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PLANNED GIVING WHY WE INCLUDE SYMPHONY TACOMA IN OUR PLANNED GIVING. We grew up with music in our homes. Pam’s dad was a cellist; he played with the UPS orchestra and the Seattle Symphony in the 1920s.  All the kids in Pam’s family played an instrument.  Rocky’s mom was a singer and taught piano and his dad was a jazz bass player.  While his sister became an opera singer and a teacher of voice and piano, Rocky was far more interested in climbing mountains than practicing the piano.   We started attending the Tacoma Symphony soon after our marriage, over 47 years ago! Ed Sefarian was the Symphony’s music director, and performances took place in the Temple Theater. Then The Pantages Theater reopened in 1983—and the symphony had a grand venue, a home to grow in! Ten years later Harvey Felder made a huge impact by transforming the orchestra from a community to a fully professional ensemble.  

We had the opportunity to experience the 2013 audition concert of Sarah Ioannides conducting Glinka’s Overture to Ruslan and Ludmilla and Shostakovich’s Fifth Symphony.  We had never heard the Symphony play so well; we will

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never forget that performance. That was just the beginning!  It seems like every concert is better and more creative than the last!   Live music is a big part of our lives.  Classic symphonic music is a window to the past.  When it was composed it was the latest thing, a reflection of the sensibilities of the people and culture of the time.You can hear a piece many times and discover something new each time.  An understanding of the past helps us to know who we are and where we want to go.  Orchestral music can bridge the generations and bring people together.  Kids today don’t have many ways to experience live music; they get most of what they hear from some electronic gizmo and ear buds.  Nothing can compare with the joy of what our friend Greg Youtz calls “music-ing”:  being an active participant, whether as a player, listener or both.   It is important to us that youth have access to live music for generations to come.  This is why we have included Symphony Tacoma in our estate plan.  We invite you to consider a planned gift for Symphony Tacoma; and join us in enriching children’s lives.  Pamela Boyles & Roger ‘Rocky’ Johnson

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Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

Sarah Ioannides, conductor Vadim Gluzman, violin Symphony Tacoma Voices Geoffrey Boers, director

Saturday, October 22, 2016 7:30 p.m., Pantages Theater

MEET THE ARTIST Vadim Gluzman, violin Dianne K. Conway GTH Partner Symphony Tacoma Board Member

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Vadim Gluzman’s extraordinary artistry brings back to life the glorious violinistic tradition of the 19th and 20th centuries. His widely ranging repertoire embraces contemporary music, and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. The Israeli violinist appears regularly with major orchestras such as the Chicago Symphony, Philadelphia Orchestra, London Philharmonic, Israel Philharmonic, London Symphony, BBC Symphony, Leipzig Gewandhaus, Munich Philharmonic and San Francisco Symphony; and with leading conductors including Neeme Järvi, Michael Tilson Thomas, Tugan Sokhiev, Andrew Litton, Marek Janowski, Jukka-Pekka Saraste, Itzhak Perlman, Paavo Järvi, Rafael Frühbeck de Burgos, Hannu Lintu and Peter Oundjian. His festival appearances include Verbier, Ravinia, Lockenhaus, Pablo Casals, Jerusalem, and the North Shore Chamber Music Festival in Northbrook, Illinois, which was founded by Gluzman and pianist Angela Yoffe, his wife and long-standing recital partner. Mr. Gluzman recently made appearances with the Berlin Philharmonic, Cleveland Orchestra, Boston Symphony, Vancouver Symphony, Moscow Virtuosi, and the National Symphony in Washington D.C , and is continuing his collaboration with the ProMusica Chamber Orchestra in Columbus, Ohio, as Creative Partner and Principal Guest Artist. Continued on next page

Polovtsian Dances

Alexander Borodin


Fratres Arvo Pärt 12’ Violin Concerto in A minor, op. 82 Alexander Glazunov 21’ I. Moderato II. Andante sostenuto III. Allegro Vadim Gluzman Vadim Gluzman’s appearance is made possible with support from the Gottfried & Mary Fuchs Foundation INTERMISSION Symphony No. 9 in E minor, op. 95 “From the New World” I. Adagio - Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco

Antonín Dvořák 40’

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Media Sponsor The length of this concert, including intermission, is approximately 117 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.

MEET THE ARTIST Vadim Gluzman Continued

October 2016

Vadim Gluzman has given live and recorded premieres of works by composers such as Giya Kancheli, Peteris Vasks, Lera Auerbach and Sofia Gubaidulina. In 2016, he will give the World Premiere performances of a major work by Lera Auerbach for violin, orchestra and chorus with the Bergen Philharmonic Orchestra, the Orchestre de la Suisse Romande, and culminating with BBC Symphony at the London Proms.

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Born in the former Soviet Union in 1973, Vadim Gluzman began violin studies at age 7. Before moving to Israel in 1990, where he was a student of Yair Kless, he studied with Roman Sne in Latvia and Zakhar Bron in Russia. In the US his teachers were Arkady Fomin and, at the Juilliard School, the late Dorothy DeLay and Masao Kawasaki. Early in his career, Mr. Gluzman enjoyed the encouragement and support of Isaac Stern, and in 1994 he received the prestigious Henryk Szeryng Foundation Career Award. Vadim Gluzman plays the extraordinary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago. Seneschal_TSOPrintAd.pdf 4 7/12/16

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The present work derives from the score of his opera Prince Igor, which was two decades in the making and left unfinished at his death. The Polovtsians or Cumans were a nomadic people who lived to the north and west of the Caspian Sea in central Eurasia. In the opera’s libretto, the title character is taken prisoner by the Polovtsian ruler, who attempts to lift the spirits of his bored and restive captive with singing and dancing slaves. The sparkling orchestration and rousing choral vocalizations make for a true show-stopper. To this day, Polovtsian Dances remains the work for which Borodin is most well-known, and is widely regarded as one of the pinnacles of late 19th-Century Russian music.

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Alexander Borodin (1833-1887) Polovtsian Dances (1890)

Borodin was a cellist and a self-described “Sunday composer” who made his living as a scientist and professor of chemistry at the Medico-Surgical Academy of St. Petersburg. (His doctoral dissertation bore the somewhat unpromising title On the Analogy of Arsenical with Phosphoric Acid.) This consequent status as a musical weekend warrior probably accounts for his relatively meagre output.




During the latter half of the 19th century, a group of composers known as the “Russian Five”—Mily Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin—advanced a nationalistic spirit in Russian music, over and against the more cosmopolitan (i.e. European) stylings of Tchaikovsky, Rachmaninoff and others.




Dance of the Young Girls On the wings of gentle zephyrs seek thou, O tender song, my native country, The land where many a time I used to listen To songs most sweet and dear to free-born maidens. Where soft airs around us were so gently wafted, Where the mountains slumber by the sea, enwrapped in clouds, Or in turn green-clad the mountains, Glowing in waves of light, are bathed in sunshine; Where roses blow and scent the air around them, Where in the leafy woods the birds are singing, In woods so green: To that land haste thee, my song! General Dance Glory, honor, to our mighty chief! Glory, honor, to our master! Hail! Hail our chief! Hail! Hail, all hail! Hail him! Bright as sunlight is his mighty power! Nowhere shall you find his equal! Hail! Dance of the Female Slaves Sire, thy maidens praise thee as their mighty lord! See’st thou these slave maidens? They are beauties that I have imported From over the Caspian. Tell me which of them pleases you best, my lord; Straightway I’ll give you the maiden you choose for your own! Glory, honor, to our master! Hail!


Glory, honor, to our master! Hail! Comes the Khan, far flies the foe, far, far! Nowhere shall you find his equal! Hail! Bright as sunlight is our mighty Khan! Dance of the Men Like thy forefathers are thou famous, great, mighty Khan! Like thy forefathers art thou, great, mighty, strong, dreaded Khan! Dance of the Young Girls On the wings of gentle zephyrs seek thou, O tender song, my native country, Where once I heard the songs That fell so sweetly, So dear to free-born maidens That would sing thee. Where soft airs around us were so gently wafted, Where the mountains slumber by the sea, Enwrapped in clouds, Or in turn green-clad the mountains, Glowing in waves of light, Are bathed in sunshine; Where roses blow and scent the air around them, And in the woods the nightingales are singing, In woods so green. To that land haste thee, my song! Dance of the Men Like thy forefathers art thou, famous, great, mighty, strong! Like thy forefathers art thou strong, Our great Khan! Dance of the Little Boys Hail our Khan! Sound his praise! Hail our Khan! Sound his praise! Hail our Khan! General Dance For the pleasure of your Master dance, ye maidens, sing, ye maidens! For your master’s pleasure, maidens, Sing and dance and all be joyful! Dance, ye sprightly maidens, Dance now for your noble Prince! Dance, ye sprightly maidens, Gaily, for your master’s pleasure, gaily, Lovely maidens! Sing and dance for the Khan! For the pleasure of your master dance, Ye maidens, hail, O Khan! All hail, O Khan!

Arvo Pärt (1935- ) Fratres (1977) Estonian composer Arvo Pärt was born on September 11, 1935; knowing this, his beautiful Fratres can almost take on a devotional, requiem-like quality when placed in the context of more contemporary September 11 events. This, however, is also attributable to the culture and times from which Pärt emerged. He was born into a period of Soviet repression and censorship, and his development as a composer was stifled by the oppressive expectations and rules of the Soviet authorities. He had a strong interest in medieval and renaissance polyphony, Gregorian chant and Russian Orthodox church music and closely studied the works of Machaut, Josquin and Ockeghem. The unmistakable religious influences in his works might lead one to describe them as timeless, mysterious and full of love. Pärt’s style is known as “tintinnabulation,” which is Latin for “bells.” He describes this style in this way: “Here I am alone with silence. I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comfort me. I work with very few elements—with one voice, with two voices. I build with the most primitive materials— with the triad, with one specific tonality. The three notes of a triad are like bells. And that is why I called it tintinnabulation.” Fratres is one of Pärt’s best-known compositions. It dates from 1977 and was premiered by the Estonian early music ensemble Hortus Musicus. The original scoring was for three voices and seven early or modern instruments and percussion. Since then, the ten-minute work has been re-scored for various instrumentations, including a dozen cellos and string orchestra. Fratres is a meditative, spiritual work that moves from an ethereal plane into a deeper, more foreboding realm. It begins with a low, open-fifth drone that is almost more felt than heard, overlain with a gentle pulse by the bass drum and a punctuating wood block. The strings enter with a simple, floating line that moves with slow, loose parallel rhythm and harmony. The six-measure theme is repeated nine times, each presentation growing richer in its sonorities and textures over the ever-present drone. Each theme statement is interspersed with two measures of percussion heartbeat­­—the relative silence gives the sense of the music breathing, of giving the listener a chance to absorb what has just passed. Even as the music fades back into more translucent textures, it keeps its dark moodiness until the final chords. Alexander Glazunov (1865-1936) Violin Concerto in A minor, op. 82 (1904) The advocacy of Rimsky-Korsakov secured Alexander Glazunov’s admission to the Russian Nationalist school of composers in the 1880s. Originally his teacher, Rimsky-Korsakov eventually came to regard Glazunov as a dear friend and colleague. Although part of the Russian National school, Glazunov came to represent a via media between them and composers of more cosmopolitan leanings. He joined the staff of the St. Petersburg Conservatory and later become its director, a position he held until 1930. In

this role he exerted a strong influence on numerous composers, including such illustrious names as Shostakovich and Prokofiev. On the other hand, he took a dim view of modernism, and Stravinsky famously referred to him as “among the most disagreeable men I have ever met.” The 1904 Violin Concerto was dedicated to violinist Leopold Auer, who premiered the work on February 15 in St. Petersburg the following year—less than a month after the infamous “Bloody Sunday” demonstration which led inexorably to the Russian Revolution. This weekend’s performance by Vadim Gluzman is given on the same instrument played by Auer. Although performed without pause, the concerto is clearly divided into four separate movements, each without title or label. One of the work’s most unique structural characteristics is the insertion of the slow second movement into the middle of the first. The closing cadenza of the latter, regarded as one of its most challenging passages, utilizes extensive double-stopping (where two separate strings are bowed or plucked simultaneously). Antonin Dvořák (1841-1904) Symphony No. 9 in E minor, op. 95 “From the New World” (1893) The “New World” Symphony, Dvořák’s best known work, was written during the Czech composer’s sojourn in the United States from 1892 to 1895. During this three-year period, he served as Director of the National Conservatory of Music in New York City, spending his summers enjoying the bucolic charms of Spillville, Iowa. By this time, Dvořák was at the height of his fame as an ardent champion of the music of his beloved homeland. His goal while in America was to similarly discover and engage with the authentic music of the new world. Having found a distinctive

Czech flavor in that country’s peasant music, he felt that the soul of America was to be uncovered in the folk idioms of Native and African American music. Rather than quoting American folk melodies in the symphony, the composer said, “I merely tried to write in the spirit of those national melodies.” However, if you listen closely, you may hear melodies that remind you of “Swing Low, Sweet Chariot,” “Three Blind Mice” or even a bit of “Yankee Doodle.”  The two middle movements were inspired by “The Song of Hiawatha,” Longfellow’s 1855 epic. This poem relates the tragic love story of an eponymous Ojibwe warrior and a maiden named Minnehaha. The Largo depicts the funeral of Minnehaha, “deep in a snow-bound forest”; the Scherzo the dance of Pau-Puk-Keewis at the wedding feast.  The finale is all power and fury, possibly depicting the battle between Hiawatha and Pau-PukKeewis. Here, Dvořák introduces numerous new ideas and recounts all of the major ideas of the earlier movements. The work ends with powerful surges of music.

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Tacoma 253.759.5555 Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

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COPLAND & GLASS Sarah Ioannides, conductor Amy Dickson, saxophone Saturday, Nov. 19, 2016 7:30 p.m., Pantages Theater

It’s a big world. See it all.

Adagio for Strings

Samuel Barber


Appalachian Spring

Aaron Copland


Philip Glass


Leonard Bernstein



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Violin Concerto No. 1 (arranged for soprano saxophone by Amy Dickson)

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Twice Grammy-nominated Amy Dickson made history by becoming the first saxophonist and the first Australian to win a Classic Brit Award, as 2013 MasterCard Breakthrough Artist of the Year. This followed the release of her third album, Dusk and Dawn, which attained the coveted No. 1 position in the UK Classical Album Charts. In January 2016, Dickson was named Young Australian of the Year in the UK. Recognized widely for her remarkable, distinctive tone and exceptional musicality, Gramophone has described her as “a player with a difference who has an individual and unusual tone, luscious, silky-smooth, sultry and voluptuous by turns.” As an internationally regarded soloist, she performs throughout the world with many of the great orchestras and in recent seasons has performed at the Royal Albert Hall, Sydney Opera House and the Konzerthaus, Vienna. Continued onon next page Continued next page

I. II. III. Amy Dickson

On the Town: Three Dance Episodes I. The Great Lover II. Lonely Town: Pas de Deux III. Times Square: 1944

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The length of this concert, including intermission, is approximately 117 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.


MEET THE ARTIST Amy Dickson Continued


Samuel Barber (1910-1981) Adagio for Strings (1936)

Dickson thrives on the diverse repertoire possibilities the saxophone can straddle and continually seeks to explore new genres. She has premiered new works for saxophone and orchestra or chamber ensemble and is a regular collaborator with today’s leading composers. She is equally devoted as a champion of established saxophone repertoire, regularly performing the concerti of Glazunov, Debussy, Villa Lobos, Ibert, Larsson, Dubois and Milhaud, as well as those of Turnage, Higdon, Birtwistle, Williams, Glass, Sculthorpe, Torke and Kancheli. Now based in London, Dickson was born in Sydney, Australia and began musical studies at the age of two, taking her first saxophone lesson at age six. She made her concerto debut at 16, and on her 18th birthday made her first recording as soloist with the Sydney Symphony Orchestra. That year she moved to London to study at the Royal College of Music, and then at the Conservatorium van Amsterdam.

The saying “less is more” is often true in music, and never more so than in Barber’s haunting Adagio for Strings. Based on one simple, yearning melody and benefiting only from the shifting shades of violins, violas, celli and double bass, the Adagio has earned that special honor of being both a popular and respected addition to the orchestral repertoire. In the fall of 1936, Barber was 26 years old and had just completed a symphony. He had the opportunity to turn his attention to a smaller-scale composition when some friends from the Curtis Institute commissioned him to compose a string quartet. The resulting Quartet in B Minor was premiered in December 1936. Barber sensed, even before he heard the first notes played, that the central adagio movement had a special quality. Soon after, he arranged the movement for string orchestra, and sent the score off to revered conductor Arturo Toscanini, along with his Essay for Orchestra. Better known for his musicality than his people skills, Toscanini rapidly memorized the scores and, not needing them, returned them without comment. Barber was incensed; when Toscanini learned of this, he passed along the message, “Tell him not to be mad. I’m not going to play one of his pieces; I’m going to play them both!” Upon its premiere, the Adagio was an instant success. It has taken on a life of its own apart from the quartet from which it was extracted. The work is almost synonymous with mourning and sadness, having been played at the funerals of presidents Roosevelt and Kennedy, as well as the composer’s own memorial service. It will also be forever associated with two films: Oliver Stone’s Platoon and David Lynch’s The Elephant Man.

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Aaron Copland (1900-1990) Appalachian Spring (1944) Martha Graham speaks: When Aaron first presented me with the music its title was Ballet for Martha—simple, and as direct as the Shaker theme that runs through it. I took some words from the poetry of Hart Crane and retitled it Appalachian Spring. When Aaron appeared in Washington for a rehearsal, before the October 30, 1944, premiere, he said to me, “Martha, what have you named the ballet?” And when I told him he asked, “Does it have anything to do with the ballet?” “No,” I said, “I just like the title.” Thus runs the ironic backstory to the title of one of the most well-known, beloved works in the orchestral repertoire. Even though the title Appalachian Spring was essentially an afterthought, it is hard to imagine music that could better typify the American frontier, simplicity and hardship of the early settlers, and the joy and anticipation that comes with the newness of spring. Appalachian Spring was the only collaboration between Copland and Graham, but it so embodies the American spirit through song and dance, perhaps that was all that needed to be said. Graham was working under a 1942 commission from the Elizabeth Sprague Coolidge Foundation. The music was composed over a two-year time period, with Graham presenting Copland with no fewer than four different scripts, each one further defining the scenario of a Pennsylvania hills couple beginning their lives together. As she explained to Copland, “This need in no sense be western in feeling. My own great grandmother went to Pennsylvania when it seemed a frontier.”


Copland supplied the following notes on the music: 1. Very slowly. Introduction of the characters, one by one, in a suffused light. 2. Fast.  Sudden burst of A Major arpeggios to start the action.  A sentiment both elated and religious is the keynote to this scene. 3. Moderate.  Duo for the Bride and her Intended--scene of tenderness and passion. 4. Quite fast.  The Revivalist and his flock.  Folksy feelings--suggestions of square dances and country fiddlers. 5. Still faster.  Solo dance of the Bride--presentiment of motherhood.  Extremes of joy and fear. 6. Very slowly (as at first).  Transition scene to music reminiscent of the introduction. 7. Calm and flowing.  Scenes of daily activity for the Bride and her FarmerHusband.  There are five variations on a Shaker theme.  The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title The Gift to be Simple.  The melody I borrowed and used almost literally is called ‘Simple Gifts’.  It has this text:   ‘Tis the gift to be simple,   ‘Tis the gift to be free,   ‘Tis the gift to come down   Where we ought to be. 8. Moderate.  Coda.  The Bride takes her place among her neighbors.  At the end, the couple are left quiet and strong in their new house.  Muted strings intone a hushed, prayer-like passage.  The close is reminiscent of the opening music. Philip Glass (1937- ) Violin Concerto No. 1 (1987); arranged for saxophone by Amy Dickson Human beings love to label, and music business executives (as we know firsthand) are as human as the rest of us! But few artists appreciate having their work categorized like common merchandise.

Thus Philip Glass eschews the label of “minimalism,” or more properly “minimal music,” even though he is arguably the school’s most famous composer. The term minimalism originally referred to a movement in art, arising in the 1950s in reaction to the intensely chaotic style known as abstract expressionism. By contrast, minimalism is characterized by spare, simple, and often repetitive forms. Minimal music, emerging a decade later, similarly represented a pendulum swing against the stark, dense and angular style of serialism which had dominated composition since the end of World War II. Echoing the eponymous movement in art, it features simple, repetitive patterns and—most refreshingly—a return to tonality. Conventional development is nonexistent; instead, the repetitive patterns evolve and change gradually over time. Major composers in this style include La Monte Young, Terry Riley, Steve Reich, and Philip Glass. The term is useful in understanding the shared aesthetics of the style; perhaps what must be avoided is the intellectually lazy tendency to completely define (or worse, dismiss) any one composer by it. Glass’s music evinces the general characteristics of minimalism, but over decades has arguably evolved beyond it. The Violin Concerto No. 1 is a case in point. Commissioned by the American Composer Orchestra in 1987, the 30-minute work—his first piece for full orchestra— is among Glass’s most well-known. It was, for him, an uncharacteristically personal work, written for his late father Ben, an ardent classical music lover who particularly enjoyed the great repertoire concertos but “had no education in music whatsoever” (as Glass puts it). As a relatively young instrument, the saxophone suffers from a lack of repertoire, and thus the serious classical saxophonist must often resort to arrangements. Amy Dickson, a true master at such adaptations, fell in love with the Glass Violin Concerto, but originally felt it would be impossible to


transcribe for a wind instrument. As she recounts, “I started mucking around with it, just playing it by ear and trying to make it work. When I was signed by Sony, they really liked the idea, so I started thinking about it a little more seriously. I wrote to Philip Glass. He gave me his approval to arrange the work, and I sent the score to him at various points as the arrangement came together.” In order to perform the concerto, Ms. Dickson had to master the formidable technique of circular breathing: inhaling through the nose as one blows through the lips. This enables her to maintain the constant, unrelenting melodic line of the piece, written for a non-wind instrument. “It took about six months of practicing before my circular breathing was at a level where I was happy to do it in front of an orchestra,” she recalls. The arrangement was premiered in 2008 and released on CD on the RCA Victor label the following year. AllMusic, in reviewing the disc, declared that “Dickson… makes the Glass concerto sound as though it was written for her instrument, rather than the violin.” BBC Music Magazine agreed, writing: “In some ways, Amy Dickson’s arrangement for soprano saxophone actually works better than the original…The fast passages sound crisper; the bubbling arpeggios and long slow notes have new varied textures thanks to the saxophone’s reedy depth.”

to end with Bernstein’s delightful, unmistakable musical personality and formidable compositional skills. As such, it is the perfect closer for this colorful, varied concert of American music—as well as a tantalizing foretaste of the upcoming 2018 Bernstein Centennial. Each episode bears the name of a different person from the production of the musical. Episode I, “The Great Lover,” is dedicated

to Sono Osata, the Japanese-American ballerina who played Ivy Smith in the original production. It is a jazz-infused romp depicting one of the sailors as he sleeps in the subway and dreams of the beautiful Ivy, winner of the “Miss Turnstiles” advertising pageant. Episode II, “Lonely Town,” is a bluesy pas de deux danced by one of the sailors with a teenage girl in Central Park; it is dedicated to lyricist Betty Comden. The finale, “Times

Leonard Bernstein (1918-1990) On the Town: Three Dances Episodes (1945) This sparkling, vivacious setting from the Broadway show On the Town is one of the composer’s earliest orchestral works. Based on Jerome Robbins’s 1944 ballet Fancy Free, the musical—with book and lyrics by Betty Comden and Adolph Green—tells the story of three sailors on shore leave in New York City. The opening measures sound exactly like Stravinsky at the height of his Neoclassical phase, while the rest of the score exudes the Copland-esque Americana so prevalent in the era it was written. However, this is no derivative student work; it is packed from beginning


Square,” is pure swing; it opens with a clarinet solo that might have been written with Benny Goodman in mind. This is soon followed by a marvelously sultry tenor saxophone solo and a duet between the sax and clarinet. Bernstein dedicated this last episode to another member of the original cast, the wry wit Nancy Walker (later of “McMillan & Wife,” “Rhoda,” and Bounty’s paper towel ad fame!).

Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

Geoffrey Boers, conductor Symphony Tacoma Voices Tacoma Youth Chorus

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Judith Herrington, director

Sunday, December 4, 2016 2:30 p.m., Pantages Theater October Eric Whitacre See Amid the Winter’s Snow Dan Forrest Gesu Bambino René Clausen Bring a Torch Donna Schultz Hallelu Stephen Paulus Alleluia W. A. Mozart Celebrate the Newborn King Rollo Dilworth Angels We Have Heard René Clausen Hallelujah Chorus G. F. Handel; arr. Mozart INTERMISSION

MEET THE ARTISTS Tacoma Youth Chorus

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is a choral arts program for boys and girls, kindergarten through high school. Founded in 1991 by Artistic Director Judith Herrington, the Tacoma Youth Chorus has inspired young singers through their passion for music; this passion grows as they interact with audiences and one another through rehearsals, concerts, and touring. While these talented young musicians learn the values of respect and hard work, values they carry into their adulthood, more than anything, Tacoma Youth Chorus is a place for kids to be themselves and have fun with music!

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Fantasia on Greensleeves Vaughan Williams Wassail Song Donna Schultz Walking In the Air Howard Blake O Come All Ye Faithful René Clausen Welsh Dancing Carol Donna Schultz Silent Night Chip Davis Christmas Time Is Here John Alexander ‘Twas the Night Before Christmas arr. Fred Waring Children of Light Valerie Webdell Festival Nowell Dan Forrest

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Judith Herrington is the Founder and Artistic Director of Tacoma Youth Chorus, bringing more than 35 years of teaching and conducting experience to her work at Charles Wright Academy in Tacoma, Washington. A graduate of the University of Oregon, Ms. Herrington earned her Master of Education degree from Lewis and Clark College in Portland, Oregon. She served on the boards of the WA-American Choral Directors Association and the School of Arts and Communication Advisory Board at Pacific Lutheran University. This past year, she was inducted into the Hall of Fame of the Washington Music Educators’ Association in recognition of her many contributions to choral music education. She is highly regarded as a guest conductor, workshop and choral clinician and is a noted composer and arranger.


Friday, March 17, 2017 8:00 p.m. Tacoma Dome Chris Botti, trumpet Program to be announced Grammy Award Winning trumpeter Chris Botti was born in Portland, Oregon and raised in nearby Corvallis. He studied with Woody Shaw and cut his teeth touring with Frank Sinatra and Buddy Rich. He toured for years with Paul Simon and later with Sting, whom he credits with having forever changed the course of his career. Now a major artist in his own right, performing worldwide, selling more than three million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre. With his Grammy-Award Winning album Impressions and the releases that preceded it, Chris Botti has thoroughly established himself as one of the important, innovative figures of the contemporary music world.

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Please see Geoffrey Boers biography on page 12. Please see Symphony Tacoma Voices roster on page 13.

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Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

HANDEL’S MESSIAH Sarah Ioannides, conductor Christina Kowalski-Holien, soprano Melissa Plagemann, mezzo-soprano Wesley Morgan, tenor Charles Robert Stephens, bass Amy Boers, harpsichord Coni Liljengren, organ Symphony Tacoma Voices Geoffrey Boers, director

Thursday, December 15, 2016 7:30 p.m., Chapel Hill Presbyterian Church

MEET THE ARTIST Christina Kowalski-Holien, soprano Christina Kowalski-Holien is known for the unique dark timbre of her voice; her “glowing heights and warm depths” excite audiences in the U.S.A. as well as in Europe. Ms. KowalskiHolien is a native of Germany, where she graduated with a Masters in Music and Drama from the Hochschule für Musik und Kunst in Frankfurt am Main. She made her U.S. debut as Marzelline in Beethoven’s Fidelio at the Mark Theater in Portland and has performed with numerous orchestras, opera companies and organizations throughout the Northwest and Europe. Her future engagements include her Tacoma Opera debut as the 1st Lady in the The Magic Flute, her debut with Thalia Symphony in Seattle, Tosca for the Seattle Opera Previews, and the rare performance of the “Wesendonck Lieder” by Wagner with the Vancouver Symphony in 2015. Ms. Kowalski-Holien has been an affiliate artist faculty member at the University of Puget Sound since 2005 and is a 2nd year doctoral student at the University of Washington.

Friday, December 16, 2016 7:30 p.m., St Charles Borromeo Church


George Frederick Handel


Part One 1. Overture (Sinfonia) 2. “Comfort Ye, My People” (Recitative – Tenor) 3. “Every Valley Shall Be Exalted” (Air – Tenor) 4. “And The Glory Of The Lord” (Chorus) 5. “Thus Saith The Lord” (Recitative – Bass) 6. “But Who May Abide” (Air – Bass) 7. “And He Shall Purify” (Chorus) 8. “Behold, A Virgin Shall Conceive” (Recitative – Alto) 9. “O Thou That Tellest Good Tidings To Zion” (Air – Alto) 10. “For Behold, Darkness Shall Cover The Earth” (Recitative – Bass) 11. “The People That Walked In Darkness” (Air – Bass) 12. “For Unto Us A Child Is Born” (Chorus) 13. Pastoral Symphony 14a. “There Were Shepherds” (Recitative – Soprano) 14b. “And, Lo! The Angel Of The Lord Came Upon Them” (Recitative – Soprano) 15. “And The Angel Said Unto Them” (Recitative – Soprano) 16. “And Suddenly There Was With The Angel” (Recitative – Soprano) 17. “Glory To God” (Chorus) 18. “Rejoice Greatly, O Daughter Of Zion” (Air – Soprano) 19. “His Yoke Is Easy” (Chorus) INTERMISSION

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The length of this concert, including intermission, is approximately 120 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.


Part Two 20. “He Was Despised And Rejected Of Men” (Air – Alto) 21. “Surely He Hath Borne Our Griefs” (Chorus) 22. “All We Like Sheep Have Gone Astray” (Chorus) 23. “All They That See Him” (Recitative – Tenor) 24. “He Trusted In God” (Chorus) 25. “Thy Rebuke Hath Broken His Heart” (Recitative – Tenor) 26. “Behold, And See If There Be Any Sorrow” (Air – Tenor) 27. “Let All the Angels of God Worship Him” (Chorus) 28. “Why Do The Nations” (Air – Bass) 29. “Let Us Break Their Bonds Asunder” (Chorus) 30. “He That Dwelleth In Heaven” (Recitative – Tenor) 31. “Thou Shalt Break Them” (Air – Tenor) 32. “Hallelujah!” (Chorus)

Melissa Plagemann, mezzo-soprano

Melissa Plagemann has been praised by audiences and the press for her “clear, burnished voice” (The News Tribune) and “attractively expressive mezzo” (Crosscut Seattle). She performs frequently throughout the Pacific Northwest, appearing with some of the area’s finest musical organizations, including the Bellevue, Seattle, Skagit, Tacoma and Vespertine operas, Seattle Baroque Orchestra, Seattle Choral Company, Seattle and Tacoma symphonies, and the Banff Summer Arts Festival. Having earned a master’s degree in piano performance in addition to her experience as a singer, she is uniquely qualified as an interpreter of art song and chamber music, and is a frequent recitalist. Awards for Plagemann include first prizes in the competitions of the Seattle Musical Art Society and the Seattle Gilbert and Sullivan Society. She teaches on the voice faculties of Pacific Lutheran University and Western Washington University.

Part Three 33. “I Know That My Redeemer Liveth” (Air – Soprano) 34. “Since By Man Came Death” (Chorus) 35. “Behold, I Tell You A Mystery” (Recitative – Bass) 36. “The Trumpet Shall Sound” (Air – Bass) 37. “Worthy Is The Lamb” (Chorus)


PART ONE 1. Overture (Sinfonia)

MEET THE ARTISTS Wesley Morgan, tenor

Charles Robert Stephens, bass

Stephens has enjoyed a career spanning a wide variety of roles and styles in opera and concert music. His performances have shown “a committed characterization and a voice of considerable beauty” (Opera News). At the New York City Opera he sang the role of Professor Friedrich Bhaer in the New York premiere of Adamo’s Little Women, and was hailed by The New York Times as a “baritone of smooth distinction.” He has sung on numerous occasions at Carnegie Hall in a variety of roles with the Opera Orchestra of New York, the Oratorio Society of New York, the Masterworks Chorus, and Musica Sacra. Now based in Seattle, Charles has sung with the Seattle Symphony Orchestra, Tacoma and Spokane symphonies and operas, Portland Chamber Orchestra and other ensembles.  

“Fresh voiced young tenor” ( Wesley Morgan has been praised by conductors, stage directors and audiences for his “ringing tenor” and “gift for suave phrasing” (Greenville News). Of his Opera in the Heights debut as Edgardo in Lucia di Lammermoor, said, “Morgan’s polished tenor instrument is put to great use with this score.” After a New York City debut with Teatro Grattacielo on a gala concert featuring Aprile Milo, Mr. Morgan returned this season as Prince Alexis in Siberia. Opera News said of his performance, “Wesley Morgan’s clear tenor made one wish Giordano had given Alexis more to sing.” He made his international debut as the tenor soloist in Messiah for the Windsor Symphony Orchestra in Ontario and returned to Atlanta Opera as Gastone in La Traviata, in which Opera News described him as “a natural comedian.”



George Frederick Handel (1685-1759) Messiah (1741)

too expensive for most people to own one; illiteracy also was a barrier. The oratorio genre originated as an accessible way to educate people in significant portions of the Bible.

George Frederick Handel was born in Halle, Germany, but settled in England in 1711. He became a naturalized British subject in 1726. In 1741, Charles Jennens, a great admirer and sometimes collaborator of Handel, presented him with a libretto based Old and New Testament passages from the King James version of the Bible. The libretto inspired Handel, and from August 22 to September 14, 1741, he composed what would become his most beloved and inspired work.

Messiah is divided into three sections. Part I recounts the foretelling of the Messiah by the prophets, and his eventual Nativity. Part II deals with Christ’s suffering and death. The concluding section offers an affirmation of Christian faith and glimpses of Revelation. The famous “Hallelujah” chorus brings Part II to a close with triumphant joy. The tradition of the audience standing for the latter dates back to 1743 when King George II stood to express his admiration for the work, prompting the audience to follow his lead. Part III excerpts texts from the Pauline and Johannine letters of the New Testament, which formed the basis of the church’s earliest Christology.

An oratorio means “oratory by music.” While sharing the drama and story-telling nature of an opera, oratorios were performed without sets or costumes. During Handel’s time, Bibles were


2. Recitative Tenor Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God. (Isaiah 40: 1-3) 3. Air Tenor Ev’ry valley shall be exalted, and ev’ry moutain and hill made low; the crooked straight and the rough places plain. (Isaiah 40: 4) 4. Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. (Isaiah 40: 5) 5. Recitative Bass Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land. And I will shake all nations; and the desire of all nations shall come. (Haggai 2: 6-7) The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts. (Malachi 3: 1) 6. Air Bass But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner’s fire. (Malachi 3: 2) 7. Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi 3: 3) 8. Recitative Alto Behold, a virgin shall conceive and bear a

son, and shall call His name Emmanuel, God with us. (Isaiah 7: 14; Matthew 1: 23) 9. Air Alto O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your God! (Isaiah 40: 9) Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. (Isaiah 60: 1) Chorus O thou that tellest … 10. Recitative Bass For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising. (Isaiah 60: 2-3) 11. Air Bass The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah 9: 2) 12. Chorus For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the mighty God, the Everlasting Father, the Prince of Peace. (Isaiah 9: 6) 13. Pastoral Symphony 14a. Recitative Soprano There were shepherds abiding in the field, keeping watch over their flocks by night. (Luke 2: 8) 14b. Recitative Soprano And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they


were sore afraid. (Luke 2: 9) 15. Recitative Soprano And the angel said unto them: “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.” (Luke 2: 10-11) 16. Recitative Soprano And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying: (Luke 2: 13) 17. Chorus “Glory to God in the highest, and peace on earth, good will towards men.” (Luke 2: 14) 18. Air Soprano Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem! Behold, thy King cometh unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen. (Zecharaiah 9: 9-10) 19. Chorus His yoke is easy, and His burden is light. (Matthew 11: 30) PART TWO 20. Air Alto He was despised and rejected of men, a man of sorrows and acquainted with grief. (Isaiah 53: 3) 21. Chorus Surely He hath borne our griefs, and carried our sorrows! He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. (Isaiah 53: 4-5) 22. Chorus All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on Him the iniquity of us all. (Isaiah 53: 6)

23. Recitative Tenor All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: (Psalm 22: 7) 24. Chorus “He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.” (Psalm 22: 8) 25. Recitative Tenor Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort him. (Psalm 69: 20) 26. Air Tenor Behold, and see if there be any sorrow like unto His sorrow. (Lamentations 1: 12) 27. Chorus Let All the Angels of God Worship Him. (Chorus) (Hebrews 1: 6) 28. Air Bass Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. (Psalm 2: 1-2) 29. Chorus Let us break their bonds asunder, and cast away their yokes from us. (Psalm 2: 3) 30. Recitative Tenor He that dwelleth in Heav’n shall laugh them to scorn; The Lord shall have them in derision. (Psalm 2: 4) 31. Air Tenor Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. (Psalm 2: 9)

32. Chorus Hallelujah: for the Lord God Omnipotent reigneth. (Revelation 19: 6) The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. (Revelation 11: 15) King of Kings, and Lord of Lords. (Revelation 19: 16) Hallelujah! PART THREE 33. Air Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. (Job 19: 25-26) For now is Christ risen from the dead, the first fruits of them that sleep. (I Corinthians 15: 20) 34. Chorus Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. (I Corinthians 15: 21-22) 35. Recitative Bass Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a

moment, in the twinkling of an eye, at the last trumpet. (I Corinthians 15: 51-52) 36. Air Bass The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption and this mortal must put on immortality. The trumpet. . . da capo (I Corinthians 15: 52-53)

37. Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. (Revelation 5: 12-14)


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Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

MOZART & TCHAIKOVSKY Sarah Ioannides, conductor Kristin Lee, violin Saturday, February 25, 2017 7:30 p.m., Chapel Hill Presbyterian Church Sunday, February 26, 2017 7:30 p.m., Rialto Theater Overture to Don Giovanni


Kristin Lee

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Named the recipient of a 2015 Avery Fisher Career Grant, Korean-American violinist Kristin Lee has been praised by The Strad for her “mastery of tone,” and “one of the most satisfying concerts in years.” A violinist of remarkable versatility and impeccable technique, Ms. Lee enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. Ms. Lee’s recent engagements include her debut with the Milwaukee Symphony and at Washington, D.C.’s Phillips Collection, recitals in New York’s Merkin Concert Hall and Florida’s Kravis Center, and appearances with the Guiyang Symphony Orchestra of China, the St. Paul Chamber Orchestra, The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony, West Virginia Symphony, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony of Korea, and many others. Continued onon next page Continued next page

Violin Concerto in D major, op. 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Kristin Lee

Wolfgang Amadeus Mozart 7’ Piotr Ilyich Tchaikovsky 33’

INTERMISSION Symphony No. 1 in G minor, Piotr Ilyich Tchaikovsky 44’ op. 13, “Winter Daydreams” I. Allegro tranquillo II. Adagio cantabile ma non tanto III. Scherzo: Allegro scherzando giocoso IV. Finale: Andante lugubre – Allegro maestoso

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With support from Tacoma Philharmonic Endowment The length of this concert, including intermission, is approximately 99 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.

MEET THE ARTIST Kristin Lee Continued

She is the concertmaster of the groundbreaking Metropolis Ensemble, with whom she premiered Vivian Fung’s Violin Concerto, written for her, and which appears on Ms. Fung’s CD Dreamscapes, released for the Naxos label CD. This violin concerto was named as the 2013 Juno Award winner. She also appeared on a nationally broadcast PBS documentary entitled Perlman in Shanghai that chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory. Born in Seoul, Ms. Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin

Competition. In 1995, she moved to the U.S. and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School’s PreCollege Division. In January 2000, she was chosen to study with Itzhak Perlman, after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Ms. Lee holds a Master’s degree from The Juilliard School, where she studied with Itzhak Perlman and Donald Weilerstein, and served as an assistant teacher for Mr. Perlman’s studio as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College and the co-founder

and artistic director of Emerald City Music, a chamber music series based in Seattle. She has also served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@ Menlo Chamber Music Festival.

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Wolfgang Amadeus Mozart (1756-1791) Overture to Don Giovanni, K.527 (1787) Mozart penned the overture to his opera buffa Don Giovanni in a single evening, the day before its 1787 premiere in Prague. The work is based on the legend of Don Juan, the notorious seducer and murderer. Perhaps this rather dark subject matter accounts for the overture’s unusually portentous beginning: an ominous D minor chord, then silence, followed by an equally ominous A major chord. The music continues on in this rather moody fashion, utilizing materials from the finale of the second act, for exactly two minutes­—and then abruptly shifts to D major. From here on, we are back in an atmosphere as sunny as The Marriage of Figaro, and the overture unfolds in a typically peppy, brisk Mozartian fashion. Piotr Ilyich Tchaikovsky (1840-1893) Violin Concerto in D major, Op. 35 (1878) The story of the birth of Tchaikovsky’s lone violin concerto is strikingly similar to that of his piano concerto. The work was written and dedicated to the great virtuoso Leopold Auer, a Hungarian-born violinist based on Moscow. This is how Auer described the story of the concerto’s presentation to him to a reporter in 1912:

When Tchaikovsky came to me one evening, about thirty years ago, and presented me with a roll of music, great was my astonishment on finding that this proved to be the Violin Concerto, dedicated to me, completed, and already in print. My first feeling was one of gratitude for this proof of his sympathy toward me, which honored me as an artist. On closer acquaintance with the composition, I regretted that the great composer had not shown it to me before committing it to print. Much unpleasantness might then have been spared us both. Auer went on to carefully clarify an earlier remark that the concerto was “unplayable” by smoothing over his indictment: “… It is incorrect to state that I had declared the concerto in original form technically unplayable. What I did say was that some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined.” However, these remarks came many years after the “unplayable” remark, and Auer was not the performer to premiere the work. That honor instead fell to Adolf Brodsky, who gave its first public performance in Vienna in 1881. The work opens with a brief orchestral introduction of the gentle, simple and familiar melody. Tchaikovsky said that the first movement “sprang suddenly in my head and quickly ran into its mold.” The lyric writing yields to a difficult cadenza before closing the movement. An elegant canzonetta (a brief, song-like passage) follows, and was the least offensive movement to those first audiences. It fades into the energetic, dancelike finale, with the music exploding with technical fireworks and folk and gypsy influences pushing the soloist to explore the violin’s virtuosic capacity.



Piotr Ilyich Tchaikovsky (1840-1893) Symphony No. 1 in G minor, op. 13, “Winter Daydreams” (1868) Tchaikovsky was born at a pivotal time during the development of Russian music. A generation earlier, Mikhail Glinka (1804-1857) had become the first Russian composer to gain international stature. Just before Glinka’s death, Vladimir Stasov and Miky Balakirev founded the group of composers known as the “Russian Five,” advancing a distinctly nationalistic style that eschewed formal education and particularly Western influences. (cf. Borodin’s Polovtsian Dances on p. 29.) Resisting their efforts, in 1862 pianist composer Anton Rubinstein opened the country’s first music conservatory in order to teach those selfsame Western techniques. Tchaikovsky, who abandoned his early career as a civil servant to become a pupil at the Conservatory in 1863, thus found himself caught in the middle between two opposing strains of musical thought. This tension notwithstanding, the young composer blossomed under Rubinstein’s guidance, graduating with honors in 1865. Anton’s brother Nikolai promptly offered him a post at the new Moscow Conservatory; soon thereafter, Tchaikovsky penned one of the first truly Russian full symphonic works, his G minor Symphony No. 1. The effort was not without its critics— including his own former teacher, Anton Rubinstein, with whom the composer shared some early sketches. This initial response compounded Tchaikovsky’s already high anxiety; he nearly suffered a nervous breakdown during the compositional process. It was Nikolai who helped turn the tide, welcoming the emotionally fragile young musician into his home and keeping him engaged socially. In December 1866, Nikolai took parts of the new symphony and presented them in Moscow and St. Petersburg, and the audience rewarded Tchaikovsky with a warm reception. The full work received its premiere in 1868.

Despite the difficult birth of the symphony, Tchaikovsky came to regard it fondly, calling it “a sin of my sweet youth.” In a November 1883 letter to his patroness, Nadezhda von Meck, he remarked, “although it is immature in many respects, it is essentially better and richer in content than many other, more mature works.”

In the scherzo third movement, the clouds have lifted and we return to the sunshine that reflects off of snow and ice on a brilliant winter day. The theme is borrowed from Tchaikovsky’s 1865 Piano Sonata in C-sharp minor. Of particular beauty is the romantic, sweeping waltz of the violins in the middle trio section.

Although “program music” (which attempts to convey an extra-musical storyline) was in vogue at the time, Symphony No. 1 is not a fully programmatic work, in that it lacks a defined narrative. Still, Tchaikovsky gave it the subtitle “Winter Daydreams,” perhaps as a doff to the prevalent style of the day.

Tchaikovsky again borrows from existing material for the andante finale; this time, the source is a Russian folk tune, “The Garden Blooms.” He uses the modulation from minor to major to invoke an orchestral blooming of sound, showing off the previously under-utilized brass in their full triumphant glory. A small fugue follows, adding to the exuberance. There is a return to the more brooding mood, but the brass once again step in to part the clouds and the work concludes with a carnival-like joy.

The first movement, “Dreams of a Winter Journey,” uses a flute and bassoon duo to invoke a chilly frost. The very Russiansounding theme builds to a climax before yielding to the clarinet solo, presenting the second theme of the movement. A result of Tchaikovsky’s nearly obsessive revision work, this segment was not part of the original version, but was added only in 1874. The development section opens with hints of the Waltz of the Flowers from The Nutcracker, 20 years before its time. The movement reaches a powerful crescendo before recapping the opening and resuming its mysterious, wintry mood. The sparkle of the first movement is counteracted by clouds in the second movement, in the moody “Land of Gloom, Land of Mists.” Out of a string prelude sings an oboe solo, playing a heart-felt melody that is passed through the instruments with slight variations.


Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

BEETHOVEN & MOZART Sarah Ioannides, conductor Kuok-Wai Lio, piano Symphony Tacoma Voices Geoffrey Boers, director

Saturday, March 25, 2017 7:30 p.m., Rialto Theater Pavane in F-sharp minor, op. 50


Kuok-Wai Lio, piano

Praised by the Vancouver Sun as a “musician’s musician” and for his “sensitive playing” by The New York Times, Macauborn pianist Kuok-Wai Lio is active as a soloist and chamber musician worldwide. He came to serious attention when, in January 2014, he replaced an indisposed Radu Lupu at the Peoples’ Symphony Concerts at New York’s Town Hall to rave reception. According to The Philadelphia Inquirer, “Rising star pianist Kuok-Wai Lio puts focus on music.” Recent appearances include the music festivals of Santa Fe, Ravinia, Prussia Cove, Marlboro, Caramoor, Klavierfestival Ruhr, Kissinger Sommer, and Hong Kong Arts Festival. Lio has appeared in recital at the Vancouver Recital Society, San Francisco Performances, Gilmore Rising Stars Series, Philip Lorenz Memorial Keyboard Concerts and Philadelphia Chamber Music Society. He has performed at such venues as Weill Recital Hall at Carnegie Hall, Tonhalle Zürich, and Herkulessaal in Munich. As a


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Symphony No. 29 in A major, K.201 I. Allegro moderato II. Andante III. Menuetto: Allegretto IV. Allegro con spirito

Gabriel Fauré 7’ Wolfgang Amadeus Mozart 28’

INTERMISSION Adagietto from Symphony No. 5

Gustav Mahler


Piano Concerto No. 2 Ludwig van Beethoven 28’ in B-flat major, op. 19 I. Allegro con brio II. Adagio III. Rondo Molto allegro Kuok-Wai Lio

Performance sponsor Media Sponsor With support from Tacoma Philharmonic Endowment The length of this concert, including intermission, is approximately 102 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.




Gabriel Fauré (1845-1924) Pavane in F-sharp minor, Op. 50 (1887)

Kuok-Wai Lio Continued

French composer Gabriel Fauré’s life spanned one of the greatest periods of change in musical history. When he was born, Chopin was still active; by the time of his death, Schoenberg had invented Twelve-Tone music and Stravinsky was well into his Neoclassical period. Fauré’s music thus represents a bridge between the Romantic and Modern eras of composition. The F-sharp minor Pavane is a case in point. Originally written for piano and chorus, today it is far better known in its orchestrated version. Lightly scored for double flutes, oboes, clarinets, bassoons, horns, strings and chorus, at times it teeters on the verge of Impressionism and should be particularly well-suited to the warm, sonorous acoustics of the Rialto Theater. Although far more restrained, the piece in some ways presages Ravel’s famous Bolero in its concentration on orchestral color in place of conventional development. The composer modestly dismissed the six-minute work as “elegant, but not otherwise important.” The title derives from a stately processional dance from the 16th century Renaissance. Among the most graceful pieces of all time, the work is characterized by a gentle pizzicato walking bass line, maintained throughout most of the piece (and implied where not actually present). Solo flute, and then additional woodwinds, present the main thematic materials, before the chorus enters with its somewhat enigmatic text by French symbolist poet Robert de Montesquiou. It is Lindor, it is Tircis, and it is all our victors! It is Myrtille, it is Lyde! The queens of our hearts. As they are defying! As they are always proud! As we dare rule our fates and our days! Pay attention! Observe the measurement! Oh mortal insult! The cadence is less slow! And safest falling! We rabattrons gossip out there! We will soon be their running dogs! They are ugly! Dear little face! They are madmen! (Quaint airs and tunes!) And it is always the same, and so forever! We love it! We hate it! We curse her love! Farewell Myrtille, Egle, Chloe, mocking demons! Farewell and good day to the tyrants of our hearts! And a good day!


concerto soloist, he has collaborated with the Macau Orchestra, Hong Kong Philharmonic, Hong Kong Sinfonietta, China Philharmonic, Guangzhou Symphony, Pan Asia Symphony, Kansas City Symphony, Grand Rapids Symphony, California Symphony, Houston Symphony, Russian Symphony Orchestra and Camerata Salzburg. Lio is a prize winner  at the 6th International Chopin Piano Competition of Asia (Tokyo), 5th International Tchaikovsky Competition for Young Musicians (Japan), Ettlingen International Competition for Young Pianists (Germany), 3rd Seiler International Competition for Young Pianists (Germany), 65th Steinway & Sons International Youth Piano Competition (Beijing), 2005 Gina Bachauer International Young Artists Competition (USA), and 2007 International Fulbright Concerto Competition (USA).  In January 2004, he received a Commendation of Merit given by the Chief Executive of Macau.  Lio is a recipient of the prestigious 2013 Avery Fisher Career Grant given by the Lincoln Center for the Performing Arts.   Born in 1989, Lio began piano lessons at the age of five with Lilik Juniwatie Sutiono.  He continued his musical studies at the Hong Kong Academy for Performing Arts and the Curtis Institute of Music, under support from the Cultural Affairs Bureau of Macau.  His principal teachers have included Gabriel Kwok and Gary Graffman.  He has been invited by Sir András Schiff to take part in his open master classes held in England, Austria, Switzerland and Germany.

Wolfgang Amadeus Mozart (1756-1791) Symphony No. 29 in A major, K.201 (1774)

put on my headphones, sat down to listen, and proceeded to sob my way through the entire eight-minute piece.

Mozart and Beethoven go together very well on a program, and since this weekend’s performance includes both, it is an opportunity to compare and contrast them. How do you tell them apart?

It’s that powerful. It’s the kind of piece you remember where you were when you first heard it. In an oeuvre full of hourplus-long works and orchestrations that stretch the capacity of most concert hall stages, this movement stands alone as Mahler’s most popular work.

Mozart was known for writing a lot of music, and writing it very fast, with few revisions. He seems to have heard the music fully formed in his mind; notating it was a mere afterthought. By contrast, Beethoven was a laborer and builder—taking many risks, trying different things, not all of which worked. He wrote slowly, made frequent changes, and built incredible edifices out of scanty material. His music is masterfully imperfect: all the more amazing because you can sense the struggle that went into its creation. It is particularly interesting to compare the two works on this program, because they are both the product of youth: Mozart wrote his A major Symphony No. 29 at the age of 18, while Beethoven completed his Second Piano Concerto when only a year older.

The Symphony No. 5 was composed during the fall of 1901, Mahler’s first purely instrumental symphony since the No. 1 (“Titan”), composed some 20 years earlier. The 41-year-old musician had recently met Alma Schindler, the daughter of a famous Viennese landscape painter. He was immediately smitten. The result was this musical love letter to Alma, embedded as the fourth movement of the five-movement symphony. Conductor Willem Mengelberg (an early champion of Mahler’s music) offered this insight: “This Adagietto was Gustav Mahler’s declaration of love to Alma! Instead of a letter, he confided it in this movement without a word of explanation. She understood and replied: He should come!!! (I have this from both of them!)”

The A major was only the second of Mozart’s symphonies to become part of his standard oeuvre and today is one of the most beloved of his early works. Its youthful innocence of gesture contrasts with its exquisite construction. The orchestration is sparing, with nothing more than strings, double oboes and horns— giving the symphony the intimate feel of a chamber work.

To analyze the movement as a standalone piece is beside the point. The minimalist instrumentation—harp and strings—invites us to sink into the lush sounds, the pure emotion that radiates from every note. It is an intimate snapshot of a man baring his soul. There is love, longing, and even a hint of angst. There is a paradoxical mix of incredible delicacy and immutable power… and all shades in between.

Gustav Mahler (1860-1911) Adagietto from Symphony No. 5 in C-sharp minor (1901)

In offering this very real and raw glimpse of his heart, Mahler has written a love letter to us all.

I was in high school when I first heard the Adagietto movement from Mahler’s Symphony No. 5.

Ludwig van Beethoven (1770-1827) Piano Concerto No. 2 in B-flat major, Op. 19 (1789)

There were a number of us in my senior class going on to be music majors in college, so our band director made us each a mix-tape of “must know” music that included the Adagietto. One spring evening, I popped it into my Walkman,

Beethoven composed the B-flat major Piano Concerto as a performance vehicle for his budding concert career, premiering the work himself in Vienna in 1795. As noted in the comments on Mozart’s Symphony No. 29 above, it is fascinating


to hold the two young composers up to the contrasting light of these early works. Mozart’s A major Symphony is youthful but unmistakably Mozart. Beethoven’s second piano concerto, however, is aesthetically light years away from, say, his Ninth Symphony, written 35 years later. This was no accident; Beethoven’s life and music bridged the classical and Romantic eras. The concerto is still squarely in the former age. It is full of a lightness and optimism that was to become increasingly rare in his music as Beethoven aged. Of the two composers, Beethoven was to travel the further journey—and not merely because his was the longer life. The allegro con brio first movement, in double sonata form, opens with a lengthy orchestral introduction of expansive yet sprightly flavor. Both of the main themes are presented during the intro; it is a full three minutes before the entrance of the piano. The movement proceeds with dancelike buoyancy. Interestingly, in the cadenza, composed by Beethoven himself years later, the sure-footedness of youth has already become muted; it is more thoughtful and exploratory. The E-major adagio middle movement, in ABA form, continues to explore this depth. It is interesting to compare this with the andante movement of the Mozart which, while expressive, never quite loses its classical detachment. By contrast, the adagio conveys a sense of the selfrevelatory, and thus may be seen as a feint toward the Romantic aesthetic to come. Back in B-flat major, the third movement is in rondo (ABACA) form. Like certain segments of Mozart’s 29, this Molto allegro finale seems to recall Papa Haydn. As exuberant and sunny as the conclusion of the Mozart, there is still a ponderous feel that is entirely absent from the former: where Mozart skips, Beethoven capers. Near the end, he exhibits a flash of the mischievous humor that was to crop up occasionally in his later music, when the piano begins the final statement of the “A” section in the wrong key, and the orchestra “corrects” it. The concerto ends simply and playfully.

bask in the music

Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

SYMPHONY SWEETHEARTS Sarah Ioannides, conductor Jens Lindemann, trumpet Stephanie Porter, vocalist Pacific Lutheran University Jazz Ensemble David Deacon-Joyner, director

Saturday, April 22, 2017 7:30 p.m., Pantages Theater Jens Lindemann’s appearance is made possible with support from Richard Bartolatz & Thomas Sawyer

MEET THE ARTIST Jens Lindemann, trumpet

Pacific Lutheran University’s School of Arts and Communication produces more than 200 events a year, including: musical performances, documentary premieres, art gallery exhibitions, and theatrical productions. PLU is proud to have our faculty performing in Symphony Tacoma: • • • • • •

Svend Rønning - Concertmaster Paul Evans - Principal Tuba Gina Gillie - Assistant Principal Horn Anna Jensen - Assistant Principal Double Bass Jennifer Rhyne - Second Flute Craig Rine - Principal Clarinet

Jens Lindemann is hailed as one of the most celebrated soloists in his instrument’s history and was recently named “International Brass Personality of the Year” (Brass Herald). He has played in every major concert venue in the world, from the Philharmonics of New York, Los Angeles, London, and Berlin to Tokyo’s Suntory Hall and even the Great Wall of China. Lindemann’s career has ranged from appearing internationally as an orchestral soloist; performing at London’s Last Night of the Proms; recording with the Mormon Tabernacle Choir—to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for the Queen of England. He has also won major awards ranging from Grammy and Juno nominations to winning the prestigious Echo Klassik in Germany, as well as receiving an honorary doctorate. Classically trained at the renowned Juilliard School in New York, Jens Lindemann’s proven ability to perform as a diverse artist places him at the front of a new generation of musicians. He has performed as soloist and recording artist with classical stars such Continued Continuedon onnext nextpage page

Themes from 007 My Funny Valentine Dreaming of the Masters

arr. Calvin Custer Rodgers & Hart, arr. Chris Walden Allan Gilliland

INTERMISSION Ellington Medley Duke Ellington St. Louis Blues W. C. Handy You Made Me Love You Monaco & McCarthy Blues in the Night Arlen & Mercer Stardust Hoagy Carmichael Count Bubba Gordon Goodwin Over the Rainbow Arlen & Harburg (arr. Chris Walden) Who Wants to Live Forever Brian May Bugle Call Rag Pettis, Meyers & Schoebel (arr. Kim Scharnberg)

Performance sponsors

Media Sponsors The length of this concert, including intermission, is approximately 123 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.

MEET THE ARTIST Jens Lindemann Continued

as Sir Neville Marriner, Sir Angel Romero, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Eiji Oue, Bramwell Tovey, and Jukka Pekka Saraste. Lindemann has performed at Lincoln Center, with the London Symphony, and with the orchestras of Philadelphia, Beijing, Bayersicher Rundfunk, Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit, Houston, Montreal, Toronto, Vancouver, Warsaw, Welsh Chamber, I Musici de Montreal, and St. Louis. Heralded internationally as an outstanding artist, critics have stated: “He played with golden timbre and virtuosic flair” (The New York Times); “a world-class talent” (Los Angeles Times); “one of the most memorable recitals in International Trumpet Guild history” (ITG); and “performed brilliantly in the North American premiere of Bernd Alois Zimmermann’s Concerto with the Toronto Symphony” (Toronto Star).

Geoffrey Boers, Chorus Director Harvey Felder, Conductor Laureate

MEET THE ARTIST MEET THE ARTIST Stephanie Porter, vocalist Stephanie Porter is a premier jazz vocalist who lives to sing. Her recordings have charted on the top 10 nationally and internationally. From an early age Porter found herself mesmerized by music—particularly jazz—and the many layers of interpretations of songs by both instrumentalists and vocalists.   Whether singing with a symphony or in a duo, Porter pours her heart and soul in to the music. Her voice has taken her to France, England, Canada, and other parts of the world.  Locally, she has entertained audiences at the Triple Door, The Pampas Room, Tula’s Jazz Club, the Pantages Theater (with Symphony Tacoma), Benaroya Hall and Jazz Alley. Her recordings have received air play both nationally and internationally. CDBaby stated: “I am in total awe with this woman’s voice.”

Based in Los Angeles, Mr. Lindemann is internationally endorsed by the Yamaha Corporation and performs exclusively on 24K gold plated trumpets. “The trumpet is capable of being played with the virtuosity of a violin, the tenderness of the human voice and the stylistic flexibility of the piano. It allows me an endless range of communication with audiences.” - Jens Lindemann


The Pacific Lutheran University Jazz Ensemble

MOUNTAIN & SEA Sarah Ioannides, conductor Symphony Tacoma Voices

The Pacific University Jazz Ensemble is comprised of 20 student musicians and performs jazz repertoire from all eras of the genre’s history. The UJE performs at festivals, schools, churches, jazz clubs, and concert venues throughout the Northwest.

Geoffrey Boers, director

Saturday, May 13, 2017 7:30 p.m., Pantages Theater Peer Gynt: Suite No. 1, op. 46 Fire Mountain (World Premiere)

The band tours each spring for the purposes of public outreach and recruiting, as well as to give students a rich and varied performance experience. The ensemble has made international tours to Scandinavia, China, Australia, Spain and Portugal.

Edvard Grieg


Daniel Ott


La Mer Claude Debussy I. From dawn to noon on the sea II. Play of the waves III. Dialogue of the wind and the sea


Commission funded by a generous gift from Laurie Sorensen and Carroll L. Bryan II


David Deacon-Joyner is Professor of Music and Director of Jazz Studies at Pacific Lutheran University. He holds degrees in composition and ethnomusicology from the University of Memphis (Tennessee) and the University of Cincinnati CollegeConservatory of Music.

Residents of the Pacific Northwest cherish the pristine beauty of the surrounding mountains and the cold, many-fingered waterways of the great inland sea of Puget Sound. Today’s concert celebrates the majesty and sense of place in our region. Its centerpiece is the world premiere of Fire Mountain by nationally-acclaimed composer Daniel Ott. A musical portrait of Mount Rainier, Ott’s piece is presented as part of the National Park Service centennial. Paired with Debussy’s great impressionist opus La Mer, the work is intended to raise awareness of the plight of the mountain. According to scientists, the changing climate has already caused irreparable damage. The glaciers are receding, and the consequences include river aggradation, flooding and infrastructure problems, reduction of subalpine meadows and decreasing animal habitats. What can any of us do to change this trajectory—and help preserve this great natural resource for our children? It starts with awareness. To learn more, visit

Performance sponsors

Media Sponsor

The length of this concert, including intermission, is approximately 88 minutes. This concert is being recorded for archival purposes. The use of cameras and personal recording devices is strictly prohibited. Please turn off all cell phones, beepers, watch alarms and other electronic devices while in the concert hall.



Edvard Grieg (1846-1907) Peer Gynt: Suite No. 1, op. 46 Edvard Grieg is the Norwegian pianist and composer who placed his country’s music firmly into the international panoply, as Sibelius did for Finland. His was a mix of the nationalistic and the cosmopolitan. He was a well-traveled and well-known man whose contacts throughout the musical world included Tchaikovsky, Liszt and Grainger, among others. Nevertheless, his music is steeped in the ethos of rural Norway; one cannot help hearing (as his countryman Arthur Herresthal puts it) “a light, fresh breeze from the blue waters, a glimpse of sparkling glaciers, a recollection of the steep mountains and of life in the fjordland of western Norway, where Grieg was born and dearly loved to roam.” He had a tiny one-room cabin built in the wilderness near the little village of Ullensvang, with a breathtaking view of the Folgefonna glacier just across the dark waters of the fjord. Here, alone with a grand piano, a desk, and little else, Grieg composed some of his greatest music. He would have felt perfectly at home along the bluffs of Vashon, above the rock shingle of Puget Sound, with the glaciers of Mount Rainier as a backdrop. Premiered in Oslo in 1876, Peer Gynt was originally written as incidental music to the eponymous 1867 play by Henrik Ibsen. More than a decade later, Grieg created two four-movement suites of music extracted from the play. Suite No. 1 in cludes the darkly mischievous “In the Hall of the Mountain King,” which today is the most well-known passage of Grieg’s music. Daniel Ott (1975- ) Fire Mountain (2017) Daniel Ott’s music has been described as “haunting” (The News Tribune), “compelling” (Dance Magazine), and “of considerable artistic seriousness” (MusicWeb International). His work has been heard all over the world, most notably at Carnegie Hall, Lincoln Center, Kennedy Center, Sadler’s Wells, Musée du Louvre, Guggenheim Museum, and at the Fall for Dance Festival in New York’s City Center. Recent commissions have come from the National Symphony, New York City Ballet’s Choreographic Institute, the Chiara Quartet, and Bargemusic, among others. Ott’s roots, however, trace squarely back to Pierce County. His father is a retired Army colonel and his mother a well-known area teacher and violinist (who has played with Symphony Tacoma in the past). His musical development traces its early beginnings through the Puyallup School District music program, Tacoma Youth Symphony (his primary instrument is the French horn), and composition lessons with Gregory Youtz. He studied at the Curtis Institute of Music and The Juilliard School, where his teachers included Ned Rorem, John Corigliano, and Robert Beaser. He currently serves on the faculty of both Juilliard and Fordham University, where he is Assistant Professor of Music Theory and Composition. Ott resides in New York with his wife Erin (also a TYSA alumnus) and their two children. The composer has provided the following notes describing his new work: Fire Mountain takes its name from the following quote by the celebrated naturalist, John Muir: “Of all the fire-mountains which, like beacons, once blazed


along the Pacific Coast, Mount Rainier is the noblest in form” (Our National Parks, 1901). I took as my point of departure not only the inspiring nature of our mountain’s setting, but also its very shape. If one were to trace the outline of the mountain with the tip of a finger (especially when viewed from slightly north of our location tonight), he or she would describe two prominent peaks: Little Tahoma to the east, and Columbia Crest, Mt. Rainier’s summit, to the west. This image is so embedded in any Pacific Northwesterner’s consciousness, that it’s hard for one of us to even think of “home” without recalling it to mind. And it’s this image that encapsulates Fire Mountain’s musical form. As the peaks and valleys of this outline rise and fall, so do the large-scale sections of the music. The piece begins with a whisper of wind, relying on the choir and strings to create the effect, and then builds toward its first peak (Little Tahoma). At this point, a new, more lyrical theme emerges in the brass (itself tracing the contours of Rainier’s peaks), eventually rising to the musical summit (Columbia Crest). Now the choir enters once again, singing emphatic snatches of the Muir quote above. But the music shifts tone, becoming more liquid; panicked sounds of melting are heard all through the orchestra and choir. The music cascades down in a rush of sound, depicting Mt. Rainier’s threatened glaciers. The ending asks more of a question than it provides an answer: What will our mountain’s fate be? How can we shape its destiny? The music was composed over the summer and fall of 2016, and is scored for a moderately large orchestra and choir. I am indebted to the incomparable Sarah Ioannides, a longtime friend, for this wonderful opportunity to bring my music home to the place I love most of all, and to Symphony Tacoma and its musicians for all

their beautiful playing and singing; not to mention the amazingly dedicated staff of our National Park Service—I hope you all enjoy! Claude Debussy (1862-1918) La Mer (1905) The French composer Claude Debussy is credited by many for ushering in the modern era in music. Our modern ears can scarcely appreciate how radical and strange the free, improvisatory forms, with their use of exotic, Asian scales, sounded to the ears of that time. After Debussy, music would never be the same. About 24 minutes in duration, La Mer was a departure from musical tradition on multiple levels. Earlier musical works depicting nature— Vivaldi’s Four Seasons, the “storm” movement of Beethoven’s 6th Symphony—did so from an anthropomorphic perspective. La Mer, by contrast, contains no human characters or literary references, but describes the pure sea in all its magnificent, wild grandeur. La Mer defies any traditional categorization. It is not properly a symphonic poem; though descriptive of the sea it has no clear story line or “program.” Still less does its form resemble a traditional symphony. Debussy referred to it as “three symphonic sketches,” borrowing phraseology from the contemporaneous Impressionist paintings to which it is often compared. The comparison is apt: Romantic painters were concerned with using color and light to reveal objects and scenes; Impressionist painters wanted to revel in color and light itself. Classical-Romantic composers were focused on developing structured compositional materials; textures and musical “color” were an enhancement, subservient to these aims. Debussy, in the words of music annotator Peter Gutmann, was the first composer “to create music of sheer sonority that simply was allowed to exist, without constantly having to progress toward a prescribed goal.” Indeed, he disdained the whole idea of “development”—the basis of all previous classical music. Once, during a performance of Beethoven, he reportedly


turned to a companion and remarked, “let us go. He is beginning to develop.” La Mer also eschews any strict use of traditional major-minor tonality—the musical language which had reigned supreme since the early Baroque era— relying instead on free use of the whole tone and pentatonic scales. The traditional diatonic scale (“do, re mi, fa, sol…”) has a logical structure and a rootedness; wherever a melody in C major travels, it is ultimately trying to return “home” to C, the tonic or root. Not so with whole tone: every note is evenly spaced in relation to every other note, and there is no “home” to return to. Debussy uses this rootlessness to great effect in depicting the wild, unruly sea. La Mer is divided into three movements, titled From dawn to noon on the sea, Play of the Waves, and Dialogue of the wind and sea. Any attempt at a sequential description would be next to impossible, as the structure, harmony and melodic material is so free-form. The first movement begins quietly and mysteriously, as though the sea is awakening after deep night, gradually increasing in energy and liveliness as the morning advances. The second movement indeed seems to suggest the motion of brisk, playful waves. The finale comes as close to directly descriptive as Debussy ever gets, in its depiction of the buildup to a violent storm, followed by a gradual subsiding to calm and clearing as the sun breaks through. Pierre Boulez summed up Debussy’s influence on music eloquently: “What was overthrown was not so much the art of development as the very concept of form itself… giving wings to a supple, mobile expressiveness… a miracle of proportion, balance and transparency.” Not everyone was equally impressed; some regarded Debussy’s music as overblown and his descriptive titles as pretentious. His fellow composer, Erik Satie, upon hearing From Dawn to Noon on the Sea, reportedly remarked sarcastically that he “particularly liked the bit at about 11:15.”

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Morso Wine Bar..................................................... 19 Mountain Moving & Storage.................................. 34 MultiCare............................................................... 50 Musicians’ Association of Seattle 76-493.................... 6 Nerium International............................................. 17 Northwest Public Radio KVTI 90.9....................... 17 Olympic Landscape & Irrigation Co........................ 28 One Stop Dentistry................................................ 68 Pace Dermatology Associates.................................. 17 Pacific Lutheran University - SOAC....................... 60 Pacific Northwest Eye Associates............................. 32 Pierce County AIDS Foundation............................ 52 Pierce County Television........................................ 43 R.L. Ray Violin Shop............................................. 64 Rafael Carrabba Violins, Inc.................................... 32 Retina & Macula Specialists.................................... 52 Roberson Properties............................................... 17 Selden’s Home Furnishings..................................... 56 Seneschal Advisors.................................................. 28 Sharon Wilson, Real Estate Broker.......................... 40 South Sound Magazine........................................... 54 Sound Piano Crafts................................................... 4 Soundview Eyecare................................................. 62 Stadium Thriftway.................................................. 37 Stella Artois/Olympic Eagle Distributing................ 55 Sudar Appraisals & Estate Sales................................ 34 Tacoma Arts Month................................................ 28 Tacoma Dome........................................................ 34 Tacoma Lutheran Retirement Community............. 28 Tacoma Philharmonic Endowment/BCPA............. 29 Tacoma Waldorf School.......................................... 31 Ted Brown Music................................................... 42 The Introvert Entrepreneur..................................... 37 The Weatherly Inn.................................................. 56 Timothy E. Williams, Attorney at Law..................... 49 UBS Financial Services, Inc..................................... 31 University Bookstore.............................................. 48 University of Puget Sound...................................... 25 University of Washington Tacoma.......................... 49 Emerald City Music................................................ 31



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