R. JOSEPH SCOTT - CONDUCTOR & MUSIC DIRECTOR

Transcription

1 T H E S E A S O N R. JOSEPH SCOTT - CONDUCTOR & MUSIC DIRECTOR

2 Orchestra Management Board of Directors Founding Director Joyce Cunningham Music Director & Conductor R. Joseph Scott President Armand Binkhuysen Vice-President Miranda Thorpe Treasurers Andrea Adee Secretary Cathy Grindle Directors-at-Large Dennis Helppie Andy Hill Renee Kuehn Daphne Robinson Mark Wiseman Honorary Board Members Don Gerend Former Mayor, City of Sammamish Skip Rowley Chairman, Rowley Properties Nancy Whitten Sammamish City Council member Personnel Ensemble coordinator Donna Mansfield Auction Chair Gazala Uradnik elcome to Sammamish Symphony s WEspaña concert! This season marks my 16th year with this gifted group of musicians. The Sammamish Symphony Orchestra continues to grow in artistic excellence, and the dedication of each member is evident in the quality of this fine musical ensemble. The Sammamish Symphony s 2014/2015 season is an eventful one, highlighted by orchestral masterworks and outstanding soloists. We are once again presenting each of our regular concerts at two locations. Our audiences can attend any of these concerts at the Theatre at Meydenbauer Center in Bellevue (Friday or Thursday evenings) or at Eastlake Performing Arts Center (Sunday afternoons). Performing at Meydenbauer continues our efforts to enlarge our audience and become better known throughout the Eastside. This weekend s España theme brings to our audience the rich musical heritage of Spain and the Spanish-speaking counties of Latin America. Classical guitarist Michael Parthington, whom we feature in Joaquín Rodrigo s Concierto de Aranjuez, is one of the most engaging of the new generation of concert guitarists. Maurice Ravel s climactic showpiece Boléro, exemplifies his lifelong attraction to Spain as his second musical homeland. The Cantaré Vocal Ensemble has again invited the Sammamish Symphony to take part in a special appearance at Benaroya Hall in Seattle. On Sunday, April 19, 2015, we will perform Carl Orff s Carmina Burana, with several area choral groups. It is a spectacular piece, employing enormous forces in an hour plus long celebration. This will be our sixth collaboration at Benaroya with Cantaré. Our season wraps up in June with Pyotr Ilyich Tchaikovsky s Fourth Symphony a masterpiece by turns somber, lyrical, colorful, and powerful. That concert also highlights our Youth Concerto Competition Winner. Now, I invite you to sit back and enjoy the concert! Librarian Loryn Lestz Section Librarians Eric Daane, Shelby Eaton, Jonathan Feil, Dennis Helppie, Libby Landy, Jayne Marquess Grants Armand Binkhuysen Personnel Jonathan Feil Renee Kuehn Concert Program Jonathan Feil Emaugo Creative Webmaster Mark Wiseman Youth Concerto Competition Renee Kuehn Lobby Managers Kathie Jorgensen Cindy Jorgensen Concessions Manager Cherlyn Kozlak Sound Recording Philip Chance R. Joseph Scott R. Joseph Scott R. Joseph Scott Music Director and Conductor, R. Joseph Scott has been a dynamic leader in the Northwest musical community for 47 years. He is currently celebrating his 16th year with the Sammamish Symphony Orchestra. Maestro Scott has conducted concerts featuring a diverse array of artists, including Metropolitan Opera star Roberta Peters; violinist Pamela Frank; cellist Julian Schwarz; the Seattle Opera Chorus; the Empire Brass Quintet; the Seattle Symphony Choral; and vocalists Anna Maria Alberghetti, Lou Rawls, Maureen McGovern and Marni Nixon. Mr. Scott has also featured members of the Seattle Symphony: Kimberly Russ, piano; Ben Hausman, oboe; Simon James, violin. Maestro Scott founded the Bellevue Philharmonic Orchestra, serving as Music Director, Conductor and General Manager from and served as Resident Conductor of Lyric Opera Northwest from He has appeared with numerous musical ensembles, including the Bellevue Opera and has conducted world premieres of works by Alan Hovhaness, Vaclav Nelhybel and various regional composers. Maestro Scott attended the University of Oregon, School of Music and studied conducting with Eugene Furst and Wolfgang Martin of the Portland Opera. After moving to Seattle, Mr. Scott continued his studies with Henry Holt of the Seattle Opera, Mikael Scheremetiew of the Thalia Conservatory, and Vilem Sokol of the Seattle Youth Symphony. Maestro Scott will be on leave until June of 2016 while he undergoes cancer treatment. We eagerly look forward to his return and wish him a speedy recovery. 2

3 Program R. Joseph Scott, Music Director and Conductor Friday, February 20, :30 p.m. Meydenbauer Theatre Sunday, FeBRUARY 22, :00 p.m. Eastlake Performing Arts Center ESPAÑA Adam Stern, Conductor Michael Partington, Guitar Mike Curtis Alberto Ginastera Souvenir of Guanajuato Plaza of the cheapskate The old burro The State Band Dulcinea Sancho Danza The Crazy Frog Panambí, Ballet Suite, Op. 1b Moonlight on the Paraná Invocation to the spirits of power The girls lament Native festival Round dance of the maidens Dance of the warriors Intermission Joaquín Rodrigo Maurice Ravel Concierto de Aranjuez Allegro con spirito Adagio Allegro gentile Michael Partington, Guitar Boléro Please turn off all cell phones and pagers. No audio/video recording or flash photography is allowed during the performance. 3

4 A Adam Stern, conductor dam Stern has been appointed Interim Music Director and Conductor of the Sammamish Symphony during Maestro R. Joseph Scott s medical leave of absence. Maestro Stern has been Music Director and Conductor of the Seattle Philharmonic Orchestra since During his tenure he has brought numerous world, U.S., West Coast, and Northwest premieres to the Puget Sound community. Praised by the New York Times as bringing road maps of coloristic, textural and dynamic manipulations to his conducting, he is also prominent as a composer, pianist, and music educator. Born in Hollywood, Adam Stern began his musical studies at age five as a piano student. He attended the California Institute of the Arts, graduating with an MFA in conducting at age 21, the youngest Masters Degree recipient in CalArts history. Stern served as Assistant Conductor of the Seattle Symphony from 1992 to 1996 and Associate Conductor from 1996 to During his tenure, he conducted in all the Symphony s major concert series, and led the Seattle Symphony premieres of Vaughan Williams Symphony No. 3 and Elgar s Symphony No. 2. He also collaborated with such artists as James Taylor, Judy Collins, Art Garfunkel, and Doc Severinsen in the Symphony s Pops series. He led the Port Angeles Symphony from 2005 to 2014 and Northwest Chamber Orchestra from 1994 to He has been a guest conductor with the Milwaukee Symphony, Chamber Music Society of Lincoln Center, Sacramento Symphony, and New York Chamber Symphony, among others. As a composer, Stern s score for Richard III earned him a Los Angeles Dramalogue Award for Best Original Score. His incidental music for A Christmas Carol has been used by Seattle s A Contemporary Theatre (ACT) every year since its 1996 premiere. His most recent work for concert hall, Spirits of the Dead, premiered at the opening concert of the Seattle Philharmonic s season. An active and acclaimed pianist, Stern has been heard as soloist with the Seattle Symphony, Northwest Chamber Orchestra, Rainer Symphony, and Port Angeles Symphony and as a chamber musician in the Seattle and Orcas Island Chamber Music Festivals. An award-winning recording producer, Stern earned a Grammy as Classical Producer of the Year, principally for his recordings with Gerard Schwarz and the Seattle Symphony. As a music educator, Stern is currently an Adjunct Faculty member at Cornish College of the Arts, where he teaches composition, conducting and orchestral studies. Outside the mainstream classical world, Stern worked for two years as a music copyist for Frank Zappa and appeared in the Richard Dreyfuss film The Competition as sour-faced pianist Mark Landau. 4

5 Personnel First Violin Dennis Helppie, Concertmaster Tim Strait, Assistant Concertmaster Sandy Anuras Ian Backman Jacky Bosworth Donna Mansfield Lynne Martinell Heather Raschko Haley Schaening Deborah Wade Second Violin Shelby Eaton, Principal Feather Asmussen, Assistant Principal Barbara Ethington Matthew Guenther Jillian Kent-Dobias Cathy Grindle Nancy Johnson Shravani Kulkarni Paula Libes Andromeda Mendez Fran Pope Setsuko Reeves McKenna Roberts Miranda Thorpe Viola Libby Landy, Principal Hans Klein, Assistant Principal Armand Binkhuysen Kathryn Boudreau-Stroud Heidi Fivash Viola continued Justins Holderness Dan Pope Amanda Salmick Myrl Venter Cello Shiang-Yin Lee, Principal Joyce Sanford, Assistant Principal Kumiko Chiba Marina Fernandez Margaret Fivash Andy Hill Loryn Lestz Juha Niemisto Gail Ratley Joan Selvig Sandra Sultan Erin Verna Patricia Zundel Bass Jarod Tanneberg, Principal Natalie Johnson, Assistant Principal Timothy Corrie Flute Melissa Underhill, Principal Tori Berntsen Doug Gallatin Elana Sabovic-Matt Piccolo Doug Gallatin Elana Sabovic-Matt Oboe Susan Jacoby, Principal Jim Kobe English Horn Dennis Calvin Clarinet Jayne Marquess, Principal Kathy Carr Linda Thomas Eb Clarinet Linda Thomas Bass Clarinet Greg Rasa Bassoon Shannon Nelson, Principal Bruce Carpenter Julia Kingrey Contrabassoon Gordon Brown Saxophone Bruce Carpenter Jay Easton French Horn Evelyn Zeller, Principal Dan Chernin Steve Dees Craig Kowald Bernie Olshausen Trumpet Jonathan Feil, Principal Mark Baker Bradley Myers Michael Wyman Trombone Scott Sellevold, Principal Matt Stoecker Bass Trombone Michael Wennerstrom Tuba Mark Wiseman, Principal Timpani Eric Daane, Principal Percussion Brian Yarkosky, Principal Scott Ketron Daniel Pooley Piano/Keyboard Catherine Lowell, Principal Aliena Lowell Harp Bethany Man, Principal Heather Donovan Section members are listed in alphabetical order. Lessons - Supplies - Rentals plateaumusic Klahanie Dr SE Issaquah, WA Lessons for all instruments and voice $30 each In-home lessons available for slightly more Open 7 days a week Klahanie Dr SE Issaquah, WA

6 Featured Guest Michael Partington, Guitar Michael Partington is one of the most engaging of the new generation of concert players. Praised by Classical Guitar Magazine for his lyricism, intensity and clear technical command, the award-winning British-born guitarist has performed internationally as a soloist and with ensemble to universal critical praise. Mr. Partington began playing guitar at age 6 and has studied with some of the world s greatest guitarists, including Oscar Ghiglia, Eliot Fisk, Eduardo Fernandez, Manuel Barrueco and David Russell. He has appeared throughout the USA, UK, Canada, Russia and Scandinavia in solo recital, with orchestra, and in chamber ensembles. His North American appearances include the first solo guitar recital in Seattle s Benaroya Hall. His live radio performances include live BBC Radio 3 s In Tune and St. Paul Sunday on NPR. An advocate of new music, Mr. Partington has commissioned and premiered works by Stephen Goss, Bryan Johanson, Toshio Hosokawa, Angelo Gilardino, Tom Baker, Kevin Callahan and others. He is a frequent performer and teacher at festivals, and has also performed with Seattle Opera, Orchestra Seattle, Seattle Chamber Players, Philharmonia Northwest, and Rainier Symphony, among others. His recordings are available on the Rosewood Recordings, Present Sounds and Cadenza Music labels. He currently lives in Seattle where he is director of the Guitar Program at the University of Washington. Cascade Woman s Club Living the Volunteer Spirit The GFWC Cascade Woman's Club is a non-profit charitable organization bringing together women from surrounding areas to promote community service and welfare locally, regionally and internationally. Anyone interested in learning more and contacting us visit our website at: gfwccascadeclub.weebly.com The Sammamish Symphony would like to thank Gordon Brown and the Gordon Brown Foundation for the generous contribution for music to build the Symphony s library. Gordon has been an active member and contra-bassoon player with the symphony for many years. 6

7 Mike Curtis Souvenir of Guanajuato Among the leading composers who take world music as their inspiration, Mike Curtis (b. 1952) has a multifaceted career as a versatile instrumentalist (covering most of the woodwind family in symphony orchestras, jazz ensembles, klezmer, and various world music styles), band founder and leader (the Mike Curtis Klezmer Quartet, Platypus Clarinet Orchestra, Arrieu Wind Quintet), educator (Oregon State and Willamette Universities), author, and composer. Written in 1996, Souvenir of Guanajuato (A Suite on Mexican Themes) originated from a three-week stay with his family in the gloriously preserved colonial city high in Mexico s Central Plateau. The composer has reminisced that the extended serenity of our Caracol bungalow gave me plenty of time to jot down melodies I was hearing from cafe jukeboxes, blaring car radios, street musicians, and the plaza s band shell, resulting in a set of musical snapshots of the city. Originally written as a duo for oboe and bassoon (for the composer and his oboist wife), Curtis has prepared and published arrangements of the suite s movements for nearly every conceivable combination of woodwinds clarinet choir, woodwind quintet, duos (flute Program Notes and clarinet, two clarinets), and saxophone quartet, among others. Fresh from his own stay in Mexico, Charles Heiden, the composer s friend and faculty colleague at Willamette University, prepared a version arranged for string quartet, which he developed into arrangements for string orchestra in 2001 and full orchestra in The full orchestra premiere, played by the Salem Chamber Orchestra, took place on December 7, The suite is in six movements, described by the composer as follows: I. Plaza del Baratillo (Plaza of the Cheapskate). Around a Florentine fountain given to the city by the Emperor Maximilian, every day is a bartering market day, and the cheapskate could be the merchant or the customer. II. El burro viejo (The old donkey). Outside the Alhondiga (a granary where a fierce revolutionary battle was fought) a patient burro awaits an arduous journey up the cobblestoned alleys of the steep hillsides. III. La banda del Estado (The State Band). Every Sunday, from the ornate bandstand among the laurel trees of the Jardin Union, come the sounds of marches, opera overtures, and paso dobles played by the professionals of the Guanajuato State Band. IV. Dulcinea. Guanajuato is home to the International Cervantes Festival and this is a tribute to Don Quixote s illusory sweetheart. V. Sancho Danza. Sancho Panza, the faithful, long-suffering squire to Don Quixote, deserves his own tribute, since the book was not named for him. VI. La Rana Loca (The Crazy Frog). The frog is the local mascot to the oasis that is Guanajuato, with its reservoirs and underground river. A local cafe, The Crazy Frog, is a colorful watering-hole. Souvenir of Guanajuato is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, and strings. Alberto Ginastera Panambí, Suite de Ballet Argentinian composer Alberto Ginastera ( ) composed brilliantly in many genres, but he is best known for his early ballets Panambí and Estancia and the operas Don Rodrigo, Bomarzo, and Beatrix Cenci. Argentine folk songs and dances inspired and informed much of his music, whether in direct reference or in stylistic allusion. Later (continued on Page 8) The Sammamish Symphony Orchestra is grateful for the generous support of the Garneau-Nicon Family Foundation. 7

8 (continued from Page 7) in his career he experimented with more avant-garde and experimental styles, including 12-tone techniques influenced by Berg, which in his final composing phase achieved a synthesis of traditional and post-serial elements. Composed between 1935 and 1937, Ginastera designated Panambí his Op. 1, but he had withheld or destroyed at least fifty earlier works in ruthless self-criticism A suite of four dances from the ballet were conducted by Juan José Castro at the Teatro Colón in Buenos Aires on November 27, When the complete ballet was first performed in 1940, it caught the attention of the New York ballet impresario Lincoln Kirstein, who commissioned Ginastera s next major work, Estancia, and thereby raised his international profile. The ballet exemplifies one strain of Latin-American nationalism in its evocation of indigenous Indian culture. Ginastera took an authentic folk tale of love and sorcery from a tribe on the hanks of the Paraná River (in the legend, Panambí was the beautiful daughter of the chieftain). Much of Ginastera s idiom is reminiscent of early Stravinsky (Firebird and Rite of Spring), wellcrafted and exuberant. The suite from the ballet consists of six movements, the final three connected without pause: Claro de luna sobre el Paraná (Moonlight on the Parana), Invocación a los espíritus poderosos (Invocation to the spirits of power), Lamento de las doncellas (the girls lament), Fiesta indígena (Native festival), Ronda de las doncellas (Round dance of the maidens), and Danza de los guerreros (Dance of the warriors). Panambí Suite de Ballet (Op. 1b) is scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, two harps, piano, and strings. Joaquín Rodrigo Concierto de Aranjuez The central Spanish character of Joaquín Rodrigo s ( ) musical style remained a constant over his long life. Born in Sagunto, Spain, he was blind from the age of three. His musical studies took him to Paris, where he studied with Paul Dukas. He returned to Spain in 1933, but after the civil war broke out in 1936, lived in France and Germany. He returned to Spain after the war, and in 1940, his Concierto de Aranjuez received a highly successful premiere. Hailed as Spain s greatest postwar composer, he received many honors and continued to compose during the rest of his life, but none of his works received comparable recognition. Rodrigo s compositions reveal the influence of Dukas, but in structure, harmony, melody, and rhythm, his style is quite formal and conservative. He was little affected by the swirls of modernism emanating from other 20th Century composers. English music critic Ivan Hewett, who finds the concerto vapid and lacking in musical invention, attributes this to the dreary cultural conformity during the Franco dictatorship, even quoting Paul Preston, Franco s biographer, as describing the piece as the signature tune of Franco s regime. This seems a heavy and questionable indictment against one of the bestloved classical pieces of the past hundred years. Rodrigo was not the only important 20th Century composer to write in an unabashedly Romantic idiom, to cite Sergey Rachmaninov and Howard Hanson among others. The influence of Concierto de Aranjuez on 20th Century musical innovation can perhaps be best found in the musicians who have used the work as a starting point, most notably the Miles Davis/Gil Evans 1960 collaboration in Sketches of Spain. Furthermore, Concierto de Aranjuez is one of the great virtuoso works for classical guitar; while some 30 or more 20th Century composers wrote for the classical guitar (including 8 In Memoriam Ruth & Preben Hoegh-Christensen We mourn the losses of Ruth and Preben Hoegh-Christensen. Married for over 71 years, Preben died on March 4 at the age of 95 and Ruth on May 30 at 92. Preben and Ruth were steadfast and generous supporters of the Sammamish Symphony since its founding, volunteering their time and energy as well. We will miss them greatly. Become a part of our organization! The Sammamish Symphony offers volunteer opportunities from lobby assistance and marketing support to board positions. We welcome the public to bring their talents to our growing organization! Please contact us at if you are interested such modernist luminaries as Arnold Schoenberg, Elliott Carter, and Benjamin Britten), none exploited the richness of the instrument as Rodrigo s concerto does. In addition to solo guitar, Concierto de Aranjuez is scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings.

9 Maurice Ravel Boléro The Basque-Spanish heritage of his mother was a strong influence on the life and music of French composer, Maurice Ravel ( ). He wrote, L Espagne est ma seconde patrie musicale (Spain is my second musical homeland), as realized in works such as Alborada del Gracioso, Rapsodie Espagnole, and his opera L heure Espagnole. But no where is the Spanish influence more exemplified that in his onemovement orchestral piece, Boléro. Originally composed as a ballet commissioned by Russian actress and dancer Ida Rubinstein, the piece, which premiered in 1928, is Ravel s most famous and recognizable musical composition. From its debut, Boléro has defied conventional traditional methods of musical analysis. During Boléro s composition, Ravel himself told Cuban pianist and composer Joaquín Nin that the work had no form, properly speaking, no development, no or almost no modulation. Its structure Ravel s most straightforward composition in any medium according to Patrick Kavanaugh s Music of the Great Composers is a constant repetition of three elements: an ostinato rhythm played throughout by the snare drum, two melodies of 18 bars duration each in C major initiated by a flute, and a bass line and accompaniment initially played on pizzicato strings. The listener s interest is maintained Sales Appraisals Repairs Rentals by constant re-orchestration of each element, especially the variety of timbres of the melodic theme, and by a steady crescendo. Just before the end, there is a sudden and unexpected change of key to E major before returning to the tonic key of C major in a raucous finale of percussion, glissandos in the trombones and saxophones, and the entire orchestra beating out the snare drum s rhythm, with a final descent from a dissonant D-flat chord to a C major chord that ends the piece. Boléro s popularity has been boosted by its erotic potential, which philosopher Allan Bloom has likened to rock music s sexual beat. Third Generation Violin Maker Voted Evening Magazine s Best of Western WA! Skyrocketing sales of Boléro after release of the 1979 movie 10, starring Dudley Moore and Bo Derek, where Boléro forms a centerpiece of the plot, made Ravel briefly the best selling classical composer over 40 years after his death. Boléro is scored for a large orchestra consisting of 2 piccolos, 2 flutes, 2 oboes (one doubling on oboe d amore), English horn, 2 clarinets, E-flat soprano clarinet, bass clarinet, 2 saxophones (soprano and tenor), 2 bassoons, contrabassoon, 4 horns, piccolo trumpet, 3 trumpets, 3 trombones, tuba, timpani, percussion, celeste, harp, and strings Sammamish Symphony Association Please note a correction in our season brochure. We will be joined at the Carmina Burana concert at Benaroya by the Choir of the Sound. This group was listed as the Choir of Puget Sound. We regret the error. 9

10 The Sammamish Symphony Orchestra would like to thank the City of Sammamish for their support Are you interested in playing with us? The Sammamish Symphony Orchestra is composed of adult volunteer musicians dedicated to performing concerts and maintaining outreach programs serving Eastside communities. Rehearsals: Thursdays 7:15-9:45 p.m. at Eastlake High School Please call or go to 10

11 Contributors In addition to the following donors we gratefully acknowledge those individuals and families who purchased donated goods and services at our Sammamish Symphony Auctions. PATRONS ($1,000+) Sandy Anuras The Boeing Company The Charles Maxfield and Gloria F. Parrish Foundation Garneau-Nicon Family Foundation Allyn & Pat Hebner Ruth & Preben Hoegh-Christensen Andrew Coldham Expedia Gordon Brown Foundation King County 4Culture Microsoft Corporation Skip Rowley Rowley Properties City of Sammamish Swedish Hospital Mark & Linda Wiseman BENEFACTORS ($ ) Anonymous (King County Employee) David Campbell Shelby Eaton Bob & Cathy Grindle King County Employee Giving Program Florian LaPlantif Kevin & Lynne Martinell BENEFACTORS ($ ) Continued Kenneth Morse Estate of Eleanor Nein David E. Van Moorhem Herman & Myrl Venter SPONSORS ($ ) Arthur & Lora Lee Allan Ann & John Backman Alethia Barnes Patricia Bice Armand & Claudia Binkhuysen Bischofberger Violins Verna Borup Debbie & Keith Brownfield David Brooks Dennis Calvin Kristen Edlund & Ken Rosenow Jonathan Feil Heidi Fivash Margaret & Scott Fivash Bob & Cathy Grindle Scott Hamilton & Gail Twelves Andy & Lori Hill Heather Holmback Judith Johnson SPONSORS ($ ) Continued Nancy & Paul Johnson Joel & Catherine LaPlantif Jessica Lorant Wilda Luttermoser Nels H. Magelssen & Evelyn M. Zeller Donna Mansfield Ted & Lenore Martinell Dave Van Moorhem Kenneth Morse Pauline Miller Leslie Nielson Tom & Ruth Odell Donna Onat in memory of Ruth & Preben Janis Orrico Fran & Dan Pope R. Joseph Scott N. Jayne Marquess & Peter Sefton Robert Schneble Carl Schwartz Harry & Claradell Shedd Stamen & Denitsa Stoychev Sandra Sultan Ron & Cheryl Tanneberg Linda M S Thomas Melissa Underhill Dan & Marianna Vail Dorothy Wendler SUPPORTERS ($25-99) Feather & David Asmussen Lisa Bergman Rena Brady Kathy Carr Maury Corbin Pete & Tara Cummings CeCilio Di Gino Annie & Ed Evans Bill Ferensen John Ferensen Don & Sue Gerend Dr. Martin Hanson Iris King Jayne Marquess Michelle Miller Juha Niemisto Jose Pantoja Judy Peterson Issam Rashid David & Penny Short Carol Stewart Linda Thomas Miranda Thorpe Tom & Mary Lynn Vance Mark & Linda Wiseman YOU CAN NOW DONATE ONLINE VIA PAYPAL ON OUR WEBSITE AT We are seeking donations from supporters like you to help us sustain and expand our programs. Please join the generous individuals and organizations who have provided support to enable us to make the music our audiences love to hear. All contributions are tax-deductible. Please contact one of our representatives about how you can help. To the Many Supporters of the Sammamish Symphony Orchestra, THANK YOU! Acknowledgements Many people have worked together to make our community orchestra possible. They have given of their time, talent, and energy. Thank you! Facilities Meydenbauer Center Eastlake High School Program Design & Layout Emaugo Creative Program Notes Jonathan Feil Rehearsal Space Bellevue Christian School Lobby Services The City of Sammamish Volunteer Network Refreshments Safeway/Costco Klahanie QFC/Pine Lake QFC Percussion Equipment Marianna Vale Beaver Lake Middle School Recording Engineer Phillip Chance The Sammamish Symphony Orchestra Association (SSOA) is a Non-Profit Corporation under Section 501(c)(3) of the Internal Revenue Service. For further information, contact the SSOA: P.O. Box 1173, Issaquah, WA (206)

12 SEASON Holiday Pops! FRIDAY & SUNDAY October 17, :30 PM Meydenbauer Theatre October 19, :00 PM Eastlake Performing Arts Center 2014 OCTOBER FRIDAY & SUNDAY December 5, :30 PM Meydenbauer Theatre December 7, :00 PM Eastlake Performing Arts Center 2014 DECEMBER FRIDAY & SUNDAY February 20, :30 PM Meydenbauer Theatre February 22, :00 PM Eastlake Performing Arts Center 2015 FEBRUARY SUNDAY April 19, :00 PM Benaroya Hall 2015 APRIL Tchaikovsky s Symphony No. 4 in f minor THURSDAY & SUNDAY June 4, :30 PM Meydenbauer Theatre June 7, :00 PM Eastlake Performing Arts Center 2015 JUNE For more information please visit Thank you to our generous sponsors. Uplift Your brand! Graphic Design sponsored in part by Emaugo Creative