Adam Stern, Music Director and Conductor

Please turn off all cell phones and pagers.No audio/video recording or flash photography is allowed during the performance.

Adam Stern, conductor (November 1)Gabriela Garza, guest conductor (October 20)

Terry Edward Moore, narratorLaura Loge, soprano

FREDERICK LOEWE (1901-1988) Camelot (symphonic suite, arr. Robert Russell Bennett)

EDVARD GRIEG (1843-1907) Peer Gynt: Suite No. 1 (from incidental music to the play by Henrik Ibsen) Morning The Death of Åse Anitra’s Dance In the Hall of the Mountain King

I N T E R M I S S I O N

LUDWIG VAN BEETHOVEN (1770-1827) Egmont (incidental music to the play by Johann Wolfgang von Goethe) Overture Song: Die Trommel gerühret (The Drum Stirred) Entr’acte: Andante Entr’acte: Larghetto Song: Freudvoll und leidvoll (Joyful and Sorrowful) Entr’acte: Allegro – Marcia Entr’acte: Poco sostenuto e risoluto Klärchen’s Death Melodram: Süßer Schlaf (Sweet Sleep) Siegessymphonie (Symphony of Victory) Terry Edward Moore, narrator Laura Loge, soprano

SUNDAY, OCTOBER 20, 2019, 2:00 P.M. EASTLAKE PERFORMING ARTS CENTER

FRIDAY, NOVEMBER 1, 2019, 7:30 P.M.MEYDENBAUER CENTER THEATRE

An Evening at the Theater

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Orchestra Management

BOARD OF DIRECTORS

FOUNDING DIRECTORJoyce Cunningham

MUSIC DIRECTOR & CONDUCTORAdam Stern

PRESIDENTShelby Eaton

VICE PRESIDENTMark Wiseman

TREASURERMichael Wennerstrom

SECRETARYMeMe Birchfield

DIRECTORS-AT-LARGEKathy Boudreau

Andy HillHeather RaschkoMiranda Thorpe

Melissa Underhill

HONORARY BOARD MEMBERSDon Gerend

Council Member, City of Sammamish

Skip RowleyChairman, Rowley Properties

Nancy WhittenFormer Council Member, City of

Sammamish

PERSONNEL

Kathryn Boudreau, Ensemble Coordinator

Armand Binkhuysen, Grants

Adam Stern and Marla Zylstra, Concert Program

Haley Schaening, Librarian

Loryn Bortins, Personnel

GFCW Cascade Lobby Management

Renee Kuehn, Ticket Sales

Jayne Marquess, Logistics

Lynne Martinell, Member Communications Liaison

Barbara Ethington, PR & Marketing

Mark Wiseman, Webmaster

Jason Frazier and Phillip Chance, Sound Recording

A Message from the Music DirectorWelcome to the opening of the Sammamish Symphony Orchestra’s 2019-20 season, during which we will be engaged in two simultaneous celebrations: the 250th anniversary of the birth of Ludwig van Beethoven, and a mini-survey of great music written for the theater. Happily, these two commemorations will coincide on a couple of occasions: Beethoven, a consummate man of the theater, composed incidental music for several plays in his lifetime (Egmont, Coriolan and The Creatures of Prometheus are the most famous), as well as an early ballet score and his sole contribution to

the world of opera, the superb Fidelio. On today’s program we will present the music for Goethe’s play Egmont—not just the celebrated Overture, but the entire suite of incidental music. Later this season, the orchestra will perform Beethoven’s overture to August von Kotzebue’s pageant-play King Stephen.

I have occasionally caused eyebrows to venture skyward when programming something like a suite from Camelot alongside the works of Grieg and Beethoven. I can best respond by citing the words of composer Kurt Weill: “There is, to my mind, no difference between ‘light’ and ‘heavy’ music. There is only good music and bad.” Amen to that, and enjoy the concert!

With warmest regards,

Adam Stern Music Director and Conductor, Sammamish Symphony Orchestra

Gabriela Garza Canales, guest conductor

Gabriela Garza Canales is a rising Mexican conductor and percussionist living in the United States of America. Currently in her second year of doctoral studies at the University of Washington’s School of Music, Ms. Garza studies under the mentorship of David Alexander Rahbee

and Ludovic Morlot. She is co-conductor of the UW Campus Philharmonia Orchestras and assistant conductor of the UW Symphony Orchestra. Additionally, Ms. Garza serves as a guest conductor for the UW Modern Ensemble. In October 2018, the Whidbey Island Orchestra invited Ms. Garza to conduct the West Coast premiere of Curci’s Concerto Romantico. In November 2018, Ms. Garza was appointed assistant conductor of the Whidbey Island Orchestra.

Ms. Garza began her percussion studies at UANL in 2009 under the instruction of professor Noel Savón Favier and has toured extensively as a percussionist in a wide variety of ensembles throughout North America. She has performed in wind ensembles, symphony orchestras, steel bands, Mexican marimba bands, popular Latin groups, and world-percussion groups.

An active performer and percussionist in Seattle metropolitan region, she has performed with the Puget Sound Symphony Orchestra, the UW Modern Ensemble, the UW Symphony Orchestra, and the Bainbridge Symphony Orchestra. In February 2019, she formed part of the ensemble performing during the live screening of Variety (1925) at the Paramount Movie Theater.

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Orchestra MembersFIRST VIOLINTim Strait Acting ConcertmasterDarrin Cook Kristin Edlund Barbara Ethington Paula LibesLynne Martinell Heather Raschko Haley Schaening Wenxin Liu

SECOND VIOLINShelby Eaton PrincipalMeMe Birchfield Alan BleischZakary Cole Elizabeth Heitkamp Fran Pope Sophia Schiffer Miranda Thorpe Olivia Wang

VIOLADennis Helppie PrincipalKathryn Boudreau Jessica Johnson Dan PopeSariya RashidLoraine Terpening Barb ThorneZann Tipyasothi

CELLOLeslie Nielsen PrincipalJuha Niemisto Assistant PrincipalGail RatleyJoyce SanfordKathleen SpitzerSandra SultanAnderson Yuan

BASSJarod Tanneberg PrincipalJeremy AtkinsNatalie Schlichtmann

FLUTEMelissa Underhill PrincipalTori BerntsenElana Sabovic-Matt*

PICCOLOElana Sabovic-Matt*Lynnette Shults

OBOESusan Jacoby PrincipalJulie Fay

ENGLISH HORNJulie Fay

CLARINETJayne Marquess PrincipalKathy Carr

BASS CLARINETLinda Thomas

BASSOONBruce Carpenter PrincipalSean Steck

CONTRABASSOONGordon BrownJeff Eldridge FRENCH HORNEvelyn Zeller Principal William FarmerCraig KowaldNels Magelssen

TRUMPETAbram Sanderson PrincipalMichael CroanJoe Grez

TROMBONEJohn Ochsenreiter

PrincipalRob Birkner

BASS TROMBONEMatt Clegg

TUBAMark Wiseman Principal

TIMPANI AND PERCUSSIONEric DaaneMaren Van Nostrand

HARPTiffany Russell Principal

Section members are listed in alphabetical order.

*On Leave

Terry Edward Moore, narratorTerry Edward Moore has worked in the Pacific Northwest as a professional actor, director, and teacher for almost thirty years.

He has acted at almost all of the professional theaters in Seattle, including Seattle Repertory Theater, ACT, Intiman, and 5th Avenue—as well as with the Seattle Symphony, Sammamish Symphony, and the Seattle Philharmonic. He has directed at Seattle Shakespeare, the Bathhouse, and Taproot. He currently serves as the Producing Artistic Director of Thalia’s Umbrella.

Laura Loge, sopranoSoprano Laura Loge has been hailed for her "luminous stage presence" and "characterful and versatile voice." Upcoming and current engagements include appearances as soprano

soloist with the Thalia Symphony in songs from Grieg's Peer Gynt, half of Grieg's Complete Songs with the Northwest Edvard Grieg Society, and numerous Norwegian song concerts throughout the Northwest and Minnesota. Laura is the Artistic Director of the Mostly Nordic Chamber Music Series at the Nordic Museum and Founder and President of the Northwest Edvard Grieg Society.

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Program Notesby Adam Stern

FREDERICK LOEWECamelot (symphonic suite arranged by Robert Russell Bennett)

Camelot was the final collaboration on an original work for the stage by Alan Jay Lerner and Frederick Loewe (1901-1988) (their bona fide last collaboration for the theater was an adaptation of their successful film Gigi a few years later). The show opened almost against all odds: various production difficulties abounded, including Loewe’s initial disinterest, many cuts and rewrites, and the heart attack that befell the show’s original director Moss Hart, which caused Lerner to take over the show’s direction during its out-of-town tryouts. According to all reports, the glue that ultimately held it all together was Richard Burton, who originated the role of King Arthur. “God knows what would have happened had it not been for Richard Burton,” Lerner later reflected; the actor’s unwavering “faith and geniality” served to keep everyone on track and calm the fears of the occasionally-apprehensive cast. Burton may not have been the most polished of singers, but his characterization of Arthur, some of which can still be

FREDERICK LOEWE

ROBERT RUSSELL BENNETT

savored on the original cast recording, is powerful and moving in the extreme. His final sung/spoken monologue, in which he acknowledges that his dream-kingdom is no more, is one of the most poignant ever to grace the Broadway stage:

Don’t let it be forgot That once there was a spot, For one brief, shining moment That was known as Camelot.

When fashioning his symphonic concert suite, composer and orchestrator Robert Russell Bennett (1894-1981) brought his characteristically perfect sense of sweep, proportion and orchestral brilliance to the undertaking. So appealing is this ca. ten-minute buffet of great moments from the show that I have forgiven Mr. Bennett for omitting my own personal favorite song from Camelot, Guenevere’s heartbreaking Before I Gaze at You Again. (Again, that original cast album is still in circulation, and Julie Andrews’ touching interpretation of this song is there to be gratefully cherished.)

EDVARD GRIEGPeer Gynt: Suite No. 1 (from the incidental music to the play by Henrik Ibsen)

“If they want garbage, I’ll give them garbage.”— Georges Bizet, regarding the Toreador Song from Carmen

“No ideas, no inspiration! Is it possible I

have written myself out?”— Peter Ilyich Tchaikovsky, apropos his Symphony No. 5

“Many, many times I wish I had never written it.”Sergei Rachmaninov, vis-à-vis his Prelude in c-sharp

To this catalogue of by-no-means-uncommon self-deprecation on the parts of great composers when assessing some of their most popular works can be added Edvard Grieg’s (1843-1907) towards his music for Henrik Ibsen’s play Peer Gynt. Because this is a family publication, I shall omit one of Grieg’s choicer quotes (it likens the music to a biological by-product of cattle), but various remarks the composer made during and after the composition of the Peer Gynt music give some idea of his general lack of enthusiasm:

“Peer Gynt progresses slowly...it is a terribly unmanageable subject.” (letter to a friend)

“I was compelled to do patchwork... In no case had I opportunity to write as I wanted... Hence the brevity of the pieces.” (complaining of the restrictions imposed on him by the management of the theater where Peer Gynt was premiered)

“I can’t bear to listen to it.” (in reference to In the Hall of the Mountain King)

Time and taste would disagree with Grieg; with the possible exception of his beloved Piano Concerto in a, Peer Gynt is far and away the best-known of all his scores. Eduard Hanslick, the infamous Wagner-hating music critic, nearly nailed it when he wrote, “Peer Gynt will live only through Grieg’s music, which to my taste has more poetry and artistic intelligence than the whole five‐act monstrosity of Ibsen.” One is certainly more likely to encounter a production of Ibsen’s Hedda Gabler, A Doll’s House or An Enemy of the People before one of Peer Gynt, but the orchestral suites drawn by Grieg from the several dozen numbers written for the play in 1875 have always been a staple in the concert-hall and on recordings, and undoubtedly always will be.

EDVARD GRIEG

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BEETHOVEN: EgmontSong Translations

Die Trommel gerühret

The drum stirred, and the fife piped up!My love is well-armed, as are the men under his command.My heart beats faster; my blood races within me.Would that I could dress and arm myself as a soldier!

I would follow him courageously, with bold steps,Marching anywhere he led us.The enemy’s strength is weakened; they retreat as we shoot after them.What incomparable happiness, to be a man fighting for a just cause!

Freudvoll und leidvoll

Joyful and sorrowful...Lost in thought, longing, and anxious...In pain and anguish, in ecstasy and rejoicing...Despairing to the point of death...The joys of a soul in love.

LUDWIG VAN BEETHOVENEgmont, Op. 84 (overture and complete incidental music to the play by Johann Wolfgang von Goethe)

Victor Borge once observed, “Normally, [Ludwig van] Beethoven [1770-1827] didn’t see why his music should be incidental to anything...on the other hand, if people were willing to pay a good price, he’d write all the incidental music they asked for.” Whether or not this is entirely accurate (and Borge’s historical observations were usually steeped in fact, however exaggerated for comic effect), we are the beneficiaries of Beethoven having been lured into the world of the theater on many occasions. Such works as the incidental music to The Ruins of Athens and The Creatures of Prometheus, the charming early Musik zu einem Ritterballet

playwright and plot. The Wikipedia article on the play states that Beethoven was “...a great admirer of Goethe”, and that he accepted the opportunity to write the score “with enthusiasm”, as “it recalled themes close to his own political preoccupations.” The article further offers a succinct synopsis of the play: “In Egmont, Goethe relates the fight of Count Egmont (1522–1568) against the despotic Duke of Alba. Egmont is a famous Dutch warrior and the Duke of Alba represents the Spanish invader. Though under threat of arrest, Egmont refuses to run away and give up his ideal of liberty. Imprisoned and abandoned because of the cowardice of his people, and despite the desperate efforts of his mistress Klärchen, he is sentenced to death. Thus faced with her failure and despair, Klärchen puts an end to her life. The play ends on the hero’s last call to fight for independence. His death as a martyr appears as a victory against oppression.” Beethoven, the ardent democrat who really and truly believed in the inevitability of his Ode to Joy’s mantra, “Alle Menschen werden Brüder” (All men shall be brothers), would naturally have been inflamed by the hero’s unbending ideals and his willingness to perish for them. (One can only wonder what Beethoven would make of today’s socio-political chaos...but that’s another story.)

(Music for a Ballet of Knights), and other scores for lesser-known plays, pageants and miscellaneous presentations, make for delightful listening. On at least three occasions, however, Beethoven wrote works for the theater that are imposing masterworks: the Coriolan Overture, his sole opera Fidelio, and the present suite of incidental music for the 1810 revival of Goethe’s play Egmont (first produced in 1788). The 19th century yielded an amazing clutch of superb incidental scores for the theater: besides Egmont and Peer Gynt, one must count Schubert’s Rosamunde, Mendelssohn’s Midsummer Night’s Dream, Schumann’s Manfred and Bizet’s L’Arlésienne. Great though they all are, it could be convincingly argued that Beethoven’s is the crown jewel amongst these treasures.

Perhaps some of the stunning quality of Beethoven’s score comes from his simultaneous adoration of Egmont’s

LUDWIG VAN BEETHOVEN

ACKNOWLEDGEMENTS

FAC I L I T I E SMeydenbauer Center

Eastlake High School

R E H E A R S A L S PAC E Eastlake High School

Discovery Elementary

Sammamish Presbyterian Church

LO B BY S E R V I C E SGFCW Cascade

R E F R E S H M E N T S Safeway/Costco

Klahanie QFC/Pine Lake QFC

P E R C U S S I O N E Q U I P M E N TMarianna Vale

Beaver Lake Middle School

Eric Daane and Craig Wende

R E CO R D I N G E N G I N E E R SPhillip Chance and Jason Frazier

Many people have worked together to make our community orchestra possible. They have given of their time, talent and energy. Thank you!

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 98027

You can now donate via Paypal on our website at

www.sammamishsymphony.org.

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“Voted Evening Magazine’s Best of Western WA!”

www.hkbviolins.com 425 822-0717

Third Generation Violin Maker

Sales Appraisals Repairs Rentals

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 contrabassoon player with the symphony for many years.

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

Start with a smile at smile.amazon.com/ch/91-1643025 when you buy

through Amazon, and Amazon donates 0.5% of the purchase price of your eligible purchases to

the Sammamish Symphony Orchestra.

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

auditions@sammamishsymphony.org

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ContributorsIn 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+)

AnonymousSandy Anuras

The Boeing CompanyThe Charles Maxfield and

Gloria F. Parrish FoundationAndrew Coldham

ExpediaMr. and Mrs. Martin Friedmann

Garneau-Nicon Family Foundation

Gordon Brown FoundationAllyn & Pat Hebner

Ruth & Preben Hoegh-Christensen

King County 4CultureKing County Employee Giving

ProgramKevin & Lynne MartinellMicrosoft Corporation

Skip RowleyRowley Properties

City of SammamishHarry & Claradell Shedd

Tim StraitSwedish Hopital

SymetraUniversity House

Mark & Linda WisemanPatty Zundel

BENEFACTORS ($500-999)

Benevity Community Impact Fund

Henry Bischofberger ViolinsShelby EatonCathy GrindleScott Selfon

Dan & Melissa TruaxDavid E. Van Moorhem

SPONSORS ($100-499)

Pete & Andie AdeeArtEAST

Patricia BiceArmand & Claudia Binkhuysen

Verna BorupAva Brock

Daniel & Jan Chernin

Eric & Pat DaaneDon & Sue Gerend

GlassyBabyTodd Gugler

Dennis HelppieRon Hindenberger

Nancy & Paul JohnsonJim Kobe

Shrikant KulkarniShannon Krzyzewski

Victoria LaBergeHelen LauPaula Libes

Nels H. Magelssen & Evelyn M. Zeller

Ted & Lenore MartinellJoan McNeil

John & Sally MorganJuha Niemisto

Thomas Pinto & Vicky KingFran & Dan Pope

Heather & Michael RaschkoGail RatleyMark Rentz

Daphne & John RobinsonJohn & Ruth Rugh

Carl Schwartz & Wilda Luttermoser

The Seattle Foundation’s GiveBIGLinda M S Thomas

Miranda & Dave ThorpeHerman & Myrl Venter

VerizonDebra Williams

SUPPORTERS ($25-99)

Ann & John BackmanTheresa Bosworth

Kathy CarrCindy Jorgensen

Ann KalasDonna Mansfield

Donna Onat in Memory of Ruth & PrebenKimberly Russ

David & Penny ShortKathryn Vaux

SPONSORS ($100-499)Continued

PATRONS ($100-499)Continued

SPONSORS ($100-499)Continued

Featuring a blend of seasonal favorites and beloved gems from the symphonic repertoire. With special guests

The Liberty Singers, choral director Robin Woodand Jesse Barnes, boy soprano.

Sunday, December 15, 2019Meydenbauer Center 2:00 PM

Sunday, December 8, 2019Eastlake Performing Arts Center

2:00 PM

Sammamish and Bellevuechristmas in

Visit SammamishSymphony.org for more information.

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For more information please visit www.SammamishSymphony.org

Sponsors

The Sammamish Symphony Orchestra would like to thank the City of Sammamishfor their support

Bryce Van ParysGeneral Manager

425.392.3963 | Bryce@HammondAshley.com970 5th Ave NW, Suite 100, Issaquah WA 98027

The Sammamish Symphony Orchestra is grateful for the generous support of the

Garneau-Nicon Family Foundation.