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.

Friday, February 9, 2018 7:30 p.m.M E Y D E N B AU E R T H E AT R E

Sunday, February 11, 2018 2:00 p.m.E A S T L A K E P E R F O R M I N G A R T S C E N T E R

Delicacy and Masterymendelssohn’s “scottish” symphony

Adam Stern, conductor Tess Altiveros, soprano

OTTO NICOLAI (1810-1849) Overture, “The Merry Wives of Windsor”

WOLFGANG AMADEUS MOZART (1756-1791) The Marriage of Figaro: Aria, Deh vieni, non tardar

Così fan tutte: Aria, Come scoglio

MAURICE RAVEL (1875-1937) Five Greek Folksongs

Chanson de la mariée (Song of the bride) Là-bas, vers l’église (There by the church) Quel galant m’est comparable? (What gallant compares with me?) Chanson des cueilleuses de lentisques (Song of the Lentisk Gatherers) Tout gai! (All Gay)

Tess Altiveros, soprano

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

FELIX MENDELSSOHN (1809-1847) Symphony No. 3 in a, Op. 56, “Scottish”

Andante con moto — Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo

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Orchestra Management

BOARD OF DIRECTORS

FOUNDING DIRECTOR

Joyce Cunningham

MUSIC DIRECTOR & CONDUCTOR

Adam Stern

PRESIDENT

Shelby Eaton

VICE PRESIDENT

Mark Wiseman

TREASURER

Michael Wennerstrom

SECRETARY

Fran Pope

CONCERTMASTER

Allion Salvador

DIRECTORS-AT-LARGE

Kathy BoudreauSusan Jacoby

Nels MagelssenHeather Raschko

Linda ThomasMiranda Thorpe

Melissa Underhill

HONORARY BOARD MEMBERS

Don GerendCouncil Member, City of Sammamish

Skip RowleyChairman, Rowley Properties

Nancy WhittenFormer Council Member, City of

Sammamish

PERSONNEL

Kathryn Boudreau, Ensemble Coordinator

Armand Binkhuysen, GrantsAdam Stern and Marla Zylstra,

Concert ProgramAndy Hill, Youth Concerto Competition

Haley Schaening, LibrarianBarbara Ethington, Logistics

Loryn Bortins, PersonnelGFCW Cascade and Cindy Hamilton,

Lobby ManagementRenee Kuehn, Ticket SalesJayne Marquess, Logistics

Lynne Martinell, Member Communications Liaison

Barbara Ethington, PR & MarketingMark Wiseman, Webmaster

Phillip Chance, Sound Recording

CONDUCTOR’S NOTE

I know this goes counter to some modes of thinking, but it always rubs me the wrong way when I hear music being touted as a means of escape, a haven from the cares and stresses of daily life, a refuge from childcare worries, household expenses and personal or professional spats. Great music is a reflection of a composer’s take on the world expressed in sound; it merits one’s full openness and attention, and should not be used as an anesthetic or a soporific. We hope that the ca. two hours you’re spending with us will provide stimulating insights into the

personalities of four supreme creators, as performed by a marvelous soloist and fine orchestra, and a conductor who’s grateful to be collaborating with them all.

With all best wishes,Adam Stern Music Director and Conductor, Sammamish Symphony Orchestra

ADAM STERN, Music Director and Conductor of the Sammamish Symphony, is one of the region’s busiest musicians. Since arriving in Seattle in 1992, he has been active as a conductor, composer, pianist, educator and lecturer. He has been leading the Seattle Philharmonic Orchestra since 2003, during which tenure he has brought numerous world, U.S., West Coast and Northwest premieres to the Puget Sound community. Stern’s unique programming combines beloved masterworks with must-hear rarities; his programs are not merely concerts, but true musical events.

Stern was born in Hollywood in 1955. He began his musical studies at age five as a piano student, and began flute lessons two years later. At 15, Stern was accepted at California Institute of the Arts, where he initially majored in flute performance, but changed his major to conducting in his second year at the urging of the late Gerhard Samuel, a noted conductor and educator. Stern was graduated in 1977 with an MFA in conducting at 21, the youngest Masters degree recipient in CalArts’ history.

From 1996 until 2001, Stern was the Associate Conductor of the Seattle Symphony (after having served as Assistant Conductor from 1992-96). He led numerous concerts in all of the orchestra’s series, including the orchestra’s first performances of Vaughan Williams’ Symphony No. 3 and Elgar’s Symphony No. 2. In addition, he led many “pops” concerts and was the happy collaborator of such artists as James Taylor, Art Garfunkel, Judy Collins and Frank Sinatra, Jr.

ADAM STERN

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Orchestra MembersFIRST VIOLINAllion Salvador Concertmaster Tim Strait Associate ConcertmasterKristin EdlundSarah LintakoonLynne MartinellHeather RaschkoHaley SchaeningKolleen Uppinghouse

SECOND VIOLINShelby Eaton PrincipalMeMe BirchfieldAlan BleischBarbara EthingtonMatthew GuentherElizabeth HeitkampPaula LibesFran PopeMiranda Thorpe

VIOLACamber Charlot PrincipalKathryn BoudreauDennis HelppieDan PopeLoraine TerpeningBarb Thorne

CELLOShiang-Yin Lee PrincipalJuha Niemisto Assistant PrincipalNicholas Bening Loryn BortinsHannah CherninAndy HillBrendan KelloggJoyce SanfordSandra Sultan

BASSJarod Tanneberg Principal NatalieManhattan Lowell

FLUTEMelissa Underhill PrincipalTori BerntsenElana Sabovic-Matt

PICCOLOElana Sabovic-Matt

OBOESusan Jacoby PrincipalDennis CalvinJim Kobe

CLARINETJayne Marquess PrincipalKathy Carr

BASS CLARINETLinda Thomas

BASSOONAbigail Heyrich Principal Sarah Peniston FRENCH HORNSally Hadzimuhovic PrincipalDan CherninWilliam FarmerCraig Kowald

TRUMPETAbram Sanderson PrincipalAndy Loats

TROMBONEJohn Ochsenreiter Principal Rob Birkner

BASS TROMBONEMichael Wennerstrom

TUBAMark Wiseman Principal

TIMPANIEric Daane Principal

PERCUSSIONCraig Wende PrincipalGarrett DunnTrent DeVerter

PIANO/KEYBOARDKaitlyn Ronstadt

HARPBethany Man Principal

Section members are listed in

alphabetical order.

Tess Altiveros, soprano

Praised for “a ripe, sensual lyric soprano” (Opera News) and a “captivating combination of skilled singing and magnetic acting” (Pioneer Press), soprano Tess Altiveros is in high demand on concert and operatic stages alike. 2016-17 season highlights included Clorinda in Seattle Opera’s critically acclaimed The Combat, Bach’s St. Matthew Passion (Colorado Symphony), Donna Elvira in Don Giovanni (Skylark Opera Theatre), and Musetta in La Bohème under the baton of maestro Andrew Litton (Colorado Symphony). Other recent credits include Susanna in The Marriage of Figaro (Angels & Demons Entertainment), the Vaughan Williams Dona Nobis Pacem (Seattle Pro Musica), and the High Priestess in Aida (Eugene Opera/Opera Trio). Tess has also sung leading ladies with Opera Fairbanks (Rumpelstiltskin, Carmen), Juneau Lyric Opera (Don Giovanni), Tacoma Opera (Threepenny Opera, Die Zauberflöte, La Bohème), and City Opera Ballet (Così fan Tutte, The Marriage of Figaro), to name a few.

Tess has had the privilege of singing a number of world premieres, including Donald Skirvin’s Curve of Gold (Seattle Choral Company), the 2010 premiere of Robert Kyr’s Pacific Sanctus, and the Midwest premiere and recording of Emerson Eads’s Mass for the Oppressed (Notre Dame University).

A native Seattleite, this marks her ninth season with the Seattle Mariners as a regular anthem singer. Miss Altiveros holds a Master’s degree in vocal performance from the University of Washington.

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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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Program NotesBy Adam Stern

OTTO NICOLAI (1810-1849)Overture, The Merry Wives of Windsor

While Giuseppe Verdi’s final opera Falstaff is undoubtedly the best-known musical treatment of Shakespeare’s lovable rogue, there have been several other notable treatments of him in sound. Edward Elgar’s Falstaff is a spectacular symphonic poem, as famous for its brilliant representations of characters and events as it is for its fiendish difficulty. Early on in Laurence Olivier’s film Henry V, Falstaff is seen dying of a broken heart after being rejected and banished by the newly-crowned Henry, which scene William Walton underscored with a touching passacaglia. And there are at least three other operas with the irrepresible “Fat Knight” at their centers: Gustav Holst’s At the Boar’s Head, Ralph Vaughan Williams’ Sir John in Love, and Otto Nicolai’s The Merry Wives of Windsor. The latter is rarely produced onstage anywhere other than in Germany or Austria nowadays, but its overture has been a favorite with audiences ever since it was first heard in March of 1849. (The composer himself conducted the opera’s first performance a mere two months before his untimely death at the age of 39.) A magical evocation of Windsor Forest is followed by a madcap allegro that speaks to the story’s plots, counterplots, mistaken identities, suspicions and misapprehensions, and one of the happiest of happy endings.

WOLFGANG AMADEUS MOZART (1756-1791)Deh vieni, non tardar from The Marriage of FigaroCome scoglio from Così fan tutte

These two arias about love come from two of the three operas penned by librettist Lorenzo da Ponte and composer Wolfgang Amadeus Mozart. Their collaborations yielded works of art that have been described as “perfect” by more than two centuries’ worth of appraisers. Not only is this perfection sublime, it is also impregnable; the increasing numbers of ridiculous updated stagings in recent years — replete with motorcycles, cell-phones, and references to people and things far removed from the 18th century — have only served as reminders that masterpieces are indestructible, no matter how much nonsense is heaped upon them by “helpful” or “inspired” directors. (Hey, how about a moratorium on attempts at “relevance” as applied to productions of classic operas and plays?)

Both of these arias are sung within the context of mistaken motives and/or identities. In Deh vieni, non tardar, from The Marriage of Figaro, Susanna, within earshot of a hiding Figaro (whom she has just married a few hours before, and who doesn’t know she knows he’s there), sings this love song as if to wanna-be philanderer Count Almaviva, inflaming Figaro’s jealousy

before all is explained and put right. Come scoglio, from Così fan tutte, is a declaration of unbending fidelity by Fiordiligi, one of two engaged sisters who suddenly find themselves the objects of desire of two total strangers (in reality, the sisters’ fiancés in disguise, out to test that very fidelity).

MAURICE RAVEL (1875-1937)Five Greek Folksongs

Like many another composer (see Mendelssohn, below), Maurice Ravel enjoyed evoking the music of different lands and cultures in his compositions. Most famous are those which pay homage to Spain (not surprising, given Ravel’s Basque heritage on his mother’s side), but he tipped his hat to several other lands as well, including Hungary (the gypsy-fiddling rhapsody Tzigane), the United States (the “Blues” movement from the Violin Sonata, the Five o’Clock fox-trot from the opera L’enfant et les sortilèges, and some very self-conscious Gershwinisms in his Piano Concerto in G), and, in the present case, to the folk music of Greece and its attendant piquant, modal harmonies. Miniatures these songs may be, but they still provide a platform for Ravel’s extreme musical sensitivity and consummate craftsmanship.

FELIX MENDELSSOHN (1809-1847)Symphony No. 3 in a, Op. 56, “Scottish”

Felix Mendelssohn was an inveterate traveller, who enjoyed recalling aspects of his experiences and adventures in letters, artwork (he was quite adept with a pen or brush) and music. Two of his sojourns yielded three of his perennially popular compositions: the trip to Italy the Symphony No. 4 (Italian), and that to Scotland the Hebrides Overture and the Symphony No. 3 (Scottish). While the latter doesn’t make any known use of folk or other native Scottish musical materials, Mendelssohn’s symphony is rich on atmosphere, and indicates that he witnessed, or sensed strongly, everything from a brooding intensity to the countrymen’s zest for life; like any composition, it can (and should) be listened to for its purely musical merits and not as the basis for a pragrammatic scavenger hunt. Commentator Chris Frigon expressed it well when he wrote, “It is Mendelssohn’s most masterly symphonic creation, and it manifests the finest, most enduring qualities of his genius.” Who could ask for more?

© 2018 Sammamish Symphony Association

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SAMMAMISH SYMPHONY ORCHESTRAADAM STERN – CONDUCTOR & MUSIC DIRECTOR

Russkaya Dusha!(The Russian Soul)

FRIDAY, APRIL 6Meydenbauer Theatre

7:30 PM

bORODINPrince Igor: Polovtsian MarchIn the Steppes of Central Asia

RIMSkY-kORSAkOvCapriccio Espagnole

glAzUNOvChant du ménestrel Shiang-Yin Lee, cello

PlUS MUSIC bYKalinnikov, Glinka

and Liadov

FEATURING

TICKETS & INFORMATIONSAMMAMISHSYMPHONY.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

ACKNOWLEDGEMENTS

FAC I L I T I E SMeydenbauer CenterEastlake High School

R E H E A R S A L S PAC E Eastlake High SchoolDiscovery 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 SchoolEric Daane and Craig Wende

R E CO R D I N G E N G I N E E RPhillip Chance

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 98027You can now donate via Paypal on our website at www.sammamishsymphony.org.

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Texts/TranslationsMOZART: Deh vieni, non tardar (The Marriage of Figaro, Act IV)

(Recitative)Giunse alfin il momento The moment finally arrivesChe godro senz’affanno When I’ll experience joy without hasteIn braccio all’idol mio In the arms of my beloved...Timide cure uscite dal mio petto! Fearful anxieties, get out of my heart!A turbar non venite il mio diletto. Do not come to disturb my delight.O come par che all’amoroso foco Oh, how it seems that to amorous firesL’amenita del loco, The comfort of the place, La terra e il ciel risponda. Earth and heaven respond,Come la notte i furti miei risponda As the night responds to my ruses.

(Aria)Deh vieni, non tardar, o gioja bella Oh, come, don’t be late, my beautiful joyVieni ove amore per goder t’appella Come where love calls you to enjoymentFinche non splende in ciel notturna face Until night’s torches no longer shine in the skyFinche l’aria e ancor bruna, As long as the air is still dark E il mondo tace. And the world quiet. Qui mormora il ruscel, qui scherza l’aura Here the river murmurs and the light playsChe col dolce susurro il cor ristaura That restores the heart with sweet ripples Qui ridono i fioretti e l’erba e fresca Here, little flowers laugh and the grass is freshAi piaceri d’amor qui tutto adesca. Here, everything entices one to love’s pleasuresVieni, ben mio, tra queste piante ascose. Come, my dear, among these hidden plants.Vieni, vieni! Come, come!Ti vo’ la fronte incoronar di rose. I want to crown you with roses.

Translation by Naomi Gurt Lind

MOZART: Come scoglio (Così fan tutte, Act I)

(Recitative)Temerari, sortite fuori di questo loco! You audacious ones, leave this place! E non profani You cannot profane, l’alito infausto de gli infami with these infamous words, detti nostro cor, nostro orecchio, our hearts, our earse nostri affetti! and our affections. Invan per voi, It is useless for youper glialtri invan si cerca to seek to seduce our souls; le nostre alme sedur;l’intata fede che per noi già our faithfulness is intact si diede ai cari amanti and is pledged to our lovers sa prem loro serbar until death, infino a morte,a dispetto del mondo e della sorte. in the face of misfortune, everlasting.

(Aria)Come scoglio immoto resta Like a rock, we stand immobileContra i venti, e la tempesta, against the wind and storm, Così ognor quest’alma è forte and are always strong Nella fede, e nell’amor. in trust and love.Con noi nacque quella face From us is born the light Che ci piace, e ci consola, that gives us pleasure and comfort,E potrà la morte sola and the power of death alone Far che cangi affetto il cor. can change the affections of our hearts.

Rispettate, anime ingrate, Respect, ungrateful spirit.Questo esempio di constanza, We are examples of loyaltyE una barbara speranza against your primitive hopes,Non vi renda audaci ancor. and do not make you bold.

Translation by Natalie Miller

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RAVEL: Five Greek Folksongs

Le réveil de la marié Song of the Bride

Réveille-toi, réveille-toi, perdrix mignonne. Wake up, wake up, sweet little partridge.Ouvre au matin tes ailes. Open up your wings to the morning.Trois grains de beauté mon cœur en est brûlé! By three beauty spots my heart is burnt!Vois le ruban, le ruban d’or que je t’apporte See the ribbon, the golden ribbon which I bring youpour le nouer autour de tes cheveux. to tie around your hair.Si tu veux, ma belle, viens nous marier! If you like, my fairest, come, let us be married!Dans nos deux familles tous sont alliés! In our two families all are united!

Là-bas, vers l’église Over there, by the church

Là-bas, vers l’église, Over there, by the church,vers l’église Ayio Sidéro, by the church Ayio Sidero,l’église, O Vierge sainte, the church, o holy Virgin,l’église Ayio Costanndino, the church Ayio Costanndino,se sont réuinis, have assembled,rassemblés en nombre infini, gathered together in countless numbers,du monde, O Vierge sainte, people, o holy Virgin,du monde tous les plus braves! all the very bravest people!

Quel galant m’est comparable What gallant compares with me

Quel galant m’est comparable What gallant compares with med’entre ceux qu’on voit passer? among those one sees passing by?Dis dame Vassiliki? Tell me, Mistress Vassiliki?Vois, pendus à ma ceinture, See, hung from my belt,pistolets et sabre aigu... pistols and sharp sword...Et c’est toi que j’aime! And it is you whom I love!

Chanson des cueilleuses de lentisques Song of the Lentisk Gatherers

O joie de mon âme, joie de mon cœur, O joy of my soul, joy of my heart,trésor qui m’est si cher; treasure so dear to me;joie de l’âme et du cœur, joy of the soul and the heart,toi j’aime ardemment, you whom I love fervently,tu es plus beau qu’un ange. you are more handsome than an angel.O lorsque tu parais, O when you appear,ange si doux devant nos yeux, angel so sweet before our eyes,comme un bel ange blond, like a handsome blond angel,sous un clair soleil, beneath a bright sun,Hélas! tous nos pauvres cœurs soupirent! alas, all our poor hearts sigh!

Tout gai! All gay!

Tout gai, gai, ha, tout gai! All gay, gay, ha, all gay!Belle jambe, tireli, qui danse; Pretty leg, tireli, which dances;belle jambe, la vaisselle danse, pretty leg, the dishes dance,tra-la-la-la-la! tra-la-la-la-la!

Translations by Christopher Goldsack

Texts/Translations

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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.

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