R . J O S E P H S C O T T - C O N D U C T O R & M U S I C D I R E C T O R

T H E S E A S O N

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Welcome to Sammamish Symphony’sEspaña 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.

Orchestra Management

Board of Directors

Founding DirectorJoyce Cunningham

Music Director & ConductorR. Joseph Scott

PresidentArmand Binkhuysen

Vice-PresidentMiranda Thorpe

TreasurersAndrea Adee

SecretaryCathy Grindle

Directors-at-LargeDennis Helppie

Andy HillRenee Kuehn

Daphne RobinsonMark Wiseman

Honorary Board MembersDon Gerend

Former Mayor, City of Sammamish

Skip RowleyChairman, Rowley Properties

Nancy WhittenSammamish City Council member

Personnel

Ensemble coordinatorDonna Mansfield

Auction ChairGazala Uradnik

LibrarianLoryn Lestz

Section LibrariansEric Daane, Shelby Eaton,

Jonathan Feil, Dennis Helppie, Libby Landy, Jayne Marquess

GrantsArmand Binkhuysen

PersonnelJonathan FeilRenee Kuehn

Concert ProgramJonathan Feil

Emaugo Creative

WebmasterMark Wiseman

Youth Concerto CompetitionRenee Kuehn

Lobby ManagersKathie JorgensenCindy Jorgensen

Concessions ManagerCherlyn Kozlak

Sound RecordingPhilip Chance

Music Director and Conductor, R. Joseph Scott has been a dynamic leader in theNorthwest 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 1967 – 1997 and served as Resident Conductor of Lyric Opera Northwest from 2005 - 2009. 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.

R. Joseph Scott

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 life-long 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!

R. Joseph ScottR. Joseph Scott

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Program

R. Joseph Scott, Music Director and Conductor

Friday, February 20, 2015 7:30 p.m. Meydenbauer Theatre

Sunday, FeBRUARY 22, 2015 2:00 p.m.Eastlake Performing Arts Center

ESPAÑAMike Curtis Souvenir of Guanajuato

Plaza of the cheapskateThe old burroThe State Band

DulcineaSancho DanzaThe Crazy Frog

Alberto Ginastera Panambí, Ballet Suite, Op. 1bMoonlight on the ParanáInvocation to the spirits of powerThe girls’ lamentNative festival—Round dance

of the maidens—Dance of the warriors

Intermission

Joaquín Rodrigo Concierto de AranjuezAllegro con spirito

AdagioAllegro gentile

Michael Partington, Guitar

Maurice Ravel Boléro

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

Adam Stern, ConductorMichael Partington, Guitar

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Adam 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 2003. 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 2001. 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 2000. He has been a guest conductor with the Mil-waukee Symphony, Chamber Music Society of Lincoln Center, Sacramento Sympho-ny, 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 2014-15 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 Classi-cal 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 Col-lege of the Arts, where he teaches composition, conducting and orchestral studies. Outside the mainstream classical world, Stern worked for two years as a music copy-ist for Frank Zappa and appeared in the Richard Dreyfuss film “The Competition” as sour-faced pianist Mark Landau.

Adam Stern, conductor

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PersonnelFirst ViolinDennis Helppie,

ConcertmasterTim Strait,

Assistant ConcertmasterSandy AnurasIan Backman

Jacky BosworthDonna MansfieldLynne MartinellHeather RaschkoHaley SchaeningDeborah Wade

Second ViolinShelby Eaton, Principal

Feather Asmussen, Assistant PrincipalBarbara EthingtonMatthew GuentherJillian Kent-Dobias

Cathy GrindleNancy Johnson

Shravani Kulkarni Paula Libes

Andromeda MendezFran Pope

Setsuko ReevesMcKenna RobertsMiranda Thorpe

ViolaLibby Landy, Principal

Hans Klein, Assistant Principal

Armand BinkhuysenKathryn Boudreau-Stroud

Heidi Fivash

Justins Holderness Dan Pope

Amanda SalmickMyrl Venter

CelloShiang-Yin Lee, Principal

Joyce Sanford, Assistant Principal

Kumiko Chiba Marina Fernandez Margaret Fivash

Andy HillLoryn Lestz

Juha NiemistoGail RatleyJoan Selvig

Sandra SultanErin Verna

Patricia Zundel

BassJarod Tanneberg, Principal

Natalie Johnson, Assistant PrincipalTimothy Corrie

FluteMelissa Underhill, Principal

Tori BerntsenDoug Gallatin

Elana Sabovic-Matt

PiccoloDoug Gallatin

Elana Sabovic-Matt

OboeSusan Jacoby, Principal

Jim Kobe

English HornDennis Calvin

ClarinetJayne Marquess, Principal

Kathy CarrLinda Thomas

Eb ClarinetLinda Thomas

Bass ClarinetGreg Rasa

BassoonShannon Nelson, Principal

Bruce Carpenter Julia Kingrey

ContrabassoonGordon Brown

SaxophoneBruce Carpenter

Jay Easton

French HornEvelyn Zeller, Principal

Dan Chernin Steve Dees

Craig Kowald Bernie Olshausen

TrumpetJonathan Feil, Principal

Mark BakerBradley Myers

Michael Wyman

TromboneScott Sellevold, Principal

Matt Stoecker

Bass TromboneMichael Wennerstrom

TubaMark Wiseman, Principal

TimpaniEric Daane, Principal

PercussionBrian Yarkosky, Principal

Scott KetronDaniel Pooley

Piano/KeyboardCatherine Lowell, Principal

Aliena Lowell

HarpBethany Man, Principal

Heather Donovan

Section members are listed in alphabetical order.

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Michael Partington, GuitarMichael 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.

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Featured Guest

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.

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

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Program NotesMike 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

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 2003. The full orchestra premiere, played by the Salem Chamber Orchestra, took place on December 7, 2003.

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 (1916-1983) 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

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

Garneau-Nicon Family Foundation.

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In MemoriamRuth & Preben

Hoegh-ChristensenWe 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.

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, 1937. 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), well-crafted 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 (1901-1999) 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 best-loved 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

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!

Become a part of our organization!

Please contact us at

206-517-7777if you are interested

(continued from Page 7)

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.

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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.

Maurice Ravel – Boléro

The Basque-Spanish heritage of his mother was a strong influence on the life and music of French composer, Maurice Ravel (1875-1937). 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 one-movement 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

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.

© 2015 Sammamish Symphony Association

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.

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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 SchoolPlease call 206-517-7777

or go to www.sammamishsymphony.org

The Sammamish Symphony Orchestra would like to thank

the City of Sammamishfor their support

Anonymous (King County Employee)David Campbell

Shelby EatonBob & Cathy Grindle

King County Employee Giving ProgramFlorian LaPlantif

Kevin & Lynne Martinell

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Acknowledgements

FacilitiesMeydenbauer CenterEastlake High School

Program Design & LayoutEmaugo Creative

Program Notes Jonathan Feil

Rehearsal Space Bellevue Christian School

Lobby ServicesThe City of Sammamish Volunteer Network

Refreshments Safeway/Costco

Klahanie QFC/Pine Lake QFC

Percussion EquipmentMarianna Vale

Beaver Lake Middle School

Recording EngineerPhillip 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 98027www.sammamishsymphony.org (206) 517-7777

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!

YOU CAN NOW DONATE ONLINE VIA PAYPAL ON OUR WEBSITE AT www.sammamishsymphony.org

Nancy & Paul JohnsonJoel & Catherine LaPlantif

Jessica LorantWilda Luttermoser

Nels H. Magelssen & Evelyn M. ZellerDonna Mansfield

Ted & Lenore MartinellDave Van Moorhem

Kenneth MorsePauline MillerLeslie Nielson

Tom & Ruth OdellDonna Onat in memory of Ruth & Preben

Janis OrricoFran & Dan Pope

R. Joseph ScottN. Jayne Marquess & Peter Sefton

Robert SchnebleCarl Schwartz

Harry & Claradell SheddStamen & Denitsa Stoychev

Sandra SultanRon & Cheryl Tanneberg

Linda M S ThomasMelissa Underhill

Dan & Marianna VailDorothy Wendler

ContributorsIn addition to the following donors we gratefully acknowledge those

individuals and families who purchased donated goods and services at our Sammamish Symphony Auctions.

Arthur & Lora Lee AllanAnn & John Backman

Alethia BarnesPatricia Bice

Armand & Claudia BinkhuysenBischofberger Violins

Verna BorupDebbie & Keith Brownfield

David BrooksDennis Calvin

Kristen Edlund & Ken RosenowJonathan FeilHeidi Fivash

Margaret & Scott FivashBob & Cathy Grindle

Scott Hamilton & Gail TwelvesAndy & Lori Hill

Heather HolmbackJudith Johnson

SUPPORTERS ($25-99)

Feather & David Asmussen Lisa BergmanRena BradyKathy Carr

Maury CorbinPete & Tara Cummings

CeCilio Di GinoAnnie & Ed Evans

Bill FerensenJohn Ferensen

Don & Sue GerendDr. Martin Hanson

Iris KingJayne MarquessMichelle MillerJuha Niemisto

Jose PantojaJudy PetersonIssam Rashid

David & Penny ShortCarol StewartLinda Thomas

Miranda ThorpeTom & Mary Lynn VanceMark & Linda Wiseman

PATRONS ($1,000+)

Sandy AnurasThe Boeing Company

The Charles Maxfield and Gloria F. Parrish Foundation

Garneau-Nicon Family FoundationAllyn & Pat Hebner

Ruth & Preben Hoegh-ChristensenAndrew Coldham

ExpediaGordon Brown Foundation

King County 4CultureMicrosoft Corporation

Skip RowleyRowley Properties

City of SammamishSwedish Hospital

Mark & Linda Wiseman

SPONSORS ($100-499)Continued

BENEFACTORS ($500-999)Continued

Kenneth MorseEstate of Eleanor Nein

David E. Van MoorhemHerman & Myrl Venter

SPONSORS ($100-499)

BENEFACTORS ($500-999)

HolidayPops!

Tchaikovsky’s

SymphonyNo. 4 in f minor

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