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unravel2013-2014 SEASON - CELEBRATING 22 YEARS

R. Joseph ScottCONDUCTOR & MUSIC DIRECTOR

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Welcome to the Sammamish Symphony’s Northern Lights concert!

This season marks my 15th 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.

This has been an exciting year as the Orchestra expands its concert schedule to include evening performances of each regular season concert at the Theatre at Meydenbauer Center in Bellevue, along with our traditional Sunday afternoons at Eastlake Performing Arts Center. Performing at Meydenbauer continues our efforts to enlarge our audience and become better known throughout the Eastside.

Today’s Northern Lights program brings the rich musical history of Scandinavia to our audience, with Romantic era composers from three Nordic

Orchestra Management

Board of Directors

Founding DirectorJoyce Cunningham

Music Director & ConductorR. Joseph Scott

PresidentArmand Binkhuysen

Vice-PresidentMark Wiseman

TreasurerDonna Mansfield

SecretaryCathy Grindle

Directors-at-LargeMichelle Cagat-Roberts

Dennis CalvinDennis Helppie

Andy HillRenee Kuehn

Miranda Thorpe

Honorary Board MembersDon Gerend

Former Mayor, City of Sammamish

Cheryl PflugWashington State Senator

Skip RowleyChairman, Rowley Properties

Nancy WhittenDeputy Mayor, City of Sammamish

Personnel

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

Ensemble CoordinatorTim Winter

Rehearsal CoachJim Truer

Music Director and Conductor, R. Joseph Scott has been a dynamic leader in the Northwest musical community for over 40 years. He is currently celebrating his 15th

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. He has also featured members of the Seattle Symphony: Kimberly Russ, piano; Ben Hausman, oboe; Simon James, violin.

Mr. 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.

Mr. Scott has received the City of Sammamish SAMMI Award for the Arts, Best of Bellevue Musical Arts Pioneer Award, and City of Sammamish Certificate of Recognition for Dedicated Leadership & Music Appreciation.

R. Joseph Scott

lands – Sweden’s Hugo Alfvén, Norway’s Edvard Grieg, and Finland’s Jean Silbelius. Our program includes Grieg’s celebrated Piano Concerto with Norwegian born pianist Inger-Kristine Riber joining the Orchestra. Ms. Riber has established herself as an active soloist, accompanist, and chamber musician, in both her native country and the U.S., winning numerous artistic scholarships and grants.

The Cantaré Vocal Ensemble has again invited the Sammamish Symphony to take part in a special appearance at Benaroya Hall in Seattle. On Sunday, March 30, 2014, we will perform Mozart’s Great Mass in C minor with 300 voices comprised of several Puget Sound choral groups, as well as a solo performance by the Symphony of Finlandia by Sibelius. This will be our fifth collaboration with Cantaré. It is an honor for our Orchestra to participate in this extraordinary event.

We wrap up our season in June with Pictures at an Exhibition, composed by Mussorgsky and orchestrated by Ravel – one of the most recorded and performed showpieces of the orchestral repertoire. The June concert will also highlight 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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Sunday February 23, 2014 2:00 p.m.Eastlake Performing Arts Theater, Sammamish WA

Thursday, February 27, 2014 7:30 p.m.Meydenbauer Theatre, Bellevue WA

Northern LightsJames Truher, Guest Conductor

Inger-Kristine Riber, piano

Hugo Alfvén Swedish Rhapsody No. 1, Op.19 – Midsummer Vigil Edvard Grieg Piano Concerto in A minor, Op. 16 Allegro molto moderato Adagio Allegro moderato molto e marcato Inger-Kristine Riber, piano

Intermission Jean Silbelius Symphony No. 1 in E minor, Op. 39 Andante, ma non troppo - Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale: Andante - Allegro molto - Andante

Program

R. Joseph Scott, Music Director and Conductor

Steinway piano provided by Sherman Clay - Seattle, Washington.Please turn off all cell phones and pagers.

No audio/video recording or flash photography is allowed during the performance.

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PersonnelFirst ViolinDennis Helppie

ConcertmasterTim Strait

Assistant ConcertmasterSandy AnurasIan Backman

Kristin EdlundMoira Farrel

Florian LaplantifDonna MansfieldLynne MartinellHeather RaschkoHaley SchaeningDeborah Wade

Tim Winter

Second ViolinShelby Eaton

PrincipalFeather AsmussenAssistant Principal

Cathy GrindleMatthew Guenther

Holly HalsteadNancy Johnson

Paula LibesFran Pope

Setsuko ReevesTina Satheesan

ViolaLibby Landy

PrincipalJan Rider

Assistant PrincipalBrian Jankanish

Armand BinkhuysenErik Binkhuysen

Kathryn Boudreau-StroudHeidi Fivash

Justins Holderness Hans KleinDan Pope

Amanda SalmickLoraine Terpening

Barb Thorne

CelloShiang-Yin Lee

PrincipalKumiko Chita

Assistant PrincipalMarina Fernandez Margaret Fivash

Andy HillJuha Niemisto

Gail Ratley Joyce Sanford

Joan SelvigDan Shade

Sandra SultanVivian Yu

Patricia Zundel

BassJarod Tanneberg

PrincipalNatalie Johnson

Assistant PrincipalTimothy Corrie

Chris Symer

FluteMelissa Underhill

PrincipalTori Berntsen

Elana Sabovic-Matt

PiccoloElana Sabovic-Matt

OboeSusan Jacoby

PrincipalJim Kobe

English HornDennis Calvin

ClarinetJayne Marquess

PrincipalKathy Carr

Bass ClarinetLinda Thomas

BassoonShannon Nelson

PrincipalJulia Kingrey

ContrabassoonGordon Brown

French HornEvelyn Zeller

PrincipalCraig Kowald

Acting Principal Dan Chernin Steven Dees

Craig Kowald Mary Ann Reiff

TrumpetJonathan Feil

PrincipalJohn Wells

James Sailors

TromboneScott Sellevold

PrincipalMatt Stoecker

Acting PrincipalJames Peters

Bass Trombone

Scott SellevoldGerald Larkins

TubaMark Wiseman

Principal

TimpaniEric Daane

Principal

PercussionDavid Brooks

PrincipalKyle Reis

Piano/KeyboardCatherine Lowell

Principal

HarpBethany Man

Principal

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

Inger-Kristine Riber – Piano

Norwegian born pianist Inger-Kristine Riber began her piano studies at the local music school in Voss, Norway, at an early age, continuing her specialization in piano performance under Eline Nygaard and Anne

Eline Riisnæs and finishing with her Bachelor of Arts Degree at the University of Oslo in 2004 with honors. She continued her studies at the Norwegian Academy of Music where she studied for two years with Einar Henning Smebye before relocating to Germany. At the Hochschule für Musik, Theater and Medien in Hanover she continued her piano studies with Erika Lux. She earned her Master of Music Degree in piano performance from the Norwegian Academy of Music in 2012.

Ms. Riber has already established herself as an active soloist, accompanist, and chamber musician, recently winning an artistic scholarship from the German oil company RWE as well as a grant from the Norwegian Research Council. In addition, Ms. Riber was awarded a major artistic grant by the Norwegian-Finnish Art Council, promoting her participation in the Music Norway program. She also holds a grant from the West-Norwegian Art Council to support her work in Berlin. Most recently Ms. Riber was invited to perform with the Norwegian ensemble BIT20 for a debut performance at the Ultima Festival in Oslo and on the main stage of the New Opera House in Oslo in the fall of 2013.

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Featured Guests

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

Garneau-Nicon Family Foundation.

James W. Truher – Guest Conductor

A professional musician since 1982, James Truher has a degree in Vocal Performance and Choral Conducting as well as study toward a

Masters of Arts in Musicology from California State University at Los Angeles. In 1983, Maestro Truher made his professional conducting debut with the Pasadena Chorale and Orchestra with his orchestration of “Rejoice in the Lamb” by Benjamin Britten.

Mr. Truher has been conductor of the Microsoft Orchestra (where he is also a Senior Software Development Engineer in Test) since 2002. He studied conducting with Christophe Chagnard, Roger Wagner, William Hatcher and Sergio Siminovich and specializes in music from the Medieval to Baroque periods. He served as Assistant Conductor for the Lake Union Civic Orchestra from 2009-2011 and has been a guest conductor/reading session for the Northwest Mahler Festival. Mr. Truher has served as percussionist in a number of local community orchestras and section coach with the Sammamish Symphony.

As a singer, Mr. Truher has performed with LaNoue Davenport, Krzysztof Penderecki, Michael Tilson Thomas, The Tudor Choir and many others. While in Los Angeles, Mr. Truher was an active studio singer, recording with Michael Jackson, Mike Curb and John Williams and was a featured soloist with Los Angeles Baroque Orchestra and I Cantori, performing on National Public Radio and KFAC Los Angeles.

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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.

Program NotesHugo Alfvén – Swedish Rhapsody No. 1, Op.19 – Midsummer Vigil

Swedish composer, Hugo Emil Alfvén (1872–1960) was unashamedly a child of nature and of his country’s majestic scenery. He readily admitted that nearly all his works were a form of program music, inspired above all by the Swedish archipelago. “My best ideas,” he wrote in his autobiography, “come during my sea-voyages at night and, in particular, the wild autumns have been my most wonderful times for composition.”

Late 19th Century Sweden saw a flowering of literature, music, and painting, each one inspiring and cross-fertilizing the other. Alfvén’s incipient artistic talents received a thorough and scholarly training in his home country. After studying at the Stockholm Conservatory from 1887 to 1891, Alfvén went on to take private lessons in composition, violin playing and conducting, and later taught those subjects at the Royal Conservatory of Music in Stockholm.

In 1900, Alfvén crossed the strait to visit Copenhagen. His discovery there of the paintings of the

Norwegian-born Danish artist Peder Severin Krøyer formed a turning-point in his life. He was particularly captivated by Krøyer‘s now almost iconic painting, “Summer Evening on the South Beach at Skagen,” which depicted, as Hilary Finch writes, “the distant figures of two women, walking in intimate conversation along the shoreline of Jutland, the late sun touching the dunes, and the curve of the sea saturated in the luminous blue of the Nordic summer night.” One of the figures was Krøyer‘s wife, Marie.

Three years later, in 1903, Alfvén stayed with the Krøyers at Skagen, the artists’ colony on the northern tip of Denmark. While there, he completed his Midsommarvaka (Midsummer Vigil), Swedish Rhapsody No. 1, and began writing his four Marias sa°nger (Marie’s Songs). Years later, after the death of her painter husband, Marie Krøyer became Alfvén’s first wife.

Midsummer Vigil is a fantasy on popular Swedish folk melodies depicting the moods evoked by an old-time Swedish Midsummer wake – the dancing and games around the Maypole through the magic night of Midsummer Eve. The first theme

of the Andante intermezzo is of the composer’s own composition, while other themes are borrowed from the folk music of Sweden and elaborated by the composer. Like other composers borrowing themes from folk sources or inventing folk-like melodies – Dvořák, Copland, and Vaughn-Williams to name a few – Alfvén’s embellishments are much more than covers for the folk melodies. They are new creations transmuting the sources into a distinctive and personal expression of the composer.

Although Alfvén wrote two other works that he named Svensk rhapsodi (Swedish Rhapsody), Midsummer Vigil stands as the embodiment of the form. Consequently, although it is the first of the three similarly named works, it is often simply called the “Swedish Rhapsody,” without reference to its specific theme and title. Although Alfvén wrote many beautiful songs, a violin sonata, two symphonies, and several other rhapsodies for orchestra, Midsummer Vigil is the best known piece by Alfvén, and also one of the best known pieces of music in Sweden.

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SundayMarch 30, 2014

2:00 PM

Tickets$32 Advance PurchaseBy calling 206-517-7777

In the years since his death in 1960, Alfvén’s symphonies have been championed by Neeme Järvi, and the Orphei Drängar choir’s loyal performances and recordings have begun to open new ears to the riches of his writing for voice.

Midsummer Vigil is scored for three flutes, the third also on piccolo, three oboes, the third also on English horn, two clarinets, the second also on Eb clarinet, bass clarinet, and three bassoons; four horns, two trumpets, three trombones, and tuba; timpani, percussion (cymbals, bells, and triangle); harp, and strings.

Edvard Grieg – Piano Concerto in A minor, Op. 16

Widely considered Norway’s greatest composer, Edvard Grieg (1843-1907) composed during a period of

growing national consciousness. As a child in Bergen, he was encouraged by the violinist Ole Bull, a friend of his parents, and studied at the Leipzig Conservatory on his suggestion. In Leipzig Grieg had encountered the music of Felix Mendelssohn and Robert Schumann. Their work made a strong impression on Grieg, and his early compositions show him emulating the style and forms of the German Romantics.

In 1864, while living in Copenhagen, Grieg befriended another young Norwegian composer, Rikard Nordraak. It was Nordraak who instilled in Grieg the conviction that the future of their country’s art music lay not in a continued reliance on Germanic models, but in tapping into their own country’s authentic cultural heritage. Grieg’s formulation of a distinctly Nordic idiom would

eventually make him the musical voice of Scandinavia during the last third of the 19th century.

In addition to his composing activities, Grieg’s performances of Norwegian music, often with his wife, the singer Nina Hagerup, established him as a leading figure in the music of his country during his lifetime. Grieg’s popular standing was enhanced by the fact that his compositions contain recognizable tunes, which can be readily whistled or hummed. His nationalist path also led to collaborations in the theatre with playwrights Bjørnstjerne Martinius and Henrik Ibsen.

Grieg composed in many forms: stage, orchestra, chamber, piano, and vocal. Grieg’s leading orchestral pieces include the two Peer Gynt suites and the Holberg Suite for

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string orchestra, which celebrates the Norwegian playwright Ludvig Holberg, sometimes called the Scandinavian Molière. Grieg also expressed himself successfully in miniature forms – songs and brief piano works – including his multi-volume Lyric Pieces. The Piano Concerto is Grieg’s most ambitious and large-scale composition.

Newly married, Grieg spent the summer of 1868 in the secluded village of Søllerød, Denmark. He shared a house with pianist Edmund Neupert, who gave him regular advice on the Concerto’s solo part, and to whom, in gratitude, he dedicated it. At age 25, Grieg had only begun his exploration of native Norwegian songs, and he was still very much under the German Romantic influence of the Conservatory. His Piano Concerto, therefore, exhibits a Norwegian flavor in its themes but lies firmly within the Romantic concerto tradition. Grieg even hinted that he modeled his work on Schumann’s Piano Concerto in the same key.

Following a dramatic timpani roll, the Concerto is launched by a stormy cascade of sonorous A-minor chords, the piano’s octaves sweeping the keyboard from top to bottom, then ascending again in rolling arpeggios. Although unquestionably attention grabbing, the opening is

only a prelude to the initial theme of the first movement, a stately and somewhat dark melody announced by the winds, who then pass it to the soloist. The treasure of the first movement, however, is the elegiac second theme, announced by the cellos and then taken up by the piano. After elaborating these ideas, the movement leads to a long, virtuosic cadenza for the soloist, and the movement concludes by recalling the cascading chords with which it began.

In contrast to the dramatic opening movement, the Adagio second movement is a brief transition begun with a gentle, folklike melody sung by the muted strings. The piano then enters with its own, separate

theme. Without pause, high register piano trills usher in the finale. In this movement, the influence of Nordic folk melody is readily apparent. The first, almost march-like theme is modeled on a Norwegian folk step called the springdans (leaping dance). The second strongly contrasting theme is wistful and poetic. In its concluding pages, the movement grows to a grand, triumphant hymn.

The Concerto’s premiere, which took place in Copenhagen the following April, was a huge success, finding immediate critical and audience acceptance. Grieg revised the work on several occasions, the last of them, creating the version in which it has since been known, shortly before his death.

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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

425-369-93334532 Klahanie Dr SEIssaquah, WA 98029

Lessons - Supplies - Rentals

plateaumusic

425-369-93334532 Klahanie Dr SEIssaquah, WA 98029www.plateaumusic.org

In-home lessons available for slightly more ▪ Open 7 days a weekLessons for all instruments and voice $30 each

In addition to piano soloist, the Piano Concerto is scored for two flutes, the second also on piccolo, two oboes, two clarinets, and two bassoons; four horns, two trumpets, three trombones, and tuba; timpani; and strings.

Jean Sibelius – Symphony No. 1 in E minor, Op. 39

The music of Jean Sibelius (1865-1957) played an important role in the formation of the Finnish national identity, a long cultural

struggle of the Finns to become a nation linguistically and politically separate from the domination of Russia and Sweden. Although Sibelius never quoted folk songs or used traditional harmonies in his music, by concentrating on the Finnish national epic, the Kalevala, and allying himself fiercely with Finnish nationalism, Sibelius became something of a national hero during his lifetime. He rose to prominence with the composition in 1899 of his tone poem Finlandia, a work

evoking the national struggle of the Finnish people for independence from Russian rule (finally achieved in 1917).

Besides other symphonic poems, Sibelius wrote over 100 songs for voice and piano, incidental music for 13 plays, a violin concerto, an opera, chamber music, piano music, Masonic ritual music, and 21 separate publications of choral music. However, the core of Sibelius’s art is found in his seven symphonies. Like Beethoven and Mahler, Sibelius used each successive work to develop his own personal compositional style – a style that ultimately pursued an ideal of the seamlessly integrated symphony, a technique of creating structure from fragments and bits of melody and synthesizing them during the course of a movement (“synthetic,” as opposed to the traditional “analytical,” development).

Those styles would develop later. Symphony No. 1, premiered with the Helsinki Philharmonic on April 26, 1899, mainly follows the conventional four movement structure of the sonata form, with the outer movements prefaced by an introductory theme. It

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FOR INFO CALL 206-517-7777

ADD A TOUCH OF CLASS TO YOUR PARTY OR EVENT. The Sammamish Symphony Orchestra offers small chamber groups for private functions.

The Andante second movement bears a sort of kinship with the slow movement of Tchaikovsky’s Fourth Symphony, and its coloring may evoke that of the Pathétique, but Sibelius manages to establish his own emotional locale, and to evoke a sense of urgency without being plaintive. Several commentators have assumed that the movement is based on folk material, but each phrase is original Sibelius.

The scherzo of the third movement is rugged and vigorous. The violins and violas produce rhythmic beats to set off the theme, which is actually played on the timpani. It is echoed by the lower strings and winds, then tossed back and forth among the timpani, clarinets, and trombones. The openhearted trio is as tender as the scherzo proper is gruff, and the two elements combine for a brief moment before a brisk, sharp coda.

The finale begins with the same motif that opened the symphony, here played by violins, violas, and cellos. This is the only theme from the earlier movements that we encounter, though others are

hinted at. The overall impression is of a grand summing up from the emotional turbulence of the preceding movements, developing to a passionate climax before the ending echoes the two E-minor chords that concluded the first movement – in contrast, now soft and pizzicato.

Symphony No. 1 is scored for two flutes, both also on piccolo, two oboes, two clarinets, and two bassoons; four horns, three trumpets, three trombones, and tuba; timpani and percussion (bass drum, cymbals, triangle); harp and strings.

© 2014 Sammamish Symphony Association

Cascade Woman’s Club Living the Volunteer Spirit

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is melodically memorable and voluptuously sonorous in late Romantic tradition. While there is little, if any, foreshadowing of the ground-breaking originality of Sibelius’s later symphonies, his harmonic vocabulary, technical apparatus, orchestral style, and thematic character were organized and firmly in place. Here and there, the symphony echoes Tchaikovsky, as did contemporaneous works by Glazunov and Rachmaninov, not surprisingly, since the Pathétique Symphony had premiered less than six years earlier.

The first movement is unified by a theme heard at the outset, played by a single clarinet over a soft timpani roll, then without accompaniment. The abundant themes in the tightly argued movement all somehow derive from this opening. The main sonata structure is launched by pulsing, interwoven string lines, and the second theme by four-note woodwind phrases. After a busy, eventful development, the recapitulation arrives, with the initial theme reprised before two E-minor chords at the end.

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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

Scott Hamilton & Gail TwelvesAndy & Lori Hill

Heather HolmbackJudith Johnson

Nancy & Paul JohnsonJoel & Catherine LaPlantif

Jessica LorantNels H. Magelssen & Evelyn M. Zeller

Donna MansfieldTed & Lenore Martinell

Dave Van MoorhemKenneth MorsePauline MillerLeslie Nielson

Tom & Ruth OdellJanis Orrico

Fran & Dan PopeR. Joseph Scott

N. Jayne Marquess & Peter SeftonRobert Schneble

Harry & Claradell SheddStamen & Denitsa Stoychev

Sandra SultanRon & Cheryl Tanneberg

Linda M S ThomasMelissa Underhill

Dan & Marianna VailDave Van Moorhem

Dorothy 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.

BENEFACTORS ($500-999)

Anonymous (King County Employee)David Campbell

Shelby EatonBob & Cathy Grindle

King County Employee Giving ProgramFlorian LaPlantif

Kevin & Lynne MartinellKenneth Morse

Estate of Eleanor NeinHerman & Myrl Venter

SPONSORS ($100-499)

Arthur & Lora Lee AllanAnn & John Backman

Alethia BarnesArmand & Claudia Binkhuysen

Bischofberger ViolinsDebbie & Keith Brownfield

David BrooksDennis Calvin

Kristen Edlund & Ken RosenowJonathan FeilHeidi Fivash

Margaret & Scott FivashBob & Cathy Grindle

SUPPORTERS ($25-99)

Feather & David Asmussen Lisa BergmanVerna BorupRena 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

PICTURES AT ANNPICTURES AT ANEXHIBITION

Wolfgang Amadeus

with combined area chorusesGreat M

ass in

C Minor

Benaroya Hall

PM PMPM

PMPM

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