Our Donors

Conductor’s Circle ($3,000 and above)

  • Jeff and Allison Brooks
  • Petunia Foundation
  • Doug and Marilyn Southern
  • Sydney Pynch Trust
  • Wollenberg Foundation

Baton Holder ($1,000-2,999)

  • Boeing
  • Glen and Diane Casper
  • Jon Epstein, Amy Werner-Allen
  • Erich Gauglitz
  • Lasher Holzaofek Sperry & Ebberson
  • Jackie Cederholm Estate
  • Kanji Haitani Rev. Trust
  • King County Arts 4 Culture
  • Microsoft
  • Juha Niemisto
  • Poses Family Foundation
  • Carol Wollenberg and Dan Kerlee

Concertmaster’s Club ($500-999)

  • Arts Tech Group
  • Jeffrey and Linda Feathers
  • Dick Griffith
  • Laila Hilfinger
  • Carolyn and Charlie LaNasa
  • Michael Moore
  • Laurent Nicolov
  • Jeff and Sandy Saathoff
  • Women’s Philharmonic Advocacy
  • Ravenna Woodstock

Treble Clef Club ($200-499)

  • Jeff Belfilio
  • Emily Chen
  • Deborah Doane
  • Della Friend
  • Kristen Hegelson
  • Laila Hilfinger
  • Ariel Kemp
  • Lake City future first
  • Sarah Levin-Richardson
  • Amy Mann
  • Ryan May
  • Nina Stern McCullaugh
  • Patrica McElroy
  • Erin Phelps
  • Jack Prindle
  • Swanson’s Nursery

Bass Clef Club ($1-199)

  • David Aristizabal
  • Scott Bailey
  • Amy Barrett
  • Janet Berg
  • Micah Bisson
  • Mark Blitzer
  • Carol Buchan
  • George Burwell
  • Bonita Christenson
  • Deborah Doane
  • Lynn Felton
  • Robert Goldstein
  • Anna Haan
  • Michele Halle
  • Robert Hayden
  • Kristen Hegelson
  • Larissa Hernadez
  • Nancy Heyer
  • Beatrice Kaufman
  • DG Kim
  • Sarah Klein
  • William LaGassey
  • Leeann Lamsa
  • Jennifer Leland
  • Shaya Leon
  • Kevin Maurin
  • Carolyn May
  • Tatiana Milovonova
  • Network for Good
  • Cor Van Niel
  • Anastasia Nicolov
  • Donna Onat
  • Sarah Peniston
  • Emma Louise Peterson
  • Owen Reese
  • Matt Sayre
  • Katrina Shewchuk
  • Jana Skillingstead
  • Lisa St George
  • Jennifer Thompson
  • Natalie Tsuryk
  • Teresa Van Wagner
  • David Whitham
  • Rick Wise
  • Ruth Young

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Upcoming

"The calm, open space of unknown future possibilities" Macklay's Dissolving Bands

The arresting and delightful orchestral essay Dissolving Bands by American composer Sky Macklay (winner of  the top prize in the 2013 ASCAP Morton Gould Young Composers Awards) will receive its West Coast premiere at this concert. The curtain is raised by a suite of four very different marches from three centuries, by Mozart, Gossec, Bruckner, and (as a tribute to the namesake of the prize awarded to Ms. Macklay) Morton Gould. Following intermission, the Philharmonic turns to the powerful music of Jean Sibelius: his towering and granitic Symphony No. 5.

2 pm

Benaroya Hall

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A Major U.S. Premiere: Gipps' Fifth

Beginning with our 2018 performance of her Symphony No. 2, the Philharmonic has been at the forefront of the revival of interest in the music of Ruth Gipps. Her final symphony, the Fifth, will simultaneously receive its U. S. premiere and its second-ever performance at this concert. We begin with the appropriately-titled Hullabaloo by Canadian composer Jocelyn Morlock, specifically intended as a rousing and lively program opener, and continue with incidental music that Felix Mendelssohn wrote for Jean Racine’s play Athalia. The orchestra then proudly presents the winner of the Philharmonic’s 2022 Don Bushell Competition, saxophonist Soren Hamm, in Jacques Ibert’s bubbly Concertino da Camera.

2 pm

Benaroya Hall

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Music of the Americas

In yet another unique and adventurous program, the Philharmonic performs works by composers from five different countries of the American continent. Mexico’s José Pablo Moncayo, one of his country’s most revered composers, is represented by his festive Sinfonietta. Canadian composer Jean Coulthard’s Prayer for Elizabeth, written to commemorate the coronation of Queen Elizabeth II in 1953, is a heartfelt meditation in the manner of Barber’s Adagio for Strings. From Brazil, we sample the evocative music of Camargo Guarnieri, as one of the Philharmonic’s dearest friends, the dynamic pianist Sophie Lippert, performs his Piano Concerto No. 1. Following intermission, we turn to the hauntingly beautiful Mediodía en en Llano (Afternoon on the Plain) by Venezuela’s Antonio Estévez. The concert ends on U. S. soil with the Concerto for Orchestra by Morton Gould, a work that deftly combines classical, popular, and jazz elements (including a rip-roaring boogie-woogie finale!).

2pm

Benaroya Hall

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