Berlioz: Rakoczy March from The Damnation of Faust 
The Rákóczy March is the unofficial state anthem of Hungary. Tradition states that this was the favorite march of Francois Rakoczi II but was then called Rakoczi Song, a lament of the misfortunes of the Magyars under the Hapsburgs, calling Rakoczi to save his people. This uprising was 1703-1711. The song was extremely popular in the 18th Century with over 20 versions. It became refined by classical composers. Berlioz included it in “The Damnation of Faust” in 1846. Franz Liszt based the “Hungarian Rhapsody No. 15” on its theme.

Gershwin: Rhapsody in Blue
"It was on the train to Boston, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance..." George Gershwin

Holst: The Planets
Mars   Venus   Mercury   Jupiter   Saturn   Uranus   Neptune
The concept of the work is astrological rather than astronomical (which is why Earth is not included). The idea was suggested to Holst by Clifford Bax, who introduced him to astrology when the two were amongst a small group of English artists holidaying in Majorca in the spring of 1913; Holst became quite a devotee of the subject, and liked to cast friends' horoscopes for fun. Each movement is intended to convey ideas and emotions associated with the influence of the planets on the psyche, not the Roman deities. The Planets as a work in progress was originally scored for a piano duet, except for "Neptune", which was scored for a single organ, as Holst believed that the sound of the piano was too harsh for a world as mysterious and distant as Neptune. Holst then scored the suite for a large orchestra, and it was in this incarnation that it became enormously popular.
 

Seattle Symphony Orchestra Pianist, Kimberly Russ, is also the rehearsal pianist for both the Seattle Choral Company and the Seattle Symphony Chorale, Seattle’s premiere orchestral choirs.  

Ms. Russ is recognized as an extremely accomplished ensemble player and collaborative pianist. She  has performed with musicians of the nation’s finest orchestras and many other world-renowned artists.  Continually in demand, she appears frequently in recitals, festivals, and master classes. Ms. Russ can also be heard on several television, radio, and film recordings as well as on video game soundtracks.  

As a soloist, she has appeared with the Central Florida Symphony Orchestra, Florida Symphony Orchestra, Tacoma Young Artist Orchestra, Sammamish Symphony, and the Port Angeles Symphony. 

Since moving to Seattle from New York, Ms. Russ has appeared with the Seattle Opera Orchestra, the Pacific Northwest Ballet Orchestra, the Bellevue Philharmonic, the Seattle Choral Company, and Choral Arts Northwest.  She has been invited to perform for the Ladies Musical Club, the Belle Arte, Barry and Friends, and the Sherman Clay Music for Lunch Series

 Ms. Russ maintains a select private teaching studio at her Shoreline home where she resides with her husband, Christopher Olka, (Principal Tuba, Seattle Symphony) son James, and their cat, Berlioz.