Deer Valley® Music Festival

J u n 30 – Au g 1 1 , 2018

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Welcome to the 15th Annual Deer Valley® Music Festival and thank you for joining us for tonight’s concert!

The Utah Symphony had been performing casual concerts at the Snow Park Outdoor Amphitheater since 1986, but it was in 2004 that newly merged Utah Symphony | Utah Opera, in partnership with Deer Valley Resort, created the Deer Valley® Music Festival as a more extended summer offering. Over the years, it has developed into a widely anticipated orchestra festival attracting national and international artists and doubling audience numbers to 45,000 over the first 14 years.

Paul Meecham President & CEO

Our 15th anniversary is about celebrating the local community, donors, and supporters that have welcomed and embraced us from the beginning. We are truly appreciative and grateful for your support and we are proud to call Park City and Summit County the Utah Symphony’s summer home.

As you look through this program we think you’ll agree we have a varied and exciting group of guest artists joining our renowned Utah Symphony for this year’s Deer Valley® Music Festival. Whether you are lounging under the stars with a picnic with friends and family, or enjoying a glorious evening of chamber music in the stunning acoustics of St. Mary’s Church, we know these are performances you will remember and treasure for years to come. We hope these memories will draw you back again and again to experience the next 15 years of the Deer Valley® Music Festival!

Sincerely,

Kem Gardner Chair, Board of Trustees

[ DeerValleyMusicFestival.org ] 5

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CONTENTS

Mills Publishing, Inc. Publisher Dan Miller President Cynthia Bell Snow Office Administrator Jackie Medina Art Director/ Production Manager Patrick Witmer Program Designer

ESCAPE INTO THE MUSIC

Ken Magleby Patrick Witmer Graphic Designers Paula Bell Karen Malan Dan Miller Paul Nicholas Advertising Representatives

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Welcome to Deer Valley® Music Festival

10

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Hill Rules

12

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Festival Map

13

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Deer Valley® Music Festival Series Sponsors

Jessica Alder Office Assistant

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Join the Conversation

KellieAnn Halvorsen Administrative Assistant

83 » ST. MARY’S CONCERTS

Melissa Robison Editor

17 » ON THE HILL CONCERTS 114

© Copyright 2018

Festival Education Events

120 » Testimonials 122

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

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Thank You

125

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Lodging Partners

126

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The Board of Trustees

127

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Festival Council

128

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VIP Experience

129

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2018 Salon Series

130

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Legacy Giving

131

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Tanner & Crescendo Societies

132

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Support USUO

133 » 15th Anniversary Celebration Event 135

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DVMF Volunteer Q&A

138 » Administration 139

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Utah Symphony

140

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Saying “Thank You”

142

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DVMF Celebrates 15 Years

144 » Acknowledgments

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CONTENTS

17 27 33 39 45 51 55 59

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PATRIOTIC CELEBRATION starring RACHEL POTTER JUNE 30 | 7:30 PM | DEER VALLEY RESORT

DISNEY IN CONCERT A Silly Symphony Celebration JULY 6 | 7:30 PM | DEER VALLEY RESORT

BROADWAY HITS

by Stephen Sondheim and Andrew Lloyd Webber JULY 7 | 7:30 PM | DEER VALLEY RESORT

ABBA THE CONCERT A Tribute to ABBA with the Utah Symphony JULY 13 | 7:30 PM | DEER VALLEY RESORT

RICKY SKAGGS & KENTUCKY THUNDER with the Utah Symphony JULY 14 | 7:30 PM | DEER VALLEY RESORT

RICK SPRINGFIELD with the Utah Symphony JULY 20 | 7:30 PM | DEER VALLEY RESORT

SUTTON FOSTER with the Utah Symphony JULY 21 | 7:30 PM | DEER VALLEY RESORT

AMOS LEE with the Utah Symphony JULY 27 | 7:30 PM | DEER VALLEY RESORT

CONTENTS

61 65 69 73 79 83 91 99 111

THE MUSIC OF JOHN WILLIAMS JULY 28 | 7:30 PM | DEER VALLEY RESORT

THE ‘70s vs. THE ‘80s AUGUST 3 | 7:30 PM | DEER VALLEY RESORT

BIG BAD VOODOO DADDY with the Utah Symphony AUGUST 4 | 7:30 PM | DEER VALLEY RESORT

TCHAIKOVSKY’S 1812 OVERTURE AND VIOLIN CONCERTO AUGUST 10 | 7:30 PM | DEER VALLEY RESORT

THE UTAH SYMPHONY PERFORMS WINDBORNE’S MUSIC OF PINK FLOYD AUGUST 11 | 7:30 PM | DEER VALLEY RESORT

MOZART’S VIOLIN CONCERTO NO. 5 JULY 11 | 8 PM | ST. MARY’S CHURCH

MOZART’S “JUPITER” SYMPHONY JULY 18 | 8 PM | ST. MARY’S CHURCH

BEETHOVEN’S SYMPHONY NO. 1 JULY 25 | 8 PM | ST. MARY’S CHURCH

FREMONT STRING QUARTET AUGUST 1 | 8 PM | ST. MARY’S CHURCH

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HILL RULES

A MIDSUMMER NIGHT’S DREAM… That’s what we’re hoping tonight’s outdoor musical experience becomes for you!

However, everyone on the hill could potentially make or break each performance— not just the musicians on stage.

This means you have an important part to play, but don’t worry if you left your violin back home. We’ve got some simple markings to keep you easily following along as you sit back, relax, and enjoy the music.

PIANISSIMO PLEASE Beethoven didn’t write a part for beeping cell phones in his Moonlight Sonata. Let those around you enjoy their own moonlight sonata of sorts by silencing your phones, pagers, loud conversations, and other noise-making devices before the performance begins.

DANCE OF THE SUGAR PLUM FAIRIES Yes, your children are adorable. However, please keep a close eye on the little sugar plums to be sure they’re not distracting other patrons or running around the lawn during the performance.

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NO LEDGER LINES Please don’t block the view of those behind you with large objects (e.g. strollers, umbrellas, etc). Unfortunately, a clear view of the stage can’t be written up on ledger lines.

Chairs are only permitted on the west side of the hill, and the maximum chair height is 9 inches in the general admission seating area.

Also, there is a limited amount of wheelchair and other accessible seating available.

If you need wheelchair seating or other accessible seating please call the ticket office at 801-355-6683 at least 24 hours in advance of the performance.

SYMPHONIE FANTASTIQUE Of course our symphony is utterly fantastic— breathtaking indeed! But attending the Deer Valley® Music Festival can literally take your breath away as well. Depending on where you are in Park City, the altitude varies from 6,800 to 10,000 feet above sea level. We recommend you drink a lot of water to stay hydrated. The air is thin, so pace yourself— the effects of exercise and alcohol are magnified at high altitudes.

HILL RULES

Smoking is only allowed on the south side of the plaza deck behind the Snow Park Ticket Office.

BELSHAZZAR’S FEAST Enjoy a feast of music and food while you’re here! Deer Valley Resort has a full concession stand available, and food and beverages from home may be brought to the performance as well. Large coolers and strollers, however, are not allowed in the reserved seating section.

DISSONANT LIGHTS AND DYNAMIC DIVERSIONS Your fabulous experience tonight will likely tempt you to capture a few moments on film. Please withhold the urge to do so. No picture taking (with or without flash), videos, or recording of any kind is allowed during Utah Symphony | Utah Opera performances.

If you plan to share any photos you take before or after the show on social networks, be sure to use the hashtag #dvmf.

AFTERNOON OF A FAUN Unfortunately this is not the evening of a faun… or your dog, or little Timmy’s goldfish.

Please leave your pets at home, even if they love music just as much as you do.

RUSHING THE TEMPO We truly appreciate those of you who look forward to performances with great anticipation. However, please remember the gate doesn’t open until approximately two hours before the performance. Once the gate is open, you may reserve an area on the lawn with a blanket, tarp, or by roping off an area.

Only reserve enough space for the exact number of people in your party, please. If you plan to leave your blanket and come back later, wind may also be a factor. Please do not use rocks to hold down your blankets or other items, as they can become some intensely dissonant tones for the lawn mowers.

Reminder: You will always need your ticket stub or handstamp to re-enter the performance venue.

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FESTIVAL MAP

St. Regis Bar & Lounge

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DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

SUMMER SYMPHONY SPONSOR

SUMMER ENTERTAINMENT SPONSOR

SHIEBLER FAMILY FOUNDATION FESTIVAL GUEST CONDUCTOR SPONSOR

BMW OF MURRAY BMW OF PLEASANT GROVE OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

[ DeerValleyMusicFestival.org ] 13

JOIN THE CONVERSATION Are you having fun at the concert? Upload a photo of your Deer Valley® Music Festival experience to Facebook, Instagram, or Twitter. Tag us @utahsymphony and use the hashtag #DVMF—we might share your photo!

Post a photo and check into our Facebook page (@utahsymphony) while you’re at the concert and you’ll be entered into a giveaway for a pair of vouchers for a future Utah Symphony performance. One winner per weekend—vouchers apply to select performances.

♥ @Bonnield64 #fauxbeatlesmusic #girlstrip #1rstannual

♥ @Funnyhansenkinds Harry and Ron are ready for the concert at Deer Valley to start…

♥ @Stephaniecorry92 Date night with my fav to see Ben Folds perform with the Utah Symphony at Deer Valley. I’m literally “the luckiest” to have this girl in my life

♥ @Amoderngentandlady The Symphony and a picnic in the mountains under the beautiful sky. Perfect date night.

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ON THE HILL

PATRIOTIC CELEBRATION starring Rachel Potter June 30 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JOHN MORRIS RUSSELL, conductor RACHEL POTTER, vocalist JOSH RICHARDSON, narrator

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[ DeerValleyMusicFestival.org ] 17

PATRIOTIC CELEBRATION PROGRAM

SMITH & KEY

The Star-Spangled Banner

SOUSA

The Washington Post

COHAN

“Over There”

SUNG

Peace Corps

ARLEN

“Get Happy” RACHEL POTTER, vocalist

FOSTER

“My Old Kentucky Home” RACHEL POTTER, vocalist

HORVATH

“Immigrant’s Anthem” RACHEL POTTER, vocalist

HORNER LOWDEN & EILERS

BERLIN

Glory Armed Forces Salute

I. The Caisson Song (Army)

II. Semper paratus (Coast Guard)

III. Marines’ Hymn

IV. The U.S. Air Force Song (Wild Blue Yonder)

V. Anchors Aweigh (Navy) God Bless America RACHEL POTTER, vocalist

INTERMISSION

EUROPE

Hey There!

BROOKS

Strutters’ Ball

KANDER & EBB

“All That Jazz” from Chicago RACHEL POTTER, vocalist

FOSTER

“Hard Times Come Again No More” RACHEL POTTER, vocalist

LOPEZ & ANDERSON-LOPEZ

“Let it Go!” from Frozen RACHEL POTTER, vocalist

BOYER

Rolling River (Sketches on “Shenandoah”)

ROOT

Battle Cry of Freedom

WARD & BATES

“America the Beautiful” RACHEL POTTER, vocalist

Pre-concert patriotic tunes provided by Utah Conservatory Patriotic Kids camp.

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ARTISTS’ PROFILES

John Morris Russell Conductor

Rachel Potter Vocalist

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The 2017–18 season marks John Morris Russell’s seventh as conductor of the Cincinnati Pops, one of Cincinnati’s most treasured assets and one of the world’s most respected pops orchestras. Consistently winning international praise for his extraordinary music-making and visionary leadership, he is also Music Director of the Hilton Head Symphony Orchestra in South Carolina, where he leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. Mr. Russell also serves as Principal Pops Conductor of the Buffalo Philharmonic Orchestra in New York, following in the footsteps of Marvin Hamlisch and Doc Severinsen. John Morris Russell completed his 11-year tenure as Music Director of the Windsor Symphony Orchestra in Ontario, Canada in 2012, whereupon he was named that orchestra’s first Conductor Laureate. With his position at the Cincinnati Pops, Mr. Russell leads sold-out performances at Music Hall, the Taft Theater, and Riverbend Music Center.

Creator of the orchestra’s Classical Roots series, he also conducts the Pops’ family concert series, the annual USO Tribute Cincinnati Gala, and has led, with CSO Music Director Louis Langrée, the wildly successful “Lumenocity” performances over the last four summers.

Rachel Potter, a Nashville-based country music recording artist and songwriter, was a top-12 finalist on the hit reality television show The X-Factor. She had the honor of touring with the National Tour of the smash-hit Wicked, where she played the ever-popular Glinda and later made her Broadway debut as Wednesday Addams in The Addams Family. Next, she originated the role of the Mistress in the Tony-nominated revival of Evita, starring Ricky Martin and Michael Cerveris. Rachel has enjoyed a fruitful solo career, releasing two solo albums, being featured on CMT, multiple viral cover videos, and being written up in Billboard, Rolling Stone, and Huffington Post, to name a few. She has had many well-known collaborations with the a cappella groups VoicePlay and Voctave. For the past four years, she has been touring the country as a soloist with Country Legends, a symphony pops concert showcasing the last century’s most iconic country music, all performed with an orchestra.

Rachel resides in Nashville where she also works as a session singer, vocal coach, and headshot photographer.

She is now playing her most important role yet — “Mommy” to her son Jude. Follow her @therachelpotter.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Josh Richardson Narrator

Utah theater audiences might recognize Josh from his work as an actor and director. At Centerpoint Legacy Theatre he’s helmed successful productions of The Complete Works of William Shakespeare (Abridged), The 39 Steps, last year’s 1776, and many other productions, including Guys & Dolls, Arsenic & Old Lace, Noises Off!, Man of La Mancha, and the currently running You’re A Good Man, Charlie Brown. As an actor he’s played some incredible roles, including Long John Silver in Treasure Island, Bill Sykes in Oliver!, Trevor Grayden in Thoroughly Modern Millie, Robert Summers in The Heart of Robin Hood, Thernardier in Les Miserables, Kerchak in Disney’s Tarzan, the titular ogre in Shrek the Musical, and a turn earlier this year as the Archdeacon Claude Frollo in Hale Center Theatre’s production of The Hunchback of Notre Dame.

In addition to his work on the stage he’s appeared in numerous TV and radio commercials, voiced an audiobook, and made appearances in some movies, including National Lampoon’s Bagboy and Joseph Smith: Prophet of the Restoration. Special thanks to Spencer, Will, and Kristi for ongoing love and support.

You can connect with Josh on Twitter at @Jmr_Utah or on Facebook at www.facebook.com/JoshIsAnActor.

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ON THE HILL

DISNEY IN CONCERT A Silly Symphony Celebration July 6 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JERRY STEICHEN, conductor

ORCHESTRA SPONSOR

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DISNEY IN CONCERT PROGRAM

The Skeleton Dance (1929) Early Black-and-White Silly Symphonies Flowers and Trees (1932) Three Little Pigs (1933) The Country Cousin (1936)

INTERMISSION

Songs from the Silly Symphonies The Old Mill (1937) The Ugly Duckling (1939) Music Land (1935)

Presentation licensed by Disney Concerts © All rights reserved

The pre-concert Instrument Petting Zoo, open from 6–7 PM, is provided by Summerhays Music, the Utah Symphony Youth Guild, and the USUO Education Department.

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ARTIST’S PROFILE

With a career that ranges from symphony to opera and Broadway to chamber music, Maestro Jerry Steichen has established himself as one of America’s most versatile conductors. Mr. Steichen is the Music Director for the national tour of The King and I and he also spent 9 seasons as Music Director of the Ridgefield Symphony Orchestra (Connecticut), 12 seasons as Principal Pops Conductor of the Utah Symphony, and 15 seasons as Principal Pops Conductor of the New Haven Symphony Orchestra.

Jerry Steichen Conductor

Steichen is a frequent guest conductor for the Boston Pops and the New Jersey Symphony, and has appeared with the Cincinnati, Detroit, Indianapolis, Oregon, Columbus, and Hartford Symphonies; the Naples and Oklahoma City Philharmonics; the Florida Orchestra; and the New York Pops. International appearances include the Hong Kong Philharmonic Orchestra, Tokyo City Symphony, the NDR Philharmonie Hannover at the Braunschweig Festival, and numerous appearances with the Norwegian Radio Symphony.

Originally from Tonkawa, Oklahoma, Maestro Steichen holds degrees from Northern Oklahoma College, Oklahoma City University and the University of Southern California. He currently resides in New York City.

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ON THE HILL

BROADWAY HITS

by Stephen Sondheim and Andrew Lloyd Webber July 7 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JERRY STEICHEN, conductor DEBBIE GRAVITTE, vocalist CHRISTIANE NOLL, vocalist HUGH PANARO, vocalist

PRODUCTION SPONSOR

CONCERT SPONSOR

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[ DeerValleyMusicFestival.org ] 33

BROADWAY HITS PROGRAM

STYNE & SONDHEIM SONDHEIM

Overture from Gypsy “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum Debbie Gravitte, Christiane Noll, and Hugh Panaro, vocalists

SONDHEIM

“Broadway Baby” from Follies Debbie Gravitte, vocalist

SONDHEIM

“Not While I’m Around” from Sweeney Todd Hugh Panaro, vocalist

SONDHEIM

“Move On” from Sunday in the Park with George Christiane Noll and Hugh Panaro, vocalists

BERNSTEIN & SONDHEIM RODGERS & SONDHEIM

West Side Story Medley “Send in the Clowns” from A Little Night Music Christiane Noll, vocalist

SONDHEIM

Selections from Company Debbie Gravitte, Christiane Noll, and Hugh Panaro, vocalists

INTERMISSION

WEBBER & RICE

Jesus Christ Superstar Medley

WEBBER & RICE

“Don’t Cry for Me Argentina” from Evita Christiane Noll, vocalist

WEBBER & RICE

“Any Dream Will Do” from Joseph and the Amazing Technicolor Dreamcoat Hugh Panaro, vocalist

WEBBER & NUNN

“Memory” from Cats Debbie Gravitte, vocalist

WEBBER & ELIOT

“Jellicle Ball” from Cats

WEBBER & HART

“Phantom of the Opera” from Phantom of the Opera Christiane Noll and Hugh Panaro, vocalists

WEBBER & HART

“Music of the Night” from Phantom of the Opera Hugh Panaro, vocalist

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ARTISTS’ PROFILES

See page 30 for Jerry Steichen’s artist profile.

Debbie Gravitte Vocalist

Christiane Noll Vocalist

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Tony Award-winner Debbie Gravitte is one of Broadway’s biggest personalities. Debbie has found herself in demand from Broadway to the concert stage and beyond. After making her Broadway debut in the original cast of They’re Playing Our Song, she went on to appear in Perfectly Frank, Blues in the Night, Ain’t Broadway Grand, Zorba, Chicago, and Les Misérables. Debbie has appeared in the Encores! series productions of The Boys from Syracuse, Tenderloin, and Carnival at New York’s City Center. A favorite with symphony audiences, she has sung with over 175 orchestras around the world. She has toured with Keith Lockhart and The Boston Pops, appeared with Lang Lang and the Chinese Philharmonic in Beijing, and has also performed with Peter Nero and the Philly Pops; the New York Pops and the legendary Skitch Henderson; the Cleveland Orchestra; and the Atlanta, Pittsburgh, Utah, St. Louis, Houston, Dallas, San Diego, and National Symphonies.

Debbie has sung with the New York Ballet in Peter Martin’s Thou Swell at Lincoln Center, appeared with Bette Midler in the Universal feature Isn’t she Great?, and can be heard as one of the voices in Disney’s The Little Mermaid. Debbie is the proud mother of three beautiful children.

New York-born, New Jersey-raised actress Christiane Noll starred on Broadway in the Kennedy Center revival of Ragtime, receiving Tony and Drama Desk Award nominations and winning a Helen Hayes Award for her portrayal of Mother. She made her Broadway debut creating the role of Emma in Jekyll & Hyde, receiving a FANY Award for Best Actress in a Musical.

Ms. Noll received her second Drama Desk nomination for her work in Chaplin. She has been seen as Sister Margaretta in NBC’s The Sound of Music Live with Carrie Underwood. She supplied the singing voice of Anna in the Warner Brothers animated feature The King and I. She has been a frequent guest soloist with symphony orchestras in every state in the U.S., as well as international appearances with Toronto Symphony, Vancouver Symphony, Jerusalem Symphony, Sinfonica Brasileira in Rio, China Philharmonic with concert pianist Lang Lang, and orchestras in Hong Kong, the Czech Republic, and Malaysia. She made her Carnegie Hall debut with Skitch Henderson in his last pops performance with The New York Pops and also sang with Steven Reineke at Carnegie Hall.

She made her Hollywood Bowl and O2 Arena debut singing with Julie Andrews in Gifts of Music, and she made her opera debut with Plácido Domingo at the Kennedy Center as well as in the City Center Encores! series.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Hugh Panaro Vocalist

Hugh Panaro is perhaps best known for having played the coveted role of the Phantom in Broadway’s The Phantom of the Opera over 2,000 times, including in the 25th Anniversary production. In fact, Hugh is one of the few actors to be cast

by Harold Prince as both The Phantom and Raoul in the show’s Broadway production and is currently starring as the titular role in the immersive off-Broadway production of Sweeney Todd. Hugh made his Broadway debut in the original production of Les Misérables as Marius, the role he originated in the First National Company. An active concert artist, Panaro has performed with numerous symphony orchestras including the New York Pops at Carnegie Hall; Philly Pops; the Dallas, Detroit, San Francisco, Seattle, and Utah Symphonies; and the London Sinfonietta, among many others. In addition, he toured throughout Europe with the legendary Barbra Streisand. His recordings include Jerome Kern Treasury, the original cast recording of Side Show, and Tap Your Troubles Away (Herman). A native of Philadelphia, Panaro graduated from Temple University and was awarded the Boyer College of Music Certificate of Honor.

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Reservations: (435) 645-6455 | www.steinlodge.com/dining D EER V ALLEY

Wine Spectator Best of Award of Excellence Since 2007

DiRona 2017 Award—Achievement of Distinction in Dining Forbes Four-Star Award

DE E R VA L L E Y

Chef of the Year 2017 Utah Restaurant Association

ON THE HILL

ABBA THE CONCERT A Tribute to ABBA with the Utah Symphony July 13 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor

Selections to be announced from the stage.

PRODUCTION SPONSOR

CONCERT SPONSOR

D EER VALLEY

CONDUCTOR SPONSOR

TED & LORI SAMUELS ORCHESTRA SPONSOR

[ DeerValleyMusicFestival.org ] 39

ARTISTS’ PROFILES

See page 84 for Conner Gray Covington’s artist profile.

21st Century Artists, Inc. has been presenting its ABBA tribute shows throughout North America for well over a decade. The audience and press all agree—“this is the closest to ABBA you’ll ever get.” ABBA The Concert brings one of the greatest pop phenomena back to life.

ABBA The Concert continues to be the top ABBA tribute group in the world, dazzling all who see with their fantastic show while performing the most iconic hits from ABBA, including “Mamma Mia,” “S.O.S,” “Money, Money, Money,” “The Winner Takes All,” “Waterloo,” “Gimme, Gimme, Gimme,” and “Dancing Queen.”

Many critics agree, ABBA The Concert is the most amazing and authentic ABBA tribute show in the world. Come dance, come sing, having the time of your life at the ultimate tribute celebration!

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Brigham Young University

new exhibitions to visit at the MOA!

Pulitzer Prize Photographs JULY 23 , 201 8 – M A R CH 3, 2 01 9

Contemporary Artists Patrick Dougherty and Danae Mattes OPENING D ECE M BE R 2 01 8

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Loan from the artist, 2018

JAMES SURLS

Across the Universe Divide July 7 - September 29, 2018

The Southern Utah Museum of Art is part of the Beverley Center for the Arts, which is home to the Utah Shakespeare Festival. www.suu.edu/suma | www.jamessurls.com

EXPERIENCE ONE OF THE PREMIER CULTURAL EVENTS IN THE ROCKY MOUNTAIN WEST. Widely recognized by artists and enthusiasts, the Jackson Hole Fall Arts Festival features nationally and internationally acclaimed artists along with an exceptional array of events featuring music, cuisine, and wine.

ON THE HILL

RICKY SKAGGS & KENTUCKY THUNDER with the Utah Symphony July 14 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JIM GRAY, conductor RICKY SKAGGS, guest artist KENTUCKY THUNDER, guest artist

Selections to be announced from the stage.

PRODUCTION SPONSOR

SCOTT & KATHIE AMANN

[ DeerValleyMusicFestival.org ] 45

ARTISTS’ PROFILES

Jim Gray Conductor

Ricky Skaggs Guest Artist

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Jim Gray is an arranger, composer, conductor, orchestrator, and producer in the world of recorded music and live performance. His emergence into prominence has been rapid and his scope of work has covered a multitude of genres and settings, ranging from composing classical chamber music cues for international television shows to conducting orchestras alongside well-known pop/rock groups for audiences of over 16,000. Since 1990, Jim has worked with an impressive array of artists and groups including pop, rock, and country artists, American Idol finalists, award-winning legends, young up-and-comers, and hundreds more. He has conducted recording orchestras around the world including Nashville, Los Angeles, Indianapolis, Seattle, London, Budapest, Prague, and Beijing. He has served as arranger, orchestrator and/or conductor on 27 albums which have been nominated for a Grammar Award, 19 of which have won. Jim’s compositions, arrangements, and orchestrations have been featured on television programs such as NBC’s The Sing-Off, America’s Got Talent, and Big Brother—Australia as well as specials on CMT, Bravo, GAC, PBS, Netflix Series, and other networks throughout the world. His music has been heard on commercials during the Super Bowl, and currently his music can be heard on commercials for the Atlantis Hotel chain.

A life full of music: that’s the story of Ricky Skaggs. By age 21, he was already considered a “recognized master” of one of America’s most demanding art forms, but his career took him in other directions, catapulting him to popularity and success in the mainstream of country music. His life’s path has taken him to various musical genres, from where it all began in bluegrass music, to striking out on new musical journeys, while still leaving his musical roots intact. Ricky struck his first chords on a mandolin over 50 years ago, and this 15-time Grammy Award-winner continues to do his part to lead the recent roots revival in music. With 12 consecutive Grammy-nominated classics behind him, all from his own Skaggs Family Records label—Bluegrass Rules! (1998), Ancient Tones (1999), Soldier of the Cross and Big Mon: The Songs of Bill Monroe (2000), Live at the Charleston Music Hall (2003), Brand New Strings (2004), Instrumentals (2006), Salt of the Earth with The Whites (2007), Honoring the Fathers of Bluegrass: Tribute to 1946 and 1947 (2008),” and Ricky Skaggs Solo: Songs My Dad Loved along with Mosaic (2010)—the diverse and masterful tones made by the gifted Skaggs come from a life dedicated to playing music that is both fed by the soul and felt by the heart.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Kentucky Thunder Guest Artists

“This group of guys meets my approval every night,” Ricky says. “Each and every one of the pickers in Kentucky Thunder totally amazes me in every show... and that, to me, outweighs any award we could ever win.” The all-star lineup of Kentucky Thunder includes Paul Brewster (tenor vocals, rhythm guitar), Russ Carson (banjo), Jake Workman (lead guitar), Mike Barnett (fiddle), Dennis Parker (baritone vocals, guitar), and Jeff Picker (bass).

Knoxville, Tennessee’s Paul Brewster began his music career with the band Knoxville Grass, singing lead and tenor vocals and playing rhythm guitar. After ten years with the Osborne Brothers and brief stints with the Pinnacle Boys and Dollywood bluegrass band True Blue, he was asked to become a member of Kentucky Thunder. In addition to lending his unmistakable tenor to countless Ricky Skaggs albums, Brewster is also an accomplished songwriter and solo artist. In 2001, he teamed up with former band-mate Mark Fain to co-produce Everybody’s Talkin’, his first solo project for Skaggs Family Records.

Paul Brewster Tenor Vocals & Rhythm Guitar

Russ Carson Banjo

Russ Carson came by his passion for the banjo honestly: his father has made handcrafted banjos and played old-time fiddle and banjo since the early 1970s. As a result of the never-ending live music played around him while growing up, Russ started playing bluegrass at age 10, and has been an avid student and performer of the genre ever since.

During his time as a band member with Gold Heart and subsequently Audie Blaylock & Redline, he was able to work with industry legends such as Del & Ronnie McCoury, Bobby Osborne, Carl Jackson, Glen Duncan, Lou Reid, and many others. His latest project, Avenue Of The Giants, was described by fellow Pennsylvanian and mentor Tom Adams as being “right at the edge of the music where they reach out and insist that you become part of the music,” an accurate portrayal of Russ’ presence on stage with Kentucky Thunder as well. When not performing, Russ pursues his second love, photography.

[ DeerValleyMusicFestival.org ] 47

ARTISTS’ PROFILES

Jake Workman Lead Guitar

Mike Barnett Fiddle

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Jake Workman, hailing from Draper, Utah, began playing the guitar when he received one for his 13th birthday in 2001. A year and a half after starting the guitar, Jake’s introduction to bluegrass music came when his parents surprised him with a banjo for Christmas. Jake’s love for bluegrass grew heavily over the next few years as he attended jams and festivals throughout the Western states and eventually the entire country. He entered many instrument contests and won many titles on guitar, banjo, and mandolin. In 2007 while attending the National Flat Pick Guitar Championship in Winfield, Kansas, Jake met other musicians who later would help form the Midwest-based band, Driven. Jake has also played in Salt Lake City-based groups Cold Creek, The Aaron Ashton Band, and the Jake and Rebekah Workman Band. He has a degree in jazz guitar performance from the University of Utah and his playing showcases his extensive knowledge in rock and jazz genres, but he is mostly influenced by traditional bluegrass.

When not performing, he teaches many private lessons, writes music, and works in the studio. Jake was featured on the cover of the May/June 2015 issue of Flatpicking Guitar Magazine and is the lead guitarist for Kentucky Thunder.

Mike Barnett was born and raised in Nashville, Tennessee, and has a special place in his heart for bluegrass and country music. At age 14, Mike recorded his first CD, Lost Indian, a collection of traditional fiddle classics. At 15 years of age, he was invited to teach alongside fiddle greats Vassar Clements, Buddy Spicher, and Bobby Hicks at the Vanderbilt Blair School of Music International Fiddle Camp. In 2009 while attending Berklee College of Music in Boston, Mike joined the David Grisman Quintet (DGQ) to form a sextet. He has also toured with bluegrass icon Jesse McReynolds and the Virginia Boys, banjo player Tony Trischka, the Gordon Stone Trio, Northern Lights—one of New England’s renowned folk bands—along with mandolinist Joe Walsh, the band The Deadly Gentlemen, guitarist Bryan Sutton, and has shared the stage with banjoists Béla Fleck, comedian Steve Martin, and Greg Liszt. Mike was the recipient of the 2007 Daniel Pearl Memorial Violin created by Jonathan Cooper, awarded at the Mark O’Connor String Conference. He has recorded with numerous musicians as well as on his own, with the most recent being One Song Romance, a compilation of all original music. Mike is the fiddle player for Kentucky Thunder.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Dennis Parker Baritone Vocals & Guitar

Jeff Picker Bass

Dennis Parker is no stranger working with Ricky Skaggs, being a former member of Kentucky Thunder and sharing a Grammy win on Ricky Skaggs’ Bluegrass Rules! album with guitar, mandolin, and vocal credits. Dennis has also played professionally with Lee Ann Womack, Tracy Lawrence, Joe Diffie, and Mark Chesnutt, among others. He is equally at home playing blues, soul, country, gospel, pop, and contemporary Christian music styles. Dennis is a master at multiple instruments including fiddle, banjo, and mandolin, but favors the guitar. Dennis is a musician full of soul, shown throughout his playing and his vocals. Dennis is a previous state contest winner on fiddle, banjo, and guitar and has won multiple other contests in many states. As a baritone vocalist and guitarist for Kentucky Thunder, we welcome Dennis back working with Ricky and the band.

As the newest member of Kentucky Thunder, Jeff Picker plays the double bass. His unique blend of bluegrass, folk, western swing, and jazz influences has made him a highly in-demand sideman and an exciting creative voice on the roots music scene. As a teenager, Jeff immersed himself deeply in the jazz idiom, and at the age of 18 was awarded the title of Presidential Scholar in the Arts in Jazz by the U.S. Department of Education. In his early 20s he fell in love with bluegrass and roots music, and has never looked back.

Since then he’s had the pleasure of working professionally with a wide variety of roots artists in New York City and beyond, including several years on the road with Grammy Award-winning singer/songwriter and multi-instrumentalist Sarah Jarosz. Jeff was raised in Portland, Oregon and Dallas, Texas and has been based in New York City for 11 years. He’s excited to be joining Ricky and the guys as the new bassist in Kentucky Thunder.

[ DeerValleyMusicFestival.org ] 49

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ON THE HILL

RICK SPRINGFIELD with the Utah Symphony July 20 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER WOLF KERSCHEK, conductor RICK SPRINGFIELD, guest artist

Selections to be announced from the stage.

PRODUCTION SPONSOR

[ DeerValleyMusicFestival.org ] 51

ARTISTS’ PROFILES

Wolf Kerschek Conductor CONDUCTOR SPONSOR

Rick Springfield Guest Artist GUEST ARTIST SPONSOR

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Wolf Kerschek sees himself as a world musician, having experiences with different musical cultures and societies and incorporating them into his own music. He has developed into a composer with his own musical language that is rooted in diverse traditions. Since his return to Germany he has performed as a musician, composer, arranger, and conductor for all of the German radio big bands. In addition, he composes, arranges, and conducts film scores and orchestral productions. He has toured with various ensembles in the United States, Russia, and Europe, including Switzerland where he has performed at the Montreux Jazz Festival. He has also performed in radio and television programs with musicians such as John Taylor, Alex Riel, Jorge Degas, Arkady Shilkloper, Trilok Gurtu, Joe Gallardo, and has recorded over 100 CDs to date. As one of the most famous German arrangers, he wrote big band and orchestral productions for Michael Bolton, Helene Fischer, Ray Anderson, No Angels, Tom Gaebel, Peter Fessler, Roberto Blanco, Let’s Dance, Angelika Milster, Polish National Radio Symphony Orchestra, FILMharmonic Orchestra Prague, and German Film Orchestra Babelsberg, among others.

After years of working behind the scenes for many other CD productions, he is now releasing the album Adventures of a Trumpet, his first recording under his own name.

Over the past four decades, Rick Springfield has worn many hats as an entertainer and performer. He is the creator of some of the finest power-pop of the ’80s, as well as a Grammy Award-winning singer, songwriter, and musician who has sold 25 million albums and scored 17 U.S. Top 40 hits, including “Jessie’s Girl,” “Don’t Talk to Strangers,” “An Affair of the Heart,” “I’ve Done Everything for You,” “Love Somebody,” and “Human Touch.” He’s an accomplished actor who has starred opposite Meryl Streep in the feature film Ricki and the Flash, given a chameleonic performance as the creepy Dr. Pitlor in HBO’s prestige drama True Detective, earned great reviews for his portrayal of Lucifer on the CW hit Supernatural, and most recently played Pastor Charles on American Horror Story. In 2014, Springfield was honored with a star on the Hollywood Walk of Fame, located around the corner from the first apartment he lived in when he first arrived in the U.S. from Australia in 1971. Rick’s latest album The Snake King finds Rick travelling down a dusty dirt road to explore the blues side of his rock ‘n roll and marks a definite departure from the powerpop he has been known for.

[ Deer Valley® Music Festival ]

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ON THE HILL

SUTTON FOSTER with the Utah Symphony July 21 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor SUTTON FOSTER, guest artist

Selections to be announced from the stage.

PRODUCTION SPONSOR

CONCERT SPONSOR

FRANK & ALICE PULEO

CONDUCTOR SPONSOR

ORCHESTRA SPONSOR

DOUG & CONNIE HAYES

[ DeerValleyMusicFestival.org ] 55

Find us on Instagram!

@HYATTPARKCITY

#HyattParkCity

3551 NORTH ESCALA COURT :: PARK CITY, UTAH 84098 435.940.1234 :: PARK CITY.HYATTCENTRIC.COM

TWO for ONE 7700 Stein Way Park City, UT 84060 Reservations (435) 645-6455 www.steinlodge.com/dining Valid 4/9/18 through 6/30/18 and 9/30/18 through 11/30/18 at Troll Hallen Lounge and Glitretind Restaurant. Valid 7/1/18 through 9/29/18 at Glitretind Restaurant dinner only. Cash not accepted. For dine-in only. Buy one entrĂŠe, get the second of equal or lesser value for free. 20% gratuity will be added to original amount. Excludes Sunday brunch.

Must present coupon. Not valid in conjunction with any other offer, nightly special, or special event.

ARTISTS’ PROFILES

See page 84 for Conner Gray Covington’s artist profile.

Sutton Foster Guest Artist

Sutton Foster is an award-winning actor, singer, and dancer who has performed in 11 Broadway shows—most recently the revival of Violet—and originated roles in the Broadway productions of The Drowsy Chaperone, Little Women, Young Frankenstein, Shrek The Musical, and her Tony Awardwinning performances in Anything Goes and Thoroughly Modern Millie. She was first seen on television on Star Search at age 15, and has more recently appeared in Bunheads, Psych, Johnny and the Sprites, Flight of the Conchords, Sesame Street, Law & Order: SVU, and Royal Pains. As a solo artist, Sutton has performed all over the country as well as internationally with her musical director Michael Rafter, featuring songs from her debut solo CD Wish as well as her follow-up CD, An Evening With Sutton Foster: Live at the Cafe Carlyle. She has graced the stages of Carnegie Hall, Feinstein’s/54 Below, Lincoln Center’s American Songbook series, Joe’s Pub, and many others. In 2011 she received an Honorary Doctorate degree from Ball State University where she also is on faculty as a teacher and advisor to the Department of Theatre and Dance. Since March 2015, she stars in TVLand’s new series, Younger created by Darren Star.

MOAB MUSIC FESTIVAL music in concert with the landscape

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August 27 – September 13, 2018 Michael Barrett, Music Director

•

Leslie Tomkins, Artistic Director

Chamber music, jazz, Latin, and traditional music with exceptional artists among the unforgettable red rocks of Southeastern Utah

moabmusicfest.org

•

435.259.7003 [ DeerValleyMusicFestival.org ] 57

Nature created the setting.

The storyline is up to you.

Under warm blue skies, bikers, hikers and horseback riders traverse miles of alpine terrain. Families spend evenings under the stars with world-class music and entertainment. Al fresco spa treatments and regionally inspired cuisine are enjoyed against a stunning backdrop of emerald mountains and fresh summer breezes. Montage Deer Valley weaves summer’s best moments into life’s best memories.

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ON THE HILL

AMOS LEE with the Utah Symphony July 27 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor AMOS LEE, guest artist

Selections to be announced from the stage.

PRODUCTION SPONSOR

THE MARLON FAMILY FOUNDATION

CONCERT SPONSOR

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ARTISTS’ PROFILES

Edwin Outwater Conductor CONDUCTOR SPONSOR:

Amos Lee Guest Artist GUEST ARTIST SPONSOR:

SUMMIT COUNTY

RESTAURANT

TAX

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Edwin Outwater is a visionary conductor who is reinventing the concert experience with major orchestras and institutions throughout the world. He is Artistic Director of the Eastern Sierra Symphony, a groundbreaking music festival in Mammoth Lakes, California; Artistic Director of “The Line-Up,” a concert series at The Park at Wrigley in Chicago; and Music Director Laureate of the Kitchener-Waterloo Symphony in Ontario, Canada.

An ardent champion of new music and cross-cultural and interdisciplinary collaboration, he is equally adept at interpreting canonical masterworks, premiering new commissions, and connecting audiences with repertoire beyond the mainstream. A native of Santa Monica, California, Edwin Outwater graduated cum laude in English literature from Harvard University, where he was music director of the Bach Society Orchestra and a cappella group Harvard Din & Tonics, and wrote the music for the 145th annual production of the Hasty Pudding Theatricals. He received his master’s degree in conducting from UC Santa Barbara, where he studied with Heiichiro Ohyama and Paul Polivnick and also studied music theory and composition with John Stewart, Joel Feigin, and Leonard Stein.

Over the course of more than a dozen years and six studio albums, Amos Lee has continued to evolve, develop, and challenge himself as a musician. With his newest studio album Spirit, he makes his biggest creative leap yet. Most notably, Lee acted as his own producer for the first time.

Along with such monumental events as working with the Colorado Symphony Orchestra (a performance which yielded Lee’s most recent release, Live from Red Rocks), being a band leader over the last decade has also helped Lee hone his craft as an arranger. For Amos Lee, Spirit is the fulfillment of dreams and aspirations—musical, personal, and professional—that he’s had for a long time. “All you can ask for as an artist is the chance to create what you hear and feel inside of yourself,” he says. “The performances by everyone gave me such a strong place to draw from, and being more connected to the arrangements made it easier and more fun to sing. For my first time producing, I could not have been luckier—I was able to get into the heart of every single moment of this record.”

[ Deer Valley® Music Festival ]

ON THE HILL

THE MUSIC OF JOHN WILLIAMS July 28 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor

See page 60 for Edwin Outwater’s Artist Profile.

PRODUCTION SPONSOR

CONDUCTOR SPONSOR

JIM & ZIBBY TOZER

SUMMER DONOR PARTY SPONSOR

[ DeerValleyMusicFestival.org ] 61

THE MUSIC OF JOHN WILLIAMS PROGRAM

JOHN WILLIAMS

Theme from Superman “Hedwig’s Theme” from Harry Potter Suite from Far and Away Theme from Schindler’s List March from Midway Theme from Jurassic Park

INTERMISSION

JOHN WILLIAMS

Selections from Close Encounters of the Third Kind “Princess Leia’s Theme” from Star Wars “Parade of the Ewoks” from Star Wars “Rey’s Theme” from Star Wars “Raiders March” from Raiders of the Lost Ark “The Imperial March” from Star Wars “Main Title” from Star Wars

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– OUR –

PASSION Representing Utah’s Most Distinctive Properties Like No Other

When comparing real estate brokerages, it can be easy to assume that all of us are the same. From community involvement and philanthropy, to a brand heritage dating back 274 years, Summit Sotheby’s International Realty is about redefining real estate – inspiring us to continually push boundaries, innovate and differentiate. summitsothe bysrealty.com ©MMXVIII Sotheby’s International Realty Affiliates, Inc. All Rights Reserved. Sotheby’s International Realty® is a licensed trademark to Sotheby’s International Realty Affiliates, Inc. An Equal Opportunity Company. Each office is independently owned and operated.

ON THE HILL

THE ‘70S vs. THE ‘80S August 3 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor CAPATHIA JENKINS, vocalist CONSTANTINE MAROULIS, vocalist

Selections to be announced from the stage.

CONCERT SPONSOR

GUEST ARTISTS SPONSOR

JIM† & MARILYN PARKE

VIP DINNER SPONSOR

This concert is lovingly dedicated to the memory of Jim Parke

[ DeerValleyMusicFestival.org ] 65

ARTISTS’ PROFILES

See page 60 for Edwin Outwater’s artist profile.

Capathia Jenkins Vocalist

Constantine Maroulis Vocalist

This Brooklyn-born-and-raised actress most recently starred as Medda in the hit Disney production of Newsies on Broadway.

She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the off-Broadway 2000 revival of Godspell where she wowed audiences with her stirring rendition of “Turn Back, O Man,” which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and received critical acclaim for her performances of the Bacharach/David hits.

Ms. Jenkins then created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short: Fame Becomes Me where she sang “Stop the Show” and brought the house down every night. An active concert artist, Ms. Jenkins has appeared with orchestras around the world. She has also performed as a soloist with the Festival Český Krumlov in the Czech Republic. In 2011 Ms. Jenkins had the great honor of performing in the “Broadway Ambassadors to Cuba” concert as part of the Festival de Teatro de la Habana. Additionally, Ms. Jenkins has performed as guest soloist with Peter Nero and the Philly Pops as well as with the Cincinnati Pops.

Constantine first came to prominence as the beloved underdog on American Idol. He then secured his place in pop culture as a Broadway superstar, best known for his Tony-nominated role in Rock of Ages. Recently Constantine joined forces with legendary Guns N’ Roses drummer Steven Adler, touring the world as Adler’s Appetite featuring Constantine Maroulis. Constantine is also developing a number of creative projects in TV and film, including Tonynominated work as a producer of Broadway’s revival of Deaf West’s Spring Awakening, as well as recently releasing the singles “All About You,” “Here I Come,” and “She’s Just Rock N’ Roll,” from his upcoming album slated for release this year. Additionally, Constantine recently played Judas in the MUNY production of Jesus Christ Superstar, and Che in the North Shore production of Evita. All of this ambition is held in balance by Constantine’s inspiration—his eight-yearold daughter Malena. Life as a single dad is not without its challenges; however, Constantine is firm in his commitment to being present in his daughter’s daily life.

Pre-concert music provided by the Park City Rockers @ Utah Conservatory.

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Utah musicians in concert at the

Gallivan Center

Thursday nights 7:30 PM Big Band Tuesday's Late May through September

excellenceconcerts.org • 385-743-0146

Get a front row seat to nature. nature.org/utah

PHOTO © IAN SHIVE

Proud sponsor of the Deer Valley® Music Festival

www.joneswaldo.com Salt Lake City | Park City | St. George | Lehi | Provo | Chicago

ON THE HILL

BIG BAD VOODOO DADDY August 4 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER EDWIN OUTWATER, conductor BIG BAD VOODOO DADDY, guest artist

Selections to be announced from the stage.

PRODUCTION SPONSOR

ORCHESTRA SPONSOR

[ DeerValleyMusicFestival.org ] 69

DEER VALLEY® MUSIC FESTIVAL

See page 60 for Edwin Outwater’s artist profile.

Big Bad Voodoo Daddy Guest Artist

GUEST ARTISTS SPONSOR:

JOANNE SHIEBLER GUEST ARTIST FUND

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2018 marks the 25th anniversary of Big Bad Voodoo Daddy’s remarkable arrival onto the music scene. Since its formation in the early ‘90s in Ventura, California, the band has toured virtually nonstop, performing on average over 150 shows a year, and has produced a sizable catalog of recorded music, with sales of over 2 million albums to date. Early on, during their legendary residency at the Derby nightclub in Los Angeles, they reminded the world, in the midst of the grunge era no less, that it was still cool to swing. The band, co-founded by singer Scotty Morris and drummer Kurt Sodergren, was at the forefront of the swing revival of that time, blending a vibrant fusion of the classic American sounds of jazz, swing, and dixieland, with the energy and spirit of contemporary culture. Big Bad Voodoo Daddy’s all-original core line-up includes Scotty Morris (lead vocals and guitar), Kurt Sodergren (drums), Dirk Shumaker (double bass and vocals), Andy Rowley (baritone saxophone and vocals), Glen “The Kid” Marhevka (trumpet), Karl Hunter (saxophones and clarinet), and Joshua Levy (piano and arranger). Big Bad Voodoo Daddy’s efforts to promote and revitalize swing music have taken shape as much more than a simple tribute. Taking inspiration from the creators of this uniquely American art form, the band’s original horn-infused music and legendary high energy show introduce the genre to a new and younger generation while remaining cognizant and respectful of the music’s rich legacy.

[ Deer Valley® Music Festival ]

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ON THE HILL

TCHAIKOVSKY’S 1812 OVERTURE AND VIOLIN CONCERTO August 10 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor BENJAMIN BEILMAN, violin MICHAELLA CALZARETTA, chorus master UTAH OPERA CHORUS CANNONEERS OF THE WASATCH

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PROGRAM FOR TCHAIKOVSKY’S 1812 OVERTURE AND VIOLIN CONCERTO

SIBELIUS TCHAIKOVSKY

Finlandia, Op. 26 Concerto in D Major for Violin and Orchestra, Op. 35

I. Allegro moderato

II. Canzonetta: Andante

III. Finale: Allegro vivacissimo BENJAMIN BEILMAN, violin

INTERMISSION

DVOŘÁK

Slavonic Dance, Op. 72, No. 2 in E minor

DVOŘÁK

Slavonic Dance, Op. 72, No. 7 in C Major

WILHOUSKY

Battle Hymn of the Republic UTAH OPERA CHORUS

TCHAIKOVSKY

“1812” Ouverture solonnelle, Op. 49 UTAH OPERA CHORUS

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ARTISTS’ PROFILES

See page 84 for Conner Gray Covington’s artist profile.

Benjamin Beilman Violin GUEST ARTIST SPONSOR:

Michaella Calzaretta Chorus Master

76

American violinist Benjamin Beilman is recognized as one of the fastest rising stars of his generation, winning praise for his passionate performances and deep rich tone, which The Washington Post called “mightily impressive” and The New York Times described as “muscular with a glint of violence.”

In March 2016, Warner Classics released his debut recital CD. Highlights of Mr. Beilman’s 2017–18 season included performances with the Houston Symphony, Oregon Symphony, North Carolina Symphony, Indianapolis Symphony, and Orchestra St. Luke’s, as well as a multi-city tour of California playconducting the New Century Chamber Orchestra in a program including Bach, Stravinsky, and Andrew Norman. In recital, he premiered a new work written for him by Frederic Rzewski and commissioned by Music Accord, presented by Boston Celebrity Series and Shriver Hall Concert Series, and also appeared on tour throughout the U.S. Next season, highlights include playconducting the Vancouver Symphony, making his debut at the Philharmonie in Cologne with Ensemble Resonanz, performing Four Seasons with the Cincinnati Symphony and Richard Egarr, returning to the City of Birmingham Symphony, and debuting with the Royal Scottish National Orchestra. His appearances in recital include Lincoln Center, Wigmore Hall, Kennedy Center, Spivey Hall, Philadelphia’s Perelman Theater, and Carnegie Hall.

He plays the “Engleman” Stradivarius from 1709 generously on loan from the Nippon Music Foundation.

Michaella Calzaretta recently completed her first season as Chorus Master and Assistant Conductor at Utah Opera, beginning with Moby-Dick. Of her Moby-Dick chorus preparation, Opera Today extolled “Maestro Mechavich is aided mightily by Michaella Calzaretta’s superb choral preparation. Her large chorus was flawless in tonal beauty, dramatic engagement, and clarity of diction, even when performing busy stage movement.” Ms. Calzaretta is finishing a Doctorate of Music in Choral Conducting at Indiana University in Bloomington, Indiana, where she studied with Betsy Burleigh, Dominick DiOrio, and Walter Huff. She was the Music Director for the University Gilbert and Sullivan Society of Bloomington, as well as the Music Director for New Voices Opera, a student-run organization that commissions and produces operas by student composers. Ms. Calzaretta holds a Bachelor of Music in Vocal Performance from Simpson College and a Master of Music in Choral Conducting from the University of Missouri-Kansas City.

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ARTISTS’ PROFILES

The Cannoneers of the Wasatch

CANNON SPONSOR:

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UTAH OPERA CHORUS Keanu Aiono-Netzler Clarisse Colao Chad DeMaris Natalie Easter Genevieve Gannon Elijah Hancock Paul Leland Hill

The Cannoneers of the Wasatch have traveled the Wasatch Front for over 40 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s 1812 Overture with cannon fire, but lacked cannons. For more than three decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley, and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

Thomas Klassen Jennifer McKay Rhea Miller Jesús Vicente Murillo Daniel Nichols Scott Palmer Heidi Robinson

Carolyn Talboys-Klassen Scott Tarbet Mandi Titcomb Daniel Tuutau Robyn VanLeigh Dawn Veree

[ DeerValleyMusicFestival.org ] 77

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ON THE HILL

THE UTAH SYMPHONY PERFORMS WINDBORNE’S MUSIC OF PINK FLOYD August 11 / 2018 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER MARTIN HERMAN, conductor BRODY DOLYNIUK, vocalist

Selections to be announced from the stage.

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ORCHESTRA SPONSOR

[ DeerValleyMusicFestival.org ] 79

ARTISTS’ PROFILES

Martin Herman Conductor CONDUCTOR SPONSOR:

Conductor Martin Herman, has served as guest conductor with symphony orchestras worldwide. He has recently conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal, the Sydney Symphony Orchestra in the Sydney Opera House, the Philadelphia Orchestra, Odense Symphony Orchestra, Seattle Symphony, Detroit Symphony, North Carolina Symphony, Ft. Worth Symphony, Atlanta Symphony, Vancouver Symphony, Long Beach Symphony, and the San Diego Symphony. He also served as music director and conductor with Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S. and the Czech Republic. He has served as assistant conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra.

Additionally Mr. Herman has conducted several orchestra crossover projects in Amsterdam and Berlin. He was assistant to composer Gian Carlo Menotti in the production of his opera The Consul at the Spoleto Festival U.S.A., where he also apprenticed with the conductor Christopher Keene.

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ARTISTS’ PROFILES

Brody Dolyniuk Vocalist

Brody Dolyniuk is a multi-faceted, self-taught musician who began his professional music career playing in piano bars.

A chance meeting with a pair of star-shaped sunglasses led to forming an Elton John tribute band Brody called Yellow Brick Road. Soon YBR began going outside the EJ catalog to perform other classic rock giants such as Led Zeppelin, Pink Floyd, and more. Within a year, YBR was a steady working band in the Las Vegas music scene and had cultivated a large local following. YBR also became an in-demand choice for the corporate entertainment market. After 14 years of solid work, Brody stepped down as front man for YBR to pursue other avenues, namely his role as a vocalist for Windborne Music’s touring symphony shows, singing the Music of Queen, and later The Who, Rolling Stones, U2, and Journey. Simultaneously Brody had been developing his own production called Symphonic Rockshow. Now residing in Southern California, Brody continues to tour, as well as produce shows via his company, Yellow Brick Road Entertainment.

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ST. MARY’S CHAMBER CONCERTS

MOZART’S VIOLIN CONCERTO NO. 5 July 11

/ 2018 / 8 PM / ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor KATHRYN EBERLE, violin

MENDELSSOHN MOZART

The Hebrides, Op. 26 “Fingal’s Cave” Concerto No. 5 in A Major for Violin and Orchestra, K. 219 “Turkish”

I. Allegro aperto II. Adagio

III. Rondo: Tempo di menuetto KATHRYN EBERLE, violin

INTERMISSION

WAGNER

Siegfried Idyll

DVOŘÁK

Czech Suite in D Major, Op. 39

I. Praeludium (Pastorale): Allegro moderato

II. Polka: Allegretto grazioso

III. Menuetto (Sousedská): Allegro giusto

IV. Romanze: Andante con moto

V. Finale (Furiant): Presto

[ DeerValleyMusicFestival.org ] 83

ARTISTS’ PROFILES

Conner Gray Covington Conductor

Kathryn Eberle Violin

84

Conner Gray Covington began his appointment as Assistant Conductor of the Utah Symphony in the 2017–18 season. He recently completed his tenure as the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia, where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. He made his Carnegie Hall debut with the Curtis Symphony Orchestra sharing the podium with Ludovic Morlot. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. Covington has worked with the St. Louis Symphony, Utah Symphony, and Virginia Symphony as a guest conductor and has served as a cover conductor for the Philadelphia Orchestra, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, WI), and the Britt Festival Orchestra (Jacksonville, OR). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He studied violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance.

Violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony. She performs annually as soloist with the Utah Symphony and made her solo subscription series debut in April 2014 performing Leonard Bernstein’s Serenade. The Salt Lake Tribune described her performance as “marrying unimpeachable technical skill with a persuasive and perceptive voice.” Other solo appearances include performances with the Los Angeles Philharmonic, the Louisville Orchestra, and the Nashville Symphony. An avid chamber musician, Ms. Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, and Ricardo Morales. Her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac, Sewanee, Laguna Beach, Innsbrook, Fairbanks Summer Arts, and Festival Mozaic. With pianist Jason Hardink, she recently presented a complete cycle of the Beethoven violin sonatas on the NOVA Chamber Music Series. A graduate of The Juilliard School, The Colburn School, and the University of Southern California, Ms. Eberle studied with Sylvia Rosenberg, Robert Lipsett, and Cornelia Heard. She is on the string faculty of Utah State University teaching the Orchestra Excerpts Seminar. Eberle performs on a violin made

by J.B. Vuillaume in 1870.

[ Deer Valley® Music Festival ]

NOTES ON THE PROGRAM

Felix Mendelssohn (1809—1847) The Hebrides, “Fingal’s Cave,” Op. 26 Performance time: 10 minutes Even Mendelssohn enthusiasts can be confused by the titles of his travelinspired works. His Third Symphony, “The Scottish,” was not published until after the one catalogued as No. 4, “The Italian.” The Hebrides, which was inspired by the same trip to Scotland as his “Scottish Symphony,” was originally titled “The Lonely Island,” and is also known as “Fingal’s Cave”—an alternate title that sounds like it should identify an excerpt; the cave is, after all, just one of the geographic wonders of Scotland’s Hebrides Islands. But it is certainly one of the most striking, and it made a deep impression on Mendelssohn.

Mendelssohn’s amazing musical precocity is the main reason why he is so often compared with Mozart, and his wealthy, highly cultured family had Mozart in mind when his early demonstrations of musical talent prompted them to groom him for a career in music. Like Mozart, Mendelssohn composed mature masterpieces in his teens and was a prolific correspondent.

The composer toured Scotland with a close friend when he was 20 years old, and the country’s rugged landscape and culture deeply inspired him at that young age—particularly with its embodiment of the Romantic fascination with the dichotomy of the individual versus nature. Imagine a college sophomore of today brooding over such ideas.

Psychologists tell us that Mozart’s letters to his father and sister reveal a brilliant mind, but Mendelssohn’s letters home from Scotland are even more impressive in their incisive descriptions and mature, philosophical observations; they simply do not seem like the writing of a 20-yearold. In a letter to his sister Fanny, Felix casts a mature eye on the amazing basalt 86

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formations that rise out of the sea to create Fingal’s Cave. On the one hand, he was thrilled by their beauty and by nature’s majesty. But on the other, he felt overwhelmed by their scale and by the harshness of their setting, which could give rise to feelings of the individual’s smallness and helplessness in a vast, indifferent universe. We hear all of these emotions in The Hebrides, which is admired as one of the most evocative and persuasive musical descriptions of nature ever composed.

Located off the western coast of Scotland, the Hebrides Islands comprise a rugged archipelago of windswept, craggy hills, and rocky coasts with swirling eddies and violent surf. The overture form that Mendelssohn chose to capture the intensity of this landscape did not suggest that it was intended as a prelude to a larger work, but denoted a tone poem that, like a rhapsody or fantasia, did not adhere to a highly structured development.

In it we hear two primary themes: an opening motif introduced by the violas, cellos, and bassoons that suggests the cave’s towering verticality and majestic, almost frightening beauty, and a second theme that conveys the ceaseless power of the surf that surrounds the cave. In his letter to Fanny, who was an accomplished musician, Felix sketched the first theme in musical notation to demonstrate the sheer awesomeness of the cave—just as today we might snap a photo with our smart phone and embed it in an email while on vacation.

Mendelssohn endorsed the score with the early title “The Lonely Island” on December 16, 1830. At least one scholar has suggested that this was no random date, but rather, the one day when—at its high northern latitude—the mouth of Fingal’s Cave is briefly illuminated by the sun. After further revisions, it acquired the title The Hebrides and was premiered in 1832 in a concert with another overture of note: A Midsummer Night’s Dream. Almost a surfeit of genius.

NOTES ON THE PROGRAM

Wolfgang Amadeus Mozart (1756—1791) Concerto No. 5 in A Major for Violin and Orchestra, K. 219 “Turkish” Performance time: 31 minutes When you think of Mozart the child prodigy, do you envision him at the keyboard of a pianoforte in a gilded salon, accomplishing some elaborate musical stunt to the amusement of a roomful of grownups?

That’s the scenario in countless tales of his education—and sometime exploitation—at the hands of his father, Leopold.

But Mozart was also a violin prodigy, and no wonder; his father was the most prominent violin pedagogue of the 18th century, whose instructional text on violin technique was relied upon well beyond the Classical era. Many of the young Wolfgang’s feats of musical precocity were accomplished on the miniature violin that Leopold gave him as soon as he could hold it (probably at age 6), and he was proficient on all stringed instruments at an early age. By the time he was 19 years old (a year before the American Revolutionary War began), he already displayed the qualities of a mature composer of genius, producing the five violin concertos that are arguably his first compositions to earn permanent, indispensable spots in the orchestral canon.

Both in form and in sheer beauty, these five compositions go beyond previous Classical violin concertos. Some musicologists call this Mozart’s “year of the violin,” when he faced a professional crossroads and was deciding between the piano and the violin for the display of his own virtuosity as a performing musician. For the rest of us nongeniuses, a comparable decision might be a “midlife crisis;” for Mozart, it came while he was still a teenager, and may well have been complicated by his relationship with his father, whom he loved dearly, but whose continuing influence on his professional life was a point of personal struggle.

Though Mozart did play some of his violin compositions publicly, the piano became the focus of his performing career. Still, his deep affinity for the violin shines through in his chamber music and his symphonies, and the string sections of opera orchestras are rarely so busily expressive as they are in Mozart operas. His year of the violin also gave us the five sublime compositions that can be considered the foundation of the modern violin concerto, including the Fifth—perhaps the most beloved and frequently performed.

The bounty of Mozart’s musical inventiveness is so rich in this concerto that as listeners we can barely keep up with it. Composed in A Major, it opens with a movement with the unusual marking “Allegro aperto,” (aperto means “open”), winning us immediately with a theme that is indeed open and relaxed but extremely beautiful and seems to capture the essence of the violin’s singing voice. (That odd coinage among players, “violinistic,” probably had to be minted because of Mozart’s concertos.) In the next movement, the adagio—an unusually slow marking for Mozart, even in a slow movement—a serene, idyllic meditation takes shape around the melodic material of the opening movement.

The brisk third movement takes the form of a rondo, a flexible structure especially apt for introducing new melodic material (typically A-B, A-C, A-D…). Starting as a conventional minuet, it brings in exotic, spicy melodies and works them into the mix. (Mozart’s contemporary audiences were fascinated by such imports and might label anything vaguely foreign as “Turkish.”) It ends on a repeat of the “A” theme, lovely and soft as a down pillow— though to modern listeners accustomed to the grandiosity of Romantic concertos, this finale can sound not quite final.

Richard Wagner (1813—1883) Siegfried Idyll Performance time: 19 minutes First, let’s get our Siegfrieds straight.

The Siegfried of Richard Wagner’s [ DeerValleyMusicFestival.org ] 87

NOTES ON THE PROGRAM

impossibly beautiful, Siegfried Idyll is not the Siegfried for whom the third opera of Wagner’s gigantic tetralogy The Ring of the Nibelung is named. Nor does it have anything to do with the gorgeous passage known as “Dawn and Siegfried’s Rhine Journey” from the prelude of the Ring’s fourth opera, Götterdämmerung, though elements from the Idyll did find their way into the Ring. In these comprehensively imagined music dramas, Wagner projects his personal cosmology onto a mythic universe, a place of normative values whose inhabitants journey toward moral perfection. But Wagner’s personal life, which gave rise to Siegfried Idyll, was something else again.

Siegfried Idyll takes its name from Wagner’s son by his second wife, Cosima.

At the time they fell passionately in love, Cosima—who was Franz Liszt’s illegitimate daughter by the glamorous Parisian socialite Marie d’Agoult—was married to the distinguished conductor Hans von Bülow, one of Wagner’s strongest supporters. Beset by financial and artistic turmoil, Wagner accepted the Bülows’ offer of refuge in their country house in Tribschen, near Lake Lucerne.

Wagner’s affair with Cosima von Bülow was just one of many on his part, but it proved fateful, finally dooming his marriage to his first wife, Minna. Wagner felt that his genius and his passion were reasons enough for his host and former pupil to step aside; inflamed by love, he was inspired to begin work on his revolutionary opera Tristan und Isolde. For her part, Cosima became pregnant with their daughter Isolde. When Minna conveniently died in 1866, Cosima’s husband granted her a divorce, and she and Wagner married. Two more children followed: Eva and Siegfried.

When Cosima entered Wagner’s life, it was as if they were transfigured beings who entered the world of Wagner’s creative imagination. Their shared passion crystallized for Wagner the premise of 88

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Tristan und Isolde—the transcendence of inner, spiritual love over external reality and human law—and their relationship unleashed his work on his most innovative music. Together, Wagner and Cosima embodied not only the creative fantasies of his music dramas, but also the principles of his writing on aesthetic philosophy, including his insistence on the purity of German art and myth, and his virulent anti-Semitism. Cosima furthered these ideas after Wagner’s death, managing the opera house at Bayreuth as a shrine to her husband and his ideas.

Siegfried Idyll is a token of this special moment in the life of one of music history’s most remarkable and disturbing figures.

Composed in appreciation of the marital joy that Wagner and Cosima enjoyed after his years of turmoil, it was conceived as a gift for Cosima and specifically scored for an orchestra of 13 to 15 players to be positioned on the stairway leading to Cosima’s bedroom. It was rehearsed in secret and played to awaken her on Christmas Day in 1870.

Originally titled Tribschen Idyll, Siegfried Idyll is ecstatic and flowing; like so much of Wagner’s music, it seems to nullify the external sense of time with its own timeless pulse. It begins with a sunrise both literal and figurative, a beautiful dawn that also marks the beginning of a new kind of life.

(The work’s original subtitle indicates that the sunrise is orange, and that a bird, “Fidi,” is singing; both the roseate tones of the morning sky and the poetic birdsong are evident in the music.

As a kind of gift card to supplement the Idyll, Wagner provided a poetic dedication to Cosima in which he explained the work as follows: It was your self-sacrificing, noble will That found a place for my work to develop, Consecrated by you as a refuge from the world, Where my work grew and mightily arose,

NOTES ON THE PROGRAM

A hero’s world magically became an idyll for us, An age-old distance became a familiar homeland.

Then a call happily rang forth into my melodies; “A son is there!” —he had to be named Siegfried.

For him and you I had to express thanks in music— What lovelier reward could there be for deeds of love?

We nurtured within the bounds of our home The quiet joy, that here became sound.

To those who proved ever faithful to us, Kind to Siegfried, and friendly to our son, With your blessing, may that which we formerly enjoyed As sounding happiness now be offered.

The Idyll can be heard as an attempt to transmute infidelity into nobility, like lead into gold. The morality may be questionable, but it is difficult to argue with the beauty of the music.

Antonin Dvořák (1841—1904) Czech Suite in D Major, Op. 39 Performance time: 21 minutes For three decades starting in 1950, the Pulitzer Prize-winning music critic Harold C. Schonberg reigned from his desk at The New York Times as the most influential arbiter of American tastes in classical music. “Smetana,” he wrote, “was the one who founded Czech music, but Antonín Dvořák…was the one who popularized it.” When Schonberg made this pronouncement, the American taste for Dvořák was based largely on his symphonies, especially “From the New World.” We think of this popular work as American, but virtually all of Dvořák’s music—not just the Czech Suite and the Slavonic Dances—embodies the Czech sound, spirit, and swing. Dvořák was not only a key figure in the Czech nationalist

movement in music, but strongly advocated that all composers draw on their indigenous sources to foster a national style.

When Dvořák composed the Czech Suite, in 1879, he was a rising young composer whose first big success had come the previous year with the publication of his first suite of Slavonic Dances. He found their popularity to be a mixed blessing, since he was impatient to tackle forms he considered more serious—symphonies and concertos—while his publisher, Simrock, wanted more dance suites. The composer quickly wrote Simrock that “To do the same thing twice is devilishly difficult,” and that “I have not the slightest inclination to think of such light music at present.” Yet he soon dropped his objections, producing the Czech Suite in 1879 and the Op. 72 set of eight dances during the summer of 1886.

A change of heart? Perhaps. But it is also possible that the maturing Dvořák realized that a suite could be anything he chose to make it. As listeners, we make the same discovery: certain formal designations— divertimentos, serenades, sinfonias, overtures, suites—can be light or meaty, formal or casual. In the case of the Czech Suite, Dvořák incorporated formal elements of his earlier Serenades in E Major and D minor with the kinds of Czech folk dance tunes he used in the first suite of Slavonic Dances.

The first of the Czech Suite’s five movements, the Praeludium, engages us with an appealingly lyrical introduction. This leads us to a polka that combines rustic elements with sophisticated development characteristic of Dvořák’s “folk” dances. In the third movement, the pace slows to the tempo of a statelier Czech dance, the Sousedská, which is followed by a darker, more formal Romance movement, nocturnal in feeling.

The suite concludes with a burst of energy in its final Furiant. As listeners we find that while enjoying a series of five movements of dance rhythms, we have traversed a symphonic arc. [ DeerValleyMusicFestival.org ] 89

P A R K C

2018

I

Chamber Series at St. Mary's Church _ MOZART’S VIOLIN CONCERTO NO. 5 July 11 (WEDNESDAY) / 8 PM CONNER GRAY COVINGTON conductor KATHRYN EBERLE violin

MENDELSSOHN MOZART WAGNER DVOŘÁK

T

Y

U T A H

Leave the heat of the city behind for mid-week chamber series concerts in Park City with the Utah Symphony. You’ll be inspired by beautiful music in the intimate setting and great acoustics of St. Mary’s Church.

UTAH SYMPHONY

The Hebrides (“Fingal’s Cave”) Violin Concerto No. 5 “Turkish” Siegfried Idyll Czech Suite

MOZART’S “JUPITER” SYMPHONY July 18 (WEDNESDAY) / 8 PM JANE GLOVER conductor MATTHEW TUTSKY harp

HAYDN MOZART MOZART

MERCEDES SMITH flute UTAH SYMPHONY

Symphony No. 95 Concerto for Flute & Harp Symphony No. 41 “Jupiter”

BEETHOVEN’S SYMPHONY NO. 1 July 25 (WEDNESDAY) / 8 PM CONNER GRAY COVINGTON conductor SARAH SHAFER soprano

LIGETI J.S. BACH CANTELOUBE BEETHOVEN

UTAH SYMPHONY

Concert Românesc (Romanian Concerto) Cantata No. 51, “Jauchzet Gott in allen Landen!”

Chants d’Auvergne Symphony No. 1

FREMONT STRING QUARTET

TICKETS:

August 1 (WEDNESDAY) / 8 PM MADELINE ADKINS violin BRANT BAYLESS viola

BEETHOVEN STRAVINSKY ARVO PÄRT BRAHMS

CLAUDE HALTER violin RAINER EUDEIKIS cello

String Quartet No. 2 Three Pieces for String Quartet Fratres String Quartet No. 1

SUMMER SYMPHONY SPONSOR

SUMMER ENTERTAINMENT SPONSOR

801-533-6683 DeerValleyMusicFestival.org

ST. MARY’S CHAMBER CONCERTS

MOZART’S “JUPITER” SYMPHONY July 18 / 2018 / 8 PM / ST. MARY’S CHURCH JANE GLOVER, conductor MERCEDES SMITH, flute MATTHEW TUTSKY, harp

HAYDN

MOZART

Symphony No. 95 in C minor

I. Allegro moderato II. Andante III. Menuetto IV. Vivace Concerto in C Major for Flute, Harp, and Orchestra, K. 299 I. Allegro II. Andantino

III. Rondo: Allegro MERCEDES SMITH, flute MATTHEW TUTSKY, harp

INTERMISSION

MOZART

Symphony No. 41 in C Major, K. 551 “Jupiter”

I. Allegro vivace

II. Andante cantabile III. Allegretto

IV. Molto allegro

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ARTISTS’ PROFILES

Jane Glover Conductor

British conductor Jane Glover has been Music of the Baroque’s Music Director since 2002. She made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. She joined Glyndebourne in 1979 and was Music Director of Glyndebourne Touring Opera from 1981 until 1985. She was Artistic Director of the London Mozart Players from 1984 to 1991, and has also held principal conductorships of both the Huddersfield and the London Choral Societies. From 2009 until 2016 she was Director of Opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor. Jane Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia.

She also works with the period-instrument orchestras Philharmonia Baroque and the Handel and Haydn Society.

Jane Glover studied at St. Hugh’s College, Oxford, where after graduation she did her doctorate on 17th-century Venetian opera. She holds a personal professorship at the University of London, is a Fellow of the Royal College of Music, an Honorary Member of the Royal Academy of Music, and the holder of several honorary degrees.

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ARTISTS’ PROFILES

Mercedes Smith is Principal Flute of the Utah Symphony. A Texas native, she served as Principal Flute of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade. She has performed with the San Diego Symphony, Houston Symphony, and served as Principal Flute of the Pacific Symphony during the 2010–11 season. As a recitalist, Ms. Smith performed at the Kunming International Arts Festival, China, in a performance that was televised throughout Asia. As First Prizewinner of Artists International, she made her Carnegie Hall recital debut in 2002. This debut featured solo and chamber works all by American composers, including three world premieres. Most recently she was featured as soloist Mercedes Smith and chamber musician at the Festival Internacional de Música Flute de Cámara in Zacatecas, Mexico. Ms. Smith performed at the Hot Springs Music Festival for three years and was featured in the nationally televised PBS documentary Sound of Dreams highlighting the festival. In previous summers, she has been a fellowship recipient at Tanglewood, Music Academy of the West, and was a member of the UBS Verbier Festival Orchestra in Switzerland. As a chamber musician, she has performed at the Marlboro Music Festival, Bargemusic, Da Camera of Houston, Musiqa Houston, NOVA, and the Intermezzo Chamber Music Series. Ms. Smith was accepted as a scholarship student at the Manhattan School of Music at the age of 16 and is greatly indebted to her teachers Michael Parloff, Jeanne Baxtresser, and Dr. Ronda Mains.

Matthew Tutsky is currently Principal Harp with Boise Philharmonic, Opera Idaho, and Ballet Idaho. He was Acting Principal Harp with the Utah Symphony for the 2013–14 season. Matthew is an avid traveler working as a permanent substitute harpist with Seattle Symphony, Utah Symphony, Oregon Symphony, Spokane Symphony, Grand Teton Music Festival, Lakes Area Music Festival, Louisiana Philharmonic Orchestra, Walla Walla Symphony, Billings Symphony, Chamber Orchestra of the Springs, and Anchorage Symphony. He is a graduate of Manhattan School of Music and Juilliard’s Pre-College. Matthew has performed in top concert venues such as Carnegie Hall and Lincoln Center.

Matthew Tutsky He has performed with James Taylor, Kristin Chenoweth, Harp Ben Folds, The Mormon Tabernacle Choir, Johnny Mathis, Emmanuel Pahud, and other leading musical icons. Matthew held University teaching posts as Adjunct Professor of Harp with Weber State University, Northwest Nazarene University, and currently has a thriving private studio, “Harpitecture by Matthew Tutsky” at Esther Simplot Performing Arts Academy. He co-curates and performs with the Modern Classics Chamber Music Series at the Sapphire Room in the Riverside Hotel in Boise, Idaho. In addition to classical training, he is a therapeutic harp practitioner, finishing his training from International Harp Therapy. Matthew is based in Los Angeles and works throughout the U.S. and Europe.

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NOTES ON THE PROGRAM

Franz Joseph Haydn (1732–1809) Symphony No. 95 in C minor Performance time: 21 minutes Haydn’s two celebrated sets of “London” Symphonies, the last 12 symphonies he ever composed, were written through the good offices of Johann Peter Salomon, an industrious German musician and impresario who made the arrangements for the London engagements that went a long way toward securing Haydn’s retirement.

It’s common to think of these symphonies, numbered 93 through 104, as the glory and valediction of his long career. But Haydn began composing them when he was 61 and had 15 more years of inspired music yet to write. The great compositions of his old age, again facilitated by Salomon, were his great oratorios including The Creation and The Seasons. His Symphony No. 95 was composed for the first of the two London tours that Salomon arranged for him.

London had always been enormously appreciative of Haydn’s talent, and showed it. He was acclaimed in the press, treated as an A-list celebrity, and extremely well paid there. Accordingly, Salomon arranged commissions not only for the symphonies, but for many other works, including an opera. The music-loving London public expected Haydn to conduct the premieres and be present on the social scene, and made the symphonies by far the biggest hits of the tour. Though Haydn focused serious effort on vocal music, his great oratorios did not come until later. His opera for the second London tour, a setting of the story of Orpheus and Eurydice, fell by the boards and did not see the light of day until 1951.

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While 60 was an advanced age in those days, Haydn was robustly productive right through what we now think of as retirement years, producing masterpieces well into his 70s. His seniority among composers only enhanced his prestige, and he was luxuriously accommodated when he was in London, so his trips there were not as strenuous as, say, Mozart’s early travels.

He continued composing for well over a decade after composing the last of his “London” Symphonies. During the last years of his life, when he was completing works he cared most deeply about, he never returned to the symphonic form.

The 95th is notable as the only “London” Symphony that bears a minor key signature. Its form, too, is somewhat unusual in its lack of a slow introduction; instead, the first movement immediately exposes its main theme, a strong statement that is juxtaposed against a much more lyrical second theme. This is one of the ways in which Haydn may have been influenced by his study of Mozart’s Symphony No. 41 “Jupiter”, which also plunges right into its first movement.

Today’s listeners find this symphony irresistible in its charms, and fully representative of Haydn’s greatest symphonies. But contemporary London audiences were not so sure. Despite its dramatic opening, its inventive themeand-variations second movement, the witty menuetto in the third movement, and the radiant finale, its initial performances were less enthusiastically received than those of the other “London” Symphonies.

It is believed that early audiences were suspicious of the work’s minor key, which was not what they expected from Haydn.

NOTES ON THE PROGRAM

Wolfgang Amadeus Mozart (1756–1791) Concerto in C Major for Flute, Harp, and Orchestra, K. 299 Performance time: 29 minutes What gives two movie actors or two musical instruments “great chemistry?” Whatever it is, the flute and harp create fireworks together. The potency of combining these two instruments has been recognized by composers as far back as Christoph Willibald Gluck, whom Mozart admired. But in Mozart’s day, featuring them together in a single work was quite unusual. Mozart’s beautiful double concerto for flute and harp remains one of the most popular works in the concert repertory for these instruments. So it comes as a bit of a shock when musicologists tell us that Mozart did not particularly like either the flute or the harp, and that he was moved more by irritation than by inspiration in composing this concerto.

When Mozart composed this work, in April 1778, he was on a seven-month stay in Paris and numbered among his clients Adrien-Louis de Bonnières, duc de Guines.

The duke’s family appears to have been genuinely musical: In letters to his father, the persnickety Mozart praised the duke’s skill as a flutist, and called his teenage daughter’s harp playing “magnifique.” But as a composition student, Marie Louise Philippine seemed unresponsive and unteachable to Mozart, who—it must be said—was not the most patient of teachers. We might also note that Mozart was 22 at the time, just 3 years older than his pupil—a fact that surely did not escape her doting, protective father.

To Leopold Mozart, the commission from the duke for the double concerto seemed like

a way for his son to strengthen a potentially important professional relationship. Leopold sensibly advised Wolfgang Amadeus that any composition showcasing the daughter’s talents and allowing her to play alongside her father would please the duke immensely. But in this case, music’s charms did not soothe: Wolfgang was snubbed by the duke, who offered only half the expected fee for the composition. This he characteristically refused to accept.

If the concerto’s background strikes a sour note, the music itself is sweet. It is composed in sunny C Major, but is by no means simple stuff; there are plenty of virtuosic demands for both instruments. It is composed in the three conventionally arranged fast-slow-fast movements, with a sprightly, buoyant tone prevailing.

The concerto seems almost to make the flute dance with phrasing that is deeply idiomatic for the instrument. Some harpists contend that the writing for harp bears the fingerprints of a keyboard player in its fingerings and phrases, which call for plenty of plucking and use of all five fingers in both hands (somewhat unusual in harp technique, which relies mainly on four fingers and on long, sculptural runs). But to some listeners this has the pleasing effect of avoiding the overused tropes of harp solos, such as sweeping glissandos and arpeggios.

Wolfgang Amadeus Mozart (1756–1791) Symphony No. 41 in C Major, K. 551 “Jupiter” Performance time: 31 minutes Mozart’s 39th, 40th, and 41st Symphonies pose something of a musical mystery—

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especially No. 41, known as the “Jupiter” because it is the longest and most complex of his symphonies. Always hungry for commissions, Mozart almost never wrote a bar that was not dedicated to a commissioned work, least of all a major work such as a symphony. But the historical record offers us no evidence of a commission for these three works, which figure among his supreme masterpieces.

Had he turned to writing these symphonies to express musical ideas too advanced or too personal for his commissions?

We’ll probably never know. But the idea of using the symphonic form as a rubric for personal communication and experimentation is extremely appealing, and seems to prefigure Beethoven. Composers, especially symphonists, are fascinated by the accelerating creativity and daring that seemed to possess Mozart in the years before his death in 1791 (he completed the “Jupiter” in 1788). This symphony has been described as the work of a man who seemed ready to fly off the surface of the earth and enter a creative orbit all his own, beyond the reach of mere mortals. There is speculation that Mozart expected to sell his last three symphonies for presentation on an eventual tour of London, but again, history provides no solid evidence. It is not even certain whether Mozart ever heard his final three symphonies performed, though his musical mind had no need of a live performance to know how they would actually sound.

Unlike Beethoven’s most monumental symphonies, the Jupiter is known for its prevailing good cheer. Thanks to Gustav Holst, classical music fans know “Jupiter” as the bearer of jollity, but this nickname for Mozart’s 41st precedes Holst by a couple

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of centuries, dating back to Johann Peter Saloman, a German impresario who lived in London and produced a concert including the symphony in 1821. Saloman is credited with the first use of the name “Jupiter” for this work in a concert program.

Among the many composers who found inspiration in the “Jupiter,” Haydn modeled two of his own symphonies on it, Nos. 95 and 98—tributes to a man who had been his pupil and whom he esteemed as the greatest composer he had ever known. But the most eloquent tribute probably came from a dean of Romantic music, Robert Schumann, who was a distinguished critic as well as a composer. “About many things in this world there is simply nothing to be said,” he wrote—“for example, about Mozart’s C Major symphony with the fugue, much of Shakespeare, and some of Beethoven.”

Many listeners hear intimations of Romanticism in this symphony. But these are more related to its scope than its tone. While the “Jupiter” looks forward to Beethoven by expanding the horizons of the symphonic form, Mozart did not use the symphony to struggle through inner conflict of Enlightenment philosophy, as Beethoven did; instead, he introduced new formal structures and harmonic transitions that seemed to make Romanticism necessary by pushing Classical conventions beyond their known limits. By now, of course, innovations that once seemed daring and experimental sound beautifully natural to our ears.

The symphony’s opening movement has a sound that is emphatic and deep, yet there is also a sense of gladness that pervades it. Critics have noted the sense of authority that suffuses the symphony from the outset and never gives way, yet its thematic

NOTES ON THE PROGRAM

materials and their development never push us toward pessimism. Its second movement is gentler and more subdued, and while it makes excursions into minor keys, the prevailing tone remains positive.

The third movement, a traditional minuet, prepares us for the final movement’s bold energy. One of the symphony’s most analyzed features is its signature coda (referenced above by Robert Schumann), strident and shocking yet somehow perfectly appropriate and beautiful.

When Mozart wrote this symphonic valediction, Beethoven was in his late teens and was already sketching themes upon which his great concertos would be based.

Huge changes for the symphony were in the offing. Mozart, for his part, was only 31.

What separates the musical landscape of his “Jupiter” Symphony from those created

by Beethoven and his successors? Mozart’s mastery of the “Jupiter’s” expanded scope and its modern details make us certain that he could have taken the symphonic form as far as we can imagine, and beyond. What we do not hear in the “Jupiter” is the sense of conflict, struggle, and resolution that we hear in Beethoven, or the aesthetics of the Romantic symphony with man confronting nature, or in pursuit of an ideal, or presenting a programmed narrative. In the “Jupiter” Symphony, abstract beauty says it all.

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With a Sunday Brunch this grand, half the fun is wondering where to begin and why your appetite can’t be endless.

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ST. MARY’S CHAMBER CONCERTS

BEETHOVEN’S SYMPHONY NO. 1 July 25

/ 2018 / 8 PM / ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor SARAH SHAFER, soprano

LIGETI J.S. BACH

Concert Românesc (Romanian Concerto) Cantata No. 51, BWV 51 “Jauchzet Gott in allen Landen!”

I. Aria: “Jauchzet Gott in allen Landen!”

II. Recitative: “Wir beten zu dem Tempel an”

III. Aria: “Höchster, mache deine Güte”

IV. Aria: “Sei Lob und Preis mit Ehren”

V. Aria: “Alleluja” SARAH SHAFER, soprano

INTERMISSION

CANTELOUBE

Chants d’Auvergne, 3rd Series

I. “Lo fiolairé”

II. “Passo pel prat”

III. “Lou boussu” IV. “Brezairola”

V. “Malurous qu’o uno fenno” SARAH SHAFER, soprano

BEETHOVEN

Symphony No. 1 in C Major, Op. 21

I. Adagio molto - Allegro con brio

II. Andante cantabile con moto

III. Menuetto: Allegro molto e vivace

IV. Finale: Adagio - Allegro molto e vivace

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2018/19 UTAH OPERA SEASON

t e i l u J Romeo & GOUNO

D’S

YOU CAN NEVER HAVE TOO MUCH DRAMA. shakespeare’s tragic love story of Romeo and Juliet has been tugging at the heartstrings of theatergoers for more than four centuries. Anya Matanovič (The Magic Flute, Hansel and Gretel) and Joshua Dennis (MobyDick) return to Utah Opera as the two star-cross’d lovers in Romantic-era composer Charles Gounod’s musical take on this story.

OCT.

13–21

7:30 pm & 2 pm sunday matinee

j.q. lawson capitol theatre

CONDUCTOR DIRECTOR JULIET ROMEO MERCUTIO FRIAR LAURENCE STEPHANO

ROBERT TWETEN VERA LÚCIA CALÁBRIA ANYA MATANOVIČ JOSHUA DENNIS EFRAÍN SOLÍS ADAM LAU MEGAN MARINO UTAH OPERA CHORUS UTAH SYMPHONY

SEASON SPONSOR

ARTISTS’ PROFILES

See page 84 for Conner Gray Covington’s artist profile.

Sarah Shafer Soprano

CELEBRATING

Sarah Shafer’s 2018–19 season begins with her San Diego Opera debut as Susanna in Le nozze di Figaro. Her concert appearances include Carmina Burana with the Milwaukee Symphony Orchestra, Poulenc’s Gloria with the Harrisburg Symphony, Bach’s St. John Passion with the Louisiana Philharmonic, and Mahler’s “Resurrection” Symphony with the Toledo Symphony Orchestra. Highlights of concert work includes appearances at Carnegie Hall with the New York Choral Society in Mendelssohn’s St. Paul and Bach’s Mass in B minor, Handel’s Israel in Egypt with the New York Choral Society, and Mahler’s “Resurrection” Symphony with the New York Youth Symphony at Carnegie Hall. Ms. Shafer has appeared as soloist with the Philadelphia Orchestra, the San Antonio Symphony, Orquesta Sinfónica Nacional, Nashville Symphony Orchestra, the Omaha Symphony, the Cheyenne Symphony Orchestra, the Lexington Philharmonic, Williamsport Symphony Orchestra, Wroclaw Symphony Orchestra (Poland), the Louisiana Philharmonic Orchestra, and the Quad City Symphony Orchestra, among others. A native of State College, PA, Ms. Shafer holds degrees in voice and opera from the Curtis Institute of Music, and is currently based in Philadelphia.

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TRANSLATIONS

J.S. Bach Cantata No. 51 1. Aria Jauchzet Gott in allen Landen! Praise ye God in every nation!

Was der Himmel und die Welt All that heaven and the world An Geschöpfen in sich hält, Of created order hold, Müssen dessen Ruhm erhöhen, Must be now his fame exalting, Und wir wollen unserm Gott And we would to this our God Gleichfalls itzt ein Opfer bringen, Likewise now present an offering, Daß er uns in Kreuz und Not For that he midst spite and pain Allezeit hat beigestanden. Always hath stood close beside us.

2. Recitative Wir beten zu dem Tempel an, In prayer we now thy temple face, Da Gottes Ehre wohnet, Where God’s own honor dwelleth, Da dessen Treu, Where his good faith, So täglich neu, Each day renewed, Mit lauter Segen lohnet. The purest bliss dispenseth.

Wir preisen, was er an uns hat getan. We praise him for what he for us hath done.

Muß gleich der schwache Mund von seinen Although our feeble voice before his Wundern lallen, wonders stammers, So kann ein schlechtes Lob ihm dennoch Perhaps even modest praise to him will yet wohlgefallen. bring pleasure.

3. Aria Höchster, mache deine Güte Highest, make thy gracious goodness Ferner alle Morgen neu. Henceforth every morning new.

So soll vor die Vatertreu Thus before thy father’s love Auch ein dankbares Gemüte Should as well the grateful spirit Durch ein frommes Leben weisen, Through a righteous life show plainly, Daß wir deine Kinder heißen. That we are thy children truly.

4. Aria Sei Lob und Preis mit Ehren Now laud and praise with honor Gott Vater, Sohn, Heiligem Geist! God Father, Son, and Holy Ghost!

Der woll in uns vermehren, May he in us make increase, Was er uns aus Gnaden verheißt, What he us with grace hath pledged, Daß wir ihm fest vertrauen, So that we firmly trust him, Gänzlich uns lass’n auf ihn, Entirely turn to him, Von Herzen auf ihn bauen, Make him our true foundation, Daß uns’r Herz, Mut und Sinn That our heart, mind and will Ihm festiglich anhangen; Steadfast to him be cleaving; Drauf singen wir zur Stund: To this we sing here now: Amen, wir werdn’s erlangen, Amen, we shall achieve it, Glaub’n wir aus Herzensgrund! This is our heart’s firm faith!

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TRANSLATIONS

Chants d’Auvergne 1. “Lo fiolairé” (The spinner) Ton qu’ère pitchounèlo, When I was a little [girl], Gordavè loui moutous. I tended the sheep.

Ti lirou lirou … la la diri tou tou la lara! Ti lirou lirou... la la diri tou tou la lara!

Obio ’no counoulheto I had a spindle è n’ai près u postrou. and I called a shepherd to me.

Ti lirou lirou... la la diri tou tou la lara! Ti lirou lirou... la la diri tou tou la lara!

Per fa l’obiroudèto For looking after my flock Mè domound’ un poutou. He demanded a kiss [each time].

Ti lirou lirou... la la diri tou tou la lara! Ti lirou lirou... la la diri tou tou la lara!

E ièu soui pas ingrato And I, not one to be ungrateful, En lièt d’un n’in fau dous! Instead of one, I gave him two!

Ti lirou lirou... la la diri tou tou la lara! Ti lirou lirou... la la diri tou tou la lara!

2. “Passo pel prat” (Go through the meadow) Lo lo lo lo lo … Lo lo lo lo lo …

Passo pel prat, bèloto, Go through the meadow, my fair one, lèu possorai pel bouos; I shall go through the woods; Quon li sèras, pouloto, When you are there, my pretty one, Mesperoras se vouos! wait for me, if you will!

Lo lo lo lo lo … Lo lo lo lo lo …

Nous porlorèn, filhoto We shall talk, little girl, Nous porlorèn toui dous; We shall talk together; Qu’os toun amour, drouloto, That you love me, pretty one, Qué mé foro hurous! Makes me happy!

Lo lo lo lo lo … Lo lo lo lo lo …

3. “Lou boussu” (The Hunchback) Dzanètou tsou’l poumièriou Under an apple tree Jeanneton Què sé soulumbravo, rested in the shade, Què sé soulumbravo si, rested in the shade here, Què sé soulumbravo la, rested in the shade there, Què sé soulumbravo. rested in the shade.

Oqui possèt un boussu A hunchback passed by, Què lo mirolhavo, he gazed at her, Què lo mirolhavo si, he gazed at her here, Què lo mirolhavo la, he gazed at her there, Què lo mirolhavo. he gazed at her.

‘Ah! Poulido Dzanètou! Ah! Pretty Jeanneton!

Bous sèrès mèouno? Will you be mine?

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TRANSLATIONS

Bous sèrès mèouno la? Will you be mine there?

Bous sèrès mèouno? Will you be mine?

‘Per qué ieu lo bouostro sio? Why should I be yours?

Cal coupa lo bosso, Rid yourself of your hump, Cal coupa lo bosso si, Rid yourself of your hump here, Cal coupa lo bosso la, Rid yourself of your hump there, Cal coupa lo bosso. Rid yourself of your hump.

‘Oi! Pècairé, Dzanètou! Ah damn it, Jeanneton!

Gordorai mo bosso, I will keep my hump, Gordorai mo bosso si, I will keep my hump here, Gordorai mo bosso la, I will keep my hump there Gordorai mo bosso. I will keep my hump.

4. “Brezairola” (Lullaby) Soun, soun, bèni, bèni, bèni; Sleep, sleep, come, come, come; Soun, soun, bèni, bèni, doun. Sleep, sleep, come, come now.

Soun, soun, bèni, bèni, bèni; Sleep, sleep, come, come, come; Soun, soun, bèni, d’èn docon! Sleep, sleep, come, from wherever you are!

Lou soun, soun, bouol pas bèni, pècairé! Sleep, sleep does not come, oh dear!

Lou soun, soun bouol pas bèni, Sleep, sleep does not come, Lou néni s’en bouol pas durmi! Oh! The baby will not sleep! Oh! Soun, soun, bèni, bèni, bèni; Sleep, sleep, come, come, come; Soun, soun, bèni, bèni, doun Sleep, sleep, come, come now Lou soun, soun buol pas bèni. Sleep, sleep does not come.

L’èfontou bouol pas durmi! The child will not sleep!

Soun, soun, bèni, bèni, bèni; Sleep, sleep come, come, come; Soun, soun, bèni, o l’èfon! Oh! Oh! Sleep, sleep, come, for the child! Oh! Oh! Soun, soun, bèni, bèni, bèni; Sleep, sleep, come, come, come; Soun, soun, bèni, bèni, doun Sleep, sleep, come come now Atso lo qu’es por oqui, pècairé! Here it is, ah!

Atso lo qu’ès por oqui, Here it is, Lou néni s’en boulio durmi … Ah! The baby is falling asleep … Ah! 5. “Malurous qu’o uno fenno” (Unfortunate he who has a wife) Malurous qu’o uno fenno, Unfortunate he who has a wife, Malurous qué n’o cat! Unfortunate he who does not!

Que n’o cat n’en bou uno He who has not wants one Que n’o uno n’en bou pas He who has one does not Urouzo lo fenno Fortunate the woman Qu’o l’omé qué li cau! Who has the man she wants!

Urouz’ inquèro maito More fortunate is she O quèlo qué n’o cat Who has not Tradèra, ladèri, dèrèro, ladèra, ladèri dèra! Tradèra, ladèri, dèrèro, ladèra, ladèri dèra!

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NOTES ON THE PROGRAM

György Ligeti (1923–2006) Concert Românesc (Romanian Concerto) Performance time: 12 minutes Born in 1923 in the Transylvanian region of Romania to a Hungarian Jewish family, György Ligeti was so independent of mind and so innovative in his musical experimentation that he disdained every kind of musical system in his own compositions, whether traditional or modern—even the bold explorations of other 20th-century avant-garde figures such as John Cage and Pierre Boulez.

But first he mastered the rules, in musical studies in Cluj, at the Budapest Academy, and at the Franz Liszt Academy of Music with the likes of Zoltán Kodály. After graduation, he returned to the Liszt Academy to teach harmony, counterpoint, and musical analysis.

Not surprisingly, Ligeti’s early compositions are strongly influenced by his countryman Béla Bartók. But Ligeti’s other influences included the unspeakable horrors of World War II. He was the only member of his immediate family who was not deported to a concentration camp (his parents to Auschwitz, his brother to Malthausen); instead, he was sent to a forced labor brigade. Only he and his mother survived. Afterward, Ligeti and his postwar generation of artists were forced to confront the meaning of art in the face of incomprehensible brutality.

What we hear in the depths of Ligeti’s music is not existential angst about the individual’s survival in the face of nature’s indifference or humanity’s cruelty; if anything, it seems to pose even larger questions. His mature

works create an aural context that is cosmic rather than merely global through the use of complex polyrhythms, non-standard tuning systems, offbeat modes and microtones (notes pitched between adjacent notes in standard scales), and unusual textures that can suggest vastness even when they whisper. The composer Thomas Adès, who at age 47 is one of Ligeti’s artistic heirs, describes the essential concern limned in Ligeti’s music as “the heat-death of the universe”—in physics, the mystery of entropy. Woody Allen found humor in this same conundrum in Annie Hall, when the character Alvie Singer panics about what the ultimate fate of the universe might be a few billion years after his graduation from fourth grade.

We might expect such music to be forbidding, hugely scaled and inaccessible, but it is not. Ligeti is not only listenable, but also, as classical music commentator Tom Service notes in London’s The Guardian (August 27, 2012), “has infiltrated popular consciousness” largely through its use in the movies. Intimate details hold our attention and even the silences seem to echo through infinite space. When Stanley Kubrick included Ligeti compositions in 2001: A Space Odyssey and The Shining, the composer was not only discovered by other directors, but became a primary influence on other composers seeking to dramatize existential questions or futuristic effects. Service, who got to know Ligeti toward the end of his life, notes “[H]is music…will only become more and more central to every performer’s repertoire and every music-lover’s ears.”

In the context of Ligeti’s more cosmic concerns, the Concert Românesc seems positively local. He composed it in 1951,

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NOTES ON THE PROGRAM

incorporating Romanian folk sources in his own inimitable way. Even the delay in its first public performance was an oddly regional squabble, with disputes over a harmonically challenging passage leading to its censorship in Budapest during the Soviet era. The public premiere did not occur until two decades later.

Regarding the concerto’s folk roots, Ligeti noted: I grew up in the Hungarian-language area in Transylvania. The official language was Romanian, but I only learned this language later at secondary school.

This is why the Romanian language seemed mysterious to me when I was a child. Already as a three-year-old I had my first encounters with the Romanian folklore: The alpine horn had a completely different sound than “normal” music.

Today I know why: because the alpine horn only produces natural tones, the fifth and seventh partials—the major third and the minor seventh—sound “wrong,” flatter than for instance on the piano. This wrong sound—which is actually the right one, as it corresponds to acoustic purity—is what is so wonderful about the sound of the horn.

Johann Sebastian Bach (1685–1750) Cantata No. 51, BWV 51 “Jauchzet Gott in allen Landen!”

interludes, were composed for use in church services throughout the year. No. 51 was composed for the 15th Sunday after Trinity. In contrast with the many darker-themed cantatas, with arias that are meditations on death and judgment, “Jauchzet Gott” is a joyful hymn of praise, exhorting us to rejoice unto God in all lands, to make a joyful noise unto the Lord.

The Cantata No. 51 is usually described as a solo cantata for soprano voice. But this is one solo that is really a duet that makes spectacular demands on two soloists: soprano and trumpet player. The demands on the too-often-unheralded trumpeter are reminiscent of Ginger Rogers’ comment on her great dancing partnership with Fred Astaire: She had to do everything he did, but backwards and in high heels.

Bach frequently used the penetrating gleam of the baroque trumpet to praise God. If we visit St. Thomas Church in Leipzig, where Bach worked as Kapellmeister, even the architecture shows how perfectly the trumpet suited the culture of the times: decoration is everywhere. Painted and sculptural ornaments cover virtually every surface, all tributes to the glory of God and all perfectly matched to the treble gleam of the trumpet.

If there is an aural equivalent of gold, it is this instrument’s golden sound. It carries implicit emotional messages: “good news” and “this is important,” making it ideal for religious music and indispensable to rulers who wanted to announce their own importance.

Performance time: 20 minutes Of the more than 200 sacred Bach cantatas that have survived, No. 51 is one of the most celebrated and the most spectacular.

The cantatas, which typically alternate chorales, solo arias, and instrumental

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Just a few of Bach’s many examples demonstrate the instrument’s power. His six-part Christmas Oratorio opens with an explosive baroque trumpet fanfare that opens the curtain on the good news of the gospel story, and seems like the most joyful

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utterance that could possibly be conveyed in music—that is, until the close of the oratorio, when the meaning of the story has been revealed and those same trumpets surpass themselves in jubilation. Similarly, in this cantata, there was only one choice to accompany the soprano soloist in praise: the trumpet. The soprano and trumpet lines spur each other on in feats of tribute, and their musical ranges are similar (climbing to high C). Handel followed suit in his aria of celebration and praise “Let the Bright Seraphim” from the opera Samson, which also dazzles with its trumpet obbligato.

In selecting this aria for performance at their wedding ceremony in 1981, Prince Charles and Lady Diana Spencer spurred a resurgence of interest in it. (Dame Kiri Te Kanawa’s brilliant rendition might have helped, too.) The continuing popularity of that aria and this cantata shows us that the pairing of the baroque trumpet and the soprano voice has lost none of its power to thrill.

Symphony on a French Mountain Air seems to capture the essence of a spring day in the French Alps. Inspired by d’Indy’s example, Canteloube did extensive field work in the French countryside documenting the folk songs of his native Auvergne region. His anthologies of French folk songs remain standard works.

In treating folk materials with the seriousness of art songs, Canteloube captures their complexity and beauty, surpassing his other compositions that were more ambitious and larger in scale. His Songs of the Auvergne are the perfect embodiment of his two great loves: the folk songs and the countryside of the Auvergne region, a land of hills and streams deep in the French interior—almost the nation’s exact center. The language of the songs is Occitan. In these verses and traditional melodies, some rooted in shepherd songs that go back centuries, we can picture the land that Canteloube loved so much without understanding a word.

Marie-Joseph Canteloube (1879–1957) Ludwig van Beethoven (1770–1827) Chants d’Auvergne, 3rd Series Symphony No. 1 in C Major, Op. 21 Performance time: 14 minutes Performance time: 25 minutes The music of Canteloube is almost a secret pleasure among the musicians and listeners familiar with it. Of his compositions, the sensuous, wistful Chants d’Auvergne (Songs of the Auvergne) are by far the best loved. His large-scale compositions, including two operas that were performed at the Paris Opera during the 1930s, have not been staged since then and are almost unknown today. The Songs of the Auvergne, on the other hand, are reaching new listeners on the Internet.

Canteloube was a pupil of Vincent d’Indy, the French composer whose popular

According to scholarly consensus, Beethoven was nervous about tackling two of the musical forms for which we know him best—the symphony and the string quartet—and waited until he felt ready.

Did he reserve them as a self-imposed rite of passage? Haydn, whom he revered as a teacher, was the reigning master of these forms and had virtually defined the rules for composing them. His 12 “London” Symphonies had scored a huge success in London, and Beethoven, having heard them, began composing a symphony of his

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own when he was in his mid-20s. Sketches dating back to 1794 contain musical materials that Beethoven incorporated into this symphony. But he tabled them, and did not complete the process of composing this symphony until 1800, when he was almost 30. By then he was approaching the end of his “early period” (not yet facing the trial of his progressive deafness) and had already demonstrated his abilities in most of the important musical genres of his day. However, he had not yet tackled the symphony, one of the musical forms for which we now know him best.

We can hear Viennese tradition throughout Beethoven’s First, and in particular the influence of Haydn and Mozart. But even as the symphony opens we sense harmonic adventurism, as a series of unstable chords resolves without returning to the movement’s “home” key until after a long introduction keeps us in suspense. It’s a fascinating passage that foreshadows the even longer and more elaborate development sections we hear in later Beethoven. The opening of the second movement echoes that of the first by introducing a key interval we heard before—a perfect fourth. But this movement,

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too, combines tradition with boldness by relying unusually heavily on the woodwinds and trumpets in its scoring. Emphatic timpani lend a muscular quality to the sound.

The third movement is labeled a minuet, but it is far from the discreet, stately minuets frequently encountered in Haydn’s symphonies. Instead it is rhythmically vigorous, with a speedy “allegro” marking that suggests the ebullient scherzos we hear in Beethoven’s later symphonies. In an intervening trio, many listeners hear humor in the scrambling string passages that sandwich themselves between woodwind phrases.

The fourth movement brings the symphony into a symmetrical arc with a slow, deliberate opening that resolves in a way that recalls the first movement’s mysterious opening and meandering chords. Incorporating fragments of scales rather than more conventional melodies, the symphony again foreshadows a “Beethovenian” principle we encounter later: It’s not the melody that counts, but what the composer does with it. Note by exciting note, rising phrases in the violins culminate in an emphatic finale.

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ST. MARY’S CHAMBER CONCERTS

FREMONT STRING QUARTET August 1 / 2018 / 8 PM / ST. MARY’S CHURCH FREMONT STRING QUARTET MADELINE ADKINS, violin CLAUDE HALTER, violin BRANT BAYLESS, viola RAINER EUDEIKIS, cello

BEETHOVEN

String Quartet No. 2 in G Major, Op. 18 I. Allegro

II. Adagio cantabile

III. Scherzo: Allergo

IV. Allegro molto, quasi Presto

STRAVINSKY

Three Pieces for String Quartet

ARVO PÄRT

Fratres for String Quartet

INTERMISSION

BRAHMS

String Quartet No. 1 in C minor, Op. 51 I. Allegro

II. Romanze: Poco adagio

III. Allegretto molto moderato e comodo IV. Allegro

CONCERT SPONSOR:

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

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ARTISTS’ PROFILES

Madeline Adkins Violin

GUEST ARTISTS SPONSOR:

Claude Halter Violin

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Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She previously served as Associate Concertmaster of the Baltimore Symphony for 11 years, as well as Concertmaster of the Baltimore Chamber Orchestra from 2008–2016. Adkins has performed as a soloist in Europe, Asia, Africa, and 20 U.S. states. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, and the Grant Park Symphony Orchestra. She has also been a guest artist at numerous summer festivals as well as a faculty member at the National Orchestral Institute and the National Youth Orchestra at Carnegie Hall. She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster Jacques Israelievitch. Adkins’ CD of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released in 2016. In 2018–19, she will serve as the Music Director of the NOVA Chamber Music Series. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory where she studied with James Buswell.

Originally from Paris, France, violinist Claude Halter moved to the United States in 2001 and has since been heard nationwide as a soloist, chamber musician, and orchestral leader. Claude received his Bachelor and Master of Music from Lawrence University and the San Francisco Conservatory of Music respectively. As an avid chamber musician, Claude has performed alongside artists such as Menahem Pressler (Beaux-Arts Trio), Robert Mann (Juilliard String Quartet), faculty members of the San Francisco Conservatory, and members of the San Francisco, Pittsburgh, Vancouver, and Utah Symphonies. Claude is equally passionate about orchestral repertoire and has led many performances as concertmaster under great conductors such as Michael Tilson Thomas, Osmo Vänskä, Stéphane Denève, and many others. In January 2012, Claude joined the Utah Symphony as Principal Second Violin. He was previously Assistant Concertmaster of the Vancouver Symphony in British Columbia. When not in rehearsal, Claude enjoys hiking, skiing, mountain biking, and fly-fishing in the beautiful Wasatch mountain range.

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ARTISTS’ PROFILES

Brant Bayless Viola

Rainer Eudeikis Cello

Born in Kansas and raised in Ponca City, Oklahoma, Brant Bayless came to Utah after completing his studies at the Manhattan School of Music in New York City. Brant started his career while still at Manhattan as the violist of the Arcata String Quartet. His performances with the Arcata were heard throughout the U.S. and Europe. Brant joined the Utah Symphony in 2001 and is Principal Viola—the Sue and Walker Wallace Chair. He has appeared as soloist with the Utah Symphony on several occasions, performing concertos by Takemitsu, Bruch, Weber, and Mozart’s Sinfonia Concertante with Ralph Matson, as well as with Kathryn Eberle. Brant continues to perform on most of Salt Lake City’s stages in ensembles large and small and is especially proud of his association with the NOVA Chamber Music Series. Outside of Utah he has appeared as guest principal viola of the St. Louis Symphony with their music director David Robertson.

Brant has performed as a regular guest and substitute violist with the Muir and Fry Street string quartets. During summers he plays at the Grand Teton Music Festival. Brant’s chamber music performances from GTMF have been featured on APM’s Performance Today. He is also Principal Viola of the Mainly Mozart Festival in San Diego. Brant’s viola is attributed to the Milanese maker Luigi Bajoni from 1858. Brant is married to the cellist Anne Francis Bayless, and they have a five-year-old son.

Rainer Eudeikis joined the Utah Symphony as Principal Cello in 2014 following completion of his studies at the Curtis Institute of Music. He has also been principal cello of the Mainly Mozart Festival, Cabrillo Festival of Contemporary Music, and Central City Opera, and has performed with the National Arts Centre Orchestra of Canada as guest principal cello. Recent guest performances include featured soloist with the Salt Lake Symphony, appearances on the NOVA and Intermezzo chamber music series, and other recital appearances across the United States. He has also participated in numerous international festivals. Rainer was a two-year fellowship recipient at the Aspen Music Festival and School, and was a member of the New York String Orchestra at Carnegie Hall, where he was Principal Cello in 2011. Born in Texas in 1990, Rainer began cello studies at the age of six. Following studies in Colorado with Jurgen de Lemos, he attended the University of Michigan as a student of Richard Aaron, completing his Bachelor of Music in 3 years with highest honors. He received his Master of Music from Indiana University, where he studied with Eric Kim. In May 2014, Rainer completed his Artist Diploma at the Curtis Institute of Music, studying with Carter Brey and Peter Wiley. [ DeerValleyMusicFestival.org ] 113

2018 / DEER VALLEY® MUSIC FESTIVAL

Community Events The USUO Education Department offers events that provide access for our community members to professional musicians and music-making.

FAMILY INSTRUMENT PETTING ZOO Friday, July 6 (6–7 pm) • • • •

Preceding DISNEY IN CONCERT: A SILLY SYMPHONY CELEBRATION Instruments provided by Summerhays Music Staffed by volunteers from the Utah Symphony Youth Guild Available to all ticket holders

PLAZAFEST • June 30: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert.

• Wednesdays: Young instrumentalists offer pre-performance music at select St. Mary’s Church concerts.

• August 3: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding The 70s vs The 80s concert.

MUSIC IN THE LIBRARY Thursdays, June 28 and August 2 (2-3 pm) USUO Education staff will join afternoon family hours at the Park City Library with a variety of music games for children, in support of the library’s summer reading theme ‘Libraries Rock!’

MUSICAL THEATRE AUDITION MASTERCLASS Thursday, July 5

(1-2:30 pm)

Guest conductor Jerry Steichen will conduct a musical theatre audition masterclass for students of Utah Conservatory and Egyptian YouTheatre. The class will be held next door to the conservatory at St. Luke’s Episcopal Church (4595 Silver Springs Drive). Audience attendance is free and open to the public.

GUEST CONDUCTOR Q&A Wednesday, July 18

(post-concert)

Guest conductor Jane Glover will answer questions after the concert. Intended audience: female conductors and others interested in their careers.

for more info about deer valley® music festival education and community events:

DeerValleyMusicFestival.org/community

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Ludwig van Beethoven (1770–1827) String Quartet No. 2 in G Major, Op. 18 Performance time: 24 minutes We know Beethoven as a shatterer of forms whose questing innovations helped usher in the rebellious Romantic era in music. But what prompted him to so radically depart from the familiar guidelines of the string quartet? For purposes of discussion and analysis of his music, Beethoven’s creative output is often divided into early, middle and late periods. Neat classifications such as these often distort reality, but in Beethoven’s case, they really do help give us some perspective on the composer’s creative and philosophical journey.

More than his symphonies, Beethoven’s string quartets and his piano sonatas give us insight into his development as a composer.

His first six string quartets, the “early” quartets, comprise his Op. 18, and were composed about a decade after he wrote his first two piano concertos. The Quartet No. 2 dates to 1798, the year when he was also working on his Symphony No. 1. As with his early concertos, the numbering is a bit confusing. Writing for the BBC, Basil Lam puts the chronology as follows: No. 4, No. 1, No. 3, No. 5, No. 2, No. 6. This sequence is interesting because it shows Beethoven learning the craft of the quartet by applying it: No. 1 drops back because of the extensive revisions that transformed it from an initial effort to a unified, polished work.

As for No. 2, its fascinations are unique in the Beethoven canon, combining humor and a rare acknowledgment of Beethoven’s erstwhile teacher, Joseph Haydn. When

Haydn refined the formal aspects of the string quartet, propelling it toward Classical perfection, the result was something gem-like: polished, exquisite, and usually fairly small in scale, with its movements set pleasingly alongside each other, related in key and tempo only to form an attractive arrangement, as in a decorative stilllife. That doesn’t sound compatible with Beethoven’s artistic ferocity, does it? What’s more, Beethoven lore usually depicts him as having been brusque or even rude to Haydn, despite the trouble and expense that the younger composer’s friends had taken to bring the two great musicians together.

What we hear in the Quartet No. 2 suggests that the stories of Beethoven’s ingratitude toward Papa Haydn may have been more fanciful than factual. Haydn’s artistic humility—he was always modest and always learning—is echoed in Beethoven’s comments on his Quartet No. 1. After showing it to his friend Carl Amenda, he pleaded “Don’t let anyone see [it], as I have greatly changed it, as only now do I know how to write quartets properly.” His attitude and his mindfulness of composing “properly” show clear deference to Haydn.

The cheerful temper of this quartet, often described as witty and humorous, surely owes a sizable debt to Haydn. It opens with 18th-century grace and elegance. In its lovely second movement, marked adagio cantabile, Beethoven quotes a Haydn quartet in the same key: his No. 54. The third movement, a lively scherzo, could even be described as rambunctious.

Haydn’s light shines in the final movement as well. “Beethoven’s finale shows that he has learnt from Haydn, who would greatly

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have admired what it makes of manifold witty inversions and diminutions of its first three notes,” writes composer and musicologist Robert Simpson. Enjoying this level of craftsmanship, we can surmise that however Beethoven might have behaved toward Haydn, the master’s wisdom was not lost on him.

Igor Stravinsky (1882–1971) Three Pieces for String Quartet Performance time: 7 minutes The intimacy and formal rigor of chamber music, usually written for one instrument per voice, has accustomed us as listeners to expect traditionally structured compositions in this repertory—especially in string quartets. But in his Three Pieces for String Quartet, Igor Stravinsky has given us something very different: a suite of three movements that hint at narrative or pictorial content—evocative vignettes that present themselves almost like pages from a sketchbook. That they are composed for string quartet is a matter of instrumentation, not form.

bagpipe. Meanwhile the second violin and the cello play independently. Such complex juxtapositions of rhythm were still relatively novel (and were one reason why the music of American composer Charles Ives was considered virtually unplayable at that time).

When listening to the second piece, “Eccentric,” aficionados of the British comedy show Monty Python’s Flying Circus may want to envision John Cleese’s “Ministry of Silly Walks” sketch; both were inspired by Little Tich, an English music hall comedian and dancer who stood four feet six and combined humor and pathos in his gawky routines. We seem to hear both in Stravinsky’s music; it mixes poignance, mirth, and melancholy in an olio of ambiguity, leaving it to us as listeners to make of it what we will. The third piece, entitled “Canticle,” may seem more serious, but is no less ambiguous. As Stravinsky always insisted, the music has no meaning but itself.

Arvo Pärt (b. 1935) Fratres for String Quartet Performance time: 11 minutes

This is early Stravinsky. He composed the pieces in 1914, on the eve of World War I, just after The Rite of Spring shocked the world.

He revised them in 1918, just after the War. The suite’s movements are brief and poetic, the longest lasting only about four minutes.

Not only are the individual movements unconnected, but within movements the instruments seem to be oblivious of each other at times: for example, in the opening “Dance” section, the first violin articulates a lively dance rhythm while the viola voices a drone that resembles nothing so much as a

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The Estonian composer Arvo Pärt was born in 1935 in the town of Paide and moved with his family to the town of Rakvere, where he studied at both the local academic and regional music schools. He continued his music studies in Tallinn, and after mandatory service in the Soviet armed forces, resumed his studies in conservatory there. His serious explorations in composition began in 1958, when he worked as a sound engineer at Estonian Radio. For a decade, Pärt, along

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with a remarkable group of fellow Estonian composers, experimented with bold, highly adventurous musical styles—in his case creating music that combined 20th century innovations with a strong sense of classical traditions.

In the Soviet Union, the work of composers was closely mediated by the state’s cultural bureaucracy; music that was “difficult” was considered not just bad art, but counter-revolutionary. Yet Arvo Pärt’s early modernist compositions aroused official suspicion for the opposite reason: Their appeal seemed almost magnetic, and they were deemed by the cultural bureaucracy as potentially harmful in their public influence. In the mid-1960s, for example, his Credo made such a strong impact at its initial performance that the audience demanded it be repeated. Even worse, its unabashedly spiritual content ran counter to official policy.

The Soviet cultural apparatus cast a shadow over Pärt’s compositions for the concert hall, and in 1968 he withdrew from composing for live performance. Yet he remained productive in writing for the prolific Soviet film industry, for which he became one of the go-to composers. The haunting sound of Pärt’s film music continues to be highly influential and helped him refine his knack for lean, taut music that quickly connects to listeners’ deep emotions.

In 1980 Pärt emigrated to Vienna and eventually settled with his family in Germany. There he was freer to express the religious themes and texts that have remained central to Pärt throughout his life. His years of immersive study in Gregorian chant and traditional religious

music took rise in the style he termed “tintinnabuli,” or “little bells.” As we can hear in Fratres, which was composed in 1977, he was already advanced in this style three years before his defection to the West. Fratres, or “brothers,” is based on a series of variations on a six-bar theme.

It has been described as combining frantic activity and sublime stillness; the variations, which are developed according to complex mathematical algorithms rooted in Pärt’s spiritualism, are simple and hypnotic in effect.

Written for three principal voices, Fratres is scored without fixed instrumentation and exists in many different arrangements. The scoring for string quartet is one of the most frequently performed versions. Fratres is considered one of the most representative examples of Pärt’s tintinnabuli style.

Johannes Brahms (1833–1897) String Quartet No. 1 in C minor, Op. 51 Performance time: 32 minutes As evidence of Brahms’ self-critical nature and the obsessiveness of his craft, we’re often reminded that he was 43 when he produced his first symphony, having worked on it for more than 2 decades. But his ravishingly beautiful chamber works may be even more extreme examples of his perfectionism. Brahms was a purist, and the purity of the string quartet, with its four basic voices purling in harmony and counterpoint, made it the anchor of all musical forms in which he expressed himself. Musicologists tell us that he worked on approximately 20 string quartets before finally producing 2 that he deemed worthy

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of public performance: the quartets of his Op. 51.

Like all of Brahms’ chamber works, these quartets are ravishingly beautiful and flow with an utter naturalness that seems to belie the difficulty of producing them. Their construction is detailed, yet so polished as to seem effortless. In the Quartet No. 1, motifs introduced in the first movement are worked throughout all four movements, creating a cyclical, symmetrical effect. The initial allegro proceeds in strict sonata allegro form, opening with an ascendant arpeggio theme that rises over a pulsing accompaniment. This is followed by a slower movement marked romanze, in which slower, more lyrical music is built upon themes we have already heard. In the third movement, new material is introduced in the form of a Ländler, that rustic Austrian dance form that Brahms—like Haydn, Mozart, Beethoven and Mahler—loved. In the final movement, Brahms again turns to materials from the first movement to unify and complete the arc of the quartet.

Brahms completed his first symphony three years after finishing the Op. 51 quartets.

By then the musical public was waiting impatiently for the symphony they were already calling “Beethoven’s Tenth” before hearing a single note. His career hung in the balance, so it was a small wonder that Brahms agonized over its fate. But

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his nervousness about his quartets was more about his own opinion than about the public’s. He had been studying quartets

by Haydn, Mozart and Beethoven before writing these works, and had told his publisher that they inspired him with a determination to write some “passably decent” quartets—code words for the high level of craftsmanship he found in his predecessors’ compositions. It can be argued that Brahms could not have satisfied himself in his symphonies and concertos if he had not done so in his String Quartets Nos. 1 and 2.

Biographers tell us that Brahms’ Op. 51 quartets were received politely in 1873, though not with the enthusiasm that greeted his first symphony in 1876. Eventually, of course, we listeners caught up with him, and the Brahms quartets helped spur a revival in string quartet composition. Arnold Schoenberg, the pioneering composer of the Second Viennese School, singled out these quartets for praise in his essay “Brahms the Progressive,” noting Brahms’ mastery of advanced harmony and the seamlessness of their thematic development. In listening, we can effortlessly enjoy what Schoenberg analyzes in painstaking detail: Brahms’ remarkable ability to dazzle the ear with sumptuous, flowing development of even a tiny, seemingly inconsequential motif. In the end, it’s the craftsmanship, not the tune, that counts.

DEER VALLEY® MUSIC FESTIVAL

TESTIMONIALS As the Deer Valley® Music Festival enters its 15th season, we begin our 30th year in Park City. We believe that all Park City residents, whether full time or second homeowners, should support their community, both financially and with involvement.

We have helped leave a legacy for Park City with our support as Utah Symphony | Utah Opera Board members and through establishment of an endowment fund for the DVMF. We have loved introducing our grandsons to “music under the stars” and see their appreciation of music grow–the oldest now playing in his high school orchestra! Four generations of our family have enjoyed the DVMF, and we hope everyone enjoys the many concerts yet to come and that they will treasure their own DVMF memories.

MARK & DIANNE PROTHRO DEER VALLEY® MUSIC FESTIVAL FOUNDERS

We really enjoy the music and we enjoy the venue.

Over the years, the Deer Valley® Music Festival has been a highlight for us over the summer.

Some of the more popular performers aligned with the Utah Symphony have been truly remarkable events to hear and see. We look forward to being able to see a wider range of popular artists.

TONY & RENEE MARLON DEER VALLEY® MUSIC FESTIVAL COUNCIL MEMBERS

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TESTIMONIALS

Now that we are celebrating the 15th anniversary of the Deer Valley® Music Festival, it is certain that this festival is here to stay. We have seen the festival grow to become the primary cultural attraction for the entire community, and believe it will continue to grow into an even richer cultural event in the years to come, thanks to continually increasing DVMF donors and patrons and the high-quality musicians who will be inspired to perform on the stages of the Snow Park Outdoor Amphitheater and St. Mary’s Church.

BILL & JOANNE SHIEBLER DEER VALLEY® MUSIC FESTIVAL FOUNDERS

We look forward to the Deer Valley® Music Festival every year. This extraordinary concert series has come to define Park City summer nights. Stein Collection is proud of our continued partnership with this annual tradition. The Deer Valley Snow Park Outdoor Amphitheater is truly one of the most beautiful venues in the world, with breathtaking mountain views and refined natural elegance. Paired with the sensational talent of the Utah Symphony, this series brings friends and families together to create lasting memories in our vibrant community. We could not be more grateful to be a part of it.

RUSS OLSEN CHIEF EXECUTIVE OFFICER STEIN COLLECTION

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THANK YOU Utah Symphony | Utah Opera is grateful to our generous donors, who through annual cash gifts and multiyear commitments at the following levels make our programs possible.

FESTIVA L FOU N DE RS

Thanks to the visionary leadership of our Founders, USUO is pleased to celebrate our 15th anniversary.

Mark & Dianne Prothro

Bill & Joanne Shiebler

Jim & Susan Swartz

Bellecorp Perkins - Prothro Foundation

Shiebler Family Foundation

Swartz Foundation

DE E R VA LLE Y® M US IC FESTIVA L LE A D S PO N SO RS ($50 0,0 0 0 +) On the occasion of the DVMF’s 15th anniversary, we wish to recognize the extraordinary and generous multi-year commitments by our lead sponsors.

Hal & Diane Brierley George S. & Dolores Doré Eccles Foundation~

Anthony & Renee Marlon Jim† & Marilyn Parke Zions Bank~

M I LLE N N I U M LE V E L ($250,0 0 0 +)

Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation

O.C. Tanner Company~ Utah State Legislature / Utah State Board of Education Patricia A. Richards & William K. Nichols~ Salt Lake County

Gifts as of 6/10/2018 * In-kind Gift ** In-kind & Cash Gift

† Deceased ~ Designates DVMF sponsor and/or VIP package supporter

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Salt Lake County Zoo, Arts & Parks Sorenson Legacy Foundation Jacquelyn Wentz

THANK YOU

E NCO RE LE V E L ($1 0 0,0 0 0 +)

AHE/CI Trust Dominion Energy~ Marriner S. Eccles Foundation~ Emma Eccles Jones Foundation

The Florence J. Gillmor Foundation Northern Trust Janet Q. Lawson Foundation John & Marcia Price Foundation Elizabeth Solomon

State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts

FJ Management, Inc. Frederick Q. Lawson Foundation Grand & Little America Hotels*

Huntsman Foundation Naoma Tate Jack Wheatley

B R AVO LE V E L ($50,0 0 0 +)

Scott & Kathie Amann~ Carol Franc Buck Foundation John & Flora D’Arcy Deer Valley Resort**~

OV E RTU RE LE V E L ($25,0 0 0 +)

Arnold Machinery Doyle Arnold & Anne Glarner~ Berenice J. Bradshaw Trust B.M.W. of Murray | B.M.W. of Pleasant Grove~ The Brent & Bonnie Jean Beesley Foundation C. Comstock Clayton Foundation Cache Valley Electric Michael & Vickie Callen Charles Maxfield & Gloria F. Parrish Foundation Chevron Corporation~ John & Joan Firmage Thierry & Catherine Fischer** Gifts as of 6/10/2018 * In-kind Gift ** In-kind & Cash Gift

Kristen Fletcher & Dan McPhun~ Elaine & Burton L. Gordon~ Mr. & Mrs. Martin Greenberg~ Intuitive Funding~ Tom & Lorie Jacobson~ Love Communications* Montage Deer Valley**~ Moreton Family Foundation Edward & Barbara Moreton Fred & Lucy Moreton Carol & Ted Newlin~ Nora Eccles Treadwell Foundation Perkins-Prothro Foundation~ S. J. & Jessie E. Quinney Foundation

Albert J. Roberts IV The Sam & Diane Stewart Family Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation Stein Eriksen Lodge**~ Struck* Summit Sotheby’s~ Jim & Zibby Tozer~ Utah Symphony Guild Vivint.SmartHome~ Edward & Marelynn Zipser

† Deceased ~ Designates DVMF sponsor and/or VIP package supporter

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THANK YOU M A ESTRO ($1 0,0 0 0 +) Adobe~ Mr. & Mrs. Alan P. Agle A. Scott & Jesselie Anderson Bambara* B.W. Bastian Foundation David & Sylvia Batchelder~ Thomas Billings & Judge Judith Billings~ Mr. & Mrs. Jim Blair Judy Brady & Drew W. Browning R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale~ Po & Beatrice Chang and Family Howard & Betty Clark Joseph & Cathy Cleary~ Pat & Sherry Duncan~ Dr. & Mrs. Ralph Earle~ Sue Ellis Every Blooming Thing* Robert & Elisha Finney~ Brian & Detgen Greeff David & SandyLee Griswold**

Goldman Sachs & Co. LLC Douglas & Connie Hayes~ Richard K. & Shirley S. Hemingway Foundation HJ & BR Barlow Foundation Susan & Tom Hodgson~ Hyatt Centric Park City**~ The Right Reverend Carolyn Tanner Irish Jarmila Janatova G. Frank & Pamela Joklik The Joseph & Evelyn Rosenblatt Charitable Fund Robert & Debra Kasirer~ The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Gaye Herman Marrash McCarthey Family Foundaton Mr. & Mrs. Charles McEvoy~ Lois & Hal Milner~ Terrell & Leah Nagata~ National Endowment for the Arts The New Yorker* Ogden Opera Guild Park City Chamber Bureau Leslie Peterson & Kevin Higgins

Promontory Foundation Alice & Frank Puleo~ Stephen & Cydney Quinn~ Ruth’s Chris Steak House* Salt Lake City Arts Council St. Regis / Deer Crest Club** The Sam & Diane Stewart Family Foundation Lori & Theodore Samuels~ George & Tamie† Speciale Steve & Betty Suellentrop~ Thomas & Marilyn Sutton~ Jonathan & Anne Symonds~ Norman C. & Barbara L. Tanner Charitable Trust Barbara L. Tanner Beth Thornton~ Kathleen Digre & Michael Varner Howard & Barbara Wallack~ WCF Mutual Insurance Company~ Wells Fargo Wells Fargo Foundation John & Jean Yablonski~

Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2018 Deer Valley® Music Festival.

B RO NZE ($8 ,0 0 0 +) Judy & Larry Brownstein Jim & Penny Keras Hallie & Ted McFetridge

Brooks & Lenna Quinn Brad & Sara Rencher Gayle & Tom Sherry

Thomas† & Caroline Tucker U.S. Bancorp Foundation

Holland & Hart** Jones Waldo Ashley & Ron Kirk In Memory of Dr. Gary B. Kitching M.D. Kulynych Family Foundation II, Inc. Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy

Elizabeth & Michael Liess Ginni & Richard Mithoff Raymond James & Associates Joyce Rice James & Gail Riepe Peggy & Ben Schapiro Brent & Lisa Shafer

Joe & Dixie Furlong Annie Lewis & Bob Garda Lisa & David Genecov David Harris Don & Lisanne Hendricks Wes & Sunny Howell Jerry & Mary Huffman InvitedHome* Susan Keyes & Jim Sulat Howard & Merele Kosowsky Victoria Le Vine Bill Ligety & Cyndi Sharp Dan & Deena Lofgren Keith & Vicki Maio Julie & Michael McFadden Linda & George Mendelson Glenn & Dav Mosby

Dale Moses Barbara & Tom O’Byrne Peczuh Printing* Robert & Kelley Petkun Ray Pickup Thomas Safran Shirley & Eric Schoenholz Paul & Barbara Schwartz Mary & Doug Sinclair Spitzberg-Rothman Foundation Tim & Judy Terrell Janet & Richard Thompson Glen & Nancy Traylor Kelly & James Whitcomb Wilmnline & Tundley Gayle & Sam Youngblood

Mr. & Mrs. William Bierer Donna Birsner Jeff Brown

David & Caroline Hundley Kris & John Maclay Stay Park City**

Christine St. Andre & Cliff Hardesty Laurie Zeller & Matthew Kaiser

Gifts as of 6/10/2018 * In-kind Gift ** In-kind & Cash Gift

† Deceased ~ Designates DVMF sponsor and/or VIP package supporter

A M BA SSA DOR ($5,0 0 0 +) Edward Ashwood & Candice Johnson Dr. & Mrs. Clisto Beaty David & Deborah Brown Mr. & Mrs. Neill Brownstein Jack & Marianne Ferraro Grandeur Peak Global Advisors, LLC Howard & Ray Grossman

PATRO N V I P ($3,0 0 0 +) Bob & Cherry Anderson Robert & Melisse Barrett Wayne & Barbara Baumgardner Charlotte & Hal Browning John & Caryl Brubaker Mark & Marcy Casp Hannalorre Chahine Robert Chamberlain Tracy Collett Debbi & Gary Cook Sandra & David Cope Mike & Sheila Deputy Margarita Donnelly Carol & Greg Easton Blake & Linda Fisher Adele & James Forman Cliff & Fran Foster

G R A SS PA SS ($2 ,0 0 0 +)

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LODGING

PARTNERS PREFERRED LODGING PARTNERS

LODGING PARTNERS

Stay Park City is proud to be an official lodging partner of the Deer Valley® Music Festival. When you book through the lodging site below, a portion of all proceeds goes back to support the music you love to hear.

DeerValleyMusicFestival.org/lodging/ [ DeerValleyMusicFestival.org ] 125

THE BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

Gary L. Crocker David Dee* Alex J. Dunn Brian Greeff Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Naoma Tate

Thomas Thatcher David Utrilla Bob Wheaton Kim R. Wilson Thomas Wright

Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen* Patricia A. Richards

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson

Warren K. McOmber E. Jeffrey Smith Barbara Tanner

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson

O. Don Ostler Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Howard S. Clark

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Mark Davidson* EX OFFICIO

Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates

HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

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DEER VALLEY® MUSIC FESTIVAL

COUNCIL EXECUTIVE COUNCIL Ted Newlin CHAIR

Scott Amann Beth Armstrong Judy Billings Hal Brierley Judy Brownstein Larry Brownstein Kristen Fletcher Martin Greenberg Jane Greenberg Tom Jacobson Debra Kasirer Bill Ligety Tony Marlon Renee Marlon Pat McEvoy Charles McEvoy Dan McPhun Robin Milne Mark Prothro Alice Puleo Frank Puleo Ted Samuels Ben Schapiro Joanne Shiebler James R. Swartz Susan Swartz Beth Thornton Jim Tozer Zibby Tozer Howard Wallack Bob Wheaton

ADVISORY COUNCIL Ed Ashwood Lynn Fey Michael Liess Hal Milner Lois Milner

EX-OFFICIO COUNCIL Ben Castro Hadley Dynak Jeffrey Jones Jodie Rogers

TED NEWLIN DVMF EXECUTIVE COUNCIL CHAIR Welcome to our 15th season here in beautiful Deer Valley.

As we look forward to another rewarding season of great entertainment, I can’t help but comment on how fortunate we are to have the Utah Symphony spend their summer with us.

Not only do our outstanding musicians share their many talents with us in Deer Valley and Salt Lake City, they also continuously reach out to share their expertise with the less fortunate. A prime example of their artistic generosity occurred just months ago when, for the second year, a large contingent from the orchestra including Maestro Thierry Fisher traveled to Haiti at their own expense to work with musicians from all over the island. Once again, it proved to be a most rewarding experience.

Other journeys are closer to home, such as when our artists travel near and far to the corners of Utah to bring classical music to students and to participate in community outreach activities.

While we’re handing out thank yous, we would be remiss not to extend a most sincere thank you to you our audience.

Without your presence and financial support, there would be no festival. From its inception right up to this present year, our success has also been enabled by such founding donors as Mark and Dianne Prothro, Bill and Joanne Shiebler, and Jim and Susan Swartz along with ongoing donors such as Tony and Renee Marlon, Jim and Marilyn Parke, and Hal and Diane Brierley, and of course, the George S. and Dolores Doré Eccles Foundation and Zions Bank.

Having thanked one and all, I now invite you to enjoy to the fullest our 2018 Deer Valley® Music Festival. We look forward to welcoming you to each performance of your choice. [ DeerValleyMusicFestival.org ] 127

EXPERIENCE DVMF

AS A VIP

VIP PACKAGES Fully experience the Deer ValleyÂŽ Music Festival with one of our VIP Packages. You can make a meaningful difference in providing music education to every school district in Utah while also receiving festival VIP benefits. Become a Patron, Ambassador, Bronze, Silver, Gold, or Platinum VIP Today!

Benefits include premium VIP reserved seating, VIP parking, access to the VIP dinner, discounted tickets, donor recognition, personalized ticketing assistance, festival gift, and more.

for more information:

DeerValleyMusicFestival.org/VIP VIPEVENTS@USUO.ORG | 801-869-9011 128

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Experience the distinct flair of artists, gracious hosts, beautiful homes, and delicious food. Presented in intimate settings in luxurious area homes, guests can enjoy close range virtuoso performances by outstanding artists.

2018 DVMF

SALON SERIES

JERRY STEICHEN July 5 (THURSDAY)

/ 7 PM

FEATURING

JERRY STEICHEN piano SUSAN FACER vocalist

GENEROUSLY HOSTED BY GAYLE AND SAM YOUNGBLOOD

NEW DEAL SWING July 12 (THURSDAY)

/ 7 PM

FEATURING TAD CALCARA AND THE NEW DEAL SWING

STRING QUARTET FT. UTAH SYMPHONY MUSICIANS July 19 (THURSDAY)

/ 7 PM

FEATURING

YUKI MacQUEEN violin ALEX MARTIN violin

JOEL GIBBS viola JOHN ECKSTEIN cello

GENEROUSLY HOSTED BY SUSAN SWARTZ STUDIOS

CAPATHIA JENKINS August 5 (SUNDAY)

/ 3 PM

FEATURING

CAPATHIA JENKINS vocalist

for more information:

DeerValleyMusicFestival.org/support/salon-events VIPEVENTS@USUO.ORG | 801-869-9009 to purchase tickets

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LEGACY GIVING

L E AV E A L E G A C Y. E N S U R E T H E F U T U R E .

MAKE A PLANNED GIFT TODAY. MARCY & MARK CASP

PARK CITY RESIDENTS, USUO DONORS In the early 1980s before Mark and I moved from Florida to Park City, we enjoyed attending concerts by our local symphony. At that time they were needing and asking (pleading) for more financial assistance to keep the orchestra together. We, as well as many others, I’m sure, thought “let the others help out”. Sadly, it turned out that they did not survive and we lost that beautiful orchestra.

Now that Mark and I have moved to Utah and again are enjoying beautiful concerts, this time by the Utah Symphony, we have vowed that we cannot rely on everyone else to be the ones to support the orchestra. So, in addition to our yearly support, I have added the Utah Symphony in my will. I feel that this time, I have to do my part to help keep the music alive!”

for more information:

USUO.GIFTPLANS.ORG 130

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LESLIE PETERSON | 801-869-9012

TANNER & CRESCENDO SOCIETIES

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Edward† & Edith† Brinn Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton

Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim& Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Edward Ashwood & Candice Johnson Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

†Deceased

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DEER VALLEY® MUSIC FESTIVAL

SUPPORT UTA H SY MPHON Y | UTA H OPER A

TICKET SALES ONLY COVER 1/3 OF OUR COSTS. Utah Symphony | Utah Opera is one of Utah’s flagship cultural organizations and the premier provider of outstanding musical experiences. As a 501(c)(3) non-profit organization, we rely on donations from patrons like you to support our performances at Deer Valley Snow Park Outdoor Amphitheater, St. Mary’s Church, Abravanel Hall, and the Janet Quinney Lawson Capitol Theatre, in addition to our statewide education and community outreach programs. Thank you for your support!

for more information:

USUO.ORG/GIVE 801-869-9015 132

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ANNIVERSARY C E L E B R AT I O N

T H U R S D A Y

AUGUST 9

BLUE SKY U T A H

as we celebrate 15 summers of music in the mountains featuring cocktail hour with signature drinks, catered dinner, s’mores bar, and headlining performance by 10-time Grammy award winning country band

Tickets start at $1,000 with all proceeds supporting USUO’s statewide education programs. For more information or to purchase, call 801-869-9011.

Kathie Traci

Scott Amann Pat Prothro

Thomas Wright

DEERVALLEYMUSICFESTIVAL.ORG/2018BARNBASH

DVMF VOLUNTEER Q & A

Why do you volunteer at the festival?

John and I have been volunteering at Deer Valley® Music Festival since 1995. We love to volunteer: the music is great, the food is yummy (can’t complain if you bring it from home), the people from all over the world are delightful, and the setting sun in the mountains can’t be beat. What more could a person want? [Marcy and John Thaeler] I volunteer at the Deer Valley® Music Festival for selfless and selfish reasons. I love being able to help others experience something that brings me such immense joy. It is wonderful to watch guests light up when they hear their favorite song or witness something inspiring while the Utah Symphony performs. Overall, I do it as a way to share something that I love so much with as many people as possible. [Andrew Hancock] What difference have you seen the festival make in the community?

We’ve seen the Festival grow and grow and grow. When we started to volunteer, we think there were eight volunteers an evening at most. Now I hear about the Deer Valley® Music Festival everywhere. And we run into friends from everywhere on the hill. [Marcy and John Thaeler] I think that the festival has made a huge impact on the community. What better way to come together and figure out common interests than over music. It is amazing to see strangers converse, sing, and dance with each other. This would not be possible without the beautiful music performed by the Utah Symphony. [Andrew Hancock]

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DVMF VOLUNTEER Q & A

What are your best memories of the festival?

Getting to know the other volunteers. I have made great friendships with those that sacrifice their time to come up to Deer Valley. One of my favorite memories is when The Beach Boys came and the energy was so positive and hopeful. Everyone was dancing during their songs, patrons and volunteers. I told the patrons around me that I had to catch the most beach balls so I could “win” the competition of catching the most, they ended up giving me their unopened ones. They were all for me “winning.” [Bridget Steadman] I must say that some of my best memories from the festival are from the nights the symphony performs children’s music. Whether it be Disney or DreamWorks, I love to see the kids all dressed up and making wonderful memories with their family as they sing along to their favorite songs. It isn’t rare to see parents singing along on those nights either! [Andrew Hancock] What makes this music festival special?

The location. It is such a breathtaking location that it is hard to beat. Driving away from the city and coming out into nature really adds an element that makes it magical. Being in the fresh air and not dying from the heat. That view of the trees and mountains never gets old.

The music isn’t bad either! [Bridget Steadman] How awesome to be five feet away from famous guest artists, to see people’s flashlights waving on the hill to the music, to stand up as a veteran and watch the bi-plane fly over… the setting makes the Deer Valley® Music Festival come alive. What a great amphitheater— glorious sound in nature’s best venue. [Marcy and John Thaeler]

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DVMF VOLUNTEER Q & A I think that this music festival is special because it opens up the world of music to those that may not have access to it otherwise. There is a something about this festival being on the mountainside that opens up access to people, many of whom do not consider attending in a classical symphony setting. [Andrew Hancock] What do you think the future holds for the festival?

We hope the festival will continue to be a treasured part of Utah’s finest resources. Our state has some of the best musical talent in the world—as well as some of the most beautiful mountains. [Marcy and John Thaeler] I think that the future is endless for this festival. Every year when I see the list of performers, I am in awe. This festival continues to break boundaries and I believe the guests and the performers would agree! [Andrew Hancock]

THANK YOU TO OUR ADVERTISERS Berkshire Hathaway HomeServices BYU Museum of Art Cache Valley Visitors Bureau Caffè Molise Challenger School City Creek | Living Classical 89 Deer Valley Resort Dominion Energy Eldredge Furniture Excellence Concert Series Grand America Hotel Grandeur Peak Funds Hamilton Park Harker Design Holland & Hart Hyatt Centric Jackson Hole Chamber of Commerce Jerry Seiner Cadillac Jones Waldo

Kirton | McConkie KUED KUER Larry H. Miller Lexus Law Office of Thomas N. Jacobson Little America Hotel Madison McCord Interiors Marketing Aid Network Maserati of Salt Lake Mercedes-Benz of Salt Lake City Minky Couture Moab Music Festival Montage Mountain America Credit Union My529 New World Distillery Pioneer Theatre Company Prime Steak House Promontory RC Willey Regency Royale

Reliable Tree Care Ronald McDonald House Charities Ruby’s Inn Best Western Southern Utah Museum of Art St. Regis Stein Eriksen Lodge Summit | Sotheby’s International Realty The Nature Conservancy The Spectacle Tuacahn Amphitheatre University Credit Union Utah Food Services Utah Shakespeare Festival Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

ADMINISTRATION

ADMINISTRATION Paul Meecham

Olivia Custodio

Alison Mockli

Director of Individual Giving

Payroll & Benefits Manager

President & CEO

Heather Weinstock

Jared Mollenkopf

Manager of Special Events & DVMF Donor Relations

Patron Information Systems Manager

Alina Osika

Accounts Payable Accountant

David Green Senior Vice President & COO

Julie McBeth Executive Assistant to the CEO

Ali Snow Executive Assistant to the COO & Office Manager

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

Anthony Tolokan Vice President of Symphony Artistic Planning

Conner Gray Covington Assistant Conductor

Barlow Bradford Symphony Chorus Director

Walt Zeschin Director of Orchestra Personnel

Andrew Williams Orchestra Personnel Manager

Lance Jensen Executive Assistant to the Music Director & Symphony Chorus Manager

Manager of Corporate Partnerships

Lisa Poppleton Grants Manager

Chelsea Kauffman Annual Fund Coordinator

Steven Finkelstein Development Coordinator

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Renée Huang Director of Communications & Digital Media

Chad Call Marketing Manager - Audience Development

Mike Call Graphic & Digital Media Designer

Kathleen Sykes Digital Content Producer

Bobbie Williams EDUCATION Paula Fowler Director of Education & Community Outreach

Beverly Hawkins Symphony Education Manager

Kyleene Johnson Symphony Education Assistant

Paul Hill Opera Education Assistant

OPERA TECHNICAL Jared Porter Senior Technical Director

Kyle Coyer Technical Director

Kelly Nickle Properties Master

Lane Latimer Assistant Props

Travis Stevens

SYMPHONY OPERATIONS Jeff Counts

PATRON SERVICES Nina Starling

Carpenter

Vice President of Operations & General Manager

Director of Patron Engagement

Scenic Charge Artist

Faith Myers

Cassandra Dozet Director of Operations

Sales Manager

Andrew J. Wilson

Melissa Robison

Patron Services Manager

Program Publication & Front of House Director

Robb Trujillo Group Sales Associate

Chip Dance

Ellesse Hargreaves

Production & Stage Manager

Patron Services Assistant

Jeff F. Herbig

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith

Properties Manager & Assistant Stage Manager

Erin Lunsford Artist Logistics Coordinator

0PERA ARTISTIC Christopher McBeth Opera Artistic Director

Carol Anderson Principal Coach

Michelle Peterson Opera Company Manager

Michaella Calzaretta

Sales Associates

Director of Major Gifts

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Costume Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Stitchers

Vice President of Finance & CFO

Rachel McNassor

Jessica Cetrone

Ticket Agents

Opera Production Coordinator

Vice President of Development

Costume Director

Tiffany Lent

Mandi Titcomb DEVELOPMENT Leslie Peterson

COSTUMES Verona Green

Nick Barker Lorraine Fry Jodie Gressman Mat Jagiello Ellen Lewis Rhea Miller Ananda Spike ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Opera Chorus Master

Dusty Terrell

Cutter/Draper

Donna Thomas Milliner & Crafts Artisan

Chris Chadwick Yoojean Song Connie Warner Shelley Carpenter Bailey Rapier Katie Satot Wigs/Make-up Crew

Mike Lund Director of Information Technologies

Joan Shiflett Controller

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

UTAH SYMPHONY

Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor

Roberta Zalkind Associate Principal

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Lissa Stolz

BASS TROMBONE Graeme Mutchler† David Hagee††

VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Assistant Concertmaster David Park Assistant Concertmaster

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Claude Halter Principal Second

BASS* David Yavornitzky Principal

Wen Yuan Gu Associate Principal Second

Corbin Johnston Associate Principal

Evgenia Zharzhavskaya Assistant Principal Second

James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera†

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos

HARP Louise Vickerman Principal

HORN Edmund Rollett Acting Principal

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Alexander Love†† Acting Associate Principal

Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Peter Margulies Gabriel Slesinger†† TROMBONE Mark Davidson Principal [ DeerValleyMusicFestival.org ] 139

SAYING “THANK YOU” As the Utah Symphony celebrates its 15th anniversary in its summer residency at the Deer Valley® Music Festival in Park City, we wanted to extend a heartfelt thank you to Park City and Summit County for welcoming us to our home away from home with such warmth and enthusiasm.

That’s why in addition to our main stage concerts at Snow Park Outdoor Amphitheater and chamber concerts at St. Mary’s Church, we are collaborating with organizations and spaces to provide unexpected free “pop up” musical experiences that bring the brand of the festival into other existing community events. So grab your folding chair and a sun hat, and keep a look out for our roving Utah Symphony musicians. You may be surprised where we turn up! Here are a few hints where you may see us—or have already spotted us:

PARK SILLY SUNDAY MARKET parksillysundaymarket.com For the 12th year, Park Silly Sunday Market takes over Historic Main Street with an ecofriendly open air market, street festival, and community forum where neighbors and friends come together to celebrate. The fun and festive atmosphere involves shopping, entertainment, and musical acts, including Utah Symphony musicians rocking the main stage on July 8 and July 22 at 1 pm.

ART PIANOS FOR ALL Several years ago, local group Art Pianos for All installed a dozen beautifully decorated stand up pianos throughout the community. This June, Summit County Public Art Advisory Board partnered with Utah Symphony | Utah Opera to program community concerts in conjunction with Art Pianos for All featuring professional pianists—and maybe an opera singer, too!

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ART GALLERY POP UPS In partnership with Gallery Mar and Susan Swartz Studios on Main Street, two Utah Symphony ensembles will perform pop up concerts pairing classical music with inspiring artwork.

Check the festival website for more information on dates and how to secure tickets: deervalleymusicfestival.org July 27 Swartz Gallery (260 Main St) - 5:30pm July 30 Gallery Mar (436 Main St) - 5:30pm

SAYING “THANK YOU”

SAVOR THE SUMMIT parkcityrestaurants.com/savor-the-summit On June 16, more than 2,500 foodies flocked to the middle of Main Street to dine under the stars in Park City Restaurant Association’s event that has been dubbed “Park City’s largest outdoor dinner party.” Park City’s best restaurants will showcase their culinary talents in an open-air community celebration. It was a summer solstice party of wine, dining, and music in a unique setting—made complete with a Utah Symphony ensemble performing on the Miner’s Park stage prior to the festivities.

KIMBALL ARTS FESTIVAL parkcitykimballartsfestival.org The 49th annual Park City Kimball Arts Festival takes place on Historic Main Street uniting more than 200 artists in a three-day event from Aug 3 to 5 in a celebration of visual art, interactive displays, and engagement. Three side stages and more than thirty musical acts—including a Utah Symphony ensemble—will entertain thousands of visitors who flock to Park City to experience one of the most lively art festivals in the country.

Proud Supporters of the Utah Symphony

Grandeur Peak Funds are distributed by ALPS Distributors, Inc.

DVMF CELEBRATES 15 YEARS

By Renée Huang, Director of Communications

As a resident of Park City, Director of Communications Renée Huang first fell in love with summer in the mountains while attending Deer Valley® Music Festival outdoor orchestra concerts. As the festival celebrates its 15 year anniversary in 2018, she takes a look at the growth and impact it’s had on the local economy.

During the summer months when Abravanel Hall lies quiet to the reverberating sounds of classical music, the hills surrounding Park City come to life as the Utah Symphony retreats to its summer home at the Deer Valley® Music Festival (DVMF). Founded in 2004, the vision of the Deer Valley® Music Festival is to deliver a high quality and musically diverse experience in casual settings of unparalleled natural beauty—full orchestra concerts take place at a stunning outside hillside venue located at Deer Valley Resort.

The 6-week festival provides as many as 18 chamber music, classical, and pops concerts in several venues throughout Park City: the Deer Valley® Snow Park Outdoor Amphitheater, St. Mary’s Church, and salon events in private homes in the Park City area.

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Over the years, the festival has presented big name stars including Earth, Wind and Fire, Tony Bennett, Steve Martin and the Steep Canyon Rangers, The Beach Boys, Jewel, and Broadway legends such as Idina Menzel, Kristin Chenoweth, Matthew Morrison, and Leslie Odom Jr. As part of the educational outreach mission of the Utah Symphony | Utah Opera, the 2017 festival education events offered three sessions of Pro-Am Clinics, in which Utah Symphony members coached 49 area community orchestra musicians and music students from Park City High School in strings, woodwinds, and brass sections. Over the course of the 2016–17 academic year, Summit County school participation in Utah Symphony | Utah Opera education programs totaled 1,710 students and 85 teachers from 9 schools.

DVMF CELEBRATES 15 YEARS

But what has been more telling is the explosive growth that has caused audience numbers to increase by dramatically since the festival’s inception back in 2004—even the last 2017 season reported a ticket sales increase of 25 percent from the previous year. The festival began under the direction of Utah Symphony Music Director Keith Lockhart and Utah Symphony & Opera President & CEO Anne Ewers.

And the resulting economic indicators illustrate the positive impact of the festival on boosting the region’s local economy as it continues to attract concertgoers from outside the area in search of the outdoor orchestral experience.

Of more than 47,000 tickets distributed during the 2017 season, 78 percent went to nonSummit County residents, the majority of whom resided in Salt Lake, Utah, and Davis counties.

These festival patrons continue to boost the Summit County tourist economy through activities surrounding their concert

attendance. Of the respondents to a 2017 post-festival survey, 87 percent indicated that they had eaten at a Summit County restaurant in conjunction with a DVMF concert, 64 percent went shopping, 48 percent visited Park City’s historic Main Street, and 17 percent visited the Utah Olympic Park.

What does the continued growth trajectory and exciting future mean for the 15th anniversary of the festival? A hootenanny “Barn Bash” of epic proportions is being planned at Blue Sky Ranch in celebration of 15 years of summer music in the mountains.

The Western-themed fundraiser will feature a musical performance by American country group, Asleep at the Wheel. For more information or to purchase a ticket, please contact Heather Weinstock at 801.869.9011 or vipevents@usuo.org.

For more information, visit deervalleymusicfestival.org

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ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison PROGRAM NOTES ANNOTATOR

Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.

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