Brahms & Tchaikovsky

PRESENTING

IN OGDEN FOR MORE THAN 65 YEARS

BRAHMS & TCHAIKOVSKY NOVEMBER 10, 2016 | 7:30 P.M.

2016–2017 SEASON

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WELCOME

We are thrilled that you are joining us for our 2016– 2017 Season.You are now part of an Ogden cultural tradition going back sixty-seven years!

Speaking of traditions, I feel blessed that music and dance have been central to so many of my own personal traditions. As a child, I attended Kansas City Symphony performances with my parents. I confess that I did not always manage to stay awake for the entire performance.

(In my defense, the concerts ended well after my regular bedtime). Still, I always looked forward to these concerts.

They were an event—a special treat. Not only did I get to dress up and spend quality time with my parents, but I also loved to watch the musicians. And I marveled at the composers who crafted brilliant masterpieces using some of the very same chords I struggled to play.

Recently, I had the chance to share a similar experience with another younger generation when I brought my nephews to last seasons’ Utah Symphony Family Shows. I loved introducing them to something I love. One nephew could not stop asking questions afterwards, and several have since asked me when the next performance is. They are all coming back again this season, so I count it as a huge success!

I am sure you have similar stories as well. Each of us has been inspired and touched by live arts performances. This is why the Ogden Symphony Ballet Association exists. We want to continue to inspire, to engage, to educate, and to uplift our community. So again, we are thrilled you are joining us this season. And we hope you make some new, amazing memories with us this year.

Emily Jayne Kunz Executive Director

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OSBA BOARD & STAFF

BOARD OF DIRECTORS Paul C. Kunz President Robert Fudge President Elect Robert Newman Vice President Jennifer Webb Secretary Tina Olsen Treasurer Genette Biddulph Past President/Nominating Melissa Bennett Brenda Burton Linda Forest John Gordon Russ King McClain Lindquist Scott Major Stephanie Moore Shane Schvaneveldt Jan Slabaugh Paul Sonntag John Starley Mark Stratford

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ADVISORS Marlene Barnett Carol Brockman Karen Fairbanks Alan Hall Robert Harris Sharon Lewis Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer Beth Baldwin Paul C. Kunz Andrea Lane Robert E. Lindquist Michael S. Malmborg Judith Mitchell Meg Naisbitt Tina Olsen Ellen Opprecht Carolyn N. Rasmussen Sherm Smith

EXECUTIVE DIRECTOR Emily Jayne Kunz EDUCATION & OUTREACH COORDINATOR Marianne Rohbock MARKETING MANAGER Abby Payne-Peterson

801.399.9214 [ symphonyballet.org ]

ABOUT OSBA In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbands’ checkbooks, they brought the Utah Symphony to Ogden for a single performance. The total cost was $400, and three hundred people attended the concert.

This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts. Then, in 1957, this committee reformed and incorporated as the Ogden Guild.

After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association.

Under the direction of numerous dedicated Board Members and long-serving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), OSBA has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area. Since its inception, OSBA has presented over 800 performances.

In addition, OSBA actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve and socialize. We also offer a variety of music education classes, from Masterworks Music Detectives to Symphony Summer Camps. And we are partnering with several local community organizations to expand these programs to reach even more kids, especially children in under-served communities. This year, we will also be holding our first Youth Benefit Concert, featuring Young Concert Artist Gleb Ivanov and young aspiring musicians from our very own community. The proceeds from this concert will go to fund music education scholarships for local children. If you would like to know more about any of these programs, please do not hesitate to call our office!

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OSBA 2016 –17 SEASON Emanuel Ax plays Beethoven’s “Emperor” September 15, 2016 | 7:30 p.m.

Brahms’ Symphony No. 2 February 2, 2017 | 7:30 p.m.

Soul Unlimited featuring Ellis Hall September 22, 2016 | 7:30 p.m.

Jerry Herman: The Broadway Legacy Concert February 9, 2017 | 7:30 p.m.

Rachmaninoff’s Piano Concerto No. 3 October 20, 2016 | 7:30 p.m.

BYU Noteworthy March 4, 2017 | 7:30 p.m.

Brahms & Tchaikovsky November 10, 2016 | 7:30 p.m.

Pictures at an Exhibition April 6, 2017 | 7:30 p.m.

The Nutcracker November 25, 2016 | 7:00 p.m.

November 26, 2016 | 2:00 p.m. & 7:00 p.m.

Gershwin’s Magic Key from Classical Kids Live!

April 18, 2017 | 7:00 p.m.

Cirque Musica Holiday Spectacular!

December 8, 2016 | 7:30 p.m.

The Spy Who Loved Me starring Sheena Easton April 20, 2017 | 7:30 p.m.

Here Comes Santa Claus!

December 13, 2016 | 7:00 p.m.

The Little Mermaid April 22, 2017 | 2:00 p.m.

BYU Vocal Point January 21, 2017 | 7:30 p.m.

The Ogden Symphony Ballet Association is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums,Weber County Recreation,Arts, Museums, and Parks (RAMP) program, and Ogden City Arts.

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MASTERWORKS SERIES Brahms & Tchaikovsky NOVEMBER 10, 2016 / 7:30PM / VAL A. BROWNING CENTER THIERRY FISCHER , C onduct or ALEXANDER GAVRYLYUK , Piano ( U t ah S y mphony D eb u t )

SPONSORED BY

Val A. Browning Charitable Foundation Weber County RAMP

IVES

Symphony No. 3, “The Camp Meeting”

BRAHMS

I. Old Folks Gatherin’: Andante maestoso II. Children’s Day: Allegro III. Communion: Largo

Symphony No. 3 in F Major, Opus 90

I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro

/ INTERMISSION /

TCHAIKOVSKY

Concerto No. 1 for Piano and Orchestra in B-flat minor, Opus 23

I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco

ALEXANDER GAVRYLYUK, Piano (Utah Symphony Debut)

APPROXIMATE PERFORMANCE TIME IS 1 HOUR, 20 MINUTES. Unless previously authorized, cameras and recording equipment of any kind are not allowed at Ogden Symphony Ballet Association performances. Please turn off cell phones, beepers and beeping watches before the performance begins.

EMERGENCY PROCEDURE Please identify the exits closest to your location. In the event it becomes necessary to evacuate the building because of an emergency, proceed to the closest exit in an orderly manner and then to a safe area away from the building.

801.399.9214 [ symphonyballet.org ]

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ARTISTS’ PROFILES

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings.

Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for

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an initial 3 years. He will visit Seoul at least 4 times a season and will play an important role in the artistic planning.

In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included Boston Symphony,Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducts the Sao Paulo Philharmonic—his first visit to South America.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera.

His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

801.399.9214 [ symphonyballet.org ]

ARTISTS’ PROFILES

Alexander Gavrylyuk Piano Utah Symphony Debut

Born in 1984, Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. He went on to win First Prize and Gold Medal at the 1999 Horowitz International Piano Competition, First Prize at the Hamamatsu International Piano Competition in Japan in 2000, where the Japanese press lauded him as the “most talented 16-year old pianist of the second half of the 20th Century,” and, in 2005, he took both the coveted Gold Medal as well as the award for Best Performance of a Classical Concerto at the internationally renowned Arthur Rubinstein International Piano Masters Competition.

In 2009 he made an acclaimed recording of the complete Prokofiev Concerti with Vladimir Ashkenazy and the Sydney Symphony, which was recorded live at the Sydney Opera House. In addition to the Prokofiev cycle, he has made several recordings including recital discs of works

by Rachmaninoff, Schumann, Scriabin, Mussorgsky, and Prokofiev for Piano Classics. His most recent recording, a recital disc featuring Brahms Paganini Variations and works by Liszt has been widely praised.

Following his debut in 2010 with the Royal Concertgebouw Orchestra, Gavrylyuk

801.399.9214 [ symphonyballet.org ]

has returned to Amsterdam each year to perform. He is now increasingly in demand by orchestras and conductors for his noble and compelling interpretations and has appeared with, among others, the Philharmonic Orchestras of New York, Los Angeles,Warsaw, Moscow, Israel, Rotterdam, and Seoul as well as the NHK Symphony and the Russian National Philharmonic.

Highlights of the 2016–17 season include concerto performances with Valery Gergiev and the Rotterdam Philharmonic as part of the Gergiev Festival, Netherlands Radio Philharmonic,Vancouver Symphony, Orchestre National d’Ile de France, Concertgebouworkest, Utah Symphony and a tour of Asia with the Cincinnati Symphony Orchestra amongst others. He will make his debut at the International Piano Series in London, as well as giving solo recitals throughout Europe and North America and appearing in duo recital with Janine Jansens throughout Europe.Alexander will also undertake an extensive tour of Australia, including concerto appearances with Adelaide Symphony,Tasmania Symphony & West Australian Symphony Orchestra.

Alexander supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists, as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children.

Alexander is a Steinway Artist and more information is available on his website www.alexandergavrylyuk.com.

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NOTES ON THE PROGRAM Notes by Michael Clive Charles Ives (1874–1954) Symphony No. 3, “The Camp Meeting” INSTRUMENTATION: flute, oboe, clarinet, bassoon; 2 horns, trombone; percussion; strings

Though they became celebrated as mavericks, trailblazers might be a more apt description; many musicians refer to Ives as “Charlie” not because they were ever friends, but because Ives is so deeply American and because his work strikes listeners so personally. No composer has had a deeper impact on the American composers who came after him.

PERFORMANCE TIME: 22 minutes BACKGROUND Charles Ives’ life, like his music, combined familiar elements in novel and surprising ways—or perhaps not so surprising if we view Ives in the context of the great tradition of independent New England thinkers that also included Emerson and Thoreau. Our national affection for creative eccentrics has left many classical music aficionados with the misimpression that Ives was the artistic equivalent of a brilliant tinkerer building rocketships in his basement; actually, Ives was rigorously educated and well versed in music theory, but combined his affection for New England traditions with esthetic principles that were truly visionary and utterly independent. He is one of two giants of American culture, the other being the poet Wallace Stevens, who command our attention for the striking similarities in their lives and their continuing influence in the arts.

Born in 1874, Ives worked in the insurance industry and lived mainly in Danbury, Connecticut; Stevens was born in 1879, worked in the insurance industry, and lived mainly in Hartford, Connecticut. They died in 1954 and 1959, respectively. Together they represent a distinctively American brand of artistic modernism. Both Ivy Leaguers (Ives attended Yale, while Stevens was a Harvard man), they combined a mastery of European traditions with a deeply American sensibility.

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Reading critical analysis of Ives’ major works, such as his symphonies, can be a confusing experience. How can these works be simultaneously simple and complex? But while incorporating simple sources such as familiar folk tunes, these works are often densely layered, with multiple melodies, tonalities and rhythms unspooling simultaneously. Listening to them can be comparable to listening to two or three different conversations at a cocktail party and tracking their connections in real time.

His biographers speculate that Ives’ delight in this kind of simultaneity resulted from hearing his father, George Ives, lead band music on the town green in Danbury while other bands were playing different music within earshot.

Whether the listening public has caught up with Charles Ives is a matter of some debate.

But in an era of self-conscious irony in the performing arts, it helps to remember that Ives’ art is anything but ironic. This is music of simple, straightforward materials handled with consummate, sophisticated craft. It was ahead of its time when he composed it…and it probably still is.

WHAT TO LISTEN FOR Though Ives’ music is never without humor, he was serious about symphonic form. He composed his first symphony during his undergraduate years at Yale University—a work he would later disparage, though in retrospect it would seem that his criticisms reflect not a lack of quality, but his willingness 801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM to subordinate his penchant for originality and even rebelliousness to the influences past symphonists. Many listeners hear a Tchaikovsky-like sound in it. But then, they also hear the sound of Mozart in early Beethoven symphonies and concertos.

Listeners who know their American symphonies will recall that Virgil Thomson’s Symphony No. 1 bears the title “Symphony Based on a Hymn Tune.” It dates to 1929, about 25 years later than Ives’ third.

Johannes Brahms (1833–1897)

He began work on his third symphony in 1901, when he was 37, and is thought to have finished it three years later. It won the Pulitzer Prize for Music in 1947—an unusually long gap that reflects the lag in recognition of his importance as a composer, but also the gap between composition and premiere, which did not take place until 1946 under the baton of Ives’ friend and advocate Lou Harrison.

The titles that Ives applied to the symphony’s three movements—“Old Folks Gatherin’,” “Children’s Day,” and “Communion”—reflect the sources we hear in the symphony, which include martial airs, popular dances, classical melodies, and religious music. But most of all, the feeling of religious hymns predominates.

The first two movements are based on hymns that would have been more readily recognized in Ives’ lifetime; whether or not we know these songs, we cannot mistake the devotional feelings that the melodies evoke. The third movement is constructed around an organ piece that Ives also based on a hymn and intended for church use. Commenting on the symphony, Ives noted, “The themes are mostly based around hymns and from organ pieces played in Central Presbyterian Church [where Ives worked part-time in his 20s as an organist] around 1901. Lead pencil score was finished about 1901. But the final ink score (now lost) had, I think, a few of less off-shadow parts in it, and also church bells, that are crossed out in the old score…The middle movement was the ‘Children’s Day Parade’ (for string quartet and organ), played in Central Presbyterian Church, New York, for the organ alone, 1902…”

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Symphony No. 3 in F Major, Opus 90 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME: 33 minutes BACKGROUND Contemporary reports and later accounts by music historians give us oddly contradictory impressions of Brahms. In photographs we see the handsome, sensitive young composer and pianist turn into a great bear of a man, ursine and shaggy. Plenty of quotations demonstrate how gruff he could be in talking about his own music and others’. And yet, underneath it all, he seems to have remained easily bruised, still the fretful composer who worked and reworked his first symphony for 14 years or more while the music world waited impatiently for the opus that might prove to be “Beethoven’s Tenth.” “You have no idea what it’s like to hear the footsteps of a giant like that behind you,” he said. He finally felt ready to present his first symphony to the public when he was 43, yet its eventual success—which seemed to fulfill music-lovers’ hopes for a worthy successor to Beethoven—made Brahms even more nervous about writing a second.

Indeed, the writing of symphonies seems to have pushed all of Brahms’ buttons; for the sake of his nerves and to escape the pressure of expectations, he sought the solitude of country

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NOTES ON THE PROGRAM life for this kind of work when possible. Brahms composed his Symphony No. 3 in Wiesbaden during the summer of 1883, nearly six years after completing his second. Hans Richter, who led the premiere with the Vienna Philharmonic, acclaimed it as Brahms’ Eroica—high praise that seemed to reawaken Beethoven’s ghost yet again. Brahms continued to refine work until its publication the following year.

WHAT TO LISTEN FOR It’s probably redundant to describe this or any of Brahms’ four symphonies as “mature” works, since Brahms generally refused to publish compositions that he had not polished to lapidary perfection. But his symphonies, in particular, are masterfully wrought; in this one, which he completed at age 50, we find him at the peak of his creative powers. In it we hear a magnificent symphony of flowing lyricism by a composer who learned from Beethoven’s mastery without imitating him. Musicologists detect a melodic reference to Brahms’ unmarried status throughout the symphony: variations of the motif F-A-F, for the German “frei aber froh” (“free but happy”).To some listeners, the burnished bronze of the symphony’s surface suggests hidden melancholy. But as its rich, passionate finale subsides, we are left with feelings of warm solitude rather than loneliness.

Piotr Ilyich Tchaikovsky (1840–1893) Concerto No. 1 for Piano and Orchestra in B-flat minor, Opus 23 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME: 33 minutes BACKGROUND Trained as a pianist as well as a composer, Tchaikovsky was born into the great age

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of virtuosic concerto composition—the Romantic era of classical music—and his spectacular Concerto No. 1 for Piano and Orchestra is one of the staples of the genre.

Concertos had been written for centuries, but Beethoven (born 1770) had raised the stakes; by 1875, when Tchaikovsky was 35 and was composing his Piano Concerto No. 1, pianos (and piano concertos) had grown in size. Composers followed Beethoven’s lead, relishing the chance to create largescaled, serious concertos of spectacular difficulty. More than just popular hits, they also expressed a basic principle of the Romantic age: the individual’s struggle against opposition, the one versus the many. These vehicles for musical display—often, they were seemingly unplayable—helped make Paganini and Liszt into musical superstars.

Oddly,“unplayable” turns out to be a fateful word in the life of concertos by the hapless Tchaikovsky, who lacked both luck and self-confidence.The concerto literature is rife with works that are now popular, their greatness undisputed, that were condemned by critics and soloists back in the day. Most often, they were described as having been written “against the instrument” or as technically unplayable.Were soloists hedging their bets? It’s hard to know; playing the unplayable was right on their calling card.Tchaikovsky’s Piano Concerto No. 1 and the Violin Concerto in D both suffered this characterization, and both are now among the most beloved concertos in the standard repertory.

When it came to the violin, Tchaikovsky was on less-than-familiar ground, and he proceeded with nervous caution after being inspired by Edouard Lalo’s exuberant fivemovement concerto. (His work with violinists in preparing the score didn’t ease its way into the world.) But Tchaikovsky was a respected pianist, and though he lacked the encyclopedic technique of Russia’s foremost soloists, he 801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM could be confident of his knowledge of the instrument and how to write for it. For it he created a concerto in which towering grandeur and poetic utterance are abundant and unmistakable—earmarks of a hit concerto.

The melodies are gorgeously lyrical and take advantage of the instrument’s expressive capabilities. So why did Tchaikovsky’s friend and intended dedicatee for the score, the great pianist Nikolai Rubinstein, condemn it as artistically crude and, yes, unplayable?

Musicologists are still speculating about the reasons, though after its quick success with the public and critics, Rubinstein changed his mind and praised it effusively.

of this concerto’s unusual performance history and the landmark interpretation of the great American pianist Van Cliburn.When Cliburn won the first International Tchaikovsky Piano Competition in Moscow in 1958 (he was a tall, rangy, young-looking 23), the Cold War was at its height; Sputnik had been launched the previous year, and the space race and the arms race were on. His victory came with this concerto, and it had an impact we can scarcely imagine now. He received a tickertape parade down Broadway and instantly became an American hero. But the response was even more dramatic in Moscow, where weeping listeners rushed the stage and mobbed him.Why?

WHAT TO LISTEN FOR We can hear a characteristically Romantic spirit of heroic rebellion in the Concerto No. 1 for Piano and Orchestra. It bursts upon us with an opening that is explosive and iconic: a moment of brassy orchestral fanfare introducing thunderous piano chords grouped in threes. They are played in unison with both hands as they move in bold, multi-octave leaps up the keyboard.

In a sense, the answer goes back to the concerto’s duality—the alternation of heroic and poetic sound that Tchaikovsky gives us with unique deftness as he mixes powerful, pounding chords and parallel octaves with rippling passages of rapid fingerwork that require flawless legato. Superbly trained Soviet-era pianists combined accuracy and power. But where was the bold, passionate, dramatic individuality of the Russian pianists of yore? Under the Soviet system, such highly personalized expressiveness was shunned. But in Cliburn’s performance, the judges heard this kind of interpretive artistry combined with superb technique, and the conclusion was undeniable; listeners heard a cherished part of their national patrimony being restored to them by the unlikeliest of artists.

Even if you had never heard this concerto before, this stunningly dramatic, oft-quoted opening would be instantly recognizable.

But listen again and notice Tchaikovsky’s remarkable musical calculation here: The piano soloist grabs the primary role, even entering alone. But once the orchestra enters, it has the melody. Those chords, so full of life and confidence, actually accompany the orchestra’s statement. They can be heard as a heroic response to the melodic lifeline. Once it has been introduced, the piano takes up the melody in a manner that is vigorous but more moderated and less tumultuous, setting up a pattern of alternating grandeur and lyricism that prevails throughout this concerto.

As 21st-century listeners we are the beneficiaries 801.399.9214 [ symphonyballet.org ]

As we hear tonight, post-Cliburn pianists play this concerto their own way—not his, but always striving to meet a very high and very public standard that has become art of classical music mythology. In soloists such as Alexander Gavrylyuk we are privileged to hear a modern-day interpreter who is the heir of all these great performance traditions as he puts his personal stamp on one of the great concertos of the piano repertory.

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UTAH SYMPHONY Thierry Fischer, Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director 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 Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

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Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas 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 BASS* David Yavornitzky Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walter Zeschin Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Nathan Lutz Orchestra Personnel Manager

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal

Jennifer Rhodes

Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal

Caitlyn Valovick Moore

Jeff Luke Associate Principal

PICCOLO Caitlyn Valovick Moore

Peter Margulies Nick Norton#

OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair

TROMBONE Mark Davidson Principal

Maureen Conroy

STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot†† Acting Associate Principal

James Hall Associate Principal Lissa Stolz

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ASSOCIATION MEMBERSHIP

OSBA Depends On You To He(p Us Make A Dgference Did you know that ticket sales generally cover only 40% of our programming costs? Without support from our generous donors, OSBA would not be able to present our world-class concerts or continue our outreach efforts.

We invite you to considerjoining this special group of art lovers!

We accept donations in person, over the phone, by mail, and even on-line. We are also always happy to speak with you about planned giving options. If you have any questions, our Executive Director Emily Jayne Kunz is always happy to assist.

Membership Levels & Benefits Partner ($100-$499) - One complimentary ticket to any Masterworks concert

- One complimentary family pass to

a Utah Symphony Family Concert

- Invitations to Association events

Benefactor ($1,000-$2,499) Includes all Partner and Supporter Benefits plus:

- Invitation to mulitple Meet the Artist Receptions

- Exclusive access to VIP Seat upgrades on the night of the concert (based upon availability)

801.399.9214 [ symphonyballet.org ]

Supporter ($500-$999) Includes all Partner Benefits plus:

- A second complimentary ticket to any Masterworks concert - Invitation to one Meet the Artist Reception

Sponsor ($2,500+) Includes all preceding Benefits plus: - Sponsorship Recognition - Complimentary tickets for sponsored concert - Invitations to special Donor Appreciation Events

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FRIENDS OF OSBA Includes Donations Received April 1, 2016–March 31, 2017

Thank you to all our donors! This concer t would not have been possible without you.

SUSTAINING DONORS ($50,000+) Stewart Education Foundation Weber County RAMP Grant SEASON SPONSORS ($10,000+) Robert & Marcia Harris The Norman C. Tanner & Barbara L. Tanner Charitable Support Trust Richard K. & Shirley S. Hemingway Foundation CONCERT SPONSORS ($5,000+) Edith Dee Green Foundation George S. & Delores Dore Eccles Foundation Mrs. Paul T. Kunz The London Connection GUEST ARTIST SPONSORS ($2,500+) Beaver Creek Foundation Sharon Lewis Ogden City Corporation through Ogden City Arts Carolyn Nebeker Rasmussen Dr. Paul & Carol Sonntag State of Utah, Division of Arts & Museums BENEFACTORS ($1,000–$2,499) Dr. Nelson L. & Carole W. Astle Dwight & Cindy Baldwin Bean Family Foundation

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Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Rick & Karen Fairbanks Farr’s Jewelry Mr. & Mrs. Kelly Goddard Kenneth & Norine Holmgren Jewel Lee Kenley Mike & Zona Keyes Paul & Cindy Kunz Dr. & Mrs. Seth Lewis Merrill Lynch Drs. Jean & Richard Miller Dr. Judith Mitchell Robert & Eleanor Newman Keith & Ellen Opprecht Ralph Nye Charitable Foundation Carolyn Rich-Denson Harry & Becky Senekjian E.K. & Grace Walling Michael & Jennifer Webb Weber State University SUPPORTERS ($500–$999) America First Credit Union Marlene Barnett Dr. & Mrs. Arthur Budge Russ Carruth Mary & Lee Forrest Carter Elliot-Hall Company Rosemary Conover & Luckey Heath CrossAction Computers Douglas Deis Doug & Shelley Felt Dr. & Mrs. Ralph Friz Robert Fudge & Sylvia Newman

Greg & Caitlin Gochnour Dean Hurst Kier Construction Lindquist Memorial Parks Suzanne Lindquist Val & Karen Lofgreen Jan & Jerome Luger Scott & Kirsten Major Jim & Suzy Patterson Eloise Runolfson Mr. & Mrs. Howard Schuyler Shane & Pamela Schvaneveldt Jonathan & Beverly Souder Starley Family Dental Hal Wheelwright PARTNERS ($100–$499) Barbara Anderson Sally Arway Lee Badger Kay Ballif Mark Ballif Rich & Kristin Bauter Robert Beishline Bill & Melissa Bennett Dr. & Mrs. Paul C. Bennion Phil & Melanee Berger Jeffrey & Piper Blankinship Mr. & Mrs. Chris Bolieau The Boyer Company Kathleen & Phillip Browning Maj. & Mrs. Wendell Brumley Janice Burk Mr. & Mrs. Jeffry Burton Brad & Lynn Carroll Kitty Chatelain Allen & Janis Christensen Cathay Christiansen Kent Collins Clark & Pat Combe

801.399.9214 [ symphonyballet.org ]

FRIENDS OF OSBA Becky Crumbo Frank & Ludene Dallimore Alan & Joanne Dayley Lynn & Natalie Dearden Golden & Sharon Decker Pete & Lynn Dehart Kellie & Allan Diersman Deloris & Dale Dorius Kathy Douglas Mr. & Mrs. Joseph Draper Ann Alene Dunn David & Robbyn Dunn Jennifer Earl Sandra Ebarb Jerry Eddy Rodney Egan Ann & Peter Ellis Brandon Erlacher Madelon Fallows Mr. & Mrs. Thomas Fearn Angela Flamm Mr. & Mrs. Christopher Ford William & Anita Ford Linda Forest Pat Fuller Gerry & Dixie Funk Bert & Karen Gall John Gordon Janice Grajek Nancy Granducci Lawren & Nancy Green Kim & Becky Hale Gwen Haycock Kimberly Hearn Angie Henderson John & Jeanne Hinchman Col. Douglas Holmes Robert & Rula Hunter Greg Hyde Intermountain Healthcare Robert W. Irvine Val Iverson Carol Jackson Michael & Lori Jacobazzi

Eric & Becky Jacobson John Watson Chevrolet Kevin Johnson Steve Johnston Jeanne Kesler Melba & Denis Kirby Thomas Kuehls Kathryn Lindquist Robert Lindquist Jeanette Long Rick & Nikki Lovell Eugene & Pat Low Ivaloo Lund Sharon Macfarlane Corey Malan Victoria & Michael Malmborg Mr. & Mrs. Dwayne Manful Debra Marin Frank & Sharon Markos Erika Martin Rand & Cynthia Mattson Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady Jennifer & James Mcgregor Mary Ann Miller Nada Miller Matt Montague Mark & Meg Naisbitt Noel Nellis J. David Nelson Marilyn Nelson Gary Newman Arthur & Ruth Nielsen Peggy Nielsen Ogden School Foundation Cheryl Orme Donald Pantone Scott & Pam Parkinson Val & Marlene Parrish Paul & Sandra Perkin Janet Petersen Jim & Kay Philpott

801.399.9214 [ symphonyballet.org ]

Matt & Cami Pollard Sanford Poulsen Paul & Joan Powell Marty & Carolyn Rasmussen Rory Rich Margaret Rostkowski Mr. Juergen Sass Harlan & Lauralee Schmitt Blaine & Justine Seamons Sempre Musical Society Greg & Susan Shreeve Lawanna & Robert Shurtliff Susan Skordos Jan & Mike Slabaugh Mr. & Mrs. Sherman Smith Keith & Marlys Sorbo Edward & Mari Lou Steffen Ned & Sheila Stephens Mr. & Mrs. Robert Stillwell Jeneile Tams Jeane Taylor John & Marcy Thaeler Ulrich & Associates Utah Eye Centers Patti Van Aarle Robert Van Dyke Karen Vanden Bosch Kathleen Vegh Jack Wahlen Melvin Walker Bruce Wallace Sheldon & Janice Ward Wasatch Peaks Credit Union Nancy Waterfall Suzanne Wayment Matthew Webb Lee & Carol Welch Roberta & Kent West Richard White Kenna Williams Carl & Helgard Wolfram Venita Wood Harry & Marilyn Woodbury

27

FRIENDS OF OSBA Larry Zaugg Jan Zehner Jolene & Chad Zito IN-KIND DONORS Jonathan Adams ALSCO Alvey Media Productions Amethyst String Quartet Apple Spice Junction Beehive Cheese Bell Janitorial Supply Bill & Melissa Bennett Big O Tires Booked on 25th Kate Bruce Brenda Burton Cafe Rio Centerpoint Legacy Theater Clifton’s Ladies Apparel Crossaction Computer Specialists Dinosaur Park Dr. Glen & Genette Biddulph Dr. Paul & Carol Sonntag Dwight Baldwin Eccles Community Art Center Farr’s Jewelry Linda Forest George & Mary Hall George B. & Betty Jo Handy Gibby Studios, Inc. Grounds for Coffee Iggy’s John Gordon Brenn Hill Julie Johnson Kaffe Mercantile Kangaroo Zoo Kier Construction KLO Radio Lifetime Products Scott & Kirsten Major Megaplex Theaters Mineral Reflections

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Mountain Medical Imaging Robert & Eleanor Newman Next Ensemble Now 97.9 Ogden Nature Center Olive & Dahlia Philip & Company Recreation Outlet Rocky Mountain Water Roosters Schneiter’s Riverside Golf Jan & Mike Slabaugh Smith’s Snowbasin Standard Examiner Starley Family Dental Sun Valley Sunny 103.1 SuperSonic Car Wash Thai Curry Kitchen The Mumford Group The Timbermine Thomas & Stephanie Moore Toad’s Fun Zone Craig Umbrell Brad Waddoups Bob Wallis Jennifer Webb Ziegfeld Theatre Zions Bank

Suzan Johnson Dr. & Mrs. Arthur Budge

MEMORIAL DONATIONS

Diane Cook Taylor Florence Stowe

Carol Brockman Andrea Lane Sharon Macfarlane Frank & Sharon Markos Dr. Judith Mitchell Jim & Suzy Patterson Carolyn & Marty Rasmussen Telitha Greiner Dr. & Mrs. Arthur Budge

Geraldine (Jerry) Taylor Lindquist Dr. & Mrs. Arthur Budge Mrs. Paul T. Kunz Sharon Macfarlane Dr. Judith Mitchell Kent Nichols Carolyn & Marty Rasmussen Mary McKenna Sharon Macfarlane Stephen Kent Paskins Mark & Shelley Geddes Bonnie Raleigh Andrea Lane Monte Shupe Mark & Shelley Geddes Hetty Hammon Sly Denise Sly Mel Sowerby Glenn & Connie Wimer

Ed Vendell Dr. Judith Mitchell IN HONOR OF DONATIONS Marjorie Funk Bud Funk Sharon Macfarlane Maryonne Wilson

801.399.9214 [ symphonyballet.org ]

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