Rachmaninoff's Piano Concerto No. 3

PRESENTING

IN OGDEN FOR MORE THAN 65 YEARS

RACHMANINOFF’S PIANO CONCERTO NO. 3 OCTOBER 20, 2016 | 7:30 P.M.

2016–2017 SEASON

COVER PREPRINT

PREPRINT

Romance isn't as far away as you think.

PREPRINT

bed and breakfast . adults only Alaskaninn.com ︱ 801-621-8600 435 Ogden Canyon, Ogden UT 84401

21st annual

PREPRINTWeber State University

StoRyTelliNg festival

Feb 27, 28 & Mar 1, 2017 National, regional & local storytellers!

Local student storytellers!

All events are FREE*

801-626-6143

weber.edu/storytelling Sponsored by the Weber State University Department of Teacher Education.

*Except fund raising dinner Feb. 28

See All of Me When you become a member of KUED at the $60 annual or $5 a month sustaining level, you have access to an extended library of PBS shows.

That means you can binge watch all the past episodes of Poldark, Downton Abbey, Grantchester, and other PBS favorites.

Find out more at kued.org/passport

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

801.399.9214 [ symphonyballet.org ]

5

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

6

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 MARKETING MANAGER Melissa Seamons EDUCATION DEVELOPMENT COORDINATOR Marianne Rohbock COMMUNICATIONS INTERN Abby Payne

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!

801.399.9214 [ symphonyballet.org ]

7

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.

8

801.399.9214 [ symphonyballet.org ]

stage arts

Start Early. Start Right.

Challenger School offers uniquely fun and academic classes for preschool to eighth grade students.

Our students learn to think for themselves and to value independence.

The results are unmatched at any price!

Come see for yourself. Observe our classrooms any time—no appointment needed.

Inspiring Children to Achieve Since 1963 An independent private school offering preschool through eighth grade © 2016, Challenger Schools • Challenger School admits students of any race, color, and national or ethnic origin.

A WORLD-CLASS EXPERIENCE stage arts

TRAVEL WITH THE UNIVERSITY OF UTAH Take your education a little further with University of Utah’s Go Learn, the state’s premier program that combines education with a vacation. Our unique edu-vacations allow you to explore the world with hand-selected U of U faculty, who are experts at bringing local and

international destinations to life.

The Go Learn experience is so rewarding, you’ll never again want to travel in any other way.

Trips scheduled to Cuba, So.Utah, Guatemala, Scotland, London, and Greece.

*

For more information and to see upcoming destinations, visit arts.ucangolearn.com

NOTHING LIKE IT ANYWHERE.

Experience Salt Lake like never before with City Creek Living. At the center of Utah’s cultural heart, this internationally acclaimed neighborhood puts you just moments away from mountains, music, memories and more.

99 WEST

•

RICHARDS COURT

•

THE REGENT

CityCreekLiving.com | 801.240.8600

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

PHOTO © IAN SHIVE

“Please, sir,” replied Oliver, “I want to open a University Credit Union savings account.”

UcreditU.com Federally Insured by NCUA

MASTERWORKS SERIES Rachmaninoff’s Piano Concerto No. 3 OCTOBER 20, 2016 / 7:30PM / VAL A. BROWNING CENTER ̌ JURAJ VALCUHA , C onduct or ( U t ah S y mphony D eb u t ) ANDREY GUGNIN , Piano

SPONSORED BY

Mrs. Paul T. Kunz Weber County RAMP Grant

PROKOFIEV

Symphony No. 3 in C minor, Opus 44

I. Moderato II. Andante III. Allegro agitato IV. Andante mosso - Allegro moderato

/ INTERMISSION /

RACHMANINOFF

Concerto No. 3 in D minor for Piano and Orchestra, Opus 30

I. Allegro ma non tanto II. Intermezzo: Adagio III. Finale: Alla breve

ANDREY GUGNIN , Piano

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 ]

13

ARTISTS’ PROFILES

Chief Conductor of the Orchestra Sinfonica Nazionale della Rai, Torino since 2009, Maestro Juraj Valčuha studied composition and conducting in Bratislava, Paris and St. Petersburg with Ilya Musin.

Juraj Valčuha Conductor Utah Symphony Debut

2005 saw his debut with Orchestre National de France.

In the following seasons, he led the Philharmonia Orchestra, Rotterdam Philharmonic, Gewandhaus Leipzig, Swedish Radio Orchestra, Oslo Philharmonic, Staatskapelle Dresden, Munich Philharmonic, Orchestra del Maggio Musicale in Florence, and Santa Cecilia Orchestra in Rome. He made his US debut with the Pittsburgh Symphony, and has also conducted the Los Angeles Philharmonic and the National Symphony in Washington, D.C. The 2015–16 season marked his return with the New York Philharmonic and the Pittsburgh and San Francisco symphonies, as well as his debut with the Minnesota Orchestra. He enjoys recurring visits to the Munich and Czech philharmonics, the Swedish Radio, NDR Hamburg and Santa Cecilia orchestras, and the Orchestra del Maggio Musicale. He has toured with the Bamberg Symphony to the Beethoven Festival in Bonn, Frankfurt and Cologne, as well as with NDR Hamburg Orchestra to the Bratislava Festival. Earlier this year, he conducted Parsifal at the Budapest Opera.

In the 2016–17 season, he will have his debut with the Chicago Symphony, and will also appear with the San Francisco, Pittsburgh, National and Utah symphonies, Art Center Ottawa, OSM Montreal and the Minnesota Orchestra. In Europe, he will return to the Frankfurt Radio, NDR Hamburg and Santa Cecilia orchestras, Orchestre de Paris, Orchestre National de France, Philharmonia in London, the Bratislava Festival, and the Orchestra del Maggio Musicale. On the opera scene, he will conduct Pique Dame in Florence, Elektra at Teatro di San Carlo Napoli and Peter Grimes at Teatro Comunale Bologna.

14

801.399.9214 [ symphonyballet.org ]

ARTISTS’ PROFILES

Andrey Gugnin Piano

Pianist Andrey Gugnin graduated from the Moscow Conservatory, where he studied under Professor Vera Gornostayeva and pursued postgraduate studies with her. In 2013 he took second prize in the International Beethoven Piano Competition in Vienna. In 2014 he was the gold medallist in the 16th Gina Bachauer International Piano Competition in Salt Lake City, Utah, as well as the winner of the audience favorite award. Following these awards he has appeared in many prestigious concert venues, including Carnegie Hall, and he is to record a solo disc on the Steinway & Sons label. His concerts have been heard in over 20 countries around the world. In Moscow, he has performed at the Great Hall of the Moscow Conservatory, the Tchaikovsky Hall and the International House of Music. He has a strong interest in chamber performances. He has participated in the Musical Olympus and Art November festivals, the Lake Ohrid Summer Festival in Macedonia, the Ruhr Piano Festival in Germany and others.

801.399.9214 [ symphonyballet.org ]

15

NOTES ON THE PROGRAM Notes by Michael Clive

Sergei Prokofiev (1891–1953) Symphony No. 3 in C minor, Opus 44 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, side drum, tamtam, castanets, cymbals, bass drum, tambourine, bells, 2 harps; strings PERFORMANCE TIME: 34 minutes BACKGROUND There is no doubt that Sergei Prokofiev and Dmitri Shostakovich were two of the most important symphonists of the 20th century, but the unanimity ends there. Through the 1970s, their relative positions in the music world seemed clear, with Prokofiev the cosmopolitan international composer who knew how to handle the Soviet Union’s cultural bureaucracy, while Shostakovich was the prime example of the creative artist who was forced to compromise his artistic principles in the face of government threats to his friends, family and himself.

All of that changed when Testimony, a volume purported to be Shostakovich’s own account of his life as a composer in the Soviet Union, became available in translation in the U.S. in 1979.

What did Soviet officials want from their composers? Music that was highly accessible to the proletariat and utile to the state, promoting the advantages of approved collective ideals and the values of the revolution. By the government’s

16

reckoning, even non-programmatic music could conflict with these goals if it explored new ideas in composition, as both Prokofiev and Shostakovich wanted to do. According to Testimony, all of Shostakovich’s compositions after 1926, but especially his symphonies, were musical indictments of Soviet repression, and were constructed in a way that made his bold criticisms apparent to his audiences, but not to authorities. While the authenticity of Testimony has not been resolved, it has spurred re-evaluations of Shostakovich’s symphonies and Prokofiev’s, once considered less emotional and more “international” in style.

With reinterpretation of both composers’ works, Prokofiev’s were found to be more richly emotional than originally thought. But such considerations may be moot in the case of Prokofiev’s Third and Fourth symphonies, since these were based on musical materials originally developed for theatrical works, which were historically Prokofiev’s most popular and most emotionally transparent compositions. His Symphony No. 3 incorporated musical ideas from his score for the opera The Fiery Angel, which had been accepted by conductor Bruno Walter for performance in the 1927–28 season of the esteemed Berlin State Opera. Another misconception about Prokofiev, held over from his youthful post-conservatory days, was that he was something of an enfant terrible who composed what came easily to him. These symphonies, which show his care and craft in reworking narrative

801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM

music in non-programmatic, symphonic form contradict that idea.

The Fiery Angel was not staged during Prokofiev’s lifetime. An ambitious work set in the era of courtly love and chivalry, it combines a complex love story with lurid accounts of demonic possession, and has been called Prokofiev’s “craziest” score.

But the Symphony No. 3 posed no such craziness, and received its premiere in 1929 by the Orchestre Symphonique de Paris under the baton of Pierre Monteux.

WHAT TO LISTEN FOR If the Symphony No. 3 was born in a crucible of craziness, its construction shows little sign of that—though the music is, admittedly, quite intense.

The introduction and development of thematic materials proceed along traditional lines, but the resulting sound is hectic and almost scary. Few symphonies have a more emphatic opening, with violent chords sweeping through the orchestra. Tolling bells create a sense of foreboding that provides a foil for the formal symphonic development of the first movement, and an impression of force, energy and struggle—we’re reminded of the conflict, struggle and resolution of opposing forces in Beethoven symphonies— prevails until we arrive at the second movement. Here the music relaxes and takes an inward turn, and the booming energy of the first movement gives way to more delicate textures.

In the third movement, we hear hybrid elements from both of the movements

801.399.9214 [ symphonyballet.org ]

that preceded it: though the textures are lighter than in the first movement, the sense of foreboding is back, as dithering strings create a chilling effect. They are intensified by insistent announcements from the brass choir and bass drum.

Finally, in the fourth movement, Prokofiev reprises musical materials from earlier in the symphony, beginning at a comfortable andante pace and gradually accelerating, and we are left with the feeling that—despite the nonprogrammatic nature of the work—we have heard music with a narrative line.

It’s almost as if we have experienced a ghost story in which the ghosts and the events are left to our own imaginations.

Sergei Rachmaninoff (1873—1943) Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, bass drum, crash cymbals, snare drum; strings PERFORMANCE TIME: 40 minutes BACKGROUND Not all great interpreters of Rachmaninoff’s Piano Concerto No. 3 have a Russian background, like the virtuoso Andrey Gugnin. But a Russian upbringing certainly can’t hurt in playing this or any composition by Rachmaninoff, whose life and music were characteristically Russian. Rachmaninoff was a great pianist as well as composer.

He was also famously melancholy. His

17

NOTES ON THE PROGRAM

moods were intensified when he was away from his home country, which he loved in his very bones; being away from Russia sometimes paralyzed him with homesickness.Yet he was also cosmopolitan and well-traveled, and understood the practical advantages of a life of relative luxury and convenience in California, which had attracted other Russian emigres, including Stravinsky.

Though Rachmaninoff composed this concerto in 1909 in the idyllic setting of his family’s country estate, Ivanovka, it was an appropriate vehicle for the composer’s later concert tours. In planning these tours, he viewed America almost as an economic promised land.

As he knew well, spectacularly difficult concertos are the “money concertos”— they sell tickets. And the Rachmaninoff Third is one of the most difficult in the piano repertory.

Our chances of hearing a great performance of this formidable concerto are probably greater than ever before, especially since the movie Shine, with actor Geoffrey Rush as pianist David Helfgott, brought its grueling demands to a wider public. Interestingly, our chances of hearing a woman pianist contend with Rachmaninoff’s virtuosic writing are also greater than ever. For decades after the master’s death in 1943, there was an unwritten (and unreasonable) rule of thumb against women tangling with his music, which requires huge reserves of power and an extremely large digit span.

The trailblazing exceptions included Ruth Laredo and especially Alicia de Larrocha, the diminutive Spaniard who

18

proved it was possible to power through Rachmaninoff’s gaping intervals and thundering octaves despite her small stature and hands.

With our luxury of listening choices, we can easily forget how different things were in Rachmaninoff’s day and earlier, when fewer soloists were prepared to play the great concertos, and when the composers who wrote them were often prominent soloists in their own right. Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s great pianists—perhaps the greatest of all, according to some current re-evaluations. (Recordings of Rachmaninoff exist, and his performances are well documented.) With Frederic Chopin, Franz Liszt, and the great Baroque organists like Bach and Telemann, he was one of classical music’s legendary masters of the keyboard who were also great composers. Of these, he was an heir of Liszt—whose works demand power, speed and fire—rather than the poetic, introspective Chopin.

If Tchaikovsky was the central and best known of the Russian Romantic composers, and if Glinka was the first and the father figure, then Rachmaninoff embodied their artistic culmination. As a conservatory student in Moscow and St. Petersburg, he focused intensively on both piano technique and composition, and he was recognized as a great pianist throughout his career; just before his death, he was touring the U.S. as a piano soloist.

Despite his latter-day moodiness and a bit of harmonic adventurism, you can hear that

801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM

his style was rooted in the 1800s and in Russia as deeply as his predecessors’.

But Glinka and Tchaikovsky remained in the motherland and died there in 1857 and 1893, respectively. Listening to Rachmaninoff’s long, brooding lines—their sweetness tinged with melancholy—it can be a jolt to learn that he died at his home in sunny Beverly Hills as recently as 1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era.

Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions. But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style—fleet passagework, rhythmic pliancy and long, singing lines.

WHAT TO LISTEN FOR Rachmaninoff’s third piano concerto is known to many pianists as Rach 3, or— thanks to Sylvester Stallone—as Rocky III because it is so formidable a heavyweight.

The difficulties lie in Rachmaninoff’s unique combination of power, poetry and speed. Those huge, complex chords, thundering octaves, cascading phrases

801.399.9214 [ symphonyballet.org ]

and purling legatos might be nearly impossible to play, but should sound effortless as they hold you in their thrall. It’s only afterwards, when you are released from their spell, that you might wonder how in the world the pianist played them with only two hands.

Written in the three-movement form typical of Romantic concertos, the Piano Concerto No. 3 begins with an allegro movement in D minor. The opening statement, a relatively simple melody juxtaposed against a slower theme, frames a characteristic Rachmaninoff development section: brilliant passagework and thundering climaxes create intense drama before the original theme reappears in relative tranquility.

The concerto’s second movement reveals what many listeners value most in Rachmaninoff: a melody of intense, swooning romanticism that goes wherever its organic, spontaneous development seems to lead it. This development is mediated by the reintroduction of the main melody from the first movement. Solo flourishes from the piano lead directly from the close of this central movement to the opening of the concerto’s third and final movement.

This movement brings together the concerto’s various themes in a rousing finale. Instead of a rigid development section, the movement proceeds freely, building to an early climax that recalls the first movement. Then the movement’s original themes are restated, carrying the concerto to a blazing conclusion.

19

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

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

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

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Hanah Stuart Assistant Principal Second

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

Leonard Braus• Associate Concertmaster Emeritus

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

CONTRABASSOON Leon Chodos

Karen Wyatt•• 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

20

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal

Jennifer Rhodes

HORN Edmund Rollett Acting Principal Alexander Love Acting Associate Principal ††

Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton# TROMBONE Mark Davidson Principal

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager 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

Lissa Stolz

801.399.9214 [ symphonyballet.org ]

MAGNOLIA stage arts HOME COLLECTION

NOW AT RC WILLEY

Furniture | Electronics | Appliances | Flooring | Mattresses Syracuse 801-774-2800 • Orem 801-227-8800 Murray 801-261-6800 • South Salt Lake 801-461-3800 Riverdale 801-622-7400 • Draper 801-567-2200 Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm • Closed Sunday • Shop online at rcwilley.com.

stage arts

stage arts

nyon ce Ca Bry at

the Closest accomodations to Bryce Canyon

BOOK YOUR STAY TODAY! RUBYSINN.COM • 866.866.6616

HOTEL • CAMPING • RV PARK • SWIMMING POOLS • RESTAURANTS GENERAL STORE • ATV RENTALS • HORSEBACK RIDING

The wonder of the west

stage arts

and Fine Art

Ivy House Weddings at Western Gardens Downtown

A timeless venue for all types of events featuring original paintings by Utah Artists.

Call for Availability!

801-792-3161 IvyHouseWeddings.com

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

25

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+) The Norman C. Tanner and 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 Ogden City Corporation through Ogden City Arts Dr. Paul & Carol Sonntag Sharon Lewis State of Utah, Division of Arts & Museums BENEFACTORS ($1,000$2,499) Dr. Nelson L. & Carole W. Astle Dwight & Cindy Baldwin Bean Family Foundation Dr. Glen & Genette

26

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 Keith & Ellen Opprecht 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 Russ Carruth Mary & Lee Forrest Carter Elliot-Hall Company Rosemary Conover & Luckey Heath CrossAction Computers Douglas Deis Doug & Shelley Felt Dr. & Mrs. Ralph Friz Greg & Caitlin Gochnour Dean Hurst Kier Construction Lindquist Memorial Parks Suzanne Lindquist

Val & Karen Lofgreen Jan & Jerome Luger Scott & Kirsten Major Robert & Eleanor Newman 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 Dr. & Mrs. Arthur Budge Mr. & Mrs. Jeffry Burton Brad & Lynn Carroll Kitty Chatelain Allen & Janis Christensen Cathay Christiansen Kent Collins Clark & Pat Combe Becky Crumbo

801.399.9214 [ symphonyballet.org ]

FRIENDS OF OSBA 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 Robert Fudge & Sylvia Newman 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 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 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

801.399.9214 [ symphonyballet.org ]

Janet Petersen Jim & Kay Philpott Matt & Cami Pollard Sanford Poulsen Paul & Joan Powell Marty & Carolyn Rasmussen 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 Wasatch Peaks Credit Union Sheldon & Janice Ward Nancy Waterfall Suzanne Wayment Matthew Webb Lee & Carol Welch Roberta & Kent West Richard White Kenna Williams

27

FRIENDS OF OSBA Carl & Helgard Wolfram Venita Wood Harry & Marilyn Woodbury 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 and Mary Hall George B. and Betty Jo Handy Gibby Studios, Inc. Grounds for Coffee Iggy’s John Gordon

28

Brenn Hill Julie Johnson Kaffe Mercantile Kangaroo Zoo Kier Construction KLO Radio Lifetime Products Scott Major Megaplex Theaters Mineral Reflections Mountain Medical Imaging Robert & Eleanor Newman Next Ensemble Now 97.9 Ogden Nature Center Olive and 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

MEMORIAL DONATIONS Telitha Greiner Dr. & Mrs. Arthur Budge Suzan Johnson Dr. & Mrs. Arthur Budge 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 Diane Cook Taylor Florence Stowe Ed Vendell Dr. Judith Mitchell IN HONOR OF DONATIONS Marjorie Funk Bud Funk Sharon Macfarlane Maryonne Wilson

801.399.9214 [ symphonyballet.org ]

A World-Class, Locally Owned Rug Source

DIRECT IMPORTER

1460 Foothill Drive Salt Lake City, Utah 84108 801-582-3500

“We Care For You & All Of Your Eye Care Needs” PREPRINT

C O U N T R Y

H I L L S

EYE CENTER

Proudly Serving the Community for 15 years!

801-399-1149

875 Country Hills Drive • Ogden Utah BOARD CERTIFIED

EYE PHYSICIANS & SURGEONS

Jackson F. Lever, MD

David E. Brodstein, MD

• Anterior Segment Cancer Treatment • Blepharoplasty • Botox • Cataract Surgery –No Shot –No Stitch –No Patch

• Contacts & Eyeglasses

Jonathan B. Gunther, MD

Bradley W. Richards, MD

• Corneal Transplants –State of the Art Partial Thickness Transplants

B. Travis Dastrup, MD

• LASIK • Laser Cataract Surgery

• Diabetic Exams & Treatments

• Low Vision Care

• Eyelid & Reconstructive Surgery

• Medical Retina

• Macular Degeneration

• General Ophthalmology • Glaucoma

[ 30

–Laser Treatment –iStent

• ICL

www.checdocs.org

• Pediatric & Neuro-Ophthalmology • Tear Drainage & Orbital Surgery

% off

any pair of glasses

With purchase of 1 year of contact lenses. Must Present Coupon at time of purchase. Expires 6-1-17 OSBA Playbill

]

PREPRINT

It’s Time For You To Enjoy The Life You Deserve

MOUNTAIN RIDGE OFFERS ASSISTED LIVING, MEMORY CARE, RESPITE, DAILY EXERCISES & ACTIVITIES AND DAY STAY PROGRAMS.

50% off

Community Fee if you mention this ad

2016

(some restrictions apply)

1885 E. SKYLINE DR. SOUTH OGDEN

801-475-5111

MOUNTAINRIDGEAL.COM

PREPRINT

We specialize in Helping You Shine

Proudly Serving Weber & Davis County • 13 convenient locations • 20 specialties to choose from • Extended evening & weekend hours • Nearly all insurance plans accepted

Call to schedule an appointment!

801.475.3000

OGDENCLINIC We specialize in you.

OgdenClinic.com

UTAH 2016-17