Rachmaninoff's Piano Concerto No. 2 | March 21, 2019

OGDEN SYMPHONY BALLET

Rachmaninoff’s Piano Concerto No. 2 March 21, 2019 | 7:30pm

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2018–19 season

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WELCOME Dear Friends, I want to extend a warm welcome to each of you attending this performance. Thank you for coming! I am honored to serve as Executive Director of Ogden Symphony Ballet Association and wish to express my gratitude for your support as I have become acclimated to this new role. As a life-long musician, administrator, and advocate for the arts I am inspired and motivated by the dedication and commitment I have seen from so many donors, patrons, and volunteers. I am extremely enthusiastic about what we can accomplish together.

Looking ahead, I am excited about the increase in energy surrounding the blossoming arts scene in Ogden, and the strong consortium of cultural leaders we have around us.

I believe that OSBA’s value lies in the ability to connect our community through music and dance; and to bring the countless positive benefits of the performing arts to as many in our community as possible. If you haven’t already, I invite you to join our efforts by sharing your passion with others; bring a friend, persuade a coworker to attend, introduce us to someone new in town. I cannot overestimate the impact of these activities. There are many other ways to make a difference, and I encourage you to contact a staff member if you would like to share your time, talents, or resources.

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We can only succeed by working together to protect and grow our cherished organization.

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OSBA BOARD & STAFF

BOARD OF DIRECTORS Dr. Robert Fudge President Mark Stratford President Elect Paul Kunz Past President Melissa Bennett Vice President Jennifer Webb Secretary Dr. David Malone Treasurer Steven Carter Robbyn Dunn Dr. Ann Ellis Linda Forest John Fromer John Gordon Dr. Val Johnson Russ King (OSBA Foundation) McClain Lindquist Dr. Robert Newman Nancy Pinto-Orton Dr. Carolyn Rich-Denson Dr. Jan Slabaugh

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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Ellen Opprecht Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke

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EXECUTIVE DIRECTOR Melissa Klein DEVELOPMENT DIRECTOR Taylor Knuth BOX OFFICE & MARKETING MANAGER Camille Washington OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson AUDIENCE ENGAGEMENT COORDINATOR Ginger Bess Simons

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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 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.

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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. We also offer a variety of education classes, from Masterworks Music Detectives to Music and Dance Explorers. And we are partnering with several local community organizations to expand these programs to reach even more children and students. This May, we will present our 3rd Annual Youth Benefit Concert, featuring Young Concert Artist, violinist Bella Hristova. 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 2018–19 SEASON

ENTERTAINMENT SERIES

DANCE SERIES

Bernstein on Broadway September 13

BalletX October 6

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SPECIAL EVENTS Patriotic Pops June 29 Frank & Ella August 7 The Nutcracker November 23 & 24 The Queen’s Six February 19 Youth Benefit Concert May 8

Arts

The Ogden Symphony Ballet Association’s 2018–2019 season 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

RACHMANINOFF’S PIANO CONCERTO NO. 2 MARCH 21, 2019 / 7:30PM / VAL A. BROWNING CENTER

CONCERT SPONSORED BY

MATTHEW B. ELLIS FOUNDATION

THIERRY FISCHER, conductor ALEXANDER GAVRYLYUK, piano

ANDREW NORMAN

[Composer in Association] RACHMANINOFF

Play Vocalise, Op. 34, No. 14

/ INTERMISSION /

RACHMANINOFF

Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 ALEXANDER GAVRYLYUK, piano

I. Moderato II. Adagio sostenuto III. Allegro scherzando

ADDITIONAL FUNDING PROVIDED BY

Arts

The Ogden Symphony Ballet Association’s 2018–2019 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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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphony, newly commissions works, and the first of a three-CD set of symphonies of Saint Saëns. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.

Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta.

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

While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label.

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 from 2001–2006.

He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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Five days. One musical Genius.

2019

ogden

April 8-12

2019_Ogden Bach Festival_5.5x8.5 Handout.indd 1

2/19/19 1:14 PM

ARTISTS’ PROFILES

Alexander Gavrylyuk Piano

A stunningly virtuosic pianist, Alexander is internationally recognized for his electrifying and poetic performances.

Highlights of the 2018–19 season include debuts with the London Philharmonia Orchestra, Chicago Symphony, Wiener Symphoniker, and City of Birmingham Symphony Orchestra; returns to the Royal Concertgebouw Orchestra, The Halle, Sydney Symphony, Royal Scottish National Orchestra, and Wigmore Hall; and tours of Asia, North America, and Europe, both as a solo recitalist and with violinist Janine Jansen.

He has since gone on to perform with many of the world’s leading orchestras, including the New York, Los Angeles, Czech, Warsaw, Moscow, Israel, and Rotterdam Philharmonics; NHK and Cincinnati Symphony; Orchestre National de Lille and the Stuttgarter Philharmoniker; collaborating with conductors such as Vladimir Ashkenazy, Alexandre Bloch, Herbert Blomstedt, Andrey Boreyko, Thomas Dausgaard, Valery Gergiev, Neeme Järvi, Vladimir Jurowski, Sebastian Lang-Lessing, Kirill Karabits, Louis Langrée, Cornelius Meister, Vasily Petrenko, Rafael Payare, Alexander Shelley, Yuri Simonov, Vladimir Spivakov, Markus Stenz, and Osmo Vänskä. Gavrylyuk has appeared at many of the world’s foremost festivals, including the Hollywood Bowl, Bravo! Vail Colorado, Mostly Mozart, the Ruhr Festival, the Kissinger Sommer International Music Festival, and the Gergiev Festival in Rotterdam.

Alexander is Artist in Residence at Chautauqua Institution where he leads the piano program as an artistic advisor.

He 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 currently lives in the Netherlands with his wife Zorica and their two daughters Anna and Olivia. He is a Steinway Artist and more information is available on his website alexandergavrylyuk.com

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NOTES ON THE PROGRAM

by Michael Clive

Andrew Norman (b. 1979)

Play PERFORMANCE TIME: 40 MINUTES

Arts writers have borrowed the word “synesthesia” from neurology to denote a functional “crossing” of the senses—as with the many composers of genius through the centuries who have experienced seeing musical notes as colors. In a looser sense, paintings or photographs are said to be “rhythmic” or “loud.” This approach comes in handy when trying to describe the sounds produced by Norman’s questing, boundary-crossing creativity. Many of his musical subjects are architectural; for example, he has evoked the visual and spatial impressions of architect Frank Gehry’s work in a way that could be compared to Virgil Thomson’s musical “portraits.” In experiencing the Norman sound, it pays to listen for effects that could be described as rhyming, angular, and texturally gleaming— words that could apply equally well to Gehry’s sculptural buildings.

Play earned Norman the 2017 Grawemeyer Award for Music Composition. In a 2016 article on his acceptance of the award, the New York Times described Play as “rollicking” and “gaming-influenced.” Here is an excerpt from the composer’s own comments about the work: “… Play is a cycle of pieces, a body of work that I have been writing and rewriting for almost five years. Play explores many different ideas—ideas about choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves,

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about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge. Play touches on the corrupting influence of power and the collapse and rebirth of social systems, but it also explores the physicality and joy of instrumental playing, as well as the many potential meanings of coordinated human activity—how the display of massed human synchronicity can represent both the communal best and coercive worst of our race… We flip the switch on a crazy, topsy-turvy world where the percussionists discover that their instruments have all sorts of powers over the rest of the orchestra.

They have the power to turn other players on and off, to make them play forwards or backwards, louder or softer, faster or slower, to trade them out one for another or make them rewind and retry ideas again and again until they are gotten right.”

Sergei Rachmaninoff (1873–1943)

Vocalise PERFORMANCE TIME: 6 MINUTES

In Vocalise, the absence of words does not suggest an absence of meaning or mood. It is lushly melancholy. Russia’s tradition of art songs is rich in ruminations on the difficulties and sadness of life, and in Vocalise many listeners hear a voice that sings on behalf of anyone who feels trapped by unhappiness.

More than one critic has compared the melody’s progress to a caged bird seeking escape, rising to near freedom and then falling back.

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NOTES ON THE PROGRAM

In rehearsing to perform Vocalise with Rachmaninoff at the piano, soprano Antonina Nezhdanova expressed regret that the music lacked text. “What need is there of words,” asked Rachmaninoff, “when you will be able to convey everything better and more expressively than anyone could with words by your voice and interpretation?”

Sergei Rachmaninoff (1873–1943)

Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 PERFORMANCE TIME: 32 MINUTES

One can hear the brooding depressive as well as the ardent romantic throughout the concerto. In the first movement, marked moderato and written in C minor, an opening of intense foreboding builds through a series of powerful chiming chords in the piano. As the tension builds to a breaking point, the piano’s simulated chiming rolls into a sweeping main theme that is taken up in the violins but quickly engulfs the entire orchestra. From this moment on—indeed, from the very opening bars, with the piano’s lone voice—the concerto announces itself as a hugely scaled musical statement that balances sweeping, melancholy “outdoor” phrases with romantic “interior” melodies.

When a rolling theme emerges, its march tempo gives it the quality of an inexorable machine, with only the solo piano to challenge it. Slow chords in the strings open the second movement, an adagio that

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moves from C minor into E major. While the piano delineates a theme through fleet, poetic arpeggios, the overall mood remains melancholy, with a short exchange between orchestra and piano developing the movement’s motifs. Yet this tinge of sadness does not overwhelm—perhaps because of the sense of romance and melodic richness that pervades the whole concerto. Its songful quality, which gave rise to two Frank Sinatra tunes based on just the first movement (“I Think of You” and “Ever and Forever”), takes full flight in the lush, gorgeous third movement, marked allegro scherzando. This movement is built around a melody that is like the distilled essence of romance, and that forms the basis of the song “Full Moon and Empty Arms.” It has been quoted in dozens of movies to convey the exquisite pleasure of love anticipated… and the exquisite pain of love unfulfilled. It can also be said to have saved Rachmaninoff ’s life: when he composed this melody and discussed it with colleagues, it secured his more optimistic outlook on his composing prospects. This is the theme that turned Brief Encounter into a three-handkerchief weepy, and that prompted Marilyn Monroe to tell Tom Ewell, “Every time I hear it I go to pieces!” in The Seven Year Itch.

The concerto ends in a flourish of virtuosity and optimism. The last movement, an allegro, opens with an introduction that moves away from the previous movement’s E major, where the music was lush but the emotions lingered in an atmosphere of twilit moodiness. To close, it moves from C minor to C major with ever-increasing tension and energy. The final thematic statements and coda are resolved in C major, in a loud and ecstatic finale.

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UTAH SYMPHONY Thierry Fischer, Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington 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 Porter Acting Associate Concertmaster

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Elizabeth Beilman Acting Associate Principal Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

TROMBONE Mark Davidson Principal

Robert Stephenson Associate Principal

BASS TROMBONE Graeme Mutchler

Lissa Stolz

TUBA Gary Ofenloch Principal

ENGLISH HORN Lissa Stolz

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal

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

John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Erin Svoboda Associate Principal

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

E-FLAT CLARINET Erin Svoboda

Evgenia Zharzhavskaya Assistant Principal Second

Corbin Johnston Associate Principal

David Park Assistant Concertmaster Claude Halter Principal Second

Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah 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

James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal

Lee Livengood BASS CLARINET Lee Livengood

Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal PERCUSSION Keith Carrick Principal Michael Pape Stephen Kehner†† KEYBOARD Jason Hardink Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

LIBRARIANS Clovis Lark Principal

Leon Chodos Associate Principal

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Jennifer Rhodes CONTRABASSOON Leon Chodos

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Sam Elliot Associate Principal

HORN Edmund Rollett Acting Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal

Katie Klich

Andrew Williams Orchestra Personnel Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member

Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††

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FRIENDS OF OSBA OSBA thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Ogden Symphony Ballet Association is an exempt organization as described in section 501(c)(3) of the Internal Revenue Code. The following is a list of contributors from June 2018 through May 2019. Please contact OSBA's Development Director, Taylor Knuth, at 801-399-9214 if you would like to make a donation or if your name has been inadvertently left off the following list or is misspelled. Thank you again for your generous support!

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