Utah Symphony March/April 2020

2019-20 Utah Symphony Season

March – April 2020

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CONTENTS

MAR/APR CONCERTS

6 Welcome 11 Music Director

Sketches of Spain

12 Associate Conductor

Mar. 6–7

14 Utah Symphony

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15 Board of Trustees

masterworks

17 Season Sponsors 61 Donors

All-Star Youth Pro Am Mar. 19

74 Administration

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79 Tanner & Crescendo

special event

Societies 82 Acknowledgments

Carmina Burana Mar. 27

Mar. 28 UNWOUND

33 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

Brahms’ Piano Concerto No. 2

Apr. 10–11

@UtahSymphony

PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Patrick Witmer

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ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANTS Jessica Alder Caleb Deane EDITOR Melissa Robison

masterworks

The Temptations with the Utah Symphony Apr. 17–18

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entertainment

Beethoven 2020 “Pastoral” Symphony Apr. 24–25

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups.

Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2020

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masterworks

Purchase tickets at utahsymphony.org or call 801-533-6683

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WELCOME

Patricia A. Richards Interim President & CEO

Thierry Fischer Music Director

On behalf of the artists, musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert featuring the Utah Symphony.

For more than 30 years, March has been celebrated around the nation as Music in Our Schools Month. Sponsored by the National Association for Music Education, the initiative directs the nation’s attention to the powerful role that quality music programs play in the lives of young people. This year’s theme is “Music Changes Lives” and it focuses on lessons for 2nd and 5th graders that help them learn elements of music. Appropriately, last month 20,000 of Utah’s 5th Grade students attended special daytime concerts in Abravanel Hall, a program in place since 1982, and throughout the school year the orchestra performs a variety of concerts in Utah schools for all age groups!

Thomas M. Love Chair, Board of Trustees Symphony members. These months also include four dynamic Masterworks programs where the Utah Symphony will expertly perform music by a diverse range of composers from 18th century Handel and 19th century Brahms, Mahler, Wagner, and Debussy to living composer and current composer-in-association Andrew Norman. On March 28, join us for our next installment of the unwound casual concert series featuring Carl Orff’s popular spectacle for orchestra and choirs, Carmina Burana in an immersive evening you won’t soon forget. Finally, for a nostalgic trip through music’s most soulful period, April includes a concert with Motown legends The Temptations with the Utah Symphony.

Thank you for joining us and demonstrating the value of great live music to this community!

Sincerely,

In addition to our education concerts, March and April incorporates two familyfocused concerts (Carnival of the Animals with Children’s Dance Theatre and How to Train Your Dragon Film in Concert), and our annual All-Star Youth Pro-Am concert featuring Utah’s best young musicians playing side by side with Utah 6

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MUSIC DIRECTOR

Swiss conductor Thierry Fischer has been Music Director of the Utah Symphony since 2009 and becomes Music Director Emeritus in 2022. He is Principal Guest of the Seoul Phillharmonic 2018, and begins as Music Director of the Sao Paulo Symphony this month.

In Utah he revitalized the organization, instigating a major commissioning program, taking the orchestra to Carnegie Hall for the first time in 40 years, recording Mahler symphonies for Reference Records and beginning a SaintSaëns cycle for Hyperion.

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

Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Orchestra of the Age of Enlightenment, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, also Chamber Orchestra of Europe, Mostly Mozart New York, Orchestra of the Age of Enlightenment, London Sinfonietta, and Ensemble Intercontemporain.

While Principal Conductor of the BBC National Orchestra of Wales 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 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

Thierry Fischer is represented by Intermusica.

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ASSOCIATE CONDUCTOR | PRINCIPAL CONDUCTOR OF THE DEER VALLEY® MUSIC FESTIVAL Associate Conductor Conner Gray Covington is currently in his third season with the Utah Symphony and was recently named Principal Conductor of the Deer Valley® Music Festival. In his first season as Associate Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.

Conner Gray Covington Associate Conductor | Principal Conductor of the Deer Valley. Music Festival

Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and made debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.).

Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music degree in orchestral conducting and was awarded the Walter Hagen Conducting Prize. He was recently named as one of the 2019 Solti Foundation Career Assistance Award Winners.

Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts.

6:45 PM inprior thetoFirst Tier Room, Abravanel 45 minutes start-time, Abravanel Hall

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Hall

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Utah musicians in concert at the

Gallivan Center

Red Rock Hot Club

7:30 Wednesday Evenings, year round

excellenceconcerts.org • 385-743-0146

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 & Principal Conductor of the Deer Valley® Music Festival

Barlow Bradford

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Symphony Chorus Director

Elizabeth Beilman

VIOLIN* Madeline Adkins

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas

Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Acting Associate Principal

Kathryn Eberle

CELLO* Rainer Eudeikis†

Ralph Matson†

Matthew Johnson

David Porter

Andrew Larson

Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Associate Concertmaster Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant 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 • First Violin •• Second Violin

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Principal The J. Ryan Selberg Memorial Chair Acting Principal

Acting Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

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

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz

Principal

Associate Principal

Peter Margulies# Paul Torrisi Alexander Pride†† TROMBONE Mark Davidson Principal

ENGLISH HORN Lissa Stolz

Sam Elliot

CLARINET Tad Calcara

BASS TROMBONE Graeme Mutchler

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

Erin Svoboda-Scott Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

TIMPANI George Brown Principal

Eric Hopkins

Associate Principal The Ted & Elizabeth Schmidt Chair

PERCUSSION Keith Carrick Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Associate Principal

Katie Klich

Jennifer Rhodes

ORCHESTRA PERSONNEL Walt Zeschin

CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Associate Principal

Caitlyn Valovick Moore * String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

David L. Dee* Alex J. Dunn Brian Greeff* Senator Dan Hemmert Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Naoma Tate Thomas Thatcher

W. James Tozer, Jr. Dr. Astrid S. Tuminez David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts

Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne

Ron Jibson E. Jeffery Smith Barbara Tanner

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

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

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Jesselie B. Anderson* Doyle L. Arnold* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO Dr. Julie Aiken Hansen Judith M. Billings Gary L. Crocker

MUSICIAN REPRESENTATIVES Julie Edwards* Andrew Larson* EX OFFICIO Doyle Clayburn Utah Symphony Guild Mark Stratford Onstage Ogden

LIFETIME BOARD William C. Bailey Edwin B. Firmage Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

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*Executive Committee Member

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Eccles Foundation Board of Directors: Robert M. Graham • Spencer F. Eccles • Lisa Eccles

Enriching excellence in the arts in Utah for more than half a century.

Utah Symphony Season Sponsor | 2019-20

SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

E N T E R TA I N M E N T & F I L M S E R I E S S P O N S O R

FA M I LY S E R I E S S P O N S O R

KEM & CAROLYN GARDNER SYMPHONY CHORUS DIRECTOR SPONSOR

UTAHSYMPHONY.ORG

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SEASON SPONSOR

MASTERWORKS SERIES

SKETCHES OF SPAIN Mar. 6

/ 2020 / 10AM / ABRAVANEL HALL (FINISHING

TOUCHES REHEARSAL)

Mar. 6–7

/ 2020 / 7:30PM / ABRAVANEL HALL

Fabien Gabel, conductor

Benjamin Beilman, violin

CO N D UC TOR S PO N SOR

RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION CO N D UC TOR S PO N SOR

ANDREW NORMAN: Unstuck LALO: Symphonie espagnole for Violin and Orchestra, Op. 21

I. Allegro non troppo II. Scherzando: Allegro molto III. Intermezzo: Allegretto non troppo IV. Andante V. Rondo Benjamin Beilman, violin

THE LI N DA & D O N PR I CE G U ES T A R TIST S PO N SOR

THE LINDA & DON PRICE GUEST ARTIST SPONSORSHIP,

established in memory of Linda and Don Price and in tribute to their lasting legacy to share their beloved Utah Symphony with audiences today and with generations to come.

UTAHSYMPHONY.ORG

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/ INTERMISSION /

RAVEL: Rapsodie espagnole

I. Prélude à la nuit II. Malagueña III. Habanera IV. Feria

AUBERT: Habanera DEBUSSY: “Ibéria”, No. 2 from Images

I. Par les rues et par les chemins (Through Streets and Lanes) II. Les parfums de la nuit (The Fragrances of the Night) III. Le matin d’un jour de fête (Morning of a Feast-Day)

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ARTISTS’ PROFILES Fabien Gabel is recognized internationally as one of the stars of a new generation of conductors, having established a broad repertoire ranging from core symphonic works to contemporary new works and championing lesserknown works by French composers. He has been the Music Director of the Orchestre Symphonique de Québec since 2012 and Music Director of the innovative Orchestre Français des Jeunes since 2017. His conducting has taken him across the globe to lead top orchestras.

Fabien Gabel Conductor

Born in Paris into a family of accomplished musicians, Gabel began studying trumpet at the age of six, honing his skills at the Conservatoire National Supérieur de Musique de Paris, which awarded him a First Prize in trumpet in 1996, and later at the Musik Hochschule of Karlsruhe. He went on to play in several Parisian orchestras under the direction of prominent conductors such as Pierre Boulez, Sir Colin Davis, Riccardo Muti, Seiji Ozawa, Simon Rattle, and Bernard Haitink. In 2002, Fabien Gabel pursued his interest in conducting at the Aspen Summer Music Festival, where he studied with David Zinman, who invited him to appear as a guest conductor at the Festival in 2009. He has worked as an assistant to Bernard Haitink and Sir Colin Davis Benjamin Beilman has won international praise both for his passionate performances and deep rich tone. During the Beethoven celebrations in 2020, Beilman will perform the Beethoven Concerto with the Budapest Festival Orchestra conducted by Marek Janowski, the Orchestre Métropolitain de Montréal with Han-Na Chang, and the Orchestre National du Capitole de Toulouse in Sokhiev’s closing concert as Musical Director of the orchestra. He will also play Beethoven on tour in Poland with the Wroclaw Philharmonic and Giancarlo Guerrero. In past seasons, Beilman has performed with many major orchestras worldwide.

Benjamin Beilman Violin

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Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant and a London Music Masters Award. He has an exclusive recording contract with Warner Classics and released his first disc Spectrum for the label in 2016, featuring works by Stravinsky, Janáček, and Schubert.

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

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ARTISTS’ PROFILES Andrew Norman (b. 1979) is a Los Angeles-based composer of orchestral, chamber, and vocal music. In recent seasons, Andrew’s chamber music has been featured at the Bang on a Can Marathon, the Chamber Music Society of Lincoln Center, the Wordless Music Series, the CONTACT! series, the Ojai Festival, the MATA Festival, the Tanglewood Festival of Contemporary Music, the Green Umbrella series, the Monday Evening Concerts, and the Aspen Music Festival.

Norman composed Unstuck in 2008.

Andrew Norman Composer in Association

Andrew is a committed educator who enjoys helping people of all ages explore and create music. He has written pieces to be performed by and for the young, and has held educational residencies with various institutions across the country.

Andrew joined the faculty of the USC Thornton School of Music in 2013, and he is thrilled to serve as the director of the L.A. Phil’s Composer Fellowship Program for high school composers. Other recent projects include collaborations with Jeremy Denk, Jennifer Koh, Johannes Moser, yMusic, Leila Josefowicz, and the San Francisco Symphony.

Andrew’s works are published by Schott Music.

NOTES ON THE PROGRAM: 1 / 4

by Michael Clive

Andrew Norman (b. 1979)

Unstuck PERFORMANCE TIME: 10 MINUTES

It comes as no surprise that American composer Andrew Norman is based in Los Angeles. His music captures the dynamism of that multimedia entertainment capital, including the videogame genre, for which he has composed extensively. But this modern outlook is balanced by historical interests, including a fascination with musical notation that extends back to that art’s medieval roots. A highly collaborative composer, he enjoys working with performers to explore the act of interpreting notation; as his website notes, “he is fascinated by the translation of written UTAHSYMPHONY.ORG

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symbols into physical gesture and sound.”

His distinctive, often fragmented and highly energetic voice has been cited in the New York Times for its “daring juxtapositions and dazzling colors,” in the Boston Globe for its “staggering imagination,” and in the L.A. Times for its “Chaplinesque” wit.

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 the buildings of architect Frank Gehry, whom he particularly admires. Norman composed Unstuck in 2008. Describing the work on his website, he notes: I have never been more stuck than I was in the winter of 2008. My writing came to a grinding halt in January and for a 21

NOTES ON THE PROGRAM: 2 / 4 long time this piece languished on my desk, a mess of musical fragments that refused to cohere. It was not until the following May, when I saw a copy of Kurt Vonnegut’s [novel] SlaughterhouseFive and remembered one of its iconic sentences, that I had a breakthrough realization. The sentence was this: “Billy Pilgrim has come unstuck in time,” and the realization was that the lack of coherence in my ideas was to be embraced and explored, not overcome.

I realized that my musical materials lent themselves to a narrative arc that, like Vonnegut’s character, comes “unstuck” in time. Bits and pieces of the beginning, middle, and end of the music crop up in the wrong places like the flashbacks and flashforwards that define the structure and style of Slaughterhouse-Five.

I also realized that the word “unstuck” had resonances with the way that a few of the piece’s musical ideas get caught in repetitive loops. The orchestra, perhaps in some way dramatizing my own frustration with composing, spends a considerable amount of time and energy trying to free itself from these moments of stuckness.

Édouard Lalo (1823—1892)

Symphonie espagnole for Violin and Orchestra, Op. 21 PERFORMANCE TIME: 31 MINUTES

It is not a symphony, nor is it Spanish.

The Symphonie espagnole is a fabulously

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abundant violin showcase—non-stop fun to hear and, if you happen to be a prodigiously skilled violin virtuoso, a joy to play. Its Spanish-inspired melodies challenge the soloist to dig into the strings or skip fleetly over them by turns. So is it a concerto?

With five movements and no cadenzas, not really—although it has won a place alongside the most popular violin concertos. Édouard Lalo, the composer of this glorious anomaly, was born in 1823 in Lille, a city in the northern reaches of France. A gifted string player, he studied at the Paris Conservatory with François Habeneck (remembered for his antagonism to Berlioz) and later worked in Paris as a string teacher and player. In 1865 he married the French contralto Julie-MarieVictoire Bernier de Maligny, who piqued his interest in opera. but Lalo’s forward-looking music dramas were perhaps too advanced for their time, and certainly—with their Wagnerian influence—insufficiently Gallic for the French taste. None but Le roi d’Ys is still performed. But his excellent Cello Concerto in d minor and the beloved Symphonie espagnole have earned Lalo a cherished spot in the string repertory The Symphonie espagnole may well be a window onto the playing of one of the great violin virtuosi of all time, Pablo de Sarasate, whose playing inspired Lalo.

Sarasate, a Spaniard, performed with passion and elegance, projecting a style not quite so Mephistophelian as Paganini’s; his fingers seemed to dance over the strings with a nimbleness especially suited to the Symphonie, which he introduced in 1875. While the Symphonie’s melodies begin in darkness, they quickly brighten, and its dancing rhythms—especially in the final movement, with its foot-stamping

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William Call Composer & Author

Symphony No. 4 Caricatures of an Irretrievable Past

1. At Work 6:16 2. At Home 9:57 3. A-travelin’ 4:30 4. The Circus Parade 10:02 Listen or download for free. Recording produced by Thunder Music Studio. See our new website design at williamcall.net.

“From my boyhood, I wanted to be a composer.”

Utah Symphony Feb 5 2020.indd 1

2 Nephi 2:11 Three Revolutionary Sentences.

This Passage Changes Everything!

Read related statements at williamcall.net *Why beliefs are not knowledge *Origin of change *Origin of constancy

2/6/20 11:04 PM

NOTES ON THE PROGRAM: 3 / 4 vamp—may well have inspired the many French compositions on Spanish themes that came after it. In composing his own violin concerto, Tchaikovsky was energized by the abundance of melody and structural freedom of the Symphonie espagnole.

Maurice Ravel (1862—1923)

Rapsodie espagnole PERFORMANCE TIME: 15 MINUTES

Living and listening to an orchestra in the state of Utah—with mountains, deserts, and most every imaginable microclimate nearby— it’s hard to imagine the distant call that the warmth of Spain held for French composers of the late 19th and early 20th centuries.

Not that France is exactly polar; it has the Mediterranean, the Riviera, the Camargue.

But the French classical tradition is of cool understatement and rigorous, disciplined technique. For composers such as Chabrier, Lalo, Bizet, Massenet, and Debussy, Spain was a place of magic and magnetism, of bright sunshine and hot blood where sensuality took precedence over elegance.

The Rapsodie is comprised of four brief, seductive movements. Like the Alborada del Gracioso, it was originally composed for piano (four hands), in 1907. (The Habanera movement dates back to 1895.) The following year he orchestrated it, spending more time developing the orchestral score than on the original composition. Despite limited initial success, the Rapsodie became one of Ravel’s more popular orchestral works, a spectacular early example of his mastery of orchestral color. And the famously finicky composer, too, was pleased with the work: it is the first fully orchestrated work he released for publication.

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Louis Aubert (1877—1968)

Habanera PERFORMANCE TIME: 9 MINUTES

From earliest childhood onward, Louis Aubert’s adult vocation was never in doubt: he was a musical prodigy who first performed publicly as a boy soprano. His parents were quick to recognize his gifts, and sent him to Paris for his musical education.

There, his renditions of the Pie Jesu from the Fauré Requiem at the famed Eglisè de la Madeleine came to the attention of musical insiders including Fauré himself. As a student at the Paris Conservatoire, Aubert studied composition with Fauré, who became a formative influence on the young Aubert’s compositional style. Aubert also gained acclaim as a pianist, and Maurice Ravel—an extremely demanding judge of pianists— chose him as dedicatee and premiere soloist for his Valses nobles et sentimentales.

It’s surprising to note the arc of Aubert’s career. Famous and admired as an active musician and educator, he withdrew from the public scene later in life, dying in relative obscurity in Paris at the age of 90.

The smoldering strains of his Habanera make us want to hear more, and there is indeed more to be rediscovered, most intriguingly a three-act opera that was deeply admired wherever it was produced, including in Boston in 1913. By all accounts it is an enchanting fairy-tale opera, with libretto based on stories by the French fabulist Charles Perrault.

Champions of Aubert’s Habanera included the revered French conductor Charles Münch, who conducted performances of it in the 1940s. The technical definition of a

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2020 Season June 1 - October 10

RICHARD III THE COMEDY OF ERRORS PERICLES THE PIRATES OF PENZANCE ONE MAN, TWO GUVNORS INTO THE BREECHES! DESPERATE MEASURES CYMBELINE SHAKESPEARE’S WORST!

800-PLAYTIX bard.org #utahshakes René Thornton Jr. as Henry Condell in The Book of Will, 2019

NOTES ON THE PROGRAM: 4 / 4 habanera—a slow dance in double rhythm, named for the city of Havana—hardly begins to suggest the sexy qualities of the dance itself, in which the dancers seem to bait each other with their sultry, voluptuous movements. Even their eyes are part of the choreography. We can have no doubt that Aubert’s music, with its slithering tonalities overlaying an insistent beat, capture the spirit of the dance, as well as the provocative light and smoky shadows of Havana nightlife.

Claude Debussy (1862—1918)

“Ibéria,” No. 2 from Images PERFORMANCE TIME: 20 MINUTES

Debussy’s musical imagination was especially sensitive to the visual world around him, and to the painter’s image.

He was an informed enthusiast who knew such artists as Whistler, Toulouse-Lautrec, and Gaugin personally. He also shared the attraction of French composers such as Ravel, Lalo, and Bizet to the sunlit sensuality of Spain. Composed between 1905 and 1912, Ibéria is the second section of the suite Images pour Orchestre, which Debussy originally conceived as a work for two pianos. He soon realized that for the full range of coloristic effects he had in mind, only an orchestra—and a sizable one, at that—would do.

Debussy tried unsuccessfully to fend off the term “Impressionist.” But given the title and its sound of Images, we can hardly blame listeners for connecting it to the painters

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of translucency, light, and joy—especially the shimmering Ibéria section. But the curmudgeonly Debussy, in describing his aims, called them “…what some imbeciles call ‘Impressionism,’ a term that is utterly misapplied, especially by the critics.”

In Ibéria we also hear the musical magnetism that Spain seemed to exert on French composers of the 19th and 20th centuries. Debussy was no exception, and like Saint-Saëns, Debussy wrote tangy duets in the Spanish style, but Ibéria is something different. Here, more than in his compatriots’ music, Debussy combines customary Spanish fire and spice with Gallic elegance. His harmonies can even be described as cool, carved out of the sevennote “perfect” scale that he pioneered.

They wander freely rather than resolving in pre-Wagnerian style.

Debussy asserted that Wagner’s murky, suspended harmonies were glorious, but not really applicable to other composers—a claim that seems odd as we listen to his own rambling progressions. Always, with Debussy, the best way to listen is without a map or plan in mind. Here, despite the unusually complex braiding of voices, the effect is simple to hear: glinting impressions of light and color that achieve, in the composer’s words, “an effect of reality.”

The Spanish composer Manuel de Falla validated his success, crediting Ibéria with “echoes from the villages, a kind of Sevillana…which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of Andalusian nights, the festive gaiety of people dancing…”

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456 TROLLEY SQUARE SALT LAKE CITY, UTAH 84102 801.359.2020 www.thespectacle.com

UPCOMING CONCERTS

For tickets call or visit us online:

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SPECIAL EVENT

ALL-STAR YOUTH PRO AM Mar. 19

/ 2020 / 8:30 / ABRAVANEL HALL

Conner Gray Covington, conductor

CO N D UC TOR S PO N SOR

DVOŘÁK: Symphony No. 9 in E minor, Op. 95, “From the New World”

IV. Allegro con fuoco

E D U CATIO N S PO N SOR

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BERLIOZ: “Hungarian March” from La Damnation de Faust, Op. 24

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ALL-STARS

*See page 12 for Conner Gray Covington’s artist profile.

Canyons Honors Orchestra Rhiannon Adderley, Horn Aiden Baer, Trumpet Field Behrens, Double Bass Madilyn Bowles, Percussion/Timpani Raef Erickson, Viola Ellie Gehrett, Violin II Ebony Liu, Cello Abigail McMullen, Oboe Camryn Young, Violin I Davis Youth Philharmonic John Bishop, Double Bass Sydney Carrigan, Trombone Elizabeth LeBaron, Violin I Scotlyn LeBaron, Clarinet Spencer Quantz, Clarinet Noah Suttlemyre, Double Bass Ethan Young, Horn Lyceum Philharmonic at American Heritage School Mia Bateman, Violin II Patrick Beal, Trombone Madson Callie, Violin I Savannah Christensen, Violin I Joshua Dew, Cello Samantha Elmer, Violin I Kennedy Jensen, Bassoon Peter Jensen, Cello Jack Johnson, Viola Kailynn McCullough, Violin I Alora Pederson, Horn Jaben Pederson, Trombone Luke Sheffer, Percussion/Timpani Ashlie Skowronek, Double Bass

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Nebo Youth Philharmonic Orchestra Kim Baker, Horn Joel Christensen, Bassoon Johnathan Montgomery, Trumpet Makay Peterson, Double Bass Katelyn Porter, Viola Lindsey Welton, Viola Ryan Whitaker, Percussion/Timpani Northern Utah Youth Symphony Aleesa Barker, Viola Camilla Burnett, Flute Rebecca Hales, Violin I Kevin Hokanson, Tuba Katerina Mayerle, Violin II Eleanor Nelson, Oboe Clarissa Palfreyman, Violin II Emma Tracy, Cello Utah Valley Youth Symphony Orchestra Elizabeth Eubanks, Flute Katie Goates, Violin II Luke Gunnerson, Trumpet Conner Harris, Cello Jennie Harrison, Viola Mia Raddatz, Violin II Vivace Youth Symphony Kassi Stauffer, Violin II Young Artist Chamber Players Austen Lino, Viola Kate Mayfield, Violin I Emma Thackeray, Violin I Kate Wirthlin, Violin II Thomas Chapman, Cello

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MASTERWORKS SERIES

CARMINA BURANA Mar. 27

/ 2020 / 7:30PM / ABRAVANEL HALL

Kazuki Yamada, conductor Madeline Adkins, violin Amy Owens, soprano Brian Stucki, tenor

Christopher Clayton, baritone

Barlow Bradford, chorus director CO N CER T S PO N SOR

Utah Symphony Chorus

University of Utah Chamber Choir

University of Utah A Cappella Choir

Choristers of The Madeleine Choir School

VAUGHAN WILLIAMS: The Lark Ascending, Romance for Violin and Orchestra Madeline Adkins, violin

NATHAN LINCOLN DE CUSATIS: The Maze for Violin and Orchestra I. Echoes II. The Overlook III. Pictographs IV. The Confluence

World Premiere, commissioned by Madeline Adkins Madeline Adkins, violin

/ INTERMISSION / ORFF: Carmina Burana

Fortuna imperatrix mundi (Fortune, Empress of the World) I. Primo vere (In Springtime) Uf dem Anger (On the Green) II. In taberna (In the Tavern) III. Cour d’amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi

Amy Owens, soprano Brian Stucki, tenor

Christopher Clayton, baritone Utah Symphony Chorus

University of Utah Chamber Choir

University of Utah A Cappella Choir

Choristers of The Madeleine Choir School UTAHSYMPHONY.ORG

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UNWOUND SERIES

CARMINA BURANA Mar. 28 U N WO U N D S PO N SOR

SILICON SLOPES

/ 2020 / 7:30PM / ABRAVANEL HALL

Kazuki Yamada, conductor Jeff Counts, host

Amy Owens, soprano Brian Stucki, tenor

Christopher Clayton, baritone

Barlow Bradford, chorus director Utah Symphony Chorus

University of Utah Chamber Choir

University of Utah A Cappella Choir

Choristers of The Madeleine Choir School

ORFF: Carmina Burana

Fortuna imperatrix mundi [Fortune, Empress of the World] I. Primo vere [In Springtime] Uf dem Anger [On the Green] II. In taberna [In the Tavern] III. Cour d’amours [The Court of Love] Blanziflor et Helena [Blanziflor and Helena] Fortuna imperatrix mundi

Thank you for joining us for our casual concert experience: unwound! We are thrilled to take this musical journey with you through Carl Orff’s 20th-century setting of the Songs of Beuren—a collection of poems and songs written by some aspiring monks back in the 1200s. Their musings contemplate the cruel goddess of fate, meander through sumptuous meadows in the springtime, revel in the excesses of the tavern, and finally bemoan the hardships of falling in love and lust. Orff called together three vocal soloists, three choirs and quite a large orchestra for this choral spectacle that has wound its way into our psyches via commercials, tv theme songs and even pop music.

Please stay in your seats after the performance for a Q & A with the artists or head back out to the lobby for some more merrymaking with our musicians and singers.

Jeff Counts in General Manager of the Grand Teton Music Festival, and host of Utah Symphony’s Ghost Light podcast. He has worked in performing arts planning and logistics for over 15 years and previously spent 6 years as an elementary school educator in his home state of Florida. Jeff speaks and writes about music frequently and provides concert annotation and program articles for orchestras and opera companies around the country. When not focused on music, Jeff enjoys a second life as a pop culture commentator and film critic and appears weekly on KHOL Jackson Hole Community Radio in Wyoming.

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ARTISTS’ PROFILES Kazuki Yamada is Principal Conductor and Artistic Director of Orchestre Philharmonique de Monte-Carlo, and Principal Guest Conductor of the City of Birmingham Symphony Orchestra. In Japan he holds further titles of Principal Guest Conductor of Yomiuri Nippon Symphony Orchestra, Permanent Conductor of Japan Philharmonic, Music Director, and Chairman of The Philharmonic Chorus of Tokyo as well as Music Director of Yokohama Sinfonietta, an ensemble he founded whilst still a student. In the current season, alongside his regular positions, Yamada returns as a guest to Orchestra Sinfionica Nazionale della RAI Torino, Tasmanian Symphony Orchestra, Auckland Philharmonia, MDR-Sinfonieorchester in Leipzig, Utah Symphony, Russian State Symphony Orchestra, Orchestre National du Capitole de Toulouse, and NHK Symphony Orchestra. He debuts with Oregon Symphony and the Hallé Orchestra. A committed choral conductor, he will perform Mendelssohn’s ‘Elijah’ with City of Birmingham Symphony Orchestra and Chorus, taking the chorus on tour with him to Monte-Carlo where he performs the same work with the Orchestre Philharmonique de Monte-Carlo. Now a resident of Berlin, Yamada was born in Kanagawa, Japan. In 2009 he was the winner of the 51st Besançon International Competition for young conductors.

Kazuki Yamada Conductor

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She was Associate Concertmaster of the Baltimore Symphony Orchestra from 2005–16. Adkins performs on the “exChardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony Concertmaster, Jacques Israelievitch (1948–2015). Adkins has served as guest concertmaster of the orchestras of Pittsburgh, Cincinnati, Houston, and Hong Kong has appeared as a soloist with orchestras in Europe, Asia, Africa, and 24 US states. Her recording of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released to critical acclaim in 2016. Festival appearances include the Stellenbosch International Chamber Music Festival in South Africa, the Grand Teton Music Festival, the Sarasota Music Festival, and Jackson Hole Chamber Music, and as a clinician at the National Orchestral Institute, the National Youth Orchestra at Carnegie Hall, and the Haitian Orchestra Institute.

The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. She received her Bachelor’s degree summa cum laude from the University of North Texas and her Master’s degree from New England Conservatory.

Madeline Adkins Violin

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ARTISTS’ PROFILES

Nathan Lincoln-DeCusatis is a composer, pianist, and outdoor explorer whose music often engages with natural landscapes and wild places. Recent concert commissions include works about the mountains of New England (The North Country for sinfonietta), the history of conservation in the Rocky Mountain West (Nameless Empire for string octet and bass/baritone) and a chamber piece about the Alaska Range (Heart Lung) premiered in Denali National Park.

His orchestral and chamber music has been performed around the country by groups such as the Chesapeake Orchestra, the Inscape Chamber Orchestra, the Great Noise Ensemble, Corvus, and the Atlantic Reed Consort in addition to performances around New York City with his jazz piano trio Mob Rule.

Nathan Lincoln-DeCusatis Composer

Amy Owens Soprano

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Amy Owens enjoys a diverse career in concert work, opera, new music, alternative pop, and jazz. She has appeared in venues ranging from the Blues Tent in New Orleans to Carnegie Hall and the Kennedy Center with renowned orchestras across the United States. Amy kicked off the 2019-20 season with her Kennedy Center Debut in Carmina Burana with the National Symphony Orchestra under conductor Gianandrea Noseda. She then developed and performed the title role in Sweet Potato Kicks The Sun for The Santa Fe Opera’s new initiative “Opera For All Voices” alongside legendary beat-boxer Nicole Paris. In November she made her house debut at Michigan Opera Theater as Johanna in Sweeney Todd, and closed out the year producing the musical tree-lighting ceremony for Bergen County with Bel Canto Productions. Amy makes her role and company debut as Gilda in Rigoletto with Mill City Summer Opera in July of 2020.

Amy is an alumna of the Utah Opera Resident Artist program.

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ARTISTS’ PROFILES

Declared by the Salt Lake Tribune for his “heaven sent” voice, Brian Stucki returns to the Utah Symphony for performances of Carmina Burana. Recent concert appearances include: Mozart’s Requiem (Phoenix Symphony), Beethoven’s Christus am Ölberge (Mormon Tabernacle Choir), Handel’s Messiah (San Francisco Symphony), Der Rose Pilgerfahrt (Houston Symphony), Beethoven’s Symphony No. 9 (Alabama Symphony), Judas Maccabeus (Boise Baroque), Haydn’s Creation (Boston Baroque, Utah Symphony), Mozart’s Mass in C, Requiem and Mass in C minor (Jerusalem Symphony Orchestra), Spohr’s Die letzten Dinge and Fanny Mendelssohn’s Musik Für die Toten der Cholera-Epidemie (Carnegie Hall), and Orff’s Carmina Burana (Milwaukee Symphony, Honolulu Symphony). His operatic engagements include: Ferrando/ Così fan tutte (Israeli Opera); The Fall of the House of Usher (Polish National Opera); Almaviva/Il barbiere di Siviglia (Mexico City), Ottavio/Don Giovanni (Opera Fuoco), Nadir/ Les pêcheur de perles (Seattle, Kansas City, Utah Opera), and Almaviva/Il barbiere di Siviglia (Opera Colorado, Arizona Opera).

Brian Stucki Tenor

Christopher Clayton Baritone

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Baritone Christopher Clayton is quickly establishing himself as a rising talent on the operatic stage. Recent engagements have included Rigoletto with Utah Lyric Opera; Carmina Burana with Ballet West and Cincinnati Ballet; Alfio/Tonio in Cavalleria Rusticana/Pagliacci with Cedar Rapids Opera Theatre; Count di Luna in Il trovatore with St. Petersburg Opera; Tonio in Pagliacci with Opera Birmingham; Falke in Die Fledermaus, Germont in La traviata; Frank in Die Fledermaus, Alvaro in Florencia en el Amazonas, and Fredrich Bhaer in Adamo’s Little Women with Utah Opera; Falke in Die Fledermaus with Opera Theatre of the Rockies; Marcello in La bohème with Opera Idaho; and roles in L’enfant et les sortilèges, and Polydorus in Berlioz’s L’enfance du Christ with the Utah Symphony. He has received prizes and grants from the Gerda Lissner Foundation, the Marian Anderson Vocal Competition, and the Oratorio Society of New York.

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CHORUS UTAH SYMPHONY CHORUS Soprano Alto Alexia Adair Carly Carrier Courtney Bergen Laura Durham Anadine Burrell Melinda Harper Kiersten Erickson Christine Harris Gillian Finkelstein April Iund Cassie Glazier Jordan Knudsen Julie Hadlock Emily Larsen Mika Holbrook Renel Rytting Abigail Payne Brooke Yadon Melissa Stettler UNIVERSITY OF UTAH CHAMBER CHOIR Soprano Alto Katelyn Cox Madeline Ashton Lexie Davis Julie Burningham Lily Graham Maren Hansen Hannah Green Alla Keoppel Emily Hansen Sage Madsen Brynn Staker Alexandra Marsh Julia Thomas Michaela Mathis Jordyn Updyke Emmalyne Parke UNIVERSITY OF UTAH A CAPPELLA CHOIR Soprano Alto Anna Blaes Sara Bayler Wisper Bowen Eleanor Bouley Whitney Bracho Maranda Breinholt Katherine Brim Cami DuMond Anna Dorsey Victoria Hansen Shannon Hirschi Kearsa Hodgson Hannah Huber Alla Keoppel Jessica Jones Charlotte Knudson Alaina Kotchey Abilene Kugler Aleisha Meier Nelya McDowell Rosalie Ortega Sage Nielson Sungwon Park Katina Nikols Ryann Peterson Anna Roelofs Alex Renola Suzannah Rose Brianna Skeen Lila Santos Anne Staker Paola Trujillo Hallie Steadman April Thorup

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Tenor Richard Adams Wes Eldredge Jared Gunnerson John Hayward Scott King David Layton Nathan McKellar Brian Tanner Connor Thompson Kort Zarbock

Bass Nate Benincosa Skyler Bluemel Zach Dickison Steve Finkelstein Ben Lobrot Joel Longhurst Andrew Luker Hal Mauchley Matthew Robertson

Tenor Mitchell Andersen Logan Bingham Tanner DeHaan Quacee Dorby Jonathan Gibson Brayden Goode Jordan Tolman

Bass Bennett Chew Yu-Feng Huang Joseph Hutchins John Kovalenko William Mollenkamp Patrick Tatman Matthew Thomas

Tenor Levi Colvin Niklas Hansen Young Jo Charles Johnson Samuel Judd Sherman Norton Cole Parker Joseph Rockwell Sean Thomson Brayden Vonhatten

Bass Matthew Burns Alex Felt Connor Gates Ulysses Hale Dallas Hayward Yu-Feng Huang Patrick Tatman Gregory Watts

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CHORUS CHORISTERS OF THE MADELEINE CHOIR SCHOOL Xavier Bacon Aaron Burris Curtis Coudreaut Charlie Erekson Nitai Fluchel Maggie Fowler Solana Hogle Roisin Khor-Brogan Liam Leary Henry Mackey Sam Macklyn Henry Merz Noah Nix Helena Nordhoff Georgia Ohman Jude Payne Maddy Quinlan Max Ray Michael Rofaiel Henry Ryan Alejandra Sigala Abbey Trewitt Marlo Trewitt Zari Zitting

The choristers in Grades Five through Eight regularly assist with the worship life at the Cathedral of the Madeleine and participate in their Annual Concert Series. During the academic year they can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The Choristers of the Madeleine Choir School travel on international and national performance tours and regularly collaborate with the Utah Symphony | Utah Opera and other major arts organizations, including the Grand Teton Music Festival.

Please visit utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801-323-9850 ext. 103.

Dr. Bradford was appointed Director of the Utah Symphony Chorus at the start of the 2013–14 season. Over the course of his musical career, Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he cofounded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.

Bradford Barlow Chorus Director UTAHSYMPHONY.ORG

Located in downtown Salt Lake City, The Madeleine Choir School provides strong character formation and a holistic approach to exceptional age appropriate learning. The MCS music curriculum is unmatched and provides outstanding instruction in the humanities, mathematics and the sciences, foreign languages, visual arts, theology, and athletics.

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NOTES ON THE PROGRAM: 1 / 3

by Michael Clive

Ralph Vaughan Williams (1872–1958)

The Lark Ascending, Romance for Violin and Orchestra PERFORMANCE TIME: 13 MINUTES

It may seem downright shocking to compare Ralph Vaughan Williams’ lyrical tone poem The Lark Ascending to the erotically sensual Prelude to the Afternoon of a Faun by Claude Debussy.

But before calling for your intrepid annotator’s resignation, consider how much we can learn from the similarities between these two works. Composed two decades apart—the Debussy in 1894, the Vaughan Williams in 1914— each captures a distinctively national style at a time when English and French composers were searching for paths of escape from the harmonic experiments of Viennese and German composers. In two brief orchestral works evoking wordless creatures in nature, Debussy and Vaughan Williams capture the essence of French and English cultural traditions, showing a way forward for the composers of their respective countries.

What sounds sublimely simple and inevitable in The Lark Ascending is a melodic voice that is like England’s green and pleasant countryside distilled in music. The style is informed by the traditions of English folk songs, which Vaughan Williams studied throughout his long career, and English lyric poetry, which the Cambridge-educated composer read with an expert eye.

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The Lark Ascending is based on an important poem of that title by George Meredith dating from 1881. No less an eminence than the great World War I poet Siegfried Sassoon found “supreme” merits in the 122-line Meredith work, which invests allegorical meaning in the soaring, egoless flight of the lark over increasingly mechanized English farmland. But where Meredith’s rhyming couplets are often freighted with heavyweight poetic description, Vaughan Williams accomplishes something quite different. His music does not describe the flight of the lark; it is the flight of the lark. In the century since the premiere of Vaughan Williams’ The Lark Ascending in the Bristol town of Shirehampton, it has far surpassed its source in renown.

Nathan Lincoln-DeCusatis

The Maze for Violin and Orchestra PERFORMANCE TIME: 18 MINUTES

Note by Nathan Lincoln-DeCusatis Commissioned by Concertmaster Madeline Adkins of the Utah Symphony, The Maze is a violin concerto in four continuous movements inspired by The Maze District of Canyonlands National Park, one of the most isolated and pristine desert wilderness areas in the country.

I travelled The Maze in March, 2018 and this piece is my attempt to capture that journey in sound, and to use the temporal dimension of music to translate the vastness of geologic time and change to the human scale.

I. Echoes - The first movement forms a prologue to the piece and introduces two

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NOTES ON THE PROGRAM: 2 / 3

of the main ideas. The “chord of mystery” that opens the movement is a spectral sonority that evokes the eerie solitude of the desert landscape. Against this backdrop the soloist immediately plays “the echo”, a dramatic nose-dive arpeggio whose residue is echoed back in a pingpong patterns through the section violins one stand at a time. “The echo” also marks our starting point in The Maze, and like any maze the soloist will keep getting lost throughout the piece; “the echo” will return twice later on where the soloist makes a wrong turn only to end up back where she began.

II. The Overlook - The Overlook is spot above the entrance to The Maze that gives the most iconic view of the geological layers of mud rock and sandstone that have been eroded away slowly over time. This movement captures the idea of canyon formation by beginning with a modulating “erosion theme”: a simple descending scalar line dissolves down through constantly changing keys. The remainder of the movement is a kinetic toccata-like struggle where the soloist descends The Overlook Trail, a half-mile of near-vertical drop-off that leads down into the canyon.

The soloist breathlessly chases this theme around the orchestra through a series of fast-changing tableaux until she finally arrives at the bottom of The Maze and looks up at the grandeur of the canyon walls around her while the orchestra soars into a triumphant chorale on the erosion theme.

Suddenly, however, “the echo” reappears and she is right back where she began.

III. Pictographs - This movement is inspired by The Harvest Scene, a wall of pictographs near the entrance to The Maze.

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The scene is dominated by one particular anthropomorphic figure extending an arm from which a tree grows surrounded by rabbits and birds suggesting a moment of creation. The opening gesture of this movement, a low growl in the basses and timpani followed by fluttering flutes and violins and the ghostly ring of the water gong, represents this moment when the tree and animals burst forth from the horned god’s outstretched hand. Between these sonic eruptions the soloist sings a lamentoso melody in double-stops that seems to ponder the enigmatic imagery of the pictographs.

The middle section is a tour down the rock wall canvas where faded images of birds and small mammals emerge in ochre hues, portrayed by a short spiraling gesture in the winds. Moved by the beauty of the images she leads the orchestra into an accelerating climax until once again we circle back in the maze to the beginning of the movement with the thundering theme of the horned god.

IV. The Confluence - This rapid-fire toccata represents the flowing energy of the Green and Colorado rivers as they cascade towards their meeting point in a massive canyon below the Maze. The Green River is set in rhythmic groupings of three and the Colorado in groups of two creating a shifting polyrhythmic canvas behind the soloist as she rides the rapids down towards the confluence that is finally reached when the soloist whips the rest of the orchestra in a boiling fury with a high soaring melody in the horns. Suddenly the labyrinthine paths of The Maze bring us back again to “the echo” and after a short cadenza the soloist leads us through a coda finally finding her way out of The Maze by shooting up out of the canyon on a dramatic unison thunderclap in the full orchestra.

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NOTES ON THE PROGRAM: 3 / 3 Carl Orff (1895—1982)

Carmina Burana PERFORMANCE TIME: 60 MINUTES

Born in Munich to a distinguished Bavarian military family in 1895, Orff grew up steeped in German cultural traditions and demonstrated his musical talent early; at a young age he learned to play the piano, organ and cello and composed songs. He graduated from the Munich Academy of Music when he was 18 with a portfolio of early compositions that showed the influence of Debussy’s innovations. He then turned to the more Viennese experiments of Schoenberg, Strauss and Pfitzner. But the year of his graduation was 1914, and Orff was coming of age in the shadow of World War I. Jobs as Kapellmeister at the Munich Kammerspiele and at theaters in Darmstadt and Mannheim honed his gifts in performance practice and music drama. In 1917 and 1918, as the war drew to a close, Orff was in his early 20s and was engaged in military service.

The boisterous energy and all-consuming rhythms of Carmina Burana make hearing it a physical experience as well as an artistic one. (In fact, it was the irresistible sweep and popular appeal of this music that made it of particular interest to the Reich, which had repudiated many modern composers and musicians as “degenerate.” Billed as a “scenic oratorio,” Carmina Burana originally incorporated costumes for its vocalists as well as an elaborate set. This was a production concept that Orff intended for his subsequent oratorios as well, though his compositions rarely include these elements today. To analysts such as Hanspeter Krellmann and John Horton, this visual spectacle comports with Orff’s aural spectacle: driving, emphatic rhythms, gleaming orchestration and declarative intensity of musical utterance.

Carmina Burana’s music, for its part, is not 42

just brazen in shoving the poetry’s sensuality in our faces; it does so with glee, making everything it touches seem innocent. Nowhere is this more apparent than in the “In taberna” chorale (In the Tavern), a drinking song that describes the raucous behavior in a local tavern where everyone is present, accounted for, and drinking lustily—the bumpkin, the sage, the pauper, the sick man, the bishop and the deacon, the old woman and the young mother among them. The music proceeds with a naive, bouncy double-rhythm that acquires the momentum of an avalanche.

Proceeding through sections on springtime, drinking and love, Carmina Burana forms a perfect arch, ending where it began— addressing “Fortune, Empress of the World” and complaining melodramatically about her fickleness. If you think this music sounds especially familiar, there’s a good reason for that: In high-budget advertising for cars and luxury goods, it’s often used to give an air of cosmic importance to the wares that are supposed change our lives and fulfill our desires. Do the advertisers know that there is an element of self-deprecating humor in this hyper-dramatic music, and that its text, moaning at the capricious empress Fortuna spinning her wheel, is the medieval equivalent of a bunch of drinkers sitting around in a bar griping about life? The overstatement is intentional, and rarely have grandeur and humor coexisted with such comfortable irony.

Then again, compare the words to a modernday counterpart by Rod Stewart:

Some guys have all the luck Some guys have all the pain Some guys get all the breaks Some guys do nothing but complain

If fortune is indifferent to merit, at least it has vouchsafed a cherished spot for Carl Orff’s most celebrated composition. Carmina Burana is a work that has become, with Handel’s Messiah, one of the most widely performed oratorios ever written.

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MASTERWORKS SERIES

BRAHMS’

PIANO CONCERTO NO. 2 Apr. 10–11

/ 2020 / 7:30PM / ABRAVANEL HALL

Thierry Fischer, conductor Nicholas Angelich, piano Edmund Rollett, horn

CO N CER T S PO N SOR

RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION

WAGNER: Lohengrin: Prelude Act III MAHLER: Totenfeier / INTERMISSION /

CO N D UC TOR S PO N SOR

MESSIAEN: “Interstellar Call” from Des Canyons aux étoiles…

Edmund Rollett, horn

BRAHMS: Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Nicholas Angelich, piano

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ARTISTS’ PROFILES

*See page 11 for Thierry Fischer’s artist profile.

Acclaimed as “one of the greatest living interpreters of Brahms” (O. Bellamy, Huffington Post), Nicholas Angelich’s 2019–20 season includes performances of Brahms’ Second Piano Concerto with the Utah Symphony, as well as an artist residency with Orchestre Métropolitain de Montreal.

In 2002 he received the “International Klavierfestival Ruhr—Young Talent Award” (Germany) from Leon Fleischer where he performed in June 2003. At the Victoires de la Musique Classique 2013, he received the Victoire of the “Instrumental Soloist of the Year.”

Nicholas Angelich Piano

Edmund Rollett Horn

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His extensive, critically acclaimed, and award-winning discography includes the Brahms Piano Concertos with Paavo Järvi and the Frankfurt Radio Orchestra as well as the majority of Brahms’ piano music and chamber music; Beethoven’s Triple Concerto with Gil Shaham and Anne Gastinel; and solo recordings of works by Bach, Liszt, Beethoven, Schumann, Rachmaninoff, and many others.

A native of Santa Fe, New Mexico, Edmund Rollett joined the Utah Symphony in 2014 as Associate Principal Horn and was appointed Acting Principal Horn by Thierry Fischer the following year. He appears regularly with the Grand Teton Music Festival and has held Principal positions in the National Symphony of Mexico and the Mexico City Philharmonic. Mr. Rollett is a noted solo and chamber musician, concertizing in Mexico, Europe, and throughout the intermountain West. He is a frequent collaborator on the NOVA chamber series, notably including the Utah premiere and second-ever performance of Last Autumn, Michael Hersch’s monumental cycle for Horn and Cello, together with Nori Kishi. Mr. Rollett was privileged to study horn under several of the world’s great players and pedagogues: in Chicago with Gail Williams and William Barnewitz and in Pittsburgh with Dennis Abelson and William Caballero.

When not on stage, he enjoys time with his wife and two daughters, serving in church, and exploring the beauty of the Wasatch Front in all seasons.

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by Michael Clive

Richard Wagner (1813–1883)

Lohengrin: Prelude Act III PERFORMANCE TIME: 4 MINUTES

Richard Wagner may be the greatest European classical composer whose works we rarely get to hear in the concert hall. The reason: his music, which is almost exclusively operatic, is difficult to excerpt—and he probably would have it no other way. Wagner constructed his operas as almost seamless dramatic unities. But in their preludes and in a few “free-standing” orchestral passages, we get to hear the musical themes that are signal to his dramatic conceptions in glorious isolation. Some of these excerpts are familiar, of course—the ubiquitous wedding march from Lohengrin, with the words “here comes the bride” grafted on; the “Ride of the Valkyries” from Die Walküre; the preludes from operas including The Flying Dutchman, Die Meistersinger, and Tannhäuser. The prelude to Act III of Lohengrin is a favorite.

In Lohengrin, which premiered in 1850, we hear both the last of Wagner’s “traditional” operas and an early, highly individualistic treatment of a northern European mythic subject. Wagner wrote his own librettos; in Lohengrin he combines story lines taken from medieval German romances that can be traced back to the Knight of the Swan legend and through the revered medieval German poet Wolfram von Eschenbach’s romances Parzival and Lohengrin. The opera’s story line resembles, in some respects, the Orpheus myth, with a husband reluctantly testing his bride in a way that proves impossible—in this case,

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that she never seeks to know his name. But for Lohengrin’s bride, Elsa, the stakes are not only love, but honor. The consequences of the test are deadly both for Elsa and for her accusers. The radiant prelude to the opera’s third act gives us little notion of the sorrow to come; it has aptly been described as “a wedding party crammed into five minutes.”

Gustav Mahler (1860–1911)

Totenfeier PERFORMANCE TIME: 25 MINUTES

In the case of Gustav Mahler’s profound and inspiring Totenfeier, the scholarly disagreement is whether the composer originally—or ever—intended the music to stand alone as a tone poem. Regardless of the answer, we know that it works on its own, and that for Mahler it was the breakthrough he needed to forge ahead with his monumental Symphony No. 2, “The Resurrection,” considered by many to be his finest. Totenfeier, “funeral rites,” is its majestic first movement.

Mahler, unlike Brahms, fully accepted his role as a post-Beethoven symphonist, and viewed symphonic form as the embodiment of magisterial ideas. They can be heard as abstract expressions of transcendent beauty that seem to suspend time, but we hear more when we understand that all of Mahler’s symphonies—especially those that, like No. 2, have sung texts— are explorations of the epistemological questions that the composer considered most important. He is often described as death-obsessed; we could just as aptly call him life-obsessed. Mahler devoted his life

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to the creation of beauty, and he wanted to know what happens to our experience of beauty when we die. In his gloriously hopeful Second Symphony, he tells us that the beauty and our souls’ experience of it are divine and eternal. This message has all the monumentality of Beethoven’s Ninth, and its message is one that preoccupied Mahler as freedom and brotherhood did Beethoven. In fact, much of the poetry in the choral section of Mahler’s Second were written by the composer himself.

not use the title Totenfeier until 1893, and doubt he intended the work to stand alone.

But as we listen to Mahler’s ecstatic vision, do such worldly concerns really matter?

Though the lack of popular enthusiasm for his First Symphony took him by surprise, Mahler immediately set to work on his Second. It took six years, from 1888 through 1894, but fate seemed to propel his efforts on the Symphony No. 2, and during his lifetime it became his most successful work.

He completed the Totenfeier movement first, in 1888, after a burst of imagination triggered by a performance of Friedrich Gottlieb Klopstock’s hymn Die Auferstehung (“The Resurrection”) at the funeral of Hans von Bülow, an important composer and conductor who had supported his work. “It struck me like lightning, this thing,” he wrote to a friend. “…everything was revealed to me clear and plain.” For Mahler, who unceasingly contemplated death and the impermanence of art in the midst of eternal, hearing Klopstock’s hymn provided spiritual as well as artistic inspiration. In Totenfeier he combines the first two verses of Die Auferstehung with additional verses of his own, offering us a composer’s vision of eternal life.

Commissioned in 1971 by the American philanthropist and arts patron Alice Tully to celebrate the bicentenary of the Declaration of Independence, Des canyons aux étoiles… is a suite of twelve orchestral movements arranged in three groupings of five, two, and five. “Appel interstellaire” (“Interstellar Call”) is the fourth movement; when all twelve are performed together, the movements are operatic in scope, spanning more than an hour and a half. Composed in 1971, it is the earliest of the suite’s twelve movements, and was originally created to memorialize Messiaen’s friend Jean-Pierre Guézec, a French composer who died that year at age 36. The sounds of the horn haunt us in this movement with a call that is somehow intimate yet infinitely distant.

In 1988, a newly reissued edition of the 1888 version of Totenfeier spurred new interest in it as a separate tone poem.

Some scholars point out that Mahler did

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Olivier Messiaen (1908–1992)

“Interstellar Call” from Des Canyons aux étoiles…

PERFORMANCE TIME: 5 MINUTES

Like Ferde Grofé’s Grand Canyon Suite, Messiaen’s Des canyons aux étoiles is intimately connected to a particular place in the American Southwest—in this case, the state of Utah. Messiaen took inspiration from the landscape and the birds of the Beehive State while composing this suite, and was particularly moved by visiting Bryce Canyon National Park. In these movements, Messiaen’s musical reflections on Utahn grandeur—the meanings he

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discerned “written in stars,” the colors and forms he saw in the desert—describe his experiences of Bryce as a divine creation.

Johannes Brahms (1833–1897)

Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83 PERFORMANCE TIME: 50 MINUTES

Johannes Brahms’ distinctive, flowing sound and his highly personal keyboard compositions seem almost dateless today… certainly no less modern than the music of Richard Wagner. But during their lifetimes, Wagner was cast as pioneer and iconoclast, while Brahms was the reluctant champion of romantic tradition. The fact is that Brahms, for all his discipline and mastery of the classical order in music, went his own way. In compositions such as his violin concerto and double concerto (for violin and cello), we hear the dramatic gestures and intense melodies we associate with the romantic idea of the concerto, with the soloist’s voice in stark relief before the ensemble. But Brahms was a virtuoso pianist, not a cellist or violinist, and his piano concertos are more introspective and lyrical. Despite their large-scale demands, they are intimate and reflective.

The Brahms Piano Concerto No. 2 is a work of virtuosic demands but not of virtuosic display. One formidable challenge for the soloist lies in its four-movement form: not just a test of endurance (though it is that),

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but also an interpretive hurdle, requiring the soloist to integrate the scherzo into the concerto’s overall structure. (Other concertos that go beyond the traditional three-movement structure, such as Lalo’s Symphonie espagnole, are not so tightly constructed.) Brahms gives the scherzo its own expressive identity, with an energy that must follow seamlessly from the drama of the first movement without competing with it.

The first movement, marked allegro non troppo, opens serenely with a dignified statement in a single horn. But Brahms’ development becomes passionate and even stormy. In contrast with Beethoven’s piano concertos, the piano voice does not struggle with the orchestra or stand out as its antagonist; instead, it plays as the foregrounded voice in a unified ensemble.

Then, as the scherzo unfolds in the second movement, it extends the stormy mood of the first movement’s darkest passages.

In the third movement, marked andante, the contemplative mood of the concerto’s opening bars returns with a tender melody introduced as a cello solo. A softly voiced cadenza develops this theme; Brahms would draw upon this melody again later in his career, in the song Immer leiser wird mein Schlummer.

Any lingering memories we may have of the concerto’s early strains of melancholy are overcome in its spirited fourth movement.

Marked allegretto grazioso, it is, like many concerto finales, structured as a rondo— in this case, a grandly scaled rondo of seven parts (A-B-A-C-A-B-A). It brings the concerto to a brilliant, spirited close.

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ENTERTAINMENT SERIES

THE TEMPTATIONS WITH THE UTAH SYMPHONY Apr. 17–18

/ 2020 / 7:30PM / ABRAVANEL HALL

Conner Gray Covington, conductor TC Campbell, conductor

The Temptations, guest artists

SELECTIONS TO BE ANNOUNCED FROM STAGE. CO N CER T S PO N SOR

CO N D UCTOR S PO N SOR

G U ES T A R TIS T S PO N S O R

*See page 12 for Conner Gray Covington’s artist profile.

Music Producer and Keyboardist with over 40 years of experience. Encompassing digital production, studio and live performance, songwriting, and music cue writing for television. TC Campbell is a consummate professional with experience as Record Producer, Musical Director/ Keyboardist, for major artist and theatrical performances in the music industry. He has produced music for companies that specialize in radio and television commercials, as well. He has the ability to transcribe music (by ear), writing charts for numerous instruments from basic rhythm sections to full orchestra arrangements. He demonstrates a talent for generating creative ideas and organizing projects, committed, resourceful, and dependable. TC has been honored with numerous awards for radio commercials, gold records from major artists, and best musical director awards for theatrical performances.

TC Campbell Conductor

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ARTISTS’ PROFILES

The Temptations, often referred to as “American Music Royalty,” are worldrenowned superstars of entertainment, revered for their phenomenal catalog of music, and prolific career. Named the “#1 R&B/Hip Hop Artists of All Time” and one of the “125 Greatest of All Time Artists”

by Billboard Magazine, as well as one of the “100 Greatest Artists of All Time” by Rolling Stone, the group is truly a beloved “National Treasure.”

The Temptations are currently the subject of the smash hit Broadway musical, Ain’t Too Proud, which opened on March 21st, 2019.

The musical won the Tony Award for Best Choreography at the 73rd Tony Awards at Radio City Music Hall in New York City on June 10, 2019 and continues to captivate thousands of theater-goers during sold-out performances on the Great White Way. In June of 2019, the show’s producers announced tour plans for the musical starting July 2020, in more than 50 cities for 100+ weeks.

Prior to the musical, the Temptations’ journey, as seen through the lens of Otis Williams, the sole surviving original Temptation, was also a blockbuster television mini-series which aired in 1998. The miniseries, which was produced by long-time

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Temptations manager Shelly Berger, Otis Williams, and Suzanne de Passe, head of de Passe Entertainment, was reportedly viewed by 45 million fans and went on to win an Emmy for Outstanding Direction for a Miniseries or Movie, as well as the 1999 NAACP Image Award for Outstanding Television Movie or Mini-series. The mini-series continues to air on cable networks today.

The group’s 60-year history spans both the 20th and 21st centuries and their music transcends generations. What began in Detroit, when a remarkable combination of soulful voices united, was the genesis of an epic journey that introduced multiple superstars to the world and produced some of the greatest music of our era.

In 1983, Ron Tyson, one of the group’s current lead vocalists, joined the Temptations. In May of 1983, the televised anniversary special Motown 25: Yesterday, Today, Forever, aired on NBC-TV and the extraordinary battle between the Temptations and the Four Tops led to a road tour of the two groups, famously called the “T’NT” tour. The two legendary groups still perform together today while on their respective concert tours.

Otis Williams, the sole surviving original Temptation, Ron Tyson, a lead vocalist with the group for 37 years, Terry Weeks, a lead vocalist for 23 years, and Willie Greene, Jr., bass vocalist with the group for four years, are still serenading fans with their soulful voices, lighting up stages with their famous Temptations’ Walk, and bringing joy to audiences of all ages.

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MASTERWORKS SERIES

BEETHOVEN 2020

“PASTORAL” SYMPHONY Apr. 24–25

/ 2020 / 7:30PM / ABRAVANEL HALL

Thierry Fischer, conductor Paul Jacobs, organ

Jason Hardink, piano

CO N CER T S PO N SOR

C. COMSTOCK CLAYTON FOUNDATION CO N D UC TOR S PO N SOR

HANDEL: Organ Concerto in F Major, No. 13, HWV 295 “The Cuckoo and the Nightingale” I. Larghetto II. Allegro (“The Cuckoo and the Nightingale”) III. Organo ad libitum IV. Larghetto V. Allegro Paul Jacobs, organ

BARBER: Toccata Festiva for Organ and Orchestra, Op. 36 Paul Jacobs, organ

/ INTERMISSION / BEETHOVEN: Symphony No. 6 in F Major, Op. 68, “Pastorale” I. Awakening of happy feelings on arriving in the country: Allegro ma non troppo II. Scene by the brook: Andante molto mosso

MESSIAEN: “The Mocking Bird” from Des Canyons aux étoiles...

Jason Hardink, piano

BEETHOVEN: Symphony No. 6 in F Major, Op. 68, “Pastorale” IN CELEBRATION OF BEETHOVEN’S 250TH BIRTH YEAR

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III. Merry gathering of country folk: Allegro IV. Storm and Tempest: Allegro V. Sheperds song and cheerful feelings after the storm: Allegretto

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ARTISTS’ PROFILES

*See page 11 for Thierry Fischer’s artist profile.

Paul Jacobs has performed to great critical acclaim on five continents and in each of the fifty United States. The only organist ever to have won a Grammy Award—in 2011 for Messiaen’s towering Livre du Saint-Sacrement,—Mr. Jacobs is an eloquent champion of his instrument both in the United States and abroad. He made musical history at age 23 when he gave an 18-hour marathon performance of Bach’s complete organ works on the 250th anniversary of the composer’s death.

Paul Jacobs Organ

Highlights of Mr. Jacobs’ 2019–20 season include: performances with the Philadelphia Orchestra and Kansas City Symphony; three orchestral engagements with Maestro Giancarlo Guerrero, including programs with the Nashville Symphony, Bamberg Symphony, and NFM Wroclaw Philharmonic; a recital for the inauguration of the newly restored Hazel Wright Organ at the Christ Cathedral in Garden Grove, California, under the aegis of the American Guild of Organists Orange County Chapter and the Catholic Diocese of Orange County; and a Paris recital at the Maison de la Radio, presented by Radio France and the Orchestre National de France, featuring the world premiere of a new work written for Mr. Jacobs by French composer Jean-Baptiste Robin.

A fearless interpreter of large-scale piano works both modern and historical, Jason Hardink’s recent repertoire includes the complete Michael Hersch The Vanishing Pavilions, Olivier Messiaen’s Vingt Regards sur l’EnfantJésus, the Liszt Transcendental Etudes paired with the Boulez Notations, and Wolfgang Rihm’s numbered Klavierstücke, all of which he performs from memory.

Jason Hardink Piano

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Recent performances include his debut at the Cabrillo Festival of Contemporary Music as soloist in the North American premiere of Gerald Barry’s Piano Concerto with conductor Cristian Măcelaru. Concerts during the 2019–2020 season include the premiere of a new solo piano work by Jason Eckardt at National Sawdust celebrating the centenary of Ives’ Concord Sonata, a performance of Michael Hersch’s The Vanishing Pavilions at Wien Modern, the complete Liszt Transcendental Etudes performed on an 1852 Bösendorfer at Music in Context in Houston, and Messiaen’s Des Canyons aux étoiles… with the Utah Symphony and Oberlin Contemporary Music Ensemble.

Mr. Hardink resides in Salt Lake City, Utah, where he holds the position of Principal Keyboard with the Utah Symphony and serves on the piano faculty of Westminster College. He is married to pianist Kimi Kawashima, and they are parents of twin boys, Luc and Derek.

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by Michael Clive

George Frideric Handel (1685–1759)

Organ Concerto in F Major, No. 13, “The Cuckoo and the Nightingale” PERFORMANCE TIME: 16 MINUTES

Like Bach, who was born in the same year, Handel was one of the most accomplished organists of his era—and it was an era when organists were rock stars. They played music in the reverberant splendor of baroque churches—spectacular organ showpieces that were sumptuously ornamented as a tribute to the glory of God. For some listeners, church music was not just the most important and beautiful music they might hear; it was the only music they might hear until next Sunday. But of Handel’s organ concertos (14 in all), most, including this Concerto in F major, are decidedly secular in character rather than sacred works. Still, they are written in the characteristically Baroque style, taking full advantage of the organ’s technical capabilities.

When Handel completed No. 13, in 1739, he was in his 50s and living in London, where he was a celebrated composer and musical entrepreneur. His operas and oratorios were major cultural offerings for those who could afford musical entertainment.

(Not all churchgoers could.) An astute businessman as well as a composer of genius, Handel was keenly aware that he had to keep his public entertained if he was to keep them buying tickets. He had turned to staged oratorios when the public taste for his Italianate operas was

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on the wane; religious dramas were more in tune with the times, and he knew that his reputation as a master organist could be an additional lure for ticket-buyers. For venues that possessed both a sizable organ and sufficient performance space for full chorus and soloists, he found that organ concertos made apt musical divertissements to fill the intervals of performances of his religiousthemed oratorios such as Esther, Deborah, Athalia, and Israel in Egypt.

Don’t let the biblical subjects fool you: despite their religious subject matter, these oratorios were staged, highly dramatic, and resembled operas in their entertainment value. Handel himself played the organ during these intervals, displaying the virtuosity that earned him recognition from his contemporaries as an organist whose only peer on the instrument was that German fellow named Bach, who was Kapellmeister at St. Thomas Church in Leipzig. Handel based this concerto’s outer movements (the first and the fourth) on movements from a trio sonata he had composed the previous year. But the concerto is best known for the beguiling birdsong motifs that gave rise to its nickname, “The Cuckoo and the Nightingale.” It is the most popular of Handel’s organ concertos.

Samuel Barber (1910–1981)

Toccata Festiva for Organ and Orchestra, Op. 36 PERFORMANCE TIME: 13 MINUTES

The musicologist Paul Horsley probably said it best when he described Samuel

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NOTES ON THE PROGRAM: 2 / 4 Barber as “a born romantic.” His beautifully wrought music, always melodic and dignified in its sound, has survived changing musical trends to go out of fashion and come back in again.

Born in 1910, Barber grew up in genteel surroundings in West Chester, Pennsylvania, where he was encouraged in his musical interests by his aunt, the noted Metropolitan Opera contralto Louise Homer. At age 14 he became one of the first students to be accepted at the newly opened Curtis Institute, now a conservatory of legendary rigor. There he met his longtime companion, Gian Carlo Menotti, the Italian-American opera composer and librettist whose work, like Barber’s, has been pigeonholed by some critics as “neo-romantic.” Their music is currently attracting a resurgence of interest.

Barber reached creative maturity in a time when spiky atonality was in vogue, but never flinched from writing music “as tonal as it needed to be” to express heartfelt emotion.

Describing his musical idiom in one of Barber’s most ambitious works—the opera Vanessa— the great conductor Dimitri Mitropoulos said “It was a miracle that a composer had the courage to write music in this style...

He hadn’t been contaminated by different kinds of contemporary experimentation...The whole texture of Vanessa is highly theatrical and dramatic, full of orchestral surprises and climaxes, but always at the service of the stage...” This style of straightforward beauty, stateliness and emotional directness has made Barber compositions go-to repertory for keynoting important occasions. When Leonard Bernstein chose Barber’s Adagio for Strings to memorialize John F. Kennedy following the assassination, hundreds of orchestras followed suit, and it has endured as one of the most frequently performed American compositions in the symphonic repertory.

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Though the Adagio was not composed as a piece d’occasion, the Toccata Festiva was.

Barber composed it in 1960 on commission from the philanthropist Marty Curtis Bok to inaugurate the new concert organ she had donated to the Philadelphia Orchestra. (Ms. Bok was also one of the founding benefactors of Barber’s alma mater, the Curtis Institute, and supported Barber throughout his career).

The assignment returned Barber to his earliest professional gig as an organist at age 12.

In 1958, two years before composing the Toccata, he published his first work for solo organ, based on a Pennsylvania shape-note hymn. Far grander in scope, his celebratory organ piece for the “fabulous Philadelphians” employs the traditional Baroque form of the toccata to provided a spectacular showcase for both the orchestra and the organ, with a flashy orchestral opening and flamboyant final organ cadenza framing a characteristically stately central section.

Ludwig van Beethoven (1770–1827)

Symphony No. 6 in F Major, Op. 68, “Pastorale” PERFORMANCE TIME: 18 MINUTES

Olivier Messiaen (1908–1992)

“The Mockingbird” from Des canyons aux étoiles…

PERFORMANCE TIME: 11 MINUTES

When your intrepid annotator first learned that a Utah Symphony Orchestra program UTAHSYMPHONY.ORG

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NOTES ON THE PROGRAM: 3 / 4 would entwine a Beethoven symphony with a movement from Messiaen’s Des canyons aux étoiles, a glib phrase—“daring pairing”—came to mind. After all, the German Beethoven and the French Messiaen were separated by nearly two centuries. And while both expressed intense personal philosophies in their music, Beethoven engaged in the political struggles and Enlightenment principles of his era, while Messiaen expressed his religious devotion and found the divine presence everywhere in nature, most especially in the songs of birds.

Musical “scene paintings” that depict the natural world—perhaps Vivaldi’s The Four Seasons is the most famous example—are rare in Beethoven, but his “Pastorale” is a vivid example of the art. It has musical descriptions of broad country landscapes, a babbling brook, country dances, a thunderstorm, and its tranquil aftermath.

Only this symphony could be paired with Messiaen’s orchestral rendering of Le Mocquer polyglotte, the mockingbird. In mixing them, Maestro Fischer deepens our experience in listening to both—a bold pairing, and a fascinating one. With the cuckoo and the nightingale in Handel’s organ concerto, he gives us a veritable aviary to hear and remember. (No wonder “maestro” means “teacher.”)

Though we don’t associate Beethoven’s music with scenic descriptions, he was a lover of nature who hewed to the tradition honored by most German composers and writers einen Spaziergang zu machen—to make an outing on foot, to take a walk, preferably in the woods, where spiritual refreshment could be found amid nature.

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the completion of most of his mature symphonies. He was living in cosmopolitan Vienna at the time, but often sought the tranquility of rural locations to work. And whether in town or country, he frequently took long walks—either in the countryside, or in the Vienna Woods.

This symphony is one of the few compositions in which Beethoven provides a specifically programmatic narrative.

It is a trip to the countryside in five movements, with each movement named according to its place in the narrative.

It begins quite literally at the beginning, with “the awakening of cheerful feelings on arriving in the countryside,” and proceeds through a brookside scene, a “merry gathering of country folk,” a thunderstorm, a shepherd’s song, and a hymn of thanksgiving after the storm safely subsides. The melodies combine Beethoven’s own inspirations with anthologized folk songs and dances of the era. While such a rustic work would seem to be free of the political and moral philosophy invested in so many of Beethoven’s compositions, the symphony does pay tribute to the nobility of the farmer’s life. And in keeping with this concert’s avian theme, we can hear birds in the symphony’s second movement, marked andante.

Beethoven enumerated them for us: they include a nightingale (flute), quail (oboe), and cuckoos (clarinets).

Beethoven’s work on the “Pastoral” Symphony coincided with his work on the thundering Fifth, with its themes of fate and transfiguration. It’s tempting to speculate that while composing so serious and philosophical a work as the Fifth, turning to the “Pastoral” was like taking a walk in the woods.

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NOTES ON THE PROGRAM: 4 / 4

Commissioned in 1971 by the American philanthropist and arts patron Alice Tully to celebrate the bicentenary of the Declaration of Independence, Des canyons aux étoiles… is a suite of twelve orchestral movements arranged in three groupings of five, two and five. When all twelve are performed together, the movements are operatic in scope, spanning more than an hour and a half. In the “La Moqueur polyglotte” movement of the suite, we hear an example of his instrumental writing of birdsong— in this case, for the mockingbird—that, in its accuracy and attention to natural authenticity, goes beyond any other Western composer’s accomplishment.

Celebrated both for his deep Christian spirituality and for giving voice to it through his remarkable music, Messiaen was born in 1908 and entered the Paris Conservatory at the age of 11. His wide-ranging musical influences span rhythmic patterns from classical Greek and Hindu sources and melodies based on modes of transposition he developed from his own early compositions; he also experimented with “total serialism,” an almost epistemological application of 12-tone “rows,” and with Eastern musical sources including Japan and Indonesia.

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If all this sounds mystical, perhaps it is. But Messiaen’s deepest musical influence— apart from his Roman Catholic faith—was almost certainly his devotion to nature and in particular his love of birds. He was an accomplished ornithologist, and as a composer took the time to transcribe bird songs as musical notation. He was devoted to the teachings of St. Francis of Assisi. To Messiaen’s admirers, his music and his life are inseparable; they seem to be the worldly evidence of a saintly life, and his music reveals a sincerity of expression that seems as simple as nature itself in the listening, regardless of the complexity of its sources.

Like Ferde Grofé’s Grand Canyon Suite, Messiaen’s Des canyons aux étoiles… is intimately connected to a particular place in the American Southwest—in this case, the state of Utah. Messiaen took inspiration from the landscape and the birds of the Beehive State while composing this suite, and was particularly moved by visiting Bryce Canyon National Park. In these movements, Messiaen’s musical reflections on Utahn grandeur—the meanings he discerned “written in stars,” the colors and forms he saw in the desert—describe his experiences of Bryce as a divine creation.

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CHANTICLEER Called “the world’s reigning male chorus” by The New Yorker, the San Francisco-based Grammy® Award-winning ensemble Chanticleer celebrates its 40th anniversary as part of the 2019-20 Noorda season. Praised by the San Francisco Chronicle for its “tonal luxuriance and crisply etched clarity,” Chanticleer is known around the world as “an orchestra of voices” for its seamless blend of 12 male voices, ranging from soprano to bass, and its original interpretations of vocal literature, from Renaissance to jazz and popular genres, as well as contemporary composition.

Concert Hall Sat, Apr 25, 7:30 PM

FULL SCHEDULE & TICKETS AVAILABLE AT UVU.EDU/THENOORDA FOLLOW US ON SOCIAL MEDIA @TheNoordaCenterUVU

The Noorda would like to thank its Title Sponsors:

INDIVIDUAL SUPPORT We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

This list includes donations received as of January 24, 2020. * in-kind donation

** in-kind & cash donations

† deceased

ENCORE ($100,000 OR MORE) Estate of Donna Dell Kem & Carolyn Gardner

Anthony & Renee Marlon Patricia A. Richards & William K. Nichols**

Estate of Linda & Don Price Bill & Joanne Shiebler

BRAVO ($50,000 TO $99,999) Diane & Hal Brierley James A.† & Marilyn Parke Harris H. & Amanda Simmons

Naoma Tate & the Family of Hal Tate Jacquelyn Wentz

Jack Wheatley

OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen Barron Collier John & Flora D’Arcy

John & Joan Firmage Kristen Fletcher & Dan McPhun Tom & Lorie Jacobson Chuck & Crystal Maggelet Edward Moreton Fred & Lucy Moreton

Mark & Dianne Prothro Alice & Frank Puleo Estate of Mary Schofield Jim & Zibby Tozer John & Jean Yablonski Edward & Marelynn Zipser

MAESTRO ($10,000 TO $24,999) Fran Akita A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judith Billings Berenice J. Bradshaw Trust Judy & Larry Brownstein Rebecca Marriott Champion William & Patricia Child Howard & Betty Clark Larry Clemmensen Tom Coleman Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Robert & Elisha Finney Thierry & Catherine Fischer** Martin & Jane† Greenberg UTAHSYMPHONY.ORG

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Doug & Connie Hayes Susan & Tom Hodgson Mary P.† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Robert & Debra Kasirer Mr. & Mrs. Christopher J. Lansing Herbert† & Helga Lloyd Charles & Pat McEvoy Amanda & Spencer Millerberg Richard & Robin Milne Harold W. & Lois Milner Terrell & Leah Nagata Jim & Ann Neal William H. & Christine Nelson Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon

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Stephen & Cydney Quinn David & Shari Quinney Albert J. Roberts IV Richard & Carmen Rogers Ted & Lori Samuels Elizabeth Solomon George Speciale Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Jonathan & Anne Symonds Norman C.† & Barbara L. Tanner Kathleen Digre & Michael Varner Howard & Barbara Wallack Kathie & Hugh Zumbro

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INDIVIDUAL SUPPORT

ALLEGRO ($5,000 TO $9,999) Anonymous (6) Craig & Joanna Adamson Edward R. Ashwood & Candice A. Johnson Dr. & Mrs. Clisto Beaty Dr. Melissa Bentley David Brown Mr. & Mrs. Neill Brownstein Marc & Kathryn Cohen Dr. Thomas D. & Joanne A. Coppin Mr. & Mrs. Kenneth R. Cutler Patricia Dougall Eager Trust Spencer & Cleone† Eccles Midge Farkas Jack & Marianne Ferraro Thomas & Lynn Fey Blake & Linda Fisher Mr. & Mrs. Eric Garen** Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman

The Right Reverend Carolyn Tanner Irish & M. Frederick Quinn Annette & Joseph Jarvis Dale & Beverly Johnson Rick & Paulette Katzenbach James & Penny Keras Thomas Klassen & Carolyn Talboys-Klassen Gary & Suzanne Larsen Harrison & Elaine Levy Michael Liess Ms. Susan Loffler Tom & Jamie Love Hallie & Ted McFetridge Paul Meecham & Laura Leach Christopher & Julie McBeth Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. & Deborah Moench Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel

Brooks & Lenna Quinn W.E. & Harriet R. Rasmussen Joyce Rice Dr. Wallace Ring Peggy & Ben Schapiro Barbara & Paul Schwartz Suzanne Scott Thomas & Gayle Sherry Drs. John & Ann O’Neill† Shigeoka Stuart & Mary Silloway Dr. & Mrs. Charles W. Sorenson, Jr. Sidney Stern Memorial Trust Larry & Nancy Tallman Mr. & Mrs. Glen R. Traylor Thomas† & Caroline Tucker Albert & Yvette Ungricht M. Walker & Sue Wallace Paul Wattis Drs. Cornelia & Rasmus Wegener E. Woolston & Connie Jo Hepworth-Woolston

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (10) Robert & Cherry Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Fred & Linda Babcock Robert Baker Robert & Melisse Barrett Tina & John Barry Charlotte & Hal Browning Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Vincent Cannella Dr.† & Mrs. Anthony Carter Mark & Marcy Casp Hannalorre Chahine Hal & Cecile Christiansen Larry & Judy Cohen George Coleman Raymond & Diana Compton Debbi & Gary Cook 62

Sandra & David Cope Dr. Thomas D. & Joanne D. Coppin David & Donna Dalton Ken & Marcie Davis David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Elizabeth deForest Margarita Donnelly John D. Doppelheuer & Kirsten A. Hanson Margaret Dreyfous Metta Nelson DriscollIn honor of Marie Nelson Bennett Carol & Greg Easton Mrs. Sarah Ehrlich Janet Ellison Kate Fauntleroy Adele & James Forman Mr. Joseph F. Furlong III Robert & Annie-Lewis Garda David & Sherrie Gee

Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Kenneth & Amy Goodman Arlen Hale C. Chauncey & Emily Hall Dr. Bradford D. Hare & Dr. Akiko Okifuji David & Judi† Harris Jeff & Peggy Hatch Don & Lisanne Hendricks Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner Michael Huerta Jennifer Horne-Huntsman & Scott Huntsman Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen M. Craig & Rebecca Johns Maxine & Bruce Johnson Bryce & Karen† Johnson Neone F. Jones Family Dr. & Mrs. Michael A. Kalm

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DOW N TOW N SER I ES A new collection of vibrant, casual chamber concerts performed at The Monarch in Downtown Ogden.

Third Coast Percussion MARCH 3

PUBLIQuartet MARCH 31

Quarteto Nuevo APRIL 2

Eighth Blackbird

ONSTAGE OGDEN 801-399-9214 638 26TH STREET

APRIL 22

GRAMMY®-nominated PUBLIQuartet

$25 | ONSTAGEOGDEN.ORG

The Monarch | Royal Room | 455 25th Street. Ogden

Exclusively at 331 S. Rio Grande St. #105 Salt Lake City, UT 84101 801.575.6525 RegencyRoyale.com

OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN

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Consistently Rated Rated“Tops” “Tops”–Zagat –Zagat • anConsistently american contemporary café • 6060W.W.Independent Market MarketStreet Street• •801.363.0166 801.363.0166 Local, Chef Owned

22 East 100 South Phone • 801.363.9328 www.martinecafe.com

Salt SaltLake LakeCity’s City’s#1 #1 Most MostPopular PopularRestaurant Restaurant –Zagat –Zagat

4848W.W.Market MarketStreet Street(340 (340South) South) 801.322.4668 801.322.4668

complementary appetizer or dessert with entrée 801.238.4748 | 255 S West Temple

• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South

Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensed byby Ingram Ingram Image Image

MARTINE 22 East 100 South. Exceptional ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Conveniently located on First South around the corner from the Eccles Theater. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328 SPENCER’S 255 South West Temple, SLC. Winner of Wine Spectator’s Award of Excellence and Best of State for Fine Dining, enjoy locally sourced Prime steaks and sustainable seafood dishes from Executive Chef Sebastian Lowrey. Seasonal cocktails, inspired desserts, and exceptional service complement your meal. L, D, S, T, LL, RA, CC, VS. 801-238-4748 | Reservations at Opentable.com

SQUATTERS PUB BREWERY 147 West Broadway SLC. Join us before and after the show for eclectic daily specials and traditional pub favorites such as bacon topped meatloaf, pizzas and a delicious array of burgers, all paired with our world-class beer and welcoming atmosphere. L, S, AT, LL, D, CC, VS. 801-363-2739

very ry T-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram Image ations vationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

INDIVIDUAL SUPPORT ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching George Klopfer & Joy Simenonova Howard & Merele Kosowsky Les Kratter Guttorm & Claudia Landro Donald L. & Alice A. Lappe Lisa & James Levy Bill Ligety & Cyndi Sharp Estate of Marilyn Lindsay Daniel & Deena Lofgren Mr. & Mrs. Kit Lokey Dennis & Pat Lombardi Jeramy Lopez Gregg & Karen Lund Milt & Carol† Lynnes David & Donna Lyon Keith & Vicki Maio Heidi & Edward D. Makowski Jennifer Malherbe Peter Margulies & Louise Vickerman Jed & Kathryn Marti Daniel & Noemi P. Mattis

Dale & Carol Matuska Tom & Janet McDougal Michael & Julie McFadden Michal & Maureen Mekjian George & Nancy Melling Mr. & Mrs. Richard Mithoff Morgan Stanley Glenn & Dav Mosby Marilyn H. Neilson Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison Dr. Barbara S. Reid Dr. Kenneth Roach & Cindy Powell James & Anna Romano Marilynn Roskelley & Paul Dorius Thomas Safran

David & Lois Salisbury Mark & Loulu Saltzman Margaret P. Sargent James & Janet Schnitz Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Howard & Audrey Seares Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Ray & Ann Steben Paul Taylor Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Wesley Warren & Amber Hawkins-Warren Susan Warshaw Robert R. & Sue A. Webb Wells Fargo Bank Dan & Amy Wilcox Gayle & Sam Youngblood**

Caroline & David Hundley Gordon Irving Eldon Jenkins & Amy Calara James R. Jones & Family Umur Kavlakoglu Carl & Gillean Kjeldsberg Robert & Karla Knox Eva Carlston Academy Mr. & Mrs. Melvyn L. Lefkowitz Miriam Mason Neylan McBaine & Elliot Smith Jerilyn McIntyre & David Smith Cheri Measom Dr. Nicole L. Mihalopoulos & Joshua Scoville Joe Mulvehill Sir David Murrell IV & Mary Beckerle Dan & Janet Myers

Lee K. Osborne Robert† & Catherine Pedersen Rori & Nancy Piggott Renee Y. Plumb Gina Rieke Francis Roth Gerald† & Sharon Seiner Barbara Slaymaker Dorotha Smart Gibbs† & Catherine W. Smith Christine St. Andre & Cliff Hardesty Douglas & Susan Terry Rachel Varat-Navarro Renee Waters Charles & Ellen Wells David & Jerre Winder Marsha & Richard Workman Carol Zimmerman

PATRON ($1,500 TO $2,499) Anonymous (3) Madeline Adkins & John Forrest Susan Benson Harvey & Donna Birsner C. Kim & Jane Blair Roger & Karen Blaylock Mr. & Mrs. William D. Callister Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. David Coppin Dorothy B. Cromer Pat & Nancy Forester Thomas Fuller Heidi Gardner Dr. & Mrs. John Greenlee Kenneth & Kate Handley John Edward Henderson Connie C. Holbrook Camille Huchton Mr. & Mrs. Jerry Huffman UTAHSYMPHONY.ORG

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INDIVIDUAL SUPPORT FRIEND ($1,000 TO $1,499) Anonymous (4) Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David & Rebecca Bateman Randy & Jeni Bathemess E. Wayne† & Barbara Baumgardner Jennifer Beckham Michael Blum & Abigail Rose Diane Banks Bromberg & Dr. Mark Bromberg Janice Burk Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Carroll Po & Beatrice Chang & Family Michael & Beth Chardack Dr. & Mrs. Hal S. Cole William J. Coles & Joan L. Coles David & Carol Coulter Sandra Covey† Lawrence Dickerson James & Rula Dickson Kathleen & Frank Dougherty Alice Edvalson Eric & Shellie Eide

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Robert S. Felt, M.D. James & Barbara T. Gaddis Quinn & Julie Gardner Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Sue Grant John & Ilauna Gurr Geraldine Hanni Conor Hanrahan Jonathan Hart Lex Hemphill & Nancy Melich Courtney Henley Craig & Tiffany Hess Brad Hintze Peggy Hudson Stephen Irish Chester & Marilyn Johnson Jill Johnson Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Tim & Angela Laros Julie & John Lund Thomas & Mary McCarthey Edward J. & Grace Mary McDonough Clifton & Terri McIntosh Hal & JeNeal Miller Dr. Jean H. & Dr. Richard R. Miller

Henriette Mohebbizadeh Barry & Kathy Mower Renate B. Nebeker Oren & Liz Nelson Ruzena Novak Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Joseph J.† & Dorothy Moyle Palmer Linda S. Pembroke Joan C. Peterson Charles R. Pikler Thomas B. Pilger Dr. Richard & Frances Reiser Lousje & Keith Rooker Gerry & Ginny Rothstein Janet Schaap Sandefur Schmidt Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens Mitch & Dawn Taubin Denise Torrisi Karen Urankar David H. & Barbara S. Viskochil Gerard & Sheila Walsh David B. & Anne Wirthlin

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Please join the Utah Symphony in celebrating March as Music in Our Schools Month.

Our education efforts in the schools are partially funded

by Utah State Legislature’s Professional Outreach Programs in the Schools. We invite you to call, email, or send a letter declaring your support of the POPS program to your Utah State legislators.

Get Knowledgeable!

The Every Student Succeeds Act

THE EVERY STUDENT SUCCEEDS ACT HAS CREATED A NEW DAY FOR MUSIC EDUCATION — Specific and stand-alone mention of music as an important component of a well-rounded education — New and expanded funding opportunities to support the access of music education — More professional development for music educators

TAKE ACTION! — SUPPORT YOUR SCHOOL’S MUSIC PROGRAM — Invite school board members, county/district supervisors, state and national lawmakers to your school’s performances — Communicate with your local media outlets: visit nafme.org/take-action/ for our Public Relations 101 guide for ideas — Thank your school principal and other administrators for supporting your school’s music program, and keep them up-todate with your upcoming program activities

ENDOWMENT

DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund.

For further information, please contact 801-869-9015.

Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Barbara Scowcroft & Ralph Matson Mrs. Barbara Nellestein Joanne & Bill Shiebler Grant Gill Smith

Dale Strobel Matthew & Maria Proser Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY Jay T. Ball Dawn Ann Bailey Marie Nelson Bennett Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Robert Ehrlich Leah Burrows Felt Loraine L. Felton 68

Crawford Gates Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Dr. Richard George Middleton

Jack Newton Richard Perkins Glade & Mardean Peterson Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Robert C. Sloan Maxine Winn

UTAHSYMPHONY.ORG

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FROM THE UNIVERSITY OF UTAH

KUED IS NOW

New name, new look. Same station you love.

Building on our 61-year legacy of delivering trusted, quality PBS & local programing to viewers around the state, KUED has now become PBS Utah. It’s change that deďŹ nes who we are as a station, and strengthens our enduring commitment to viewers in the state of Utah and the Intermountain West.

INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

This list includes donations received as of January 24, 2020. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE Anonymous The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation Dominion Energy George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

William Randolph Hearst Foundation Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner John & Marcia Price Family Foundation Salt Lake City Redevelopment Agency Salt Lake County

Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Kahlert Foundation Janet Q. Lawson Foundation

League of American Orchestras’ Futures Fund Utah Symphony Guild

Deer Valley Resort** Intuitive Funding Frederick Q. Lawson Foundation LOVE Communications ** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation

Simmons Family Foundation Stein Eriksen Lodge** STRUCK* Summit Sotheby’s Nora Eccles Treadwell Foundation

$50,000 TO $99,999 Anonymous AHE/CI Trust The Grand America Hotel & Little America Hotel*

$25,000 TO $49,999 Anonymous Arnold Machinery Brent & Bonnie Jean Beesley Foundation BMW of Murray/BMW of Pleasant Grove Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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WOMEN OF NOTES UTAH SYMPHONY | UTAH OPERA CULTURAL FESTIVAL 2020

T

he year 2020 marks the 100th anniversary of the 19th Amendment to the United States Constitution and the 150th anniversary of the first vote under a women’s suffrage law, which happened in Salt Lake City. In recognition of these milestones, Utah Symphony | Utah Opera’s 2020 cultural festival will highlight the achievements of women and create opportunities for them in the field of classical music, particularly as composers and conductors.

Activities include performances of original works, artist presentations, and masterclasses.

SPECIAL EVENT: On March 28th, join a panel of professional conductors for a special workshop. The invitation is especially extended to women interested in conducting, but all genders of conductors are welcome.

The panelists will provide insights from their own careers and four participants will have the opportunity to prepare a portion of Tchaikovsky’s Symphony No. 5, conduct a Utah Youth Symphony rehearsal of it, and receive immediate feedback from our panel.

Sign up as an observer, or apply to be an active conducting participant at utahsymphony.org/ conducting-masterclass-reservation-form/ For more details and a full list of festival activities, go to utahopera.org/festival. #WomenOfNotes

SELECT FEATURED ARTISTS

Lisa DeSpain

Sarah Hicks

Stephanie Rhodes Russell

Michaella Calzaretta

Composer

Conductor

Conductor

Utah Opera Chorus Master

NAOMA TATE AND THE FAMILY OF HAL TATE

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Season 2 is out now!

Listen wherever you get your podcasts or at preachpod.org.

INSTITUTIONAL DONORS

$10,000 TO $24,999 Adobe HJ & BR Barlow Foundation Big D Construction R. Harold Burton Foundation B.W. Bastian Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Cultural Vision Fund Daynes Music Company* Discover Financial Services Matthew B. Ellis Foundation Goldman Sachs & Co. LLC

Grandeur Peak Global Advisors Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies The John C. Kish Foundation National Endowment for the Arts Park City Chamber / Visitors Bureau Promontory Foundation S.J. & Jessie E. Quinney Foundation Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation St. Regis / Deer Crest Club** University of Utah Health W. Mack & Julie S. Watkins Foundation WCF Insurance Wells Fargo Wells Fargo Foundation The Christian V. & Lisa D. Young Family Foundation

Anonymous (2) The Aaron Copland Fund for Music, Inc. Deluxe Corporation Foundation The Dorsey & Whitney Foundation Every Blooming Thing George Restaurant* The Val A. Green & Edith D. Green Foundation Holland & Hart** Hyatt Centric Park City

John Williams Foundation Jones Waldo Park City J. Wong’s Thai & Chinese Bistro* KKC Foundation Kulynych Family Foundation II, Inc. Martine* Orem City CARE Tax Rancho Market Raymond James & Associates

Red Rock Brewing Company* Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council Stay Park City* Texas de Brazil* U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation Utah Food Services*

Bertin Family Foundation Better Days Robert S. Carter Foundation CBRE

Henry W. & Leslie M. Eskuche Charitable Foundation Inwest Title Service, Inc. M Lazy M Foundation

Morris Murdock Travel Snell & Wilmer Spitzberg-Rothman Foundation Squatters Pub*

Millcreek Coffee Roasters* Ray, Quinney & Nebeker Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Glenna & Lawrence Shapiro Family Foundation

Snow, Christensen & Martineau Foundation Summerhays Music Center* George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

Adib’s Rug Gallery * Fanwood Foundation

Nebeker Family Foundation Swire Coca-Cola, USA*

$5,000 TO $9,999

$2,500 TO $4,999

$1,500 TO $2,499 Anonymous (1) Castle Foundation City Creek Center Corning Incorporated Foundation D’Addario Foundation The Helper Project

$1,000 TO $1,499 Anonymous AC Hotel SLC/Downtown * UTAHSYMPHONY.ORG

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ADMINISTRATION ADMINISTRATION Patricia A. Richards

DEVELOPMENT Leslie Peterson

ACCOUNTING & INFORMATION TECHNOLOGY

David Green

Jessica Proctor

Vice President of Finance & CFO

Interim President & CEO Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

Vice President of Development

Steve Hogan

Director of Institutional Giving

Mike Lund

Olivia Custodio

Director of Information Technologies

Director of Individual Giving

Karyn Cunliffe

Heather Weinstock

Controller

Director of Special Events & DVMF Donor Relations

Alison Mockli

Payroll & Benefits Manager

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton Grants Manager

Kyle Siedschlag

Anthony Tolokan

Development Operations Manager

Jared Mollenkopf

Symphony Music Director

Nikki Orlando

Vice President of Symphony Artistic Planning

Ali Snow

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Development Assistant

Conner Gray Covington

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Accounts Payable Specialist

Annual Fund Coordinator

Patron Information Systems Manager

EDUCATION Paula Fowler

Ellesse Hargreaves

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

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Becca Gee

Opera Education Assistant

Renée Huang

Annie Farnbach

Director of Communications & Digital Media

Symphony Education Assistant

Kathleen Sykes

Digital Content Producer

OPERA TECHNICAL Jared Porter

Marketing Manager - Audience Development

Kelly Nickle

Robert Bedont

Senior Technical Director Properties Master

Nina Starling

Dusty Terrell

Website Content Coordinator

Scenic Charge Artist

Program Publication & Front of House Director

PATRON SERVICES Faith Myers

COSTUMES Verona Green

Production & Stage Manager

Merry Magee

Jessica Cetrone

Operations Manager

Mara Lefler

Chip Dance Kate Henry

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Director of Patron Engagement Marketing Manager - Patron Loyalty

Kierstin Gibbs LisaAnn DeLapp

Patron Services Manager

Amanda Reiser Meyer

Andrew J. Wilson Hallie Wilmes

Robyne Anderson

Genevieve Gannon

OPERA ARTISTIC Christopher McBeth

Sarah Pehrson Jackie Seethaler Powell Smith

Artist Logistics Coordinator

Patron Services Assistant

2nd Assistant Stage Manager

Group Sales Associate

Carol Anderson Principal Coach

Michelle Peterson

Director of Production

Michaella Calzaretta Opera Chorus Master

Brooke Yadon

Opera Production Coordinator

Costume Rentals Supervisor

Sales Manager

Lyndsay Keith

Opera Artistic Director

Costume Director

Sales Associates

Nicholas Barker Jill Dewsnup Lorraine Fry Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents

Rentals Assistants

Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

Sally McEntire Vanessa Startup Stitcher

Rachel Bennett Claire Jones Lesli Spencer

Wigs/Make-up Crew

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

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TANNER & CRESCENDO SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

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

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers

Mahler Circle

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

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

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

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

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

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

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

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

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FOLLOW @SHECANSTEM ON INSTAGRAM.

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Celebrate With Us! May 18, 2020

As the oldest locally owned brewer y in Salt L ake Cit y, we’ve won dozens of awards for our handcraf ted microbrews.

But it’s our fantastic food, ex tensive wine and cock tail menu, and awesome atmosphere that’ll keep you coming back .

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ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

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The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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