Bach’s Brandenburg No. 3 with Schoenberg

BACH’S BRANDENBURG NO. 3 WITH SCHOENBERG SEPTEMBER 24–26

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CONTENTS

TONIGHT’S CONCERT

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Welcome

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Utah Symphony

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Board of Trustees

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USUO 2020 Pandemic Activities

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Season Sponsors

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Donors

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Administration

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Planned Giving

Photo Credit: Marco Borggreve

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Tanner & Crescendo Societies

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Utah Symphony Guild

BACH’S BRANDENBURG NO. 3 WITH SCHOENBERG

SEPTEMBER 24–26

masterworks

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Education

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ARTIST’S PROFILE

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

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NOTES ON THE PROGRAM

Acknowledgments

@UtahSymphony

Purchase tickets at utahsymphony.org or call 801-533-6683 PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Patrick Witmer UTAHSYMPHONY.ORG

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ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas ADMINISTRATIVE ASSISTANT Jessica Alder EDITOR Melissa Robison

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801467-8833 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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WELCOME

Music, Mission, Art, Community, Pandemic, Safety, Flexibility, Patience, Excitement, Music…Together.

This is merely a string of words until you place it into our current moment. Much has been said about the state of life amidst this pandemic. The state of the performing arts, our communities, business, the economy, and individual lives. As we continue to learn more and make progress, we remain committed to the journey with you.

Steven Brosvik President & CEO

I’m honored and excited to be entering my time as President & CEO of Utah Symphony | Utah Opera just as we’re able to resume live performances. From the beginning of the search process, I’ve been impressed by the support for the music and mission by everyone I’ve encountered. USUO is an organization of great depth, history and service to the region. I look forward to building our future together as we become ever more present and relevant to our entire community. I am inspired by the extraordinary work Pat Richards has done in her role as Interim CEO. I am grateful for the direction and commitment of our Board of Trustees, our incredible donors, and the patience of our ticketholders.

I am impressed by the work being done by the staff team to create and realize plans in coordination with members of the orchestra, and I am excited to finally be able to hear our musicians live in Abravanel Hall and the Janet Quinney Lawson Capitol Theatre. It has taken everyone in this list, including you, to make live performances possible.

All of us at USUO believe strongly in the powerful healing effect of music to connect communities. This has long been true, but especially during trying historical times such as these. It is with great deliberation and joy that we resume these live performances and welcome you back to your musical home.

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Barlow Bradford Symphony Chorus Director

Yuan Qi

VIOLIN* Madeline Adkins

Associate Principal

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

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

Kathryn Eberle

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

CELLO* Matthew Johnson

Ralph Matson†

Associate Concertmaster

Acting Principal The J. Ryan Selberg Memorial Chair

Laura Ha

Andrew Larson

Acting Associate Concertmaster

Acting Associate Principal

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

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

BASS* David Yavornitzky

Associate Principal Second

Evgenia Zharzhavskaya

Principal

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 ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

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

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

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Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

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Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler

PERCUSSION Keith Carrick

Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

FLUTE Mercedes Smith

TROMBONE Mark Davidson

Erin Svoboda-Scott

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

Principal

Peter Margulies Paul Torrisi

TIMPANI George Brown

Corbin Johnston

HARP Louise Vickerman

Associate Principal

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

Assistant Principal Second

Associate Principal

Principal

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett

Principal

Eric Hopkins

Associate Principal

Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Acting Principal

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Dr. Stewart E. Barlow Judith M. Billings Gary L. Crocker

David L. Dee* Alex J. Dunn Dr. Julie Aiken Hansen Senator Daniel Hemmert Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Dr. Shane D. Stowell Naoma Tate Thomas Thatcher W. James Tozer Jr.

Dr. Astrid 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

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

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

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Nancy Pinto-Orton 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 HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

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Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

David L. Brown (S. California)

Robert Dibblee (Virginia)

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

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

Harold W. Milner (Nevada) Marcia Price (Utah) *Executive Committee Member UTAHSYMPHONY.ORG

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USUO 2020 PANDEMIC ACTIVITIES

It’s been six months since Utah Symphony took the stage at Abravanel Hall! We express gratitude and thanks for the heartwarming support received from our community and colleagues during a time of uncertainty. While we haven’t been able to offer typical performances due to the COVID-19 pandemic, we’ve still been busy finding ways to connect the community—from a distance—through great live music. Below, discover how Utah Symphony has brightened social media feeds, curated online educational resources, contributed to pandemic relief efforts, and even given world premieres of new pieces from home during quarantine.

Within a week of Utah’s schools closing in March, our Education Department organized existing digital content, converted other items to be shared digitally, and developed new ideas to help support teachers, parents and students in our suddenly digital-only learning environment. Utah Symphony’s School from Home page now offers Virtual Assemblies, education videos featuring the Musicians of the Utah Symphony, symphony bingo, listening music scavenger hunts, and “Ask a Musician” boxes.

In addition, the new Virtual Listening Room on utahsymphony.org includes links to streaming, curated playlists, past performance clips, and Ghost Light Podcast episodes. The latter series includes a special edition talking about the ways that music has connected humanity in times of crisis throughout history, as well as “Music Knows Exactly How You Feel” and “Live Music After Corona.”

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In April, our orchestra musicians, staff, opera chorus members, and our volunteer network teamed up to express thanks to all of our supporters who have donated tickets to cancelled performances and stepped up their donations to make sure this organization continues well into the future. The Utah Opera costume shop team also completed several hundred masks in just two weeks to donate to Salt Lake Regional Medical Center.

KSL TV included our very own Tad Calcara (whose Good Mornin’ video on has 16,000+ shares and over 1 million views on Facebook) in a feature about the creative ways that people are finding to use music as salve during isolation. Tad’s other popular videos include arrangements of George Gershwin’s Somebody Loves Me and Irving Berlin’s Puttin’ on the Ritz.

Four Utah Symphony trumpet players also

Tad Calcara

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USUO 2020 PANDEMIC ACTIVITIES

Fanfare of Hope and Solidarity

recorded the theme song for ‘CBS Sunday Morning’ from their homes.

Other creative musical endeavors shared

by Utah Symphony musicians include Associate Principal Trombone Sam Elliot playing a Bach two-part invention with a ‘Sam Elliot from the past’; Violin Lynn Rosen playing Jean-Marie Leclair’s Sonata for Two Violins with herself; Associate Principal Clarinet Erin SvobodaScott playing all three parts of a klezmer folk tune; and Principal Trumpet Travis Peterson, with the aid of recent guest conductor Jerry Steichen (all the way from his living room in Manhattan), performing “The Lord’s Prayer” for Easter. Violin Yuki MacQueen took social distancing seriously by performing a duet from a distance of 2000 miles with a student of hers from Haiti, Alexandre Santya.

Concertmaster Madeline Adkins also joined seven of her concertmaster

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colleagues from around the country to perform the slow movement of Bach’s Double Concerto in D Minor, all from their respective homes.

In May, Utah Symphony shared a musical thank you to essential workers featuring Utah Symphony musicians playing Aaron Copland’s Fanfare for the Common Man. Governor Gary Herbert, Congressional Representative Ben McAdams, and Senator Luz Escamilla joined Utah Symphony Musical Director Thierry Fischer and Interim President & CEO Pat Richards in a special introduction to the glorious music by our musicians set to photos of the valiant healthcare workers, essential staff, and first responders risking their lives to help us through this stressful time.

On May 8th, Utah Symphony celebrated our 80th anniversary! Our online birthday

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USUO 2020 PANDEMIC ACTIVITIES

community. Humanity has and will always work together to further music’s flexible, diverse capacity and innate power. The magnificence and energy of massed musical resources, such as an orchestra, are humbling, inspiring, and exemplify hope, solidarity and teamwork.”

Augusta Read Thomas

party included interviews with Music Director Thierry Fischer, former orchestra members, and recent guest artist Augustin Hadelich; performances by Utah Symphony musicians; birthday wishes from previous guest artists; a special message from Interim President & CEO Pat Richards; and even cake! We hope that you were able to join the celebration.

May also brought the two world premieres of pieces commissioned by Utah Symphony. First was Fanfare of Hope and Solidarity by Augusta Read Thomas. This piece was composed in late April and early May and recorded by the musicians of the orchestra in their homes, then audio engineered by Stoker White and Funk Studios and video produced and edited

by Andrea Peterson. We believe this was the first world premiere by an American orchestra during the time of COVID-19.

Thomas shared her thoughts on the project: “I believe music feeds our souls.

Unbreakable is the power of art to build

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The second premiere was Longing from Afar by Dai Fujikura. This piece is about being together even when we’re physically apart, and was recorded live via a video conference. Fujikura drew inspiration for this piece by “considering how all musicians make sound together even when we are all physically far apart.” Both premieres are still available on the Utah Symphony Facebook and YouTube pages.

One of the most exciting announcements of the summer was of the 2021 Deer Valley Music Festival, a year in advance!

If you bought tickets for the 2020 festival performances or the Temptations at Abravanel Hall, you will be sent new tickets for the corresponding 2021 concerts. For all of you who are dreaming of escaping into great live music in the mountains again, tickets for the 2021 festival are on sale now at deervalleymusicfestival.org.

Another exciting announcement came in June, with the appointment of Steven Brosvik as the next President and CEO of Utah Symphony | Utah Opera. Steve has many years’ experience in leadership roles with Baltimore Symphony, San Antonio Symphony, Houston Symphony and Nashville Symphony. He loves “Being one of the people who helps support

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USUO 2020 PANDEMIC ACTIVITIES getting the music on the stage and supporting incredible musicians to be able to make that music for the audience.”

Another wonderful opportunity to support USUO came thanks to the Alternative Visions Fund, an anonymous donor advised fund of the Chicago Community Foundation, which has awarded USUO a matching challenge grant in support of the Alternative Visions COVID-19 Relief Fund Challenge at USUO. All contributions received before October 1 will be matched on a 1:1 basis up to a total maximum match of $500,000. If you have been considering a contribution to USUO or increasing your annual gift, doing so before October 1 will make your investment go twice as far.

In August, a new 5,000 square foot public art piece was unveiled in downtown Salt Lake City that celebrates the impact

of Utah women—past and present— in commemoration of the centennial anniversary of the 19th Amendment. The mural was commissioned by Zions Bank and is located on the east-facing wall of the Dinwoody Building located at 37 West 100 South. It includes current Utah Symphony musicians Concertmaster Madeline Adkins and Principal Flute Mercedes Smith, as well as long-time volunteer Lona Mae Lauritzen, and is a beautiful contribution to our community.

At another small, outdoor Park City event this summer, one guest remarked, “It was a thrill to just hear a live performance.

I had to wipe a tear away to hear such beautiful music.” We feel the same way, and hope you do tonight as well. Thank you for helping Utah Symphony to once again connect the community through great live music. Please enjoy our reimagined 2020–21 season!

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George S. and Dolores DorĂŠ Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

MASTERWORKS SERIES

BACH’S BRANDENBURG NO. 3 WITH SCHOENBERG

SEPT. 24–26 / 2020 / 7:30PM / ABRAVANEL HALL

Thierry Fischer, conductor

BRANDENBURG CONCERTO NO. 3 IN G MAJOR

by J.S. Bach

VERKLÄRTE NACHT (TRANSFIGURED NIGHT)

by Schoenberg

Additional selections to be announced from stage.

CO N D UCTOR & ORC HESTR A S PO N SOR

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ARTIST’S PROFILE I am incredibly grateful to be able to return to creating music with the Utah Symphony in Abravanel Hall. For a Symphony, experiencing sounds together with a live audience is essential to provide messages of hope, unity and solidarity.

With these first short concerts since the pandemic began, we want to evoke and symbolize alternately the quality of traditional world repertoire as well as music representing America’s diverse culture.

For Masterworks 1, we hope that on top of the treasures of Tchaikovsky’s Serenade for Strings, choosing to open the season with Fela Sowande’s Joyful Day before Samuel Barber’s Adagio can describe, express and embody black American culture, as well as pay tribute to those who have been lost in this difficult year and to those who are still suffering.

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

For MW2, we will open the concert with the irrepressible joy and inexhaustible source of energy of the Brandenburg Concerto No. 3, paired with Schoenberg’s Transfigured Night in the first part of the concert. We then will conclude with three very creative American composers representing our percussion, woodwind and brass sections.

Thank you for joining us for these concerts and for supporting Utah Symphony | Utah Opera. See you very soon for our 2020–21 “surprise” season.

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Salt Lake City, Ogden, UT; Boise, Idaho Falls, Twin Falls, ID; Reno, Elko, Las Vegas, NV; Tucson, Pheonix, Flagstaff, AZ; Grand Junction, Denver, Johnstown, Colorado Springs, CO; Jamestown, ND; Casper, Gillette, WY; Billings, MT, Portlands, OR; Waco, TX

NOTES ON THE PROGRAM

by Michael Clive Valerie Coleman (American, contemporary)

Afro-Cuban Concerto for Wind Quintet Talk about swimming upstream! After centuries of cultural opposition to women in classical music on both sides of the Atlantic, and at a time when the underrepresentation of women and Black Americans in classical music professions is in the news, Valerie Coleman has overcome these obstacles to become one of the most acclaimed and widely programmed composers of our times.

She was named by the syndicated radio program Performance Today as the 2020 Classical Woman of the Year, and was designated as one of the “Top 35 Female Composers in Classical Music” by influential music critic Anne Midgette. Both as a composer and an articulate voice for change, Valerie Coleman is a major voice for music and for change.

Whether live or on broadcast, Coleman’s compositions are easily recognizable for their inspired style and can be throughout venues, institutions and competitions globally. The Boston Globe described Coleman as a having a “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations,” and The New York Times observed that her compositions are “skillfully wrought, buoyant music”. With works that range from flute sonatas that recount the stories of trafficked humans during Middle Passage and orchestral and chamber works based on nomadic Roma

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tribes, to scherzos about moonshine in the Mississippi Delta region and motifs based from Morse Code, her body of works have been highly regarded as a deeply relevant contribution to modern music.

A native of Louisville, Kentucky, Coleman began her music studies at the age of eleven and by the age of fourteen, had written three symphonies and won several local and state performance competitions. She is the founder, creator, and former flutist of the Grammy® nominated Imani Winds, one of the world’s premier chamber music ensembles, and is currently an Assistant Professor of Performance, Chamber Music, and Entrepreneurship at the Frost School of Music at the University of Miami. Through her creations and performances, Valerie has carved a unique path for her artistry, while much of her music is considered to be standard repertoire. She is perhaps best known for UMOJA, a composition that is widely recognized and was listed by Chamber Music America one of the “Top 101 Great American Ensemble Works”. ​Coleman has received commissions from Carnegie Hall, American Composers Orchestra, The Library of Congress, the Collegiate Band Directors National Association, Chamber Music Northwest, Virginia Tech University, Virginia Commonwealth University, National Flute Association, West Michigan Flute Society, Orchestra 2001, The San Francisco Chamber Orchestra, The Brooklyn Philharmonic, The Flute/Clarinet Duos Consortium, Hartford Symphony Orchestra, Chamber Music Northwest, and the Interlochen Arts Academy to name a few.

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NOTES ON THE PROGRAM With over two decades of conducting masterclasses, lectures and clinics across the country, Valerie is a highly soughtafter clinician and recitalist. Recently, she has immensely enjoyed being the featured guest artist of flute fairs around the country.

Coleman’s Afro-Cuban Concerto interweaves musical sources from Africa, the Americas and the Caribbean to unique and irresistible effect. The Los Angeles Times described the result as an “engaging showpiece, deftly woven polyrhythmic lines—suggesting the pulse of Cuban clave and even James Brown.” The Boston Globe cited Coleman’s “talent for delineating form and emotion with shifts between ingeniously varied instrumental combinations,” and The New York Times hailed her compositions as “skillfully wrought, buoyant music.” Not to be outdone, critic Steve Metcalf of the Hartford Courant called her as “The composer who almost made me forget Mozart”.

Johann Sebastian Bach (1685–1750)

Brandenburg Concerto No. 3 in G Major, BWV 1048 Bach lived until the modern-day retirement age of 65 and produced so much great music that even his admirers can lose sight of it all. To fanciers of the pipe organ, Bach is the wellspring: one of history’s greatest organists and composers of organ music, comprising perhaps a third of his total output. In oratorio he is the transcendent figure, composer of hundreds of sacred cantatas and three

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full-length oratorios that are acknowledged as high points of Western art. Which would be enough to establish Bach as one of the greatest composers of all time without even considering the secular compositions we hear most often in the concert hall— works such as his Brandenburg concertos and orchestral suites.

According to tradition, Bach composed the Brandenburg concertos as an unsuccessful job application, and as impossibly dramatic as that sounds, it is very close to the truth. We can trace this set of six concertos back to about 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, Christian Ludwig. Then, as now, making a living as a musician was not easy, and composers relied upon the patronage of noble families and the church; Bach’s call upon the margrave had the desired effect, who commissioned several works.

What happened after that is less clear, but it seems certain that the compositions were submitted and remained unpaidfor. Based on the instrumentation Bach employed in the set, it is likely that he based at least some of them on concertos he had written while Kapellmeister at Köthen or perhaps earlier, while at Weimar; such recycling was standard practice for composers. Whatever the reason, we know from Bach’s dedication page that he hoped the score would secure either a position in the margrave’s court or further commissions.

In a tribute of suffocating formality, Bach’s tone in addressing his prospective patron

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NOTES ON THE PROGRAM contrasts ironically with the texts of his religious cantatas and oratorios, which are simple and sometimes startlingly blunt; it seems Bach was on closer terms with God than with the margrave. “Don’t judge the works too harshly,” he asks the margrave; “remember how deeply I respect you.” After this submission, which seems unduly modest to us now, the scores lay ignored for more than a century without being played. They were discovered in the Brandenburg archives in 1849 and published in 1850.

As the most popular of the six concertos, Bach’s Brandenburg Concerto No. 3 may well be the most popular concerto grosso ever written. In form, these precursors of the solo concerto and the symphony have an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three movements of alternating tempi, most often fast-slow-fast.

We can see the roots of the more familiar solo concerto here: The smaller group of players, or concertino, can range from two to five instrumentalists and corresponds to the modern concerto soloist, while the larger group, or ripieno—usually a dozen players or fewer—takes the ensemble role.

Together they form what we might think of as an ideally sized chamber orchestra, with the concertino taking solo lines and the ripieno providing the benefits of a larger ensemble. But while their voices remain separate, their interplay is less oppositional than we hear in Romantic concertos.

In the third Brandenburg concerto, stringed instruments are featured: three each of violins, violas and cellos. Though it is technically a three-movement work, modern listeners are sometimes startled

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to encounter the central movement, which consists of just a single measure. Known as a “Phrygian half-cadence,” it consists of just two connected chords, often extensively ornamented, that have been described as a “musical semicolon” that conjoins the moderately quick opening movement with the faster, more energetic finale.

Arnold Schoenberg (1874—1951)

Transfigured Night When did the “modern” era in classical music begin? Improbable as it seems, it’s possible to trace the onset of musical modernism to a single man and a single musical work: Arnold Schoenberg, whose tone poem Verklaerte Nacht, or “Transfigured Night” seemed to take the complexities of Late Romantic harmonyic theory to their ultimate extreme.

Both a composition of shimmering beauty and a fascinating exploration of a human psyche in flux, Transfigured Night hardly seems threatening. Yet it evoked controversy and terror among the musical partisans in Schoenberg’s native Vienna, who considered the history of European classical music—especially the symphonists descended from Beethoven through Brahms and Mahler—to be their personal patrimony. Transfigured Night, with its artful extremes of harmony, seemed to take the linear progression of music theory, which depended upon techniques of harmonic modulation that had evolved for centuries, as far as they could go. What remained for Late Romanticism? And what could possibly lie beyond it?

As the seminal figure of the “Second Viennese School,” Schoenberg developed

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NOTES ON THE PROGRAM the compositional framework that became associated with terms such as “serial music,” “twelve-tone” and “atonality.”

Though we do not hear these techniques in Transfigured Night, traditionalists knew that this 1899 tone poem for string sextet led to the brink of atonality; beyond it lay a new kind of sound and a new way of listening—and the end of centuries of evolutionary development in compositional technique. Ravishingly sensual, yes, and harmonically rich; yet somehow this composition, with its deeply modern (Freudian) subject matter, marked the ultimate boundary for traditional composition. A decade later, Schoenberg would publish his encyclopedic Harmonielehre (1910), the text that provided the theoretical basis for twelve-tone composition.

Transfigured Night was Schoenberg’s first major composition, but the last that would locate him in the late romantic tradition of Brahms, Wagner, and Richard Strauss. Beyond that lay the modernity of atonal composition and the tutelage of Schoenberg’s compositional mentor, Alexander Zemlinsky.

Born in 1874, Schoenberg composed in the intellectual hothouse that was turnof-the-century Vienna. Early in his career, in compositions such as Transfigured Night, he explored ways of extending the romantic styles of Wagner and Brahms, who were considered antagonists by their contemporaries. But in fin-de-siècle Vienna there was a sense that more than just the century was ending; to many thinkers, traditional ideas about art and music seemed headed for a dead end. Schoenberg’s controversial new compositional method replaced traditional scales with the entire chromatic scale,

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unanchored by any particular “home” tone, and not reliant upon familiar intervals or harmonies. His groundbreaking ideas, which inspired passionate advocacy and opposition, still strike fear into some listeners…at least by reputation. The fact is, we all take more extreme musical styles in stride when we hear them in today’s movies and television shows.

Listening to Transfigured Night, we might never guess that such musical innovations were in the offing. Schoenberg used the string sextet form to create a sense of fecundity and the shimmering textures of a moonlit forest. He rescored the work a number of times, and it has challenged other arrangers as well. Schoenberg took inspiration for the work from a poem by the Austrian poet Richard Dehmel—a love poem with an intensely psychological narrative line taken from the collection Weib und Welt (“Woman and World”). The chill of the poetic scenario’s night air and the tension of physical intimacy between man and woman are evident from the music’s opening bars, and though the text is not included in Schoenberg’s composition, it is in direct accord with Dehmel’s poem, beginning with the woman’s anguished confession to her lover that she is pregnant by another man.

In pursuing what she thought was her only chance at happiness—motherhood—she feels that now, having met her true love, fate is punishing her.

With her confession, the man and woman embark on a journey of transfiguration that takes them through the darkness of the forest in five uninterrupted movements.

The man’s initial consoling response to his lover’s words is reflected in mellow, deep-toned lines that are followed by a rapturous love duet. The transition from

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NOTES ON THE PROGRAM guilt through forgiveness brings them to an ecstatic union that goes beyond the physical impulse of love to something deeper: their love, the man assures her, will make the child his. Both lovers are transfigured through the night of communion they share—as is the unborn child they look forward to raising together.

The complex, chromatic harmonies and mercurial lines we hear in Transfigured Night are characteristic of the tone poems popularized by Liszt and Richard Strauss—especially Strauss, whose mastery of dense, iridescent harmonies and sensual effects prefigured Schoenberg’s. As we listen, the line of Schoenberg’s narrative forms a perfect arch: from the poem’s opening line, “Two people walk through a bare, cold wood;” to the last, “Two people walk on through the high, bright night.”

The author of those lines, Richard Dehmel, was in attendance at the premiere of Transfigured Night in Vienna.

“I had intended to follow the [movement] of my text in your composition,” he later told Schoenberg. “But I soon forgot to do so, I was so enthralled by the music.”

John Cage (1912—1992)

Amores In these uncertain, precedent-busting times, we concertgoers could do worse than to imagine the voice of John Cage every time we sit down to listen, reminding us to leave our preconceptions behind and listen with fresh ears. Born in 1912 and active as a composer right through the bitterly ideological stylistic wars that divided American composers

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in the 1950s and 60s—he ignored all that nonsense entirely—Cage composed music that was by turns smooth, spiky, baffling, intriguing, systematic, random, disturbing and joyful. No other American composer so fully engaged the classical Greek ideal of art as a branch of philosophical inquiry. As his life partner Merce Cunningham did with choreography, Cage made music an expression of life itself, no less than breathing or dancing.

Cage composed Amores in 1943 and 44 after moving to New York City. Although it was framed as a concert work, it was choreographed by Merce Cunningham in 1949, and in any event the boundaries between attentive listening, mindful breathing and bodily movement are as ambiguous here as in any Cage work. The first and last of the work’s four movements are scored for “prepared piano,” an altered concert piano that was a frequent choice for Cage. In this case, eighteen strings of the piano are augmented by nine screws, eight bolts, two nuts and three rubber strips; the piano soloist is instructed to “determine the position and size of mutes by experiment.” Movements two and three are scored for nine tom-toms and a pod rattle (movement two) and seven wood blocks (movement three). Though his use of the prepared piano was always taken as a sign of Cage’s irascible, rebellious spirit, it was rooted in sheer practicality; he introduced it when he wanted to augment the sound of the piano with percussive effects in a room that was too small for a percussion ensemble. The rest, as they say, is history.

Looking at the scoring for Amores—it’s adventurous, not to say weird—we can

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NOTES ON THE PROGRAM see that performing this work takes guts.

But remember: so does listening to it. As you do so, remember that listening to any musical work, but especially a work by John Cage, is a creative act. Just as it is up to the musicians to interpret the music they perform, it is up to us listeners to interpret what we hear.

Quinn Mason (b. 1996)

Changes/Transitions The Dallas-based composer and conductor Quinn Mason has been described as “a brilliant composer just barely in his twenties who seems to make waves wherever he goes” by the online cultural magazine Theater Jones. His symphonic music has been performed in concert by the Dallas Symphony Orchestra, South Bend Symphony Orchestra, Orchestra Seattle, New Texas Symphony Orchestra, and the Mission Chamber Orchestra. His compositions for winds has been performed by the Cobb Wind Symphony, Metropolitan Winds, and bands of Southern Methodist University, University of North Texas, Texas Christian University, Purdue University and Seattle Pacific University. His chamber music has been performed by the American Composers Forum,Voices of Change, loadbang, MAKE trio, Atlantic Brass Quintet, UT Arlington Saxophone Quartet, and the Cézanne, Julius and Baumer string quartets. His solo music has been championed by distinguished soloists such as David Cooper (principal horn, Chicago Symphony), Holly Mulcahy (concertmaster, Wichita Symphony) and Michael Hall.

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Mason’s mission is to compose music for various mediums “Based in traditional western art music and reflecting the times in which we currently live.” Quinn has studied with Dr. Lane Harder at the SMU Meadows School of the Arts, Dr. Winston Stone at University of Texas at Dallas and has also worked with renowned composers David Maslanka, Libby Larsen, David Dzubay and Robert X. Rodriguez.

He has received numerous awards and honors from such organizations as The American Composers Forum, Voices of Change, The Diversity Initiative, Texas A&M University, the Dallas Foundation, the Philadelphia Youth Orchestra, the Heartland Symphony Orchestra and the Arizona State University Symphony Orchestra. ​ As a conductor, Mason has led Orchestra Seattle, the Brevard Sinfonia, and the Texas Christian University Symphony Orchestra. He has conducted world premieres of his own works as well as several world premieres written by his composer colleagues, and standard orchestral repertoire. Currently, Quinn serves as Apprentice Conductor of the Greater Dallas Youth Orchestra. Quinn has studied conducting with Miguel HarthBedoya (Fort Worth Symphony Orchestra), Edwin Outwater (SFCM), Dr. Germán Gutiérrez (TCU), Will White (Orchestra Seattle), and Jack Delaney and Paul Phillips (SMU). ​ World premieres include his ‘Symphony in C Major’ with the Heartland Symphony Orchestra, Symphony No. 4 “Strange Time” by the Meadows Wind Ensemble, ‘Princesa de la Luna’ by the River Oaks Chamber Orchestra, ‘Changes/ Transitions’ by the Utah Symphony Orchestra brass and percussion,

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NOTES ON THE PROGRAM ‘Por Seis’ by One Found Sound and ‘Reflection on a Memorial’ by the Dallas Symphony Orchestra. Upcoming guest conducting appearances include concerts with the MusicaNova Orchestra and the Greater Dallas Youth Orchestra.

An avid and passionate writer, Mason maintains his own classical music blog and contributes guest articles to other blogs, such as the Women’s Philharmonic Advocacy. Quinn is a member of ASCAP and the Conductor’s Guild.

Scored for brass and percussion, Changes/ Transitions was composed in July 2020. It was commissioned by the musicians of the Utah Symphony and is presented by the Utah Symphony in its world premiere under the direction of its music director, Thierry Fischer. On his website, Mason describes this brief, powerful work as “‘a celebratory view on the progress we’ve made with the recent Black Lives Matter protests, which happened nationwide May—July, 2020. This piece also asks the question, ‘What can we do to get to where we want to be?’”

Photo Credit: Austen Diamond

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

This list includes donations received from July 1, 2019 to July 13, 2020. * in-kind donation

** in-kind & cash donations

† deceased

ENCORE ($100,000 OR MORE) Anonymous Kem & Carolyn Gardner

Anthony & Renee Marlon Estate of Linda & Don Price

Jacquelyn Wentz

BRAVO ($50,000 TO $99,999) Scott & Kathie Amann Diane & Hal Brierley James A.† & Marilyn Parke

Patricia A. Richards & William K. Nichols** Harris H. & Amanda Simmons

Elizabeth Solomon Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer Jack Wheatley

OVERTURE ($25,000 TO $49,999) Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen John & Flora D’Arcy Brian & Detgen Greeff

Kristen Fletcher & Dan McPhun Susan & Tom Hodgson Tom & Lorie Jacobson Chuck & Crystal Maggelet Edward Moreton

Fred & Lucy Moreton Mark & Dianne Prothro Alice & Frank Puleo George Speciale John & Jean Yablonski Edward & Marelynn Zipser

MAESTRO ($10,000 TO $24,999) Anonymous A. Scott & Jesselie Anderson Berenice J. Bradshaw Trust Thomas Billings & Judge Judith Billings Carol, Rete & Celine Browning Judy & Larry Brownstein Larry Clemmensen Marian Davis & David Parker Kathleen Digre & Michael Varner Pat & Sherry Duncan Spencer & Cleone† Eccles Midge Farkas Thierry & Catherine Fischer** 28

Doug & Connie Hayes Mary P.† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Mr. & Mrs. Christopher J. Lansing Herbert† & Helga Lloyd Tom & Jamie Love Mr. & Mrs. Charles McEvoy Carol & Anthony W. Middleton, Jr., M.D. Amanda & Spencer Millerberg Richard & Robin Milne Terrell & Leah Nagata James & Ann Neal Leslie Peterson & Kevin Higgins

Stephen & Cydney Quinn Albert J. Roberts IV Carmen Rogers Sandefur Schmidt Dr. & Mrs. Charles W. Sorenson, Jr. Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop James R. & Susan Swartz Jonathan & Anne Symonds Norman C.† & Barbara L. Tanner † Tim & Judy Terrell

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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Alan, Carol, & Annie Agle Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Dr. & Mrs. Clisto Beaty Mr. & Mrs. Neill Brownstein Mark & Marcy Casp John Clukey Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Willard & Julia Dere Patricia Dougall Eager Trust Mrs. Sarah Ehrlich Robert & Elisha Finney Wen Flatt Diana George David & SandyLee Griswold**

Ray & Howard Grossman Chuck & Kathie Horman The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Ken & Margo Jacobs Annette & Joseph Jarvis M. Craig Johns Michael Liess Daniel & Deena Lofgren Beatrice Lufkin Hallie & Ted McFetridge Michal & Maureen Mekjian Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Marilyn H. Neilson Dr. Stephen H. & Mary Nichols O. Don & Barbara Ostler

Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (5) Fred & Linda Babcock Tom & Carolee Baron Tina & John Barry Jennifer & Charles Beckham Dr. Melissa Bentley Donna Birsner Roger & Karen Blaylock Bill & Susan Bloomfield Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Mr. & Mrs. William D. Callister Vincent Cannella Hal & Cecile Christiansen George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee

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Blake & Linda Fisher Mr. Joseph F. Furlong III Heidi Gardner David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Sue & Gary Grant Arlen Hale Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch John Edward Henderson Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner Michael Huerta & Ann Sowder Jay & Julie Jacobson Drs. Randy & Elizabeth Jensen

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Maxine & Bruce Johnson Dale & Beverly Johnson Dan & Jane Jones Dr. & Mrs. Michael A. Kalm Rick & Paulette Katzenbach Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Howard & Merele Kosowsky Donald L. & Alice A. Lappe Gary & Suzanne Larsen Bill Ligety & Cyndi Sharp Ms. Susan Loffler Dennis & Pat Lombardi David & Donna Lyon Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth Tom & Janet McDougal

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INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Ray Pickup Gregory & Ann Robison

Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr

Paul Taylor Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder

PATRON ($1,500 TO $2,499) Anonymous (2) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan

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Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber Joe Mulvehill

Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Gerald† & Sharon Seiner Thomas & Gayle Sherry Douglas & Susan Terry Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (4) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Dana Carroll & Jeannine Marlowe Carroll Po & Beatrice Chang & Family Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr

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Dr. Elizabeth Hammond Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard T. O’Brien

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Lee K. Osborne Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard & Janet Thompson Denise Torrisi Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright

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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 Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Burton & Elaine Gordon Mrs. Barbara Nellestein Barbara Scowcroft & Ralph Matson Bill & Joanne Shiebler

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

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Leah Burrows Felt Loraine L. Felton Crawford Gates 32

Lowell P. Hicks Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton

Richard Perkins Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Phillis “Philly” Sims Robert C. Sloan Barbara Tanner Maxine Winn

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

This list includes donations received from July 1, 2019 to July 13, 2020.

USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-Day Saints Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation

Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation State of Utah

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

Dominion Energy Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

C. Comstock Clayton Foundation Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation McCarthey Family Foundation

Nora Eccles Treadwell Foundation Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation

$50,000 TO $99,999 Anonymous AHE/CI Trust Lawrence T. & Janet T. Dee Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation The Church of Jesus Christ of Latter-day Saints

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INSTITUTIONAL DONORS

$10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family

Matthew B. Ellis Foundation Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield

Richard K. & Shirley S. Hemingway Foundation S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund WCF Insurance W. Mack & Julia S. Watkins Foundation

M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake

Salt Lake City Arts Council Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation

$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation Cultural Vision Fund D’Addario Foundation Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

ACCOUNTING & INFORMATION TECHNOLOGY

David Green

Jessica Proctor

Vice President of Finance & CFO

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 Individual Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Director of Information Technologies

Karyn Cunliffe Controller

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

Ellesse Hargreaves

Development Assistant

Conner Gray Covington

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

Barlow Bradford

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

Renée Huang

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

Director of Communications & Digital Media

Kathleen Sykes

Director of Orchestra Operations

Melissa Robison

Patron Services Assistant

Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike

Principal Coach

Michelle Peterson

Director of Production

Michaella Calzaretta

Ticket Agents

Opera Chorus Master

Costume Director

Costume Rentals Supervisor

Amanda Reiser Meyer

Hallie Wilmes

Jenna O’Dell Sarah Pehrson Powell Smith

Carol Anderson

Scenic Charge Artist

Patron Services Manager

Robyne Anderson

Opera Artistic Director

Dusty Terrell

Kierstin Gibbs LisaAnn DeLapp

Group Sales Associate

OPERA ARTISTIC Christopher McBeth

Properties Master

Sales Manager

Genevieve Gannon

2 Assistant Stage Manager

Senior Technical Director

Jessica Cetrone

Lyndsay Keith nd

Symphony Education Assistant

Merry Magee

Operations Manager

Artist Logistics Coordinator

Annie Farnbach

COSTUMES Verona Green

Andrew J. Wilson

Properties Manager & Assistant Stage Manager

Symphony Education Manager

PATRON SERVICES Faith Myers

Production & Stage Manager

Jeff F. Herbig

Kyleene Johnson

Kelly Nickle

Nina Starling

Mara Lefler

Kate Henry

Director of Education & Community Outreach

Marketing Manager - Audience Development

Robert Bedont

Marketing Manager - Patron Loyalty

Chip Dance

EDUCATION Paula Fowler

OPERA TECHNICAL Jared Porter

Director of Patron Engagement

Program Publication & Front of House Director

Patron Information Systems Manager

Digital Content Producer

Website Content Coordinator

SYMPHONY OPERATIONS Cassandra Dozet

Accounts Payable Specialist

Rentals Assistants

Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

Sally McEntire Vanessa Startup Connie Warner Stitchers

Rachel Bennett Claire Jones Lesli Spencer

Wigs/Make-up Crew

Brooke Hundley

Opera Production Coordinator 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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PLANNED GIVING

We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.

SUPPORT THE ANNUAL FUND WILL YOU RISE TO THE CHALLENGE? Thanks to a generous matching challenge grant from the Alternative Visions Fund, your donation will go twice as far! Until October 1, all contributions will be matched 1:1 up to a maximum total of $500,000. Make your gift today and double your impact on great live music in our community.

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TANNER AND 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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UTAH SYMPHONY GUILD OUR MISSION

Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote, and facilitate the operation of the Utah Symphony Orchestra financially, socially, and educatonally.

It is our honor to maintain a gift shop throughout the year which raises funds for our orchestra. We have added all our available items to the “online store” and all proceeds go to USUO. We will continue adding events as social distancing requirements allow to aid in rasing funds for our great orchestra.

We will sponsor the Youth Guild and outreach violin lessons again this season, and we appreciate your ongoing support of these important community programs.

To join or renew your membership in the guild you may go to our web page and fill out the new members information. www.utahsymphonyguild.org Carolyn Abravanel Eva-Maria Adolphi Wendy Ajax Fran & Tom Akimoto Georgia L. Anderson Reva Anderson Margaret Anderson Wirth Linda Babcock Brenda Bailey William Scot Barraclough & Tom D. Camomile Dominic Barsi Randy & Jeni Bathemess Jean E. Barton Charmaine Bauer Suzanne & Clisto Beaty Maxine Beckstead Karol Behling Janet Bennett Heather Benson Eve Bertran-Hales & Don Hales Joan Blanck Rose Marie Breinholt Chip & Anne Browne Nancy Browning & Michael Homer Mary Ellen B. Caine Akemi Call Gertrud Carpenter

Mary A. Carter Renee Christensen Cecile Christiansen Lynne Church Dianne Clark Doyle Clayburn Melou Cline Beth & Boyle Cole Kathleen Coon Peggy Cordon Marcia Cowley-Keen Janet Cox Tom Cox Carolyn Creek-McCallister Susan L. Croft Wendy & John Crossman Kathryn C. Culbertson Robert & Caprene Curtis William and Bonnie Daniloff Frances Darger Marlene Dazley Joyce De Forest & Robert Duke De Forest Laura Diaz Moore Nancy Dietzler Amy Dixon Carol Elliott Judy Emery Jennifer Fairbourn Rosemary Fairbourn

Reece Fawcett Thierry & Catherine Fischer Carolyn Fredin Patricee Annee Gallagher Patricia A. Giovanazzo Marian & Sidney Green Simon Gretsch SandyLee & David Griswold Janet Hales Kathleen Hall Laurie Hallam Gerry Hanni Shirley M. Hanson Carolee Harmon Nancy Hayes Janet Healy Kristin Hill Sally W. Hodel Kathie & Chuck Horman Rebecca & Stephen Howard Leigh Hutchison Isabella Iasella Mateusz Jagiello Darlene Jenkins Carl Johansen Scott Johnson & Rebecca McGarry Beverly C. Johnson Arlene Jonsson Charlotte Jordan Continued on page 36…

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UTAH SYMPHONY GUILD

Ingrid Kaufman Cynthia Kilian Mary Lynn Kinsel Kathy Knowlton Allison Knudson Martin Krueger Kari Landro Angela Laros Lona Mae Lauritzen Nancy Laursen Liz Le Fevre Nora Linscott Wilma S. Livsey Donna Lyon Susan MacIan Carole & Malcolm MacLeod Jennifer & Gideon Malherbe Heidrun I. Mandy Rebecca Marriott-Champion Tonya Marshall Janice Maughan Maybell McCann Camilla McLaughlin Melissa Robison Ann Mentes Julia & Anna Meredith Henriette Mohebbizadeh Heather Moore Karen Morgan Jill Moriearty Sabra Moyes Renate Baron Nebeker Kent & Denise Nelson Bradley & Laurissa Neuenschwander Sylvia Newton Christine Nickerson

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Jean Nielsen Carol Nixon Patti Noel Wilma Odell Delmira & Gary Pactoulick Catherine Paiz Judy Parmelee Barbara Patrick Helen Petersen Ann Petersen Leslie Peterson & Kevin Higgins Marilyn Phillips Mrs. Jane O. Piercey Mary-Margaret Pingree Janis Pope Marilyn Poulsen Sherry Poulson Jeana Quigley Carol & Gunter Radinger Hildegard Rayner Joanne Rich Marilyn Poulsen Gina Rieke Della V. Roberts and Warren Gilmour Lynn Rohland Alene M. Russon Martha Sammond Margaret Sargent Amanda & Jonathan Schmieder Glenda Shrader Nan Sibbett Joyce Skidmore Wilson Dorotha Smart Michele Smith

Dianne R. Smith Rita Smith Donna & Ron Smith Joan J. Smith Janette P. Sonnenberg Carol L. Sonntag Elise Stanley Sandra Steiner Marsh Robert Stephenson & Lisa Byrnes Ramona Sterling Jennifer Stroud Lorraine & Walter Stuecken Joann Svikhart Cayman L. Thomas Deborah Tuttle Shirley Van Wagenen Beth V. Cole and Dr. B. Cole Jenette L. Voss Susan Walles Robert & Tilda Wangerien Miriam H. Waterman Paul & Cynthia Watson Suzanne Weaver Heather Weinstock Susan & Brent Westergard Bonnie White Mr. & Mrs. Frank W. Williams Connie & Glenn Wimer Jerre Winder Pamela Wing Nicole Woodland Ethnie Wright & Hunter Gundersen Betty & Frank Yanowitz Red York Dwan Young

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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center.

Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

Photo Credit: Image licensed by Ingram Image

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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.

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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.

Photo Credit: Austen Diamond

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