Zukerman plays Bach’s Violin Concerto with Montgomery, Elgar & Mozart 29

ZUKERMAN PLAYS BACH’S VIOLIN CONCERTO WITH MONTGOMERY, ELGAR & MOZART 29 NOVEMBER 19–21, 2020

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CONTENTS

TONIGHT’S CONCERT

6

Welcome

7

Utah Symphony

8

Board of Trustees

9

USUO 2020 Pandemic Activities

16

Season Sponsors

30

Donors

37

Administration

38

Planned Giving

39

19

Tanner & Crescendo Societies

40

Utah Symphony Guild

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ZUKERMAN PLAYS BACH’S VIOLIN CONCERTO WITH MONTGOMERY, ELGAR & MOZART 29 NOVEMBER 19–21

Education

46

Acknowledgments

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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

@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 DESIGN Ken Magleby UTAHSYMPHONY.ORG

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Please contact us for playbill advertising opportunities. © COPYRIGHT 2020

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WELCOME

In my short time in Utah, one thing has been remarkably clear: this state is filled with people who love and prioritize the arts. As your new President and CEO of Utah Symphony | Utah Opera, I couldn’t be more honored and excited to serve our community as we work together to uphold and build upon the legacy of this unique organization.

Steven Brosvik President & CEO

While many industries have taken a massive hit because of COVID-19, the arts in particular came to a complete stand-still last spring. All of us had to face the tough question: How do we preserve the magic of live performance when we cannot congregate as a community in person? I am so proud of the tireless efforts of USUO’s Board, staff, musicians, and community for coming together to find a path which has returned live performances for distanced audiences back to our stages.

I hope that you enjoy the creative programs we’re offering. They are designed not only to inspire, transport, and entertain you, but to do so with the safety of the public, our artists, and our staff as our foremost concern.

We still have discoveries, decisions, and milestones ahead of us, but let us relish this moment together.

Thank you for joining us in this communal experience of great live music. You play a leading role in fulfilling our mission, and the entire USUO family extends to you our heartfelt thanks. It is great to have you with us for this performance and we look forward to seeing you again and again this season.

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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

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

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

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.)

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

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Nancy Pinto-Orton Onstage Ogden

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones 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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*Executive Committee Member

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USUO 2020 PANDEMIC ACTIVITIES

The Utah Symphony is thrilled to be back on the stage of 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.”

Dai Fujikara

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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ZUKERMAN PLAYS BACH’S VIOLIN CONCERTO WITH MONTGOMERY, ELGAR & MOZART 29

NOVEMBER 19–21 / 2020 / 7:30PM / ABRAVANEL HALL NOVEMBER 21 / 2020 / 1PM / ABRAVANEL HALL

Pinchas Zukerman, conductor/violin

CO N CER T S PO N SOR

THE LAWRENCE T. & JANET T. DEE FOUNDATION

MONTGOMERY: Starburst for String Orchestra ELGAR: Serenade for Strings in E minor, Op. 20

I. Allegro piacevole II. Larghetto III. Allegretto

J.S. BACH: Concerto No. 1 in A minor for Violin and String Orchestra, BWV 1041

I. [No tempo indicated] II. Andante III. Allegro assai Pinchas Zukerman, violin MOZART: Symphony No. 29 in A Major, K. 186a [201]

I. Allegro moderato II. Andante III. Menuetto IV. Allegro con spirito

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ARTIST’S PROFILE With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought after and versatile musicians - violin and viola soloist, conductor, and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums for which he gained two Grammy® awards and 21 nominations.

Pinchas Zukerman Conductor/Violin

Highlights of the 2019-2020 season included tours with the Vienna Philharmonic and Royal Philharmonic Orchestra, as well as guest appearances with the Boston, Dallas and Prague Symphonies, Berlin Staatskapelle, and Israel Philharmonic Orchestra. In his fifth season as Artistin-Residence of the Adelaide Symphony Orchestra, he toured with the ensemble to China and Korea, and recently premiered Avner Dorman’s Double Concerto for Violin and Cello, written for Zukerman and cellist Amanda Forsyth.

Subsequent performances of the important new work took place at Tanglewood with the Boston Symphony, Ottawa with the National Arts Centre Orchestra, where Zukerman serves as Conductor Emeritus, and with the Israel Philharmonic. In chamber music, he traveled with the Zukerman Trio for performances throughout North and South America, Europe and Asia, and joined longtime friend and collaborator Daniel Barenboim for a cycle of the complete Beethoven Sonatas for Violin and Piano, presented in a three-concert series in Berlin.

A devoted teacher and champion of young musicians, he has served as chair of the Pinchas Zukerman Performance Program at the Manhattan School of Music for over 25 years, and has taught at prominent institutions throughout the United Kingdom, Israel, China and Canada, among others.

As a mentor he has inspired generations of young musicians who have achieved prominence in performing, teaching, and leading roles with music festivals around the globe. Mr. Zukerman has received honorary doctorates from Brown University, Queen’s University in Kingston, Ontario, and the University of Calgary, as well as the National Medal of Arts from President Ronald Reagan. He is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

Mr. Zukerman has recorded for CBS Masterworks, Philips, Angle, Deutsche Grammophon, CBC Records, Altara, Biddulph Recordings, Sony, and BMG Classics/RCA Victor Red Seal.

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NOTES ON THE PROGRAM HEADER

by Michael Clive Jessie Montgomery (b. 1981)

Starburst Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post).

Jessie was born and raised in Manhattan’s Lower East Side in the 1980s, when the neighborhood was at a turning point in its history, attracting artists interested in experimentation and community development. Her parents—her father a musician, her mother a theater artist and storyteller—were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education, and advocacy.

Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African-American and

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NOTES ON THE PROGRAM

Latinx string players. She currently serves as composer-in-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble.

She was a two-time laureate of the annual Sphinx Competition and was awarded an MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization.

Her growing body of work includes solo, chamber, vocal, and orchestral works.

Some recent highlights include Five Slave Songs (2018) commissioned for soprano Julia Bullock by the Metropolitan Museum of Art, Records from a Vanishing City (2016) for the Orpheus Chamber Orchestra, Caught by the Wind (2016) for the Albany Symphony and the American Music Festival, and Banner (2014)—written to mark the 200th anniversary of The Star-Spangled Banner—for The Sphinx Organization and the Joyce Foundation.

In Starburst, a composition inspired by the idea of an exploding star, we might expect to encounter violent flashes and musical evocations of blinding light; instead, Jessie Montgomery gives us unstoppable, radiant energy that suggests the generative power of creativity and a universe shimmering with power and positivity. On her website, she notes: This brief one-movement work originally

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for string orchestra, and arranged for chamber ensemble by Jannina Norpoth, is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape.

A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.

Like Jessie Montgomery, Jannina Norpoth is a violinist. They are close friends and frequent collaborators.

Edward Elgar (1857–1934)

Serenade for Strings in E minor, Op. 20 Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland.

Who are the great British composers? Of course there are Purcell and the Germanborn Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group.

But Elgar felt that his own compositional style was more aligned with European

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NOTES ON THE PROGRAM

influences; born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and were suspicious of his Roman Catholic faith.

But in the most famous photographic portrait of Elgar he appears every inch the English country squire—impeccably groomed, spectacularly mustachioed and posed as if to take his place as the lord of a stately home.

In the graceful, lyrical strains of the E-Minor Serenade we hear Elgar’s special affinity for stringed instruments.

He was an accomplished violinist, and among professional musicians and fans of classical music, his concertos for violin and cello are highly valued.

But the Serenade gives us something that the more formal architecture of the concertos does not: a relaxed quality of wistful reflection that is quintessentially English. Elgar composed it in 1892, when he was about 35, and described it as “stringy”—a descriptor that’s accurate as far as it goes, yet also betrays a touch of false modesty, belying the lush smoothness of the sound-spell that the Serenade casts over us. More than one listener has described it as a wistful work that evokes a quality of lost memories somehow recaptured. Listen carefully and you’ll surely envision the preindustrial rolling hills of “England’s green and pleasant land.”

It’s worth noting that Fritz Kreisler, the Austrian-born American violinist and composer, was among Elgar’s

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greatest admirers. In 1907, Kreisler told an interviewer: If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar... I say this to please no one; it is my own conviction... I place him on an equal footing with my idols, Beethoven and Brahms. He is of the same aristocratic family. His invention, his orchestration, his harmony, his grandeur, it is wonderful. And it is all pure, unaffected music. I wish Elgar would write something for the violin.

Two years later, Elgar composed his superb violin concerto.

Johann Sebastian Bach (1685–1750)

Violin Concerto in A minor, BWV 1041 Bach’s instruments were the organ and clavichord, but he also composed works that showcase the sound of string and wind instruments, including two violin concertos. In his compositions for the modern (post-17th-century) violin and cello we hear not only his appreciation for their sound, but also his modern outlook: Advances in the technology of instruments were pointing the way toward more expressive playing that Bach seems to relish along with us. The stalwarts of our modern orchestra’s string section, the violin, viola and cello, were just developing their now-standard forms in

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NOTES ON THE PROGRAM

Bach’s day. More familiar were the gamba instruments: fiddles of various sizes that rested upright on the floor like the modern cello or double-bass, or were held against the thigh (“gamba” means leg). The Baroque bow was convex rather than straight, and was strung more loosely than a modern bow—good for energetic bowings, not so good for subtle shadings.

An affluent household might have a cabinet full of such instruments and bows—enough to comprise a “consort” to play a wide variety of music—just as we might have a piano today.

While the convex bow and the early keyboard lend themselves to the characteristic Baroque spray of fast, virtuosic notes, Bach’s string compositions combine virtuosic display with more opportunities for individual expressiveness.

And, of course, the versatility of Bach’s instrumental writing was such that it can be endlessly transcribed for other instruments. The happy result is a legacy of string suites and concertos that are the cornerstone of the modern string repertory as well as a fund of endless adaptation on other instruments.

By the time Bach was writing music, a concerto could be almost any piece of music played by more than one instrument; among more than two hundred cantatas that he composed mostly for church performance, a number bear title pages that specify an introductory “concerto.” The word was employed by Ludovico Viadana in 1602 to denote “concerti eccliesiastici” for

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performance in sacred settings; they were also called “concerti da chiesa,” or church concertos, and were often written solely for organ; eventually, these works were expanded to include church singers, other instruments, or both. The musical innovator who carried this concept from the church to the concert salon may well have been Giuseppe Torelli, who published a “concerto da camera,” or chamber orchestra, in 1686, the year before Bach was born. It was scored for two violins and a bass. This was the foundation for work by Corelli, Geminiani, and Vivaldi—music’s beloved “Red Priest”—in developing the form.

Baroque concertos are missing some of the compositional elements we take for granted in Classical and Romantic concertos, but that does not mean they are less sophisticated or less beautiful than those that came later; in fact, the more monumental concertos of the 19th century are lacking in some of the elements that Bach and Vivaldi put into theirs. Since the advent of the great Romantic concertos, we have come to expect the concerto to showcase the skill of a single soloist with virtuosic playing that conveys a sense of monumentality as it works its way through strenuous musical ideas. A sense of struggle is not out of place in many such concertos, conveying as they do the Romantic ideals of the soloist as an individual heroically countering the massed forces of the orchestra. Baroque concertos, by contrast, are more focused on the idea of contrasting a large group with a smaller

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NOTES ON THE PROGRAM

group. The musical discourse is more balanced: Baroque composers knew that depending on how the musical materials are presented, either a large or a small group of players could be foregrounded in a composition or provide the foil for another group of players.

symphonies and concertos written before he turned 18, though they demonstrate incredible precocity in their mastery of form, are simply not on the level of the masterpieces to come. Today we might say that in 1774 he took it to the next level. What happened?

If imitation is the sincerest form of flattery, then Bach, in his concertos, deeply flattered Vivaldi. The German master’s unquenchable thirst for musical knowledge extended to Vivaldi’s concertos, which were written in an Italian style he learned through emulation— sometimes by literally copying Vivaldi’s scores. His A minor concerto holds a special place in the violin repertory: No composition in all of music offers more sheer enjoyment for an accomplished violinist to play. And don’t let the minor key signature mislead your ear: This music is positively buoyant in mood.

It’s not just the concerto’s undeniable Italianate gorgeousness, but its sheer effervescence. Both listener and player revel in the flow of energy and the feel of the instrument when the music comes from so masterful a composer.

There’s no shortage of speculation on this subject. For one thing, a 1773 trip to Vienna exposed the adolescent Mozart to the stimulation of life in Europe’s cultural capital, and to many compositions by his friend Haydn, whose innovations in string quartets and symphonies challenged him. Then, too, the longtime child prodigy was simply maturing. And some opera fans—your intrepid annotator among them—point to the liberating effect of Mozart’s first major opera assignment, the madcap romantic farce La finta giardiniera, a major commission that came midway through 1774. Though Mozart had already composed some precocious early operas, they were relatively trivial, and he had been pestering his father for the chance to have his way with a juicy libretto libretto for years. The deficiencies he heard in other composers’ operas, he told father Leopold, drove him mad with eagerness to do something different and better, and the success of La finta giardiniera proved this wasn’t just idle talk: Finta surprised and delighted listeners with ideas that went beyond the usual operatic fare in their musical inventiveness and dramatic insight.

Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 29 in A Major, K. 201 We all know that Mozart’s early compositions show great facility. But are they great music? The consensus among musicologists is that his

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In the symphonies—those with numbers higher than 25 have earned the designation “great” from musicologists—

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NOTES ON THE PROGRAM

we hear the craft of a young but confident composer whose deference to the acknowledged masters in his field is giving way to his own thematic ideas and ways of developing them. In the monumental, indispensable The New Grove Dictionary of Music and Musicians, editor Stanley Sadie gives us a work-bywork account of this maturation, in which the symphonies of 1774 were especially important. Here is what he says about the Symphony No. 29: …No less of a landmark is the Symphony in A K201/186a, of April 1774—also personal in tone, perhaps indeed more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner. The gentle appoggiatura phrase and dipping octave of the opening is dramatized and intensified by its forte repetition with the bass instruments in imitation.

The Andante, calling for muted strings, is no different its melodic style from several earlier ones, though it is more eloquent; here again the elaborated repetition intensifies the music. The finale has an unusually long development section, urgent in tone, with much use of string tremolando and imitation between basses and first violins.

What we hear as we listen to this music is Mozart feeling free to follow his own stylistic impulses, applying his mastery of craft to do more with less. This symphony is a work of great restraint,

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but also considerable power. Consider: The orchestration is relatively modest, even for its day, and the introduction that Sadie calls “gentle” was daring at a time when grander, louder Sturm und Drang symphonies were in favor. Yet somehow the symphony creates intensity in its opening and then sustains it through craft. It is an amalgam of compositional mastery, Mozartean sunniness, and a hint of sweet melancholy—dispelled, in the end, by a triumphantly rising scale and brilliant horn calls.

Photo credit: Asten 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 September 29 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** 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 G. Frank & Pamela Joklik 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 AKBankhead Fund Berenice J. Bradshaw Trust Thomas Billings & Judge Judith Billings Carol, Rete & Celine Browning Judy & Larry Brownstein Howard & Betty Clark Larry Clemmensen Marian Davis & David Parker Kathleen Digre & Michael Varner Pat & Sherry Duncan Spencer & Cleone† Eccles 30

Midge Farkas Thierry & Catherine Fischer** Doug & Connie Hayes Mary P.† & Jerald H. Jacobs Family 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 Nash Foster 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 Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. 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 & Gail Riepe James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Gerald† & Sharon Seiner Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Sidney Stern Memorial Trust Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) 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 The Chung Family George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee UTAHSYMPHONY.ORG

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Elizabeth deForest John D. Doppelheuer & Kirsten A. Hanson Blake & Linda Fisher Mr. Joseph F. Furlong III Robert & AnnieLewis Garda 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

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INDIVIDUAL DONORS

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen 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

Denise Torrisi 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 (3) 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. Art 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 Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll 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 Dr. Elizabeth Hammond

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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 Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards

Bill & Joanne Shiebler Grant Gill Smith Dale Strobel 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. Crawford Gates Lowell P. Hicks Jamila Janata 34

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. Robert C. Sloan Dorotha Smart 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 September 29, 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 Lawrence T. & Janet T. Dee 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

Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation Love Communications* McCarthey Family Foundation Nora Eccles Treadwell

Foundation Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Struck* Utah Office of Tourism

$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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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 Summit Sotheby’s 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 D’Addario Foundation David Dee Fine Arts 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

Barlow Bradford

Symphony Chorus Director

PATRON SERVICES Faith Myers

David Green

Director of Orchestra Personnel

Merry Magee

President & CEO

Walt Zeschin

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

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

OPERA ARTISTIC Christopher McBeth

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Opera Artistic Director

Melissa Robison

Carol Anderson Principal Coach

Program Publication & Front of House Director

Director of Production

Production & Stage Manager

Chip Dance

Michelle Peterson

Kate Henry

Michaella Calzaretta

Operations Manager

Opera Chorus Master

Brooke Hundley

Opera Production Coordinator

OPERA TECHNICAL Jared Porter

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Senior Technical Director

Robyne Anderson

Kelly Nickle

2nd Assistant Stage Manager

Properties Master

DEVELOPMENT Leslie Peterson

Dusty Terrell

Scenic Charge Artist

Vice President of Development

COSTUMES Verona Green

Jessica Proctor

Director of Institutional Giving

Costume Director

Jessica Cetrone

Olivia Custodio

Kierstin Gibbs LisaAnn DeLapp

Heather Weinstock

Amanda Reiser Meyer

Lisa Poppleton

Milivoj Poletan

Nikki Orlando

Tiffany Lent

Ellesse Hargreaves

Donna Thomas

MARKETING & COMMUNICATIONS Jon Miles

Director of Individual Giving

Costume Rentals Supervisor

Director of Special Events & DVMF Donor Relations

Rentals Assistants

Grants Manager

Wardrobe Supervisor

Development Operations Manager

Tailor

Development Assistant

Cutter/Draper

Milliner & Craftsperson

Vice President of Marketing & Public Relations

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Renée Huang

Vice President of Symphony Artistic Planning

Kathleen Sykes

Marketing Manager - Patron Loyalty

Mara Lefler

Sales Manager

Andrew J. Wilson

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Jenna O’Dell Sarah Pehrson Powell Smith Sales Associates

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

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Karyn Cunliffe Controller

Alison Mockli

Payroll & Benefits Manager

Kyle Siedschlag

Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Farnbach

Symphony Education Assistant

Director of Communications & Digital Media

Anthony Tolokan

Conner Gray Covington

Director of Patron Engagement

Digital Content Producer

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

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content 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

SUPPORT GREAT LIVE MUSIC IN OUR COMMUNITY WITH A GIFT TO THE ANNUAL FUND Please join our wonderful Utah Symphony | Utah Opera family of donors who sustain great live music in our community. As a 501(c)(3) non-profit organization, USUO is thankful for your generosity that supports our musicians, singers, artisans, crew and staff. Your gift now will make an impact as we plan for the future.

The CARES Act has enacted new rules around charitable giving. The bill makes a new charitable deduction available for up to $300 per taxpayer, regardless of whether you itemize your deductions. Furthermore, if you do itemize, you may elect to deduct qualified contributions of up to 100% of your adjusted gross income in 2020. Please consult your tax advisor or financial planner to determine the impact of CARES Act changes on your personal tax situation.

CONSIDER USUO IN YOUR ESTATE PLANNING 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.

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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

UTAHSYMPHONY.ORG

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(801) 533-NOTE

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.

ACKNOWLEDGMENTS

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

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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.

Photo Credit: Austen Diamond

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VOLUNTEERING

WITH UTAH SYMPHONY | UTAH OPERA