Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

2016–17 UTAH SYMPHONY SEASON / MAR – APR

COVER

THE SOUND of INSPIRATION

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Contents

March & April 2017 Performances

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

6 Welcome

MARCH 4 | 7:30 PM

8 Utah Symphony

POKEMON SYMPHONIC EVOLUTIONS

10 Board of Trustees 15 Music Director 16 On the Brandenburg Concerto 18 Support USUO

MARCH 21 | 7:30 PM

20 Pre-concert Rituals

PINK MARTINI

22 A Look Ahead 26 A Post-Concert Talkback 29 Who We Are 30 Upcoming Concerts

MARCH 24–25 | 7:30 PM

33 Tagged & Hashtagged!

AN EVENING OF BACH

34 Season Sponsors 35–42 Today’s Concert(s) APRIL 7–8 | 7:30 PM

PICTURES AT AN EXHIBITION

45 Legacy Giving 46 Tanner & Crescendo Societies 49 Season Honorees 54 Corporate & Foundation Donors 54 Individual Donors

APRIL 14–15 | 7:30 PM

58 Utah Symphony Guild

BRONFMAN PLAYS BEETHOVEN CONCERTO NOS. 3 & 4

62 Administration 67 House Rules 71 Education 72 Acknowledgments

APRIL 21–22 | 7:30 PM

74 Arts in Service to the Military

THE SPY WHO LOVED ME

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

APRIL 28–29 | 7:30 PM

BARBER’S VIOLIN CONCERTO

@UtahSymphony

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

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ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Ruth Gainey 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: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups.

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5

Welcome

Photo Credit: Brandon Flint

Paul Meecham

Thierry Fischer

David Petersen

President & CEO

Symphony Music Director

Chair, Board of Trustees

Welcome to Abravanel Hall and today’s concert featuring the Utah Symphony. Since 1985, March has been designated Music in Our Schools month (MIOSM) across the nation.

Sponsored by the National Association for Music Education, the purpose of MIOSM is to raise awareness of the importance of music education for all children—and to remind citizens that school is where all children should have access to music. Schools and community groups celebrate with creative activities and events.

Here at USUO, our Education and Outreach initiatives provide the citizens of Utah with one of the most extensive arts education programs by a professional musical arts organization in the United States. Students enjoy the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. Genuine enthusiasm, confident determination, and artistry are vital skills demonstrated in our outreach programs, and we believe every student receives a unique experience by participating.

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The support we receive from the Utah State Legislature for our education programs is augmented by many individuals, corporations, and foundations, and we are very grateful to all those who believe in arts education. Nevertheless, especially at the district level, some public school music programs face budget cuts and are no longer considered essential, and we urge you as parents and residents to speak to your school education representatives as well as your legislators to emphasize the importance of supporting music in our schools. The arts in schools are one of the reasons Utah is such a wonderful place to live, and we want to keep it that way!

Thank you for joining us today. When we see the excited faces of people entering and leaving Abravanel Hall, it is a wonderful reminder of the legacy of our education and outreach programs which have connected our community through great live music for several generations.

UTAH SYMPHONY

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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Hye Jin Koh†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

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Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

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

CONTRABASSOON Leon Chodos

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

Jennifer Rhodes

HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Nathan Lutz Interim Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

Utah musicians in concert at the

Gallivan Center

Pat Terry

7:30 PM Thursday nights

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew S. Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik

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

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles

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 Ardean Watts

NATIONAL ADVISORY COUNCIL 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.)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO

10

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH SYMPHONY

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Music Director

Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.

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

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning.

In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence.

Guesting in the past couple of years has also included the Boston, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducted the Sao Paulo Philharmonic—his first visit to South America.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAHSYMPHONY.ORG

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15

On the Brandenburg Concerto No. 5

By Mercedes Smith, Principal Flute

A native of Texas, Mercedes Smith served as the Principal Flutist for Houston Grand Opera and Houston Ballet Orchestras for nearly a decade before joining the Utah Symphony as Principal Flute in 2012. She describes her instrument’s role in Brandenburg Concerto No. 5, performed during “An Evening of Bach” March 24 and 25 with guest conductor and pianist Richard Egarr and Utah Symphony Concertmaster Madeline Adkins.

Intimate Conversations The flute is one of three solo instruments featured in Brandenburg Concerto No. 5, along with the violin and harpsichord. The second movement is written very intimately for only the trio of solo instruments without string accompaniment. In this movement each voice is of equal importance and the music is very conversational in nature.

Love at First Sight I actually started out playing the recorder (the historical predecessor of our modern day flute) simply because my mother had one stowed away in the piano bench from her own childhood. I taught myself the recorder for a year or so before switching to the flute when I began playing in my public school band program. I can’t remember what exactly drew me to the flute, but it was certainly love at first sight!

Getting the Low Down The Brandenburg Concerto No. 5 was one of the first works to be specified for the transverse flute instead of recorder during the Baroque era. The transverse flute during Bach’s time, made of wood with seven finger holes and only one key, produced a very mellow and sweet tone. The range of the transverse Baroque flute was somewhat more limited than that of the modern flute we hear today, and thus, in this work, you will hear the flute played mostly in the lower and middle registers.

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UTAH SYMPHONY

Recharge your weekend with thrilling performances from Utah Symphony’s 2017–18 Masterworks Season SEASON HIGHLIGHTS INCLUDE:

GRAMMY® Award-winning violinist Hilary Hahn plays Dvořák’s Violin Concerto

Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

A centennial birthday celebration of the great American conductor/composer Leonard Bernstein

U.S. Premiere, Utah Symphony Commission Reflections / Reflets III by Tristan Murail

Maestro Fischer and the Utah Symphony will become the first American orchestra to record all of the symphonies by the revered French master Saint-Saëns

Rachmaninoff’s Rhapsody on a Theme of Paganini

subscribe and SAVE up to 30% on tickets MASTERWORKS SUBSCRIPTIONS START AT ONLY $103.50

UTAHSYMPHONY.ORG / 801-533-NOTE (6683)

SEASON SPONSOR

Support USUO

Students participate during an interactive portion of a 5th Grade Concert at Abravanel Hall

Thank you for joining Utah Symphony | Utah Opera for a concert this spring. We sincerely appreciate your support as a patron! We ask that you take that support a step further, with a donation to our Annual Fund. In addition to our mainstage performances, our education and outreach programs allow us to connect over 140,000 children across the state of Utah every single year. We visit each of Utah’s 41 school districts on a three- to five-year rotation. We also perform in the community for a variety of audiences, including those with autism, vision impairment, memory loss, and other special needs. In February and March, the orchestra played our annual 5th Grade Concerts, where thousands of students from across the Wasatch Front join us at Abravanel Hall for an outstanding concert. Not only do these concerts support the teaching of the fifth grade music curriculum, they draw upon cross-curricular ties to other content areas, and provide an once-in-a-lifetime opportunity to hear the Utah Symphony perform a concert especially designed for the fifth grade age group.

To offer our education and outreach programs free of charge and to keep our tickets affordable, we rely on donations from patrons like you. Please donate today by visiting usuo.org/give or by calling our Development staff at 801-869-9015.

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UTAH SYMPHONY

2017 Plays

June 29 – October 21

As You Like It Shakespeare in Love Romeo and Juliet Guys and Dolls A Midsummer Night’s Dream Treasure Island The Tavern William Shakespeare’s Long Lost First Play (abridged) How To Fight Loneliness

The Greater Escape.

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Pre-concert Rituals

By Renée Huang, Public Relations Director

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time and adjustments to a different time zone, culture and climate, regular routine is sacrificed. We asked three of our guest artists to share what pre-concert rituals help keep them grounded.

“I don’t really do anything special but eating chocolate is always nice before the concert. And I just need to talk to somebody around me before going on stage. It makes me feel calm.”

FUMIAKI MIURA, Violin

“My main focus before going on stage is always to get to the hall with plenty of time to warm up my fingers. Being quiet and calm helps my concentration so that I can give my best in the service of the music.”

YEFIM BRONFMAN, Piano

“You’ll always find a banana and nuts in my dressing room before a concert, and fresh ginger tea, which I carry around in the thermos I travel with. It helps to keep my body warm when the backstage is cold, which is quite frequent. I’ve become more and more aware of the body-mind-soul connection, and am finding that strengthening my body, away from the violin, matters almost as much as the time I spend practicing and warming up before a concert. Generally I do the more vigorous workouts in the days leading up to the concerts, but on the day of the concert, I do a gentle and sweet version of yoga, and give myself a moment to meditate. Also, my phone tends to get neglected on concert days; I like to stay in my quiet, focused little bubble!”

KAREN GOMYO, Violin

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UTAH SYMPHONY

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A Look Ahead Memorable Moments at Abravanel Hall Pink Martini with singer China Forbes Portland’s favorite “little orchestra,” featuring singer China Forbes, returns to Abravanel Hall on March 21 for a colorful and classy evening. Experience their cosmopolitan blend of vintage pop, jazz, classical and global styles when they join the Utah Symphony for this special event concert.

Music from Bach with Richard Egarr British conductor Richard Egarr, Music Director of the Academy of Ancient Music, is known for his “muscular and strong Bach performances” (Audiophile Audition). On March 24–25, Utah audiences experience his joyful sense of music-making first hand as he leads an evening of Bach’s music, including his Third and Fourth Orchestral Suites, Piano Concerto in D Minor, and Brandenburg Concerto No. 5.

Yefim Bronfman completes the Beethoven Piano Concerto cycle Witness the astonishing talent of pianist Yefim Bronfman, whose playing has been described as “a finely spun whirl of notes that verged on the unbelievable” (The Los Angeles Times), on April 14–15 as he performs Beethoven’s Third and Fourth piano concertos in a single evening.

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UTAH SYMPHONY

A Look Ahead Karen Gomyo performs Barber’s Violin Concerto Violinist Karen Gomyo has been hailed as “a first-rate artist of real musical command, vitality, brilliance and intensity” (Chicago Tribune). On April 28–29, she returns to perform Barber’s Violin Concerto—a piece so explosive, the composer had to prove to his commissioner that the finale was not, indeed, unplayable.

Family Concerts Return!

Our Family Series returns with two Saturday morning performances that are perfect for young children. On March 18, a mischievous street musician finds herself thrust into the role of Mozart as Magic Circle Mime Company presents Mozart’s life as a musical, human adventure. Then, on April 22, Classical Kids LIVE! magically weaves music into the story of a chance meeting on the streets of New York City between a poor newspaper boy and the great American composer George Gershwin.

Save the Date – An Evening with Renée Fleming The Utah Symphony’s 2017–18 season was announced in February, and among the highlights is a September 13 gala performance with international opera sensation Renée Fleming. Save the date for this celebration in honor of Utah Opera’s 40th Anniversary Season. Tickets are on sale now to 2017–18 season subscribers. Single tickets are available starting June 20.

Read ahead about our upcoming performances. Program notes and artist biographies for upcoming concerts are available online at www.utahsymphony.org.

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UTAH SYMPHONY

Untitled-3 1

2/13/17 2:33 PM

A Post-Concert Talkback in Your Own Living Room

We hope you take this performance home with you. If not in the shape of something from the Utah Symphony Guild Gift Shop, then in continued conversation with your friends, family and those who shared in your experience. Keep the discussion going!

Here are some topics we can suggest:

• March 24–25 | The music of J.S. Bach serves as a perfect vehicle for an analysis of social, cultural, intellectual, and religious changes in Europe from the 17th to the 18th centuries, and reveals fascinating elements of both European and world history. Is there a modern composer that you feel inspires the same analysis today?

• April 7–8 | Modest Mussorgsky composed his Pictures at an Exhibition to perpetuate the memory of a friend. What pictures or pieces of art would you place in a gallery to represent your life or a friend’s?

• April 14–15 | Playing until your fingers bleed isn’t just an expression. After Yefim Bronfman played Bartók’s Third Piano Concerto at the Konzerthaus in Vienna, his piano was left with bloody fingerprints due to an earlier injury and a determination that the show must go on. Is there a piece of music that would inspire this dedication on your part?

• April 28–29 | Critics and musicologists say that Samuel Barber transcended the stylistic trends of the mid-20th century. This soft-spoken, modest composer had the integrity and sheer will to write the best music he knew how to write, ignoring fads and fashions.

What composers or artists do you see fighting fads and fashions today and what is your opinion of those swimming figuratively upstream?

Visit “The Musicians Lounge” to read behind the scenes interviews with our artists and musicians which might inspire additional conversations. utahsymphony.org/blog/

26

UTAH SYMPHONY

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March 20 7:30p

Denis Bouriakov in Recital

Principal Flute, Los Angeles Philharmonic Vieve Gore Recital Hall, Westminster College $20 // Adults & UFA members FREE // All students

March 21 5:30p

Denis Bouriakov Masterclass Dumke Recital Hall, University of Utah $15 // Adults $10 // Students & senior citizens $5 // UFA members FREE // University of Utah students

April 21 7:30p

Sonata Competition Winners Recital Dumke Recital Hall, University of Utah $5 // Adults FREE // UFA members

Become a member today!

Get exclusive access to concerts and masterclasses with prominent national and local flutists, competitions and workshops at the student and professional levels, and networking opportunities.

The Utah Flute Association is a non-profit organization created to foster great flute music in the Utah community and beyond.

To learn more, visit utahflute.org.

Who We Are

Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round professional orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra.

Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony presented the nationally covered Mighty 5® Tour in 2014, visiting all five national parks

in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall.

Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support.

In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 140,000 students annually from all Utah school districts in more than 240 educational outreach performances and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.

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

6:45 PM in the First Tier Room, Abravanel Hall

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/ UPCOMING UTAH SYMPHONY | UTAH OPERA PERFORMANCES: Rhapsody in Blue May 5 & 6

7:30 PM / ABRAVANEL HALL

Kazuki Yamada, conductor COPLAND GERSHWIN RIMSKY-KORSAKOV

Benyamin Nuss, piano

El Salón México Rhapsody in Blue Scheherazade

WE ALL LOVE THE FAMOUS OPENING GLISSANDO.

We all love the energy. Now, we can love the live experience as the Utah Symphony, featuring guest pianist and composer Benyamin Nuss, delivers a solid, sensitive, nuanced performance.

Mozart’s Don Giovanni May 13, 15, 17 & 19 7:30 PM May 21 2 PM - SUNDAY MATINÉE / JANET QUINNEY LAWSON CAPITOL THEATRE Christopher Larkin, conductor Kristine McIntyre, director / Joshua Hopkins, Don Giovanni Melinda Whittington, Donna Anna / Aaron Blake, Don Ottavio Matthew Burns, Leporello / Erica Brookhyser, Donna Elvira Sarah Coit, Zerlina / Markel Reed, Masetto Richard Wiegold, Commendatore Utah Opera Chorus HE TAKES WHAT HE WANTS. And gets what he deserves. Whether it’s an act of lust or an act of violence, Don Giovanni does whatever he wants, to whomever he pleases. You might be surprised by how much his angst and unrest resonate with you in this hypnotic tale of a man who refuses to change, damn the consequences.

Sung in Italian with English supertitles PHOTO: Cory Weaver for Lyric Opera of Kansas City

FOR TICKETS VISIT UTAHSYMPHONY.ORG OR CALL 801-533-NOTE (6683)

All-Star Evening: Dvořák’s Violin Concerto May 23

7 PM / ABRAVANEL HALL

Rei Hotoda, conductor

Karen Ferry, violin

Musicians selected from Area Youth Orchestras DVOŘÁK

Violin Concerto

WITNESS THE TALENT OF UTAH’S YOUNG MUSICIANS!

Hear teen violinist Karen Ferry, chosen as the All-Star soloist at the annual Salute to Youth audition, perform Dvořák’s Violin Concerto. Then, talented high school instrumentalists perform side-by-side with the Utah Symphony in this annual tradition.

The Rite of Spring May 26 & 27

7:30 PM / ABRAVANEL HALL

Thierry Fischer, conductor TCHAIKOVSKY VARÈSE STRAVINSKY

Simone Porter, violin

Souvenir d’un lieu cher Amériques The Rite of Spring

GET IN TOUCH WITH YOUR PRIMAL SIDE.

Stravinsky’s The Rite of Spring incited a riot during its premiere in Paris over a century ago. Now, when it’s performed by the Utah Symphony, its savage, propulsive sound will have you sitting on the edge of your seat.

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UTAH SYMPHONY

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

program

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4 April 14–15 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor YEFIM BRONFMAN, Piano

BEETHOVEN

Concerto No. 3 in C minor for Piano and Orchestra, Opus 37 I. II. III.

Allegro con brio Largo Rondo: Allegro

YEFIM BRONFMAN, Piano

BERG

Three Pieces for Orchestra, Opus 6 I. II. III.

Prelude Round Dance March

/ INTERMISSION /

BEETHOVEN

Concerto No. 4 in G Major for Piano and Orchestra, Opus 58 I. II. III.

Allegro moderato Andante con moto Rondo: Vivace

YEFIM BRONFMAN, Piano

B E E T H OV E N C O N C E R TO C YC L E S P O N S O R

C O N D U C TO R S P O N S O R

KEM & CAROLYN GARDNER

THE RICHARD K. AND SHIRLEY S. HEMINGWAY FOUNDATION

MASTERWORKS

35

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

artist’s profile

See page 15 for Thierry Fischer’s profile.

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

Acknowledging a relationship of more than 30 years, this fall Mr. Bronfman will open the Israel Philharmonic’s season with Zubin Mehta and participate in the orchestra’s 80th birthday celebrations in December. As a regular guest, he will return to the orchestras of New York, Los Angeles, Boston, Philadelphia, Cleveland, Chicago, San Francisco, St. Louis, Houston, and Dallas among many others. A cross-country series of recitals will culminate in the spring with a program in the Isaac Stern Auditorium of Carnegie Hall.

Mr. Bronfman works regularly with an illustrious group of conductors, including Daniel Barenboim, Herbert Blomstedt, Semyon Bychkov, Riccardo Chailly, Christoph von Dohnányi, Gustavo Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Alan Gilbert, Mariss Jansons, Vladimir Jurowski, James Levine, Zubin Mehta, Riccardo Muti, Andris Nelsons, Yannick Nézet-Séguin, Sir Simon Rattle, Esa-Pekka Salonen, Franz Welser-Möst, and David Zinman. Summer engagements have regularly taken him to the major festivals of Europe and the US.

Yefim Bronfman Piano

He has also given numerous solo recitals in the leading halls of North America, Europe and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. He is a 2015 recipient of an honorary doctorate from the Manhattan School of Music.

Yefim Bronfman became an American citizen in July 1989.

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MASTERWORKS

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

program notes

1/4

Notes by Michael Clive

Ludwig van Beethoven (1770 – 1827)

Concerto No. 3 in C minor for Piano and Orchestra, Opus 37 (ed. Küthen) INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets 2 bassoons; 2 horns, 2 trumpets; strings; timpani PERFORMANCE TIME:

34 minutes

BACKGROUND

Let’s just jump right into this. First, there’s the matter of the “Küthen” designation: The musicologist and Beethoven specialist Hans-Werner Küthen, a native of Germany, is the editor of the Henle edition of the Complete Works of Beethoven, including the performing edition we hear in this concert.

He has described this concerto as a gateway between the Classical concerto tradition and the revolution that began with Beethoven’s fourth and fifth concertos, and that continued in the Romantic era.

To put Küthen’s analysis into context, remember that critics generally divide Beethoven’s stylistic periods into early, middle and late; they identify his Piano Concerto No. 2 as the earliest of the early concertos, most clearly showing the influence of Mozart and Haydn. Beethoven MASTERWORKS

was reserved, even dissatisfied, with these early concertos. In the case of his undeniably beautiful Concerto No. 2, which met with immediate success after its premiere in 1795, Beethoven delayed publication, eventually submitting it only with reluctance. He charged his publisher, Hoffmeister of Leipzig, half the price of other early works of comparable scope including his Symphony No. 1, noting that “as I have already written, I don’t consider it one of my best works.” The concerto we know as No. 1, though published sooner, was actually written later.

Beethoven completed most of his work on the Piano Concerto No. 3 in 1799 and 1800, just two years after finishing his [current] Concerto No. 1, though he continued refining No. 3 until performing the premiere in April 1803. Still, it represents a cautious departure from his earlier concertos: Here is Beethoven preparing to break away from the formal constraints of the Classical era, like a bicycle racer making his move. With this concerto Beethoven begins to explore a new kind of thinking about the concerto form, expanding its scope and force. With his deep study of all five of Beethoven’s piano concertos, Küthen observes that “The four versions of the B-flat Concerto [No. 2], the three of the C Major [No. 1], and a single one of the C minor Concerto show that the time span between draft and final form becomes increasingly short, that the composer wins the upper hand over the virtuoso, and in [the Third Concerto] Op. 37 a first perfection of the genre is reached, which was the object of the greatest emulation in the 19th century.”

WHAT TO LISTEN FOR

As Beethoven’s pupil Carl Czerny wrote, “The style and character of this concerto 37

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

program notes

are much more grand and fervent than in the two former.” Marked C minor, this was Beethoven’s first piano concerto in a minor key, and it shifts direction from his first two concertos: there is less attention to formal elegance and decorative ornamentation of line, and more emphasis on sheer expressiveness. The dynamics have more contrast, the emotions are more turbulent, and the overall impression is less lapidary and more deeply passionate.

The opening movement, marked allegro con brio, exposes a powerful, solemn theme in the orchestra, allowing it to modulate from minor to major and then introducing a second, more lyrical theme before settling back into minor.

Thus the stakes are high before the piano even makes its entrance; and throughout the movement, it is left to the piano soloist to reconcile the emotions contested in the development of these two themes.

2/4

Alban Berg (1885–1935)

Drei Orchesterstücke, Opus 6 (Three Pieces for Orchestra) INSTRUMENTATION: 4 flutes all doubling piccolo, 4 oboes, 4th oboe doubling English horn, 4 clarinets, 3rd clarinet doubling e-flat clarinet, bass clarinet, 3 bassoons, contrabassoon; 6 horns, 4 trumpets, 4 trombones, tuba; percussion, 2 harps, celeste; strings PERFORMANCE TIME:

The second movement, a meditative largo, is poetic and contemplative, with the piano at times so deeply embedded in the ensemble that the orchestra takes the melodic line for extended periods. The gorgeous, zesty closing rondo is often described as joyful or jubilant despite its minor key—despite modulations into major, it remains at home in the key of C minor. The movement’s energy and exuberance come not only from the beauty of melody, but also from the sense of the concerto’s successful reconciliation of contending melodic forces. The movement’s conclusion brings a sense of drama and completion that is almost operatic.

38

21 minutes

BACKGROUND

Who’s afraid of Alban Berg? Too many of us.

As a hero of the Second Viennese School, the innovative musical movement pioneered

by Arnold Schoenberg, Berg employed the compositional framework that became associated with terms such as “serial music,” “twelve-tone” and “atonality.” To traditionalists, these words and the music they described were terrifying, signaling a new kind of sound and a new way of listening—and the end of centuries of evolutionary development in compositional technique. Schoenberg was acknowledged as the father of the movement, which many listeners identify with two critical dates: his ravishing Verklärte Nacht (1899), a string sextet that seemed to mark the ultimate boundary for traditional composition, and his MASTERWORKS

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

program notes

3/4

encyclopedic Harmonielehre (1910), the text that provided the theoretical basis for twelvetone composition.

dances), is entitled Reigen, or round-dances— perhaps suggesting that the listener is metaphorically whirling around with the music.

For decades, American classical music enthusiasts greeted Berg’s compositions with an almost reflexive resistance. They assumed that listening to Berg required some kind of special preparation or secret knowledge.

But by now we’ve all gained that secret knowledge by listening to popular sci-fi movie and television soundtracks that could not have been composed without Berg’s innovations.

According to one old trope, “The better part of Schoenberg is Berg,” a saying that is still with us because Berg’s once-newfangled music richly conveys old-fashioned emotion and dramatic effect. It doesn’t require a special kind of listening or the decoding of tone-rows; we need only sit back and let the music do its work for us.

The suite’s final movement is a march that is almost monumental in its impact. Berg was not above poking fun—even at himself—and regarding this movement’s emphatic, blaring brasses, he was quoted as saying, “There had to come a day when we could hear how a chord of eight tones really sounds in the brasses!”

Maybe, but not until he and his colleagues broke through the old rules of classical harmony to allow thick, eight-tone dissonances.

Berg composed the Drei Orchesterstücke between 1913 and 1915, movingly dedicating it to his “teacher and friend Arnold Schoenberg in immeasurable gratitude and love.” This 1929 edition is a revision prepared for his publisher, Universal Edition.

WHAT TO LISTEN FOR

Listeners who come to Berg expecting calculated coldness are often surprised by his music’s emotionalism. The expressiveness is not achieved through traditional harmonic intervals, but it is there, and it carries us along.

This suite’s first movement, the Präludium (prelude), opens with an appealing, softly stated introduction. (Berg wrote beautifully for “murmuring” strings.) A deftly constructed development follows, opening onto a second movement filled with dance rhythms. In his two great operas, Berg uses dance rhythms with great dramatic potency; this movement, filled with waltz rhythms and Ländler (country 40

Ludwig van Beethoven (1770–1827)

Concerto No. 4 in G Major for Piano and Orchestra, Opus 58 INSTRUMENTATION: flute, 2 oboes, 2 clarinets 2 bassoons; 2 horns, 2 trumpets; strings; timpani PERFORMANCE TIME:

34 minutes

BACKGROUND

Hearing Beethoven’s third and fourth piano concertos in one sitting seems to bear out a musical rule of thumb: that Mozart perfected the musical forms of the Classical era, while Beethoven stretched them beyond the breaking point and then created new ones.

Mozart’s many piano concertos brought this MASTERWORKS

•

ONCE IS NOT ENOUGH!

Bronfman Plays Beethoven Piano Concerti Nos. 3 & 4

program notes

form to a level of beauty, expressiveness and formal refinement it had never previously known. Beethoven had heard Mozart play them in concert but did not publish his own first piano concerto until years after Mozart’s death. But he may well have been inspired by hearing Mozart play one of his own late concertos, the harmonically daring No. 24, as early as 1786. According to a famous anecdote, Beethoven sat with his friend and publisher, Johann Cramer, listening in amazement, and said “Cramer, Cramer, I’ll never be able to write a concerto like that!”

According to tradition, his comment came after a series of complex yet seemingly effortless modulations; Mozart’s apparent ease confounded Beethoven, who agonized over every note. Small wonder that Beethoven— though he deserves his reputation as one of music’s boldest innovators—was acutely conscious of the long shadow that Mozart cast.

Beethoven’s first three concertos are musically brilliant, and are unmistakably the work of a great composer building upon the lessons of a great predecessor. But in his Piano Concerto No. 4, we hear the work of a more confident composer who is looking ahead, not back over his shoulder. Beethoven’s most ardent admirers feel that with this concerto he fully found his compositional voice, working with musical themes that were uniquely his own and developing them in ways no other composer had ever dared, opening the way for the great concertos of the Romantic era.

Beethoven completed work on this concerto in 1807, and was soloist at the premiere in March of that year in a private concert at the home of Prinz Franz Joseph von Lobkowitz.

Its first public hearing, at the Theater an der Wien in December 1808, was Beethoven’s last public performance as piano soloist.

42

4/4

WHAT TO LISTEN FOR

This concerto’s themes have a nobility that is distinctly Beethoven’s own, and he develops them in ways that previous composers had never dared. Beethoven’s freedom and boldness are evident early in this concerto’s first movement. After the piano introduces a simple theme in G Major with just a few chords and the orchestra at rest, the orchestra breaks its silence by introducing the same theme in a different key—one only distantly related to the piano’s utterance. This introduces a competitive tension between solo instrument and ensemble that would become a mainstay of Romantic concertos, and sustaining it with bold harmonic modulations. Throughout the movement, this simple theme is manipulated through modulations that are harmonically bold.

The second movement—slow, rhapsodic and agonized—was described by no less a pianist than Franz Liszt as a representation of Orpheus taming the furies. In contrast with the first movement, the second begins with an emphatic statement in the orchestra answered by the piano, and unfolds as a conversation might, with the piano answering orchestral challenges…or perhaps, as Liszt suggested, overcoming Orphic perils that lead without interruption to a triumphant final movement.

In the sublime third movement, the piano keeps returning to the dramatic main theme despite the allure of one sub-theme after another. The structure is a traditional rondo form – A-B-A-C-A-D-A – but it builds with a sense of joyful drama. Hearing the jubilant return to G Major (from the movement’s C Major introduction) and the dancing rhythms of the piano, we can easily believe that Liszt was right: this is Orpheus transfiguring the world with his music.

MASTERWORKS

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UTAH SYMPHONY

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The Every Student Succeeds Act

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

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Individual Donors Tom Farkas Jack & Marianne Ferraro Joseph & Dixie Furlong David & SandyLee Griswold** Ray & Howard Grossman Mary P. Jacobs† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Jeanne Kimball Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Mark & Marci Casp Rebecca Marriott Champion Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Peter Fillerup† Flynn Family Foundation C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman Jeffrey L. Giese, M.D. & Mary E. Gesicki Dale & Beverly Johnson

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James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Christopher & Julie McBeth Michael & Julie McFadden Rich & Cherie Meeboer Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† and Helene Richer James & Anna Romano William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards

UTAH SYMPHONY

Individual Donors Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Warren K. & Virginia G. McOmber George & Nancy Melling Brad & Trish Merrill Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne

UTAHSYMPHONY.ORG

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(801) 533-NOTE

Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret Sargent K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur E. Art Woolston & Connie Jo HepworthWoolston Caroline & Thomas Wright PATRONS

$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Diane Banks & Dr. Mark Bromberg Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona

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Individual Donors Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman

UTAHSYMPHONY.ORG

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Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.† & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat-Navarro Mr. & Mrs. Brad E. Walton Nadine Ward† Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro *In-kind gift **In-kind & cash gift † Deceased Gifts as of 1/13/17

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Individual Donors “Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF

Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Pam Harris Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma IN MEMORY OF

Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock

Intermountain Therapy Animals PETS HELPING PEOPLE

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Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Bill Peters Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Alvin Richer Bert Schaap Ann O’Neill Shigeoka Ben Shippen Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D.

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service.

Private dining rooms for corporate and social events.

Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48

Most Popular Restaurant

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning.

The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe.

Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

–Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK YOU TO OUR ADVERTISERS Ad Council Adib’s Rug Gallery BMW of Murray / Pleasant Grove Challenger School City Creek Living Classical 89 Darling Me Avenue David Dee Fine Arts Daynes Music Excellence in the Community Concert Series Five Wives Vodka Food of the Gods Grand America Hale Centre Theatre Hamilton Interiors Hilton Human Society of Utah International Therapy Animals KUED KUER Little America Hotel

New Yorker RC Willey Regency Royale Ruth’s Chris Steak House Salt Lake Acting Company San Francisco Design Security National Mortgage Summit Sotheby’s International Realty Summit Vista Tuacahn Amphitheatre United Way University Federal Credit Union University of Utah Healthcare Utah Festival Opera & Musical Theatre Utah Food Services Utah Shakespeare Festival Zions Bank

If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager

Melissa Klein Director of Individual Giving Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Nathan Lutz Interim Director of Orchestra Personnel Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager

Steven Finkelstein Development Coordinator

SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations

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MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Public Relations Chad Call Marketing Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager Aaron Sain Graphic Design & Branding Manager Tyler Bloomquist Junior Graphic Designer PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Risa Bean Joshua Figueroa Jackie Seethaler Powell Smith Elliott Wood Sales Associates Nick Barker Christina Frena Mara Lefler Rhea Miller Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Greenwood Controller Alison Mockli Payroll & Benefits Manager

Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Kyleene Johnson Education Assistant Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter Travis Stevens Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Daniel Hill Michelle Laino Wigs/Make-up Crew We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

UTAH SYMPHONY

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House Rules

ASSISTIVE LISTENING DEVICES

QUIET PLEASE

Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

YOUNG CHILDREN As a courtesy to other audience members, please ensure that children at performances are not disruptive during the show. Babes-in-arms are not allowed in the hall during performances unless specifically indicated.

UTAHSYMPHONY.ORG

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(801) 533-NOTE

CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

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11/25/16 9:33 AM

2017 SEASON k ENTERTAINMENT

FEB 15 through ~ APR 8

Call 801.984.9000 or online at www.HCT.org

SEASON TICKETS ON SALE NOW!

DEC 31 through ~ FEB 4

APR 15 through ~ MAY 20

JUNE 2 through ~ AUG 12

AUG 25 through ~ OCT 14

SEPT 1 through ~ NOV 15

OCT 21 through ~ NOV 30

NOV 17 through ~ JAN 20

DEC 1 through ~ DEC 23

T H A N K YOU T O OU R 2017 S E A S ON S P ONS OR

2016/17 UTAH SYMPHONY SEASON

We are proud of the incredible talent of Utah’s young musicians, and we’re excited to share their performances with you. Two opportunities for you to hear outstanding young musicians in concert are coming soon.

Utah Symphony Youth Guild Recital Monday, March 27

| 7 pm

Utah Symphony All-Star Evening Tuesday, May 23

| 7 pm

Abravanel Hall Lobby

Abravanel Hall

Youth Guild members prepared for months in dedicated practice. Auditions in March selected a wonderful array of talents and repertoire for you to enjoy.

Join us for the Youth Guild Recital, which is free and open to the public.

High schooler Karen Ferry from Brigham City, Utah, solos with the Utah Symphony playing Dvořák’s Violin Concerto. In the second half of the program students from eleven different youth orchestras sit sideby-side with the musicians of the Utah Symphony. Rei Hotoda conducts the concert.

For tickets, visit utahsymphony.org or call 801-533-6683

TH E 2017–18 SALUTE TO YOUTH

concert in September 2017 will be the 58th year for this concert. Audition repertoire is available at www.usuoeducation.org.

Information about auditions for next season will be available by mid-April.

SE A SON SPONSOR:

THREE DELICIOUS COURSES ONE INCREDIBLE EVENING

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

Melissa Robison

Prime Time EXPERIENCE OUR

DINNER MENU

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

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Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE

Frank Pignanelli, Esq. NATIONAL PR SERVICES

Provided by Shuman Associates, New York City ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau.

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

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

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

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UTAH SYMPHONY

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2016/17 CULTURAL FESTIVAL

ARTS IN SERVICE TO THE MILITARY

Our 2016–17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veterans’ active art-making as a means of self-expression.

FESTIVAL HIGHLIGHTS INCLUDE:

The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT

USUO.ORG/FESTIVAL

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