Utah Symphony 2014/15 Season

MAR – APR / 2014/15 UTAH SYMPHONY SEASON

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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR / PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Kyrsten Holland EDITOR Melissa Robison Cover photo: Thierry Fischer The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

© COPYRIGHT 2015

UTAH SYMPHONY MAR–APR 2015

25 André Watts Plays Beethoven 5

43 Beethoven & Wagner

55 Daphnis & Chloe

74 Peter Pan and Other Adventures 6 Welcome 7 Board of Trustees 8 Utah Symphony 9 Musician Spotlight 10 Testimonial 12 Administration 14 Season Honorees 23 Season Sponsors

35 Peter & the Wolf Live!

51 Symphony Pro-Am

65 Mozart’s Jupiter Symphony

77 The Midtown Men

84 Campaign for Perpetual Motion 87 Utah Symphony Guild 88 Tanner & Crescendo Societies 89 Planned Giving 90 Corporate & Foundation Donors 92 Individual Donors 96 Classical 89 Broadcasts 98 Acknowledgments 5

Welcome

Welcome to Abravanel Hall and today’s concert featuring your Utah Symphony musicians.

Since 1985, the month of March has been filled with sound as Music in Our Schools is celebrated around the nation. Sponsored by the National Association for Music Education, the initative focuses the nation’s attention on the need for and benefits of quality music education programs. Schools and community groups celebrate with creative activities and events, based on a designated theme. This year’s theme is “Music Education – Orchestrating Success.”

USUO’s Education and Outreach Program provides to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. The program’s primary mission is to reach each school district in Utah every three to five years, including schools in districts that are underserved or located in rural areas. Our programs provide students with the gift of live

Melia Tourangeau USUO President & CEO 6

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 attending. Our school concerts with their corresponding teacher materials support the teaching of the statewide music core curriculum.

Right now, when public school music programs face budget cuts, is a critical time to support music in our schools, and USUO is proud of the role we play in bringing great live professional music to the children of Utah. The support we receive from the Utah State Legislature for our education programs is augmented by many individuals, corporations, and foundations including those who’ve committed to our Campaign for Perpetual Motion (pp. 84–86). We are grateful to all of these great community leaders who help make Utah a wonderful place to live!

Thierry Fischer Utah Symphony Music Director

Dave Petersen USUO Board of Trustees Chair UTAH SYMPHONY MAR–APR 2015

Board of Trustees ELECTED BOARD David A. Petersen* Chair

Alex J. Dunn Kristen Fletcher* Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Laura S. Kaiser Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Mark H. Prothro Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate

Thomas Thatcher Bob Wheaton John W. Williams

LIFETIME BOARD William C. Bailey Deedee M. Corradini Edwin B. Firmage Jon M. Huntsman 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

Mardean Peterson E. Jeffery Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano

Geralyn Dreyfous Lisa Eccles Spencer F. Eccles Howard Edwards The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson

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

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Melia P. Tourangeau* President & CEO Jesselie B. Anderson Doyle L. Arnold Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee*

MUSICIAN REPRESENTATIVES

John Eckstein* Travis Peterson* EX OFFICIO

Ann Petersen Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Jennifer Streiff Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (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.)

Alvin Richer (Arizona)

UTAH SYMPHONY MAR–APR 2015

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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Ralph Matson 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

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Julie Edwards Silu Fei Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

David Park Assistant Concertmaster

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

Alex Martin Acting Assistant Concertmaster

Matthew Johnson Associate Principal

Claude Halter Principal Second

John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang

Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Julie Wunderle ••

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes# Associate Principal

OBOE Robert Stephenson# Principal

TROMBONE Larry Zalkind† Principal

James Hall Acting Principal

Mark Davidson Acting Principal

Titus Underwood†† Acting Associate Principal

Zachary Guiles†† Acting Associate Principal

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

TIMPANI George Brown Principal Eric Hopkins Associate Principal

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser

Melanie LanÇon†† PICCOLO Caitlyn Valovick Moore

Jeff Luke Associate Principal Peter Margulies Nick Norton

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TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair

Caitlyn Valovick Moore Acting Associate Principal

BASS TROMBONE Graeme Mutchler

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIAN Clovis Lark Principal Maureen Conroy Associate Librarian ORCHESTRA PERSONNEL Eric V. Johnson Director of Orchestra Personnel Myroslava Hagen Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

UTAH SYMPHONY MAR–APR 2015

Musician Spotlight Biography

Mercedes Smith Flute

I began playing the flute in my public school’s 6th grade band program in Plano, Texas. The following year my family moved to Mountainburg, Arkansas, where I was homeschooled and took private flute lessons and theory classes at the University of Arkansas. I was accepted to the Manhattan School of Music when I was 16, where I was very fortunate to study with my idol, Jeanne Baxtresser, former Principal Flutist of the New York Philharmonic, and Michael Parloff, former Principal Flutist of the Metropolitan Opera Orchestra. Mr. Parloff ’s exceptional knowledge of the opera repertory helped me win my first orchestra audition, at the age of 20, for Principal Flute of the Houston Grand Opera. I played principal with HGO and Houston Ballet from 2003 until my appointment with the Utah Symphony in 2012. Along the way I have also performed as guest principal flutist for numerous orchestras including the Seattle Symphony and San Diego Symphony and spent summers performing at Tanglewood, Verbier, and Marlboro music festivals.

Hobbies & Skills

During my time with Houston Ballet I developed a great love for ballet and modern dance—my favorite dance companies here are Ballet West and Ririe-Woodbury Dance Company. I take advantage of everything that Utah has to offer: skiing, hiking, camping, and the National Parks. I also have an adorable fluffy dog who enjoys singing along while I practice and teach students at home.

Musical Notes

The Utah Symphony is unique among the great orchestras of the United States. No other city of Salt Lake City’s size in North America can boast of hosting a major symphony orchestra; no other orchestra has such a vibrant and extensive education mission which reaches every public school student in the state; and no other orchestra has the kind of community support exemplified by the ZAP tax, allowing us to play numerous free concerts throughout the Salt Lake Valley. Our community’s support of the performing arts shows that Utah has everything to offer: five stunning National Parks, performing arts of the highest excellence, as well as “the best snow on earth!”

UTAH SYMPHONY MAR–APR 2015

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Testimonial

Verl & Joyce Topham

Lifetime Board

Verl and Joyce Topham have devoted much of their lives and energy to supporting and sustaining the arts and education in Salt Lake City and beyond. Verl Topham had a long and successful career, first as a lawyer and later as the top executive with Utah Power and Light and PacifiCorp. Verl served on both the Utah Opera Board of Trustees, as Chairman, and the Utah Symphony Board before the two companies merged in 2002.

He is currently a member of Utah Symphony | Utah Opera’s Lifetime Board. He has served on numerous other community boards, including Westminster College, Economic Development Corporation of Utah, and Utah Athletic Foundation, and he was Chair of the Board of Trustees of the Utah Shakespeare Festival.

In 2000, Verl was honored by the Salt Lake Chamber as a Giant in Our City, an award that was created to recognize exceptional and distinguished public service and extraordinary professional achievement. Joyce is a multimedia visual artist. She is also a soprano and a longtime lover of opera and music.

Verl and Joyce are both firm believers in a liberal arts education and are delighted that USUO artists share their musicianship with future generations. They support USUO so that not only will audiences throughout the state enjoy a world-class symphony and opera, but that the talent and passion for those art forms will endure.

Arrive early and enjoy fun, behind-the-music lectures for the Masterworks concert series, given by our Artistic Directors and Guest Artists.

7:00 PM in the First Tier Room, Abravanel Hall

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UTAH SYMPHONY MAR–APR 2015

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Administration ADMINISTRATION

Melia P. Tourangeau President & CEO

David Green

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Marsha Bolton

Executive Assistant to the Music Director and the Senior VP & COO

Heather Weinstock

Melanie Steiner-Sherwood Annual Giving Manager Grants Manager

Director of Education & Community Outreach

Kate Throneburg

Beverly Hawkins

Symphony Education Manager

Conor Bentley

Tracy Hansford

MARKETING & COMMUNICATIONS

Brooke Adams

Lisa Poppleton Development Manager Development Coordinator

Jon Miles

Office Manager

Vice President of Marketing & Public Relations

SYMPHONY ARTISTIC

Renée Huang

Symphony Music Director

Chad Call

Thierry Fischer

Anthony Tolokan

Vice President of Symphony Artistic Planning

Jerry Steichen

EDUCATION

Paula Fowler

Director of Public Relations Marketing Manager

Aaron Sain

Graphic Design & Branding Manager

Education Coordinator Education Fellow

Jessica Jones Abigail Levis Tyson Miller Will Tvrdik Lindsay Woodward Resident Artists

OPERA TECHNICAL

Jared Porter

Opera Technical Director

Principal Pops Conductor

Mike Call

Vladimir Kulenovic Associate Conductor

Ginamarie Marsala

Barlow Bradford

Symphony Chorus Director

Crystal Young-Otterstrom

Eric V. Johnson

PATRON SERVICES

Assistant Props

Director of Ticket Sales & Patron Services

Production Carpenter

Director of Orchestra Personnel

Myroslava Hagen

Orchestra Personnel Manager SYMPHONY OPERATIONS

Jeff Counts

Vice President of Operations & General Manager

Website Manager Marketing Communications Manager Vivace & Cadenza Coordinator

Jay Morris

Assistant Technical Director

Kelly Nickle

Properties Master

Lane Latimer

Nina Richards

Keith Ladanye

Natalie Thorpe

John Cook

Shawn Fry

Lindsay Woodward Will Tvrdik

Patron Services Manager Group & Corporate Sales Manager

Scene Shop Manager & Scenic Artist

Charlotte Craff

Faith Myers

Supertitle Musicians

Cassandra Dozet

Andrew J. Wilson

Verona Green

Chip Dance

Ellesse Hargreaves

Melonie Fitch

Mark Barraclough

Kati Garcia Ben Ordaz Jackie Seethaler Powell Smith Robb Trujillo

Kierstin Gibbs LisaAnn DeLapp

Nick Barker Emily O’Connor Aubrey Shirts Steven Finkelstein Hilary Hancock

Tailor

Manager of Artistic Operations Operations Manager Production & Stage Manager Assistant Stage & Properties Manager

Melissa Robison

Program Publication & Front of House Manager 0PERA ARTISTIC

Christopher McBeth Opera Artistic Director

Caleb Harris

Opera Chorus Master

Carol Anderson Principal Coach

Michelle Peterson

Opera Company Manager

Shaun Tritchler

Sales Manager Patron Services Assistant Account Coordinator

Sales Associates

Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Production Coordinator

Mike Lund

DEVELOPMENT

SaraLyn Pitts

Leslie Peterson

Vice President of Development

Hillary Hahn

Director of Foundation & Government Gifts

Ashley Magnus

Director of Corporate Partnerships

Natalie Cope

Director of Special Events

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Director of Information Technologies Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Julie Cameron

Accounts Payable Clerk

COSTUMES

Costume Director Assistant Rentals Supervisor Rentals Assistants

Vicki Raincrow

Wardrobe Supervisor

Milivoj Poletan Tara DeGray Cutter/Draper

Anna Marie Coronado Milliner & Crafts Artisan

Chris Hamberg Monica Hansen Yoojean Song Connie Warner Stitchers

Yancey J. Quick

Wigs/Make-up Designer

Shelley Carpenter Tanner Crawford 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 MAR–APR 2015

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Season Honorees Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received between 1/15/2014 and 1/15/2015

M I LLE N I U M $250,0 0 0 & A B OV E

EDWARD R. ASHWOOD & CANDICE A. JOHNSON

GAEL BENSON

DIANE & HAL BRIERLEY

LAWRENCE T. & JANET T. DEE FOUNDATION

E.R. (ZEKE) & KATHERINE W.† DUMKE

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

ANTHONY & RENEE MARLON

CAROL & TED NEWLIN

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

MARK & DIANNE PROTHRO CORPORATION

THEODORE SCHMIDT

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

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NAOMA TATE & THE FAMILY OF HAL TATE

UTAH SYMPHONY MAR–APR 2015

Utah Symphony | Utah Opera 2014-15 Season Sponsor

George S. and Dolores Doré Eccles

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

The Tradition Continues

F

or more than 30 years, unwavering support from the George S. and

Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!

Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E

**

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH

EMMA ECCLES JONES FOUNDATION

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

GIB & SUSAN MYERS

WILLIAM H. & CHRISTINE NELSON

DR. DINESH AND KALPANA PATEL

DELL LOY & LYNNETTE HANSEN

RESTAURANT TAX RAP TAX

B R AVO $ 50, 0 0 0 & A B OV E

Anonymous Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation

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Montage Deer Valley** Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Stein Eriksen Lodge** Wells Fargo Lois A. Zambo

UTAH SYMPHONY MAR–APR 2015

Utah musicians on stage at the Gallivan Center

March 12: Melissa Pace Tanner Quintet: great American song book March 26: Alan Michael Quintet: jazz April 16: Johansen-Livengood Trio: classical viola, clarinet and piano April 30: Austin Weyand Quartet: acoustic guitar virtuoso and friends

Season Honorees OV E R T U R E $25, 0 0 0 & A B OV E

Mr. & Mrs. William C. Bailey BMW of Murray

Richard K. & Shirley S. Hemingway Foundation

BMW of Pleasant Grove

Jack & Jan Massimino

Chevron Corporation

Carol & Anthony W. Middleton,

C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage

Jr., M.D.

Harris H. & Amanda Simmons The Sam & Diane Stewart Family Foundation Norman C. & Barbara Tanner Nora Eccles Treadwell Foundation

James A. Parke

Vivint

Charles Maxfield & Gloria F. Parrish

M. Walker & Sue Wallace

Foundation

Jack Wheatley

Thierry & Catherine Fischer**

Alice & Frank Puleo

John W. Williams

Kristen Fletcher & Dan McPhun

S. J. & Jessie E. Quinney Foundation

Workers Compensation Fund

Holland & Hart**

Simmons Family Foundation

Edward & Marelynn Zipser

Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco* Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Jones Waldo** Katharine Lamb Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Mount Olympus Waters* Mountain Dentistry Sally Boynton Murray Trust National Endowment for the Arts Terrell & Leah Nagata New York Ltd. Ogden Opera Guild Park City Chamber/Bureau Mr. David A. Petersen Promontory Foundation ProTel Networks* David & Shari Quinney Residence Inn* Dr. Clifford Reusch The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council

Lori & Theodore Samuels Peggy & Ben Schapiro Sky Harbor Apartments* Marilyn Sorensen Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Thomas & Caroline Tucker Utah Food Services* Utah Hispanic Chamber Of Commerce* Utah Symphony Guild John & Marva Warnock Wheeler Foundation John Williams

M A E S T R O $10, 0 0 0 & A B OV E

American Express Anonymous Arnold Machinery Ballard Spahr, LLP** Bambara Restaurant* Haven J. Barlow Family B. W. Bastian Foundation David & Sylvia Batchelder Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning Caffe Molise* Marie Eccles Caine Foundation-Russell Family CenturyLink Rebecca Marriott Champion Howard & Betty Clark Daynes Music* Skip Daynes* Delta Air Lines* Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Sue Ellis Ferguson Bath, Kitchen & Lighting Gallery Mr. Joseph F. Furlong III Gastronomy, Inc.* GE Foundation Ann & Gordon Getty Foundation

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See pages 90–94 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

UTAH SYMPHONY MAR–APR 2015

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OUR AMERICA

FebruAry 6–MAy 17, 2015

THE LATINO PRESENCE IN AMERICAN ART From the collections of the Smithsonian American Art Museum

PRESENTING SPONSOR: SPONSORS: S. J. and Jessie E. Quinney Foundation Ray, Quinney & Nebeker Foundation MARCIA AND JOHN PRICE MUSEUM BUILDING umfa.utah.edu Olga Albizu, Radiante, 1967, oil, Smithsonian American Art Museum.

Gift of JPMorgan Chase.

Our America: The Latino Presence in American Art is organized by the Smithsonian American Art Museum. Generous support for the exhibition has been provided by Altria Group, the Honorable Aida M. Alvarez; Judah Best, The James F. Dicke Family Endowment, Sheila Duignan and Mike Wilkins, Tania and Tom Evans, Friends of the National Museum of the American Latino, The Michael A. and the Honorable Marilyn Logsdon Mennello Endowment, Henry R. Muñoz III, Wells Fargo and Zions Bank.

Additional significant support was provided by The Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Support for “Treasures to Go,” the museum’s traveling exhibition program, comes from The C.F. Foundation, Atlanta.

Utah Symphony gratefully acknowledges the following generous donors who made our 2014–15 season possible.

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

ENTERTAINMENT SERIES SPONSOR

EMMA ECCLES JONES FOUNDATION FAMILY SERIES SPONSOR

KEM & CAROLYN GARDNER 75TH ANNIVERSARY MAHLER CYCLE SPONSOR

75TH ANNIVERSARY MASTERWORKS SERIES GUEST CONDUCTOR SPONSOR

JOANNE SHIEBLER GUEST ARTIST FUND UTAH SYMPHONY MAR–APR 2015

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Pardon Our Dust:

Abravanel Hall Plaza Construction The plaza in front of Abravanel Hall is getting a much needed makeover this year. Most of the concrete and the fountain in the front will be removed to make way for new greenery, sidewalks and walkways. The new plans call for better lighting and sign ďŹ xtures as well as grey and white concrete with accents in warm tones including browns and golds.

tentati reopening date of Spring 2015, check updates, inside scoops and behind the With a tentative scene articles on our blog at utahsymphony.org/blog.

André Watts Plays Beethoven 5

program

André Watts Plays Beethoven 5 Mar 6–7 | 8 pm Abravanel Hall Hugh Wolff, Conductor André Watts, Piano

AARON COPLAND LUDWIG VAN BEETHOVEN

Fanfare for the Common Man Concerto No. 5 in E-flat major for Piano and Orchestra, op. 73 “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro

André Watts, Piano

­/ INTERMISSION /

AARON COPLAND

Symphony No. 3 I. Molto Moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - Allegro resoluto

B E E T H OV E N M I N I - S E R I E S S P O N S O R

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HEALTHCARE NIGHT

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André Watts Plays Beethoven 5

artists‘ profiles

Hugh Wolff is among the leading conductors of his generation.

He has appeared with all the major North American orchestras including those of Chicago, New York, Boston, Philadelphia, Los Angeles, San Francisco, Cleveland, Toronto, and Montréal.

Wolff is much in demand in Europe, where he has conducted the London Symphony, the Philharmonia Orchestra, City of Birmingham Symphony, Orchestre National de France, Leipzig Gewandhaus, Munich Philharmonic, Czech Philharmonic, Israel Philharmonic, and the Bavarian and Berlin Radio Orchestras. He is a regular guest conductor with orchestras in Japan, Scandinavia, and Australia, and a frequent conductor at summer music festivals including Aspen, Tanglewood and Ravinia.

Wolff was Principal Conductor of the Frankfurt Radio Orchestra (1997-2006), and maintains a close relationship with that ensemble. He led the orchestra on tour in Europe, Japan, and China and appeared at the Salzburg, Rheingau, and Mozart Würzburg Festivals. The Sunday Times wrote of their recording of George Antheil’s Symphonies Numbers 1 & 6, “the Frankfurt Radio SO under Wolff dazzles throughout.”

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Wolff was Principal Conductor and then Music Director of the Saint Paul Chamber Orchestra (1988–2000), with whom he recorded 20 discs and toured the United States, Europe and Japan. Of this partnership, the New York Times wrote: “The Saint Paul Chamber Orchestra, under the direction of Hugh Wolff, has developed an effortlessly polished sound...Wolff shapes his interpretations with impeccable taste.”

Born in Paris in 1953 to American parents, Wolff spent his early years in London and Washington DC. After graduating from Harvard, Wolff returned on a fellowship to Paris, where he studied conducting with Charles Bruck and composition with Olivier Messiaen. He then continued his “Hugh Wolff is among the leading studies in Baltimore with Leon Fleisher.

Wolff and his wife, Judith Kogan, have conductors of his generation.” three sons and live in Boston.

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UTAH SYMPHONY MAR–APR 2015

2014/15 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 up soon.

Utah Symphony Youth Guild Recital Tuesday, April 7

| 7 pm

Utah Symphony All-Star Evening Tuesday, May 19

| 7 pm

Vieve Gore Recital Hall, Westminster College

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 school students Shenae Anderson and Kana Yoshigi solo with the Utah Symphony playing Mendelssohn’s Double Concerto for Violin and Piano. In the second half of the program students from eleven different youth orchestras sit side-by-side with the musicians of the Utah Symphony.

Vladimir Kulenovic conducts the concert.

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

The 2015–16 Salute to Youth concert in September 2015 will be the 56th year for this concert as well as part of Utah Symphony’s 75th anniversary season. Audition repertoire is available at www.usuoeducation.org.

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

Season Sponsor:

André Watts Plays Beethoven 5

artists‘ profiles

André Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic in their Young People’s Concerts, broadcast nationwide on CBS-TV. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion.

More than 50 years later, André Watts remains one of today’s most celebrated and beloved superstars.

A perennial favorite with orchestras throughout the US, Mr. Watts is also a regular guest at major summer music festivals including Ravinia, the Hollywood Bowl, Saratoga, and Tanglewood. Recent and upcoming engagements include appearances with the Philadelphia Orchestra in Philadelphia and on tour, the New York and Los Angeles Philharmonics, the Minnesota Orchestra, and the St. Louis, Atlanta, Detroit, Cincinnati, Dallas, Houston, Baltimore, Indianapolis, Seattle, and National Symphonies among others.

André Watts Piano

André Watts received a 2011 National Medal of Arts, given by the President of the United States to individuals who are deserving of special recognition for their outstanding contributions to the excellence, growth, support, and availability of the arts in the United States. In June 2006, he was inducted into the Hollywood Bowl Hall of Fame to celebrate the 50th anniversary of his debut (with the Philadelphia Orchestra), and he is also the recipient of the 1988 Avery Fisher Prize. At age 26, Mr. Watts was the youngest person ever to receive an Honorary Doctorate from Yale University, and he has since received numerous honors from highly respected schools including the University of Pennsylvania, Brandeis University, The Juilliard School of Music, and his Alma Mater, the Peabody Conservatory of Johns Hopkins University.

G U E S T A R T I S T S P O N S O R:

Previously Artist-in-Residence at the University of Maryland, Mr. Watts was appointed to the newly created Jack I. and Dora B. Hamlin Endowed Chair in Music at Indiana University in May, 2004.

“André Watts remains one of today’s most celebrated and beloved superstars.”

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Recordings are available on SONY Classical, Philips, Angel/EMI, and Telarc labels. André Watts appears by arrangement with CM Artists.

UTAH SYMPHONY MAR–APR 2015

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program notes

Aaron Copland (1900–1990)

Fanfare for the Common Man Instrumentation: 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, tam tam; percussion.

Performance Time: Approximately 3 minutes.

BACKGROUND

In England and America during World War II, cultural forces mobilized on the home front.

Moviemakers provided entertainment that honored the armed forces and reminded those at home what they were fighting for. Pop singles were like letters between home and the theater of battle. The Rogers and Hammerstein musical Oklahoma!, which opened on Broadway in 1943, was dispatched to London to entertain the brave fighters of the Royal Air Force. The beloved pianist Myra Hess organized free public concerts in that city during the blitz, when the sound of exploding bombs sometimes competed with the musicians, making each concert an act of proud defiance and a reminder of civilization’s noblest values in the face of its worst crimes. It was in this tradition that the conductor Eugene Goossens, a native of England who was conductor of the Cincinnati Symphony, asked Aaron Copland to compose what became Fanfare for the Common Man, one of the most popular and recognizable works in the American classical repertory.

Goossens had been Assistant Conductor of the Queen’s Hall Orchestra under Thomas Beecham during World War I, and in that capacity had asked British composers to write fanfares as inspirational openers for each concert. The success of these fanfares inspired Goossens to try the same idea in Cincinnati, and he commissioned 18 composers to compose fanfares for the orchestra’s 1942–43 season.

Goossens described the idea as follows:

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In the summer of 1942 I decided to carry out an experiment at our Cincinnati concerts similar to one I had previously essayed with some success at my concerts of contemporary music at Queens Hall, London, in 1921. I therefore wrote to a number of American composers of repute requesting them to compose patriotic fanfares for performances at the concerts of the Cincinnati Symphony Orchestra during the season of 1942–43. No fewer than 18 composers immediately responded with fanfares for [various] combinations of instruments…

Goossens suggested that composers pick themes so that the fanfares could serve both as tributes and as inspiration, and among the resulting compositions were titles such as A Fanfare for Russia by Deems Taylor, Fanfare for the Signal Corps by Howard Hanson, Fanfare de la Liberté

by Darius Milhaud, A Fanfare for the Fighting French by Walter Piston, and Fanfare for the Merchant Marine by Goossens himself. Copland, an avowed liberal at a time when liberals could be understood as patriots, at first toyed with the idea of naming his fanfare for the four freedoms championed by President Franklin D. Roosevelt in his 1941 State of the Union speech: freedom of speech, freedom of worship, freedom from want, and freedom from fear. Copland had also considered such titles as Fanfare for the Spirit of Democracy, Fanfare for a Solemn Ceremony, Fanfare for the Day of Victory, and Fanfare for Our Heroes.

The eventual title for the fanfare was simpler, but in synch with the universality of Roosevelt’s message, which had struck a chord with the American people.

“It seemed to me that if the fighting French got a fanfare,” wrote Copland, “so should the common man, since, after all, it was he who was doing the dirty work in the war.” Copland’s concerns were also in the spirit of the Pulitzer Prize-winners Ernie Pyle, who wrote about the “dogface” infantry soldiers while he was a roving correspondent throughout World War II, and Bill Mauldin, whose cartoons MASTERWORKS

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André Watts Plays Beethoven 5

program notes

about his composite infantry archetypes “Willie and Joe” showed the dangers and difficulties faced

by GIs. The work of both men nettled armed forces higher-ups while it delighted the “common man” soldier much the way the Dilbert comic strip and the sitcom The Office have captured the affection of modern-day cubicle drones.

WHAT TO LISTEN FOR

If his subject is down-to-earth, Copland’s treatment of it is exalted. While many fanfares have a quick tempo and a martial air, if not an outright march rhythm, Fanfare for the Common Man exalts his subject with a slower pace that suggests gravitas— “a certain nobility of tone, which suggested slow rather than fast music,” as he described it. (The marking calls for it to be played “very deliberately.”)

In it we hear the familiar, wide-open intervals of fifths and fourths that make Copland’s music sound so characteristically American. But from the opening bars, it is the distinctive and majestic use of percussion—timpani, bass drum, and tam tam—that give the fanfare its sense of importance.

Of the 18 original fanfares that Goossens commissioned, Copland’s Fanfare for the Common Man was one of only 10 that Goossens included when he anthologized them. Of those, only Copland’s survived to find a life in the concert hall after World War II. Ludwig van Beethoven (1770–1827)

Concerto No. 5 in E-flat major for Piano and Orchestra, “Emperor” Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, 2 trombones; timpani; strings.

Performance Time: Approximately 38 minutes.

BACKGROUND

Beethoven felt passionately about the philosophical ideals of the Enlightenment, 30

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and most especially about human freedom.

For better or worse, we associate much of his music with Napoleon, whose challenge to the established order in Europe inspired hope—but ultimately disillusionment—in the composer. But whether or not we can justify a connection between them, Beethoven’s “Emperor” Concerto will forever be linked to Napoleon. As author Andrew Schartmann notes in his Myth and Misinterpretation in Beethoven’s “Emperor” Concerto, it is clear that Napoleon was the emperor listeners had in mind when the Fifth became associated with that highly charged word. But whether this nickname is appropriate is another matter. “There is no question that the popular title originated from extra-musical associations not sanctioned by the composer,” says Schartmann, who calls the term misleading. “It can only be hoped that performer[s] do not base their interpretations on these unfounded anecdotes,” he says.

Perhaps. But the anecdotes are inescapable, and there are good reasons why they seem tied to the notion of the common man versus an imperial ideal. Beethoven was among the many thinkers who first believed that as liberator of Europe from monarchies, Napoleon was a champion of human freedom who betrayed this noble cause by arrogating the power and privileges of monarchy to himself. The composer famously intended to dedicate his “Eroica” symphony—which, like the “Emperor” Concerto, bears a key of E-flat—to Napoleon, but furiously “undedicated” it in manuscript.

There are also good reasons why the concerto form is especially well suited to Beethoven’s philosophical concerns. Its most basic formal constraint—the one (soloist) versus the many (orchestra)—provides an ideal framework for exploring the individual’s relationship with society. As with his symphonies, Beethoven’s piano concertos pushed the scope and heft of the form as he worked his way through musical UTAH SYMPHONY MAR–APR 2015

André Watts Plays Beethoven 5

program notes

ideas. Beethoven greatly admired Mozart’s piano concertos, with their constant sense of spontaneity and delight, but did not pursue these qualities in his own concertos. Instead, they get progressively weightier, until in the Fifth we hear some of the noblest music ever written. For all its beauty, delight is not the prevailing effect; as we listen, we have the impression that all of human dignity is at stake.

The concerto’s number, though known to all, is rarely mentioned. It is simply the “Emperor” Concerto, a nickname that was probably supplied by Beethoven’s friend and publisher Johann Cramer. No other piano concerto is more beloved, and none more powerfully combines nobility of expression with sublime beauty. Beethoven completed it in 1811, about one year before his Symphony No. 7.

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This partisanship has produced a glorious legacy of performance. In the latter half of the 20th century, pianists including Claudio Arrau and Rudolf Serkin emphasized statesmanlike restraint and overall architecture in the “Emperor,” while others including Emil Gilels and Sviatoslav Richter thrilled with their fleetness and overpowering technique. This abundance has left today’s interpreters and listeners to enjoy one of Beethoven’s greatest creations any way we like—clearly a case of artistic freedom in the service of human freedom.

WHAT TO LISTEN FOR

For all the philosophical meanings that many listeners hear in Beethoven’s Piano Concerto No. 5, its appeal is mainly a matter of sheer, abstract beauty, expressed through melodies that combine simplicity and grandeur. Their development seems profound yet personal, partly because Beethoven’s development sections often delineate only the accompanying line in the orchestra or the piano, leaving us to imagine the melody on our own. This draws us into the composition as few concertos do—one reason why the “Emperor” has achieved such rare popularity with its adoring public.

For lovers of the pianist’s art, the “Emperor” Concerto is perhaps the cornerstone of fandom.

Including it in one’s personal repertory is almost mandatory for most top-flight pianists, regardless of specialty; for fans, deciding one’s preferences in the “Emperor” Concerto goes beyond an evening’s interpretation, to larger questions of performance style and aesthetic philosophy.

Friendly debates over these matters have led to fistfights and worse. In recent decades we can trace The “Emperor” Concerto bears the hallmarks these passions back to the friendly rivalry between that have grown familiar through the canon Arthur Rubenstein and Vladimir Horowitz, of Beethoven piano concertos: the fastbrilliant pianists whose long and influential careers slow-fast arrangement of movements, the represented polar opposites in playing style. adherence to sonata form, the final rondo Rubenstein, one of the 20th century’s greatest with its repeated melodic statements by the interpreters of Chopin, waited until quite late soloist. But its consistently noble character in his career to tackle the “Emperor” Concerto, is unique. Beethoven’s rededication of the astonishing his admirers when he recorded it. His “Eroica” Symphony (he ripped Napoleon’s approach is characteristically restrained and poetic, name out of the auto-graph score) shows in marked contrast to the power and dazzle of what he thought of emperors, but the the Horowitz version. What’s more, Rubenstein’s “Emperor” Concerto seems aptly named for comments—that it had taken him until late in life its elevated expression, which never flags. to discover the truth of the concerto buried under generations of misinterpretation and virtuosic Rather than climbing to altitude, the concerto’s display—were taken by many as a dig at Horowitz. opening seems already to have arrived at a great UTAH SYMPHONY MAR–APR 2015

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André Watts Plays Beethoven 5

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height, announcing itself through repeated, solemn chords with the gilded quality of a royal fanfare.

After an introduction, the splendid opening theme has a sense of firmness, strongly rooted in the concerto’s tonic key of E-flat. It is balanced by a second theme that is no less noble but far softer, almost whispering its presence until the two themes reconcile. After this high-flying but worldly opening, the second-movement adagio seems to ascend still further, perhaps heavenward, stopping time with a sweet but melancholy meditation.

After the end of a series of trills, listen for the second phrase of the poetic main theme: in his book The Rest Is Noise, the music critic Alex Ross identifies this as a source for Leonard Bernstein’s song “Somewhere” from the musical West Side Story. This kind of borrowing seems especially appropriate when it draws from Beethoven, who often quoted his own arrangements of common songs and folk melodies in his compositions.

Today, Beethoven’s compositions—not the songs themselves—are remembered.

In the final movement, the main theme is really just an arpeggio reassembled. But with each dazzling iteration Beethoven disassembles it still further, requiring the listener to take part in the performance through active listening—just as variations on a theme may require listeners to bushwhack their way back to the original theme. As in the concerto’s opening, the main theme of the final movement has the structure and imposing character of a fanfare.

Beethoven performed his other concertos publicly, but by 1811 his increasing deafness prevented him from doing so. In listening, we can hear why: this concerto requires extreme virtuosity from the soloist.

Entrances are precise and unforgiving, and some passages that have a free, cadenza-like quality are actually prescribed in detail.

The premiere of the “Emperor” Concerto was played by pianist Friedrich Schneider in Leipzig.

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Aaron Copland (1900–1990)

Symphony No. 3 Instrumentation: 3 flutes, 3rd doubling piccolo, piccolo, 3 oboes, 3rd doubling English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon; 4 horns, 4 trumpets, 3 trombones, tuba; timpani, claves, glockenspiel, snare drum, tam tam, suspended cymbal, triangle, whip, xylophone, anvil, bells, ratchet, tenor drum, crash cymbals, wood block, bass drum; strings.

Performance Time: Approximately 38 minutes.

BACKGROUND

America has taken the music of Aaron Copland to its heart, conferring upon him the honorific title of “Dean of American Composers,” and as listeners we feel we know his music. But do we?

To most of us, his work as a symphonist is not as familiar as his theatrical scores and picturesque suites, but it is the source of one of classical American music’s most famous anecdotes: In 1925, just after Copland had returned to the U.S. after composition studies with Nadia Boulanger in Paris (the first of many American composers to do so), his Symphony for Organ and Orchestra received its premiere under the baton of Walter Damrosch. Addressing the audience, Maestro Damrosch said “If a young man at the age of 23 can write a symphony like that, in five years he will be ready to commit murder.”

After two decades Copland still had not murdered anyone, but he had received the commission for his Symphony No. 3 from the Boston Symphony Orchestra and its music director Serge Koussevitzky, who led the premiere. The assignment came with the recent composition of Fanfare for the Common Man still fresh in his mind. Its theme figures largely in the symphony, and while many enthusiasts assume that he borrowed it from the larger work to execute in a simpler form for the shorter one, the reverse was true. The fanfare’s musical ideas had at first struck Copland as simple and modest in UTAH SYMPHONY MAR–APR 2015

André Watts Plays Beethoven 5

program notes

scope, but upon further reflection he realized that they could be further developed in a longer work. He began work on his third symphony in the summer of 1944 in Tepoztlan, Mexico. His friend David Diamond, also a composer wrote him: “Make it a really KO (knock out) symphony.

And do, please use the fanfare material.”

By the time of the symphony’s completion and premiere, the circumstances for Copland and the nation were far different from those that prevailed when he composed the fanfare.

The year was 1946, the war was over, and an energized optimism prevailed. Copland completed the symphony in a converted barn near Tanglewood, Massachusetts, conveniently close to Koussevitzky. The work’s optimism, energy and ambition—it is the longest concert piece Copland ever composed—reflect the can-do spirit of postwar America. The result was, as Diamond hoped, a KO. Koussevitzky told his listeners and the music press that Copland’s Third was the greatest American symphony ever composed. It won numerous critical honors and after its October 1946 premiere was immediately hailed as a landmark in American music.

It is Copland’s final symphony, and is considered by most critics to be his best.

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During the late Twenties, it was customary to pigeonhole me as a composer of symphonic jazz, with the emphasis on the jazz. I have also been catalogued as a folkorist and purveyor of Americana.

Any reference to jazz or folk material in this work was purely unconscious.

He goes on to describe the first movement, marked molto moderato, as “broad and expressive in character,” with three themes that are developed with no relation to the sonata-allegro form of traditional symphonies.

He describes the brisk second movement, marked allegro molto, as hewing “closer to normal symphonic procedure,” but calls the third, an allegretto, “freest of all in formal structure.” The final movement, which follows the third without pause, brings the hints of the fanfare theme to fruition.

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WHAT TO LISTEN FOR

This symphony is a fusion of Copland’s cherished “Americana” style, heard in his theatrical works, and his explorations as a symphonist. As the symphony develops, it first hints at and then announces the familiar fanfare theme—a sign of enduring optimism which always seems within the listener’s reach throughout the complexities of each movement’s development. In his original notes for the symphony, Copland writes:

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/upcoming utah symphony | utah opera performances Saint-Saëns’ Organ Symphony May 1–2 / 8 pm Abravanel Hall Kazuki Yamada, guest conductor MUSSORGSKY GLAZUNOV SAINT-SAËNS

Night on Bald Mountain Symphony No. 5 Symphony No. 3 “Organ Symphony”

Stravinsky’s The Rake’s Progress May 9-15 / 7:30 pm May 17 / 2 pm Capitol Theatre Thierry Fischer, conductor Norman Reinhardt, Tom Rakewell

Joélle Harvey, Anne Trulove Mark Schnaible, Nick Shadow

Tom Rakewell is determined to live by his wits and luck, but he’s quickly deceived and led to a series of misadventures and a life of debauchery by the devil. Fate and a game of cards will decide whether Tom is saved by his true love or condemned to everlasting hell.

All-Star Evening May 19 / 7 pm Abravanel Hall Vladimir Kulenovic, conductor Shenae Anderson, violin MENDELSSOHN DVOŘÁK

Kana Yoshigi, piano

Double Concerto for Violin and Piano Symphony No. 9: 1st and 3rd movements

Witness the future of Utah’s music legacy! The state’s very best high school instrumentalists are invited to perform side-by-side with the Utah Symphony in this annual event.

Mahler’s Symphony No. 4 May 22–23 / 8 pm Abravanel Hall May 22 / 10 am Finishing Touches Thierry Fischer, conductor Veronika Eberle, violin SHOSTAKOVICH MAHLER

Violin Concerto No. 1 Symphony No. 4

Celena Shafer, soprano

Peter & the Wolf Live!

program

Peter & the Wolf Live!

Mar 21 | 11 am & 12:30 pm Abravanel Hall Emmanuel Fratianni, Conductor Jim Christian, Narrator

DANIEL DORFF

Three Fun Fables I. The Fox and the Crow II. The Dog and his Reflection III. The Tortoise and the Hare Jim Christian, Narrator

SERGEI PROKOFIEV

Peter and the Wolf, op. 67

The Instrument Petting Zoo in the lobby this morning is made possible by Summerhays Music and the Utah Symphony Youth Guild.

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UTAH SYMPHONY MAR–APR 2015

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Peter & the Wolf Live!

artists‘ profiles

Emmanuel Fratianni has led prestigious American ensembles such as the San Francisco Symphony at Davies Hall, the National Symphony Orchestra at the Kennedy Center, Baltimore Symphony Orchestra, Dallas Symphony, Indianapolis Symphony, and Utah Symphony among others, including multi-platinum producer “David Foster and Friends.”

Internationally, Emmanuel has guest conducted the Royal Scottish National Symphony, The Malaysian Symphony Orchestra, the National Symphony Orchestra of Chile, and in Asia the Beijing Opera and Performing Arts Orchestra to name a few.

An award-winning composer, his scores for video games have been performed by some of the finest and most recorded orchestras in the world, including the Los Angeles Philharmonic, London Philharmonic Orchestra, and the Hollywood Bowl Orchestra.

Emmanuel Fratianni Conductor

Playing piano at the age of 6, Emmanuel began his classical music studies upon acceptance to the Montreux Conservatory, in his hometown. As a teen, he discovered the jazz of Oscar Peterson, Bill Evans, and Herbie Hancock and began performing publicly at age 14. By his late teens, Emmanuel’s jazz quartet was to debut on the outer stages of the famed Montreux Jazz Festival.

Emmanuel’s attention then turned towards collaborating with visual and movement artists in Europe when he eventually uprooted to Los Angeles. He continued his training at UCLA in post-graduate studies and privately with critically acclaimed, multi-Emmy winning television composers Alf Clausen (of The Simpsons) and Jay Chattaway (Star Trek.)

An educator and clinician, Emmanuel is co-founder of the Southern California Piano Academy, a learning center for the study of piano. He is currently in the “An award-winning composer, his process of publishing his curriculum for the study of jazz piano. His educational scores for video games have been scores (video game music for symphony, choir, wind ensemble) are published by performed by some of the finest and Alfred Music Publishing.

most recorded orchestras in the world.”

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UTAH SYMPHONY MAR–APR 2015

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Peter & the Wolf Live!

artists‘ profiles

Jim Christian Narrator

Jim Christian serves as Director of Musical Theatre Studies at Weber State University. His work as a director and choreographer has been seen throughout the United States including the John F. Kennedy Center for the Performing Arts, Norwegian Cruise Lines, Arizona Broadway Theatre, Sierra Repertory Company, Musicana Dinner Theatres, and Broadway in the Rockies. He has also directed at such local venues as Utah Symphony | Utah Opera, Pioneer Theatre Company, Utah Shakespeare Festival, the Old Lyric Repertory Theatre, Centerpoint Legacy Theatre, The Grand Theatre and Hale Center Theatre. He is a member of the Society of Directors and Choreographers, and the Dramatists Guild. He is also an award-winning playwright and lyricist, and his works have been produced across the country. He was named Utah’s Best of State University Professor and is also the recipient of Weber State University’s Brady Presidential Distinguished Professor Award. As an actor, he has appeared with the Illinois Shakespeare Festival, San Diego Civic Light Opera, Pioneer Memorial Theatre, and in feature films and television.

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Beethoven & Wagner

program

Beethoven & Wagner Mar 27–28 | 8 pm Abravanel Hall Jun Märkl, Conductor Ingrid Fliter, Piano

LUDWIG VAN BEETHOVEN

Concerto No. 2 in B-flat major for Piano and Orchestra, op.19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro Ingrid Fliter, Piano

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RICHARD WAGNER ARR. JUN MÄRKL

Orchestral Suite from The Ring I. Das Rheingold: Prelude II. Das Rheingold: Hammering of the Dwarves III. Die Walküre: The Cavalcade of the Valkyries IV. Die Walküre: Wotan’s Farewell and Magic Fire Music V. Siegfried: Fight with the Dragon & Slaying of the Dragon VI. Die Götterdämmerung: Dawn VII. Die Götterdämmerung: Siegfried’s Rhine Journey VIII. Die Götterdämmerung: Siegfried’s Death & Funeral Music IX. Die Götterdämmerung: Brünnhilde’s Immolation Scene

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Beethoven & Wagner

artists’ profiles

Jun Märkl conducts the world’s leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, and Tonhalle Orchester Zürich. He has long been a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic Debussy, Ravel, and Messiaen.

Jun Märkl Conductor 75 TH ANNIVERSARY M ASTERWORKS SERIES GUEST CONDUCTOR SPONSOR:

He was Music Director of the Orchestre National de Lyon from 2005-11 and of the MDR Symphony Orchestra Leipzig until 2012. In recognition of his tenure in Lyon and his hugely successful nine-disc Debussy cycle with the orchestra on Naxos, in 2012 he was honored by the French Ministry of Culture with the Chevalier de l’Ordre des Arts et des Lettres. He also toured with the orchestra to Japan and major European halls and festivals such as the Salle Pleyel, Amsterdam Concertgebouw, BBC Proms, Bad Kissingen, Rheingau, and Lucerne. With MDR he toured to Spain and the Baltics, made regular appearances in the Berlin Konzerthaus and Cologne Philharmonie, and conducted Schumann’s rarelyheard opera Genoveva at the Rotterdam Opera Festival. For the 2014–15 season he has accepted the post of Musical Advisor to the Basque National Orchestra in San Sebastian.

Born in Munich, his (German) father was a distinguished Concertmaster and his ( Japanese) mother a solo pianist. Märkl studied violin, piano, and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986 he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with “He has long been a highly Leonard Bernstein and Seiji Ozawa.

Soon afterwards he had a string of respected interpreter of the core appointments in European opera houses followed by his first music directorships Germanic repertoire from both the at the Staatstheater in Saarbrücken (1991–94) and at the Mannheim symphonic and operatic traditions.” Nationaltheater (1994–2000).

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artists’ profiles

Ingrid Fliter sprang to international attention when she was awarded the 2006 Gilmore Artist Award, one of only a handful of pianists to have received this honor. The Gilmore Artist Award is presented to an exceptional pianist who, regardless of age or nationality, possesses profound musicianship and charisma and who sustains a career as a major international concert artist.

Ingrid Fliter Piano G U E S T A R T I S T S P O N S O R:

Born in Buenos Aires, Ingrid Fliter began her piano studies in Argentina with Elizabeth Westerkamp. In 1992 she moved to Europe where she continued her studies at the Freiburg Musikhochschule with Vitaly Margulis, then in Rome with Carlo Bruno and with Franco Scala and Boris Petrushansky at the Academy “Incontri col Maestro” in Imola. She was a laureate of the Ferruccio Busoni Competition in Italy and was awarded the silver medal at the 2000 Frederic Chopin Competition in Warsaw. Ingrid Fliter was also selected as a BBC Radio 3 New Generation Artist from 2007-2009, working with several of the BBC orchestras under the auspices of this program.

Ingrid Fliter now divides her time between Europe and the USA, where she works with orchestras such as the Cincinnati Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, National Symphony Orchestra, San Francisco Symphony Orchestra, Seattle Symphony Orchestra, St. Louis Symphony Orchestra and Toronto Symphony Orchestra.

Forthcoming CD releases are Chopin Piano Concerti recorded with the Scottish Chamber Orchestra “She was awarded the 2006 and Jun Märkl and the complete Chopin Preludes, both on Linn Records.

Gilmore Artist Award, one of only Live recordings of Fliter performing works by Beethoven and Chopin a handful of pianists to have at the Amsterdam Concertgebouw as well as in recital at the Miami received this honor.” International Piano Festival are also available on the VAI Audio label.

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program notes

Ludwig van Beethoven (1770–1827)

Concerto No. 2 in B-flat major for Piano and Orchestra Instrumentation: 1 flute, 2 oboes, 2 bassoons; 2 horns; strings; timpani; solo piano.

Performance Time: approximately 28 minutes.

BACKGROUND

Even with a scorecard, the chronology of Beethoven’s compositions is difficult to follow. With the piano concertos, as with the romances for violin, he wrote No. 2 earlier than No. 1. Not even the opus numbers clarify their sequence. Music historians tell us that Beethoven was sketching musical ideas for his concertos as a teenager living in the German city of Bonn, which would later serve as the capitol of West Germany when it was divided after World War II. Though the first version of his Piano Concerto No. 2 dates from 1795, when he was 25, he began framing the work as early as 1786 and then labored over revisions after its “completion,” finalizing it in 1798. It was published three years later.

The author Geoffrey Block, who has written in depth on this concerto, traces its origins to a period before Beethoven moved to Vienna, when he was 21. At that age, most American college students are still juniors or seniors, worrying about their first key career choices; Beethoven was publishing major works and holding them to a high standard. But that Beethoven had actually begun sketches and studies for this concerto suggests that the 19- and 20-year-old Beethoven puzzled over revisions for it. To us the result has the refinement of a polished gem.

When he was 22, Beethoven moved to Vienna to further his career, as Mozart had done before 46

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him. When he transferred to that city in 1792, few of his circle suspected that he might spend the rest of his days there. His great patron and protector Count Ferdinand von Waldstein had arranged the move so that Beethoven could take instruction from Haydn, who welcomed and valued him as his most talented pupil, but friends and associates in Bonn, who gave him a cordial send-off, voiced their fond expectations of his return. Beethoven’s writing indicates that he did not reciprocate Haydn’s friendly feelings, but he approached his work with music’s grand old man with utmost seriousness, cultivating mastery in the Classical style that he would eventually challenge and disrupt. He spent just one year studying with Haydn, but worked his way through the major forms of Classical composition as if following a curriculum of his own meticulous devising. His first two piano concertos were important not only as compositional milestones, but also as demonstrations of his virtuosity at the keyboard, as Mozart’s had been before him. When Waldstein wrote to his friend wishing him well in Vienna, he could not have known just how accurate his complimentary words would prove to be: Dear Beethoven: You are going to Vienna in fulfillment of our long-frustrated wishes. The Genius of Mozart is still in mourning and weeping over the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labor you shall receive Mozart’s spirit from Haydn’s hands.

WHAT TO LISTEN FOR

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. But the delay UTAH SYMPHONY MAR–APR 2015

Beethoven & Wagner

program notes

in publication also reflects the seriousness of his intent regarding the concerto form. Beautiful?

Yes, and it met with immediate success after its premiere in 1795. Yet Beethoven seems to have had his doubts, submitting it for publication 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.” Today’s critics disagree, calling it one of the finest of his early works.

Part of its success was surely as a showcase for Beethoven’s impressive technique (he was soloist at the premiere). From the first movement’s triumphant opening statement, the concerto requires dazzling finger work in both hands. For the first movement cadenza—these unaccompanied passages were often improvised in the Classical era – most pianists choose the very challenging, almost fugal version that Beethoven wrote much later, in 1809. This is followed by a slow (adagio) movement of great tenderness.

The structural connections we hear between movements in this concerto show Beethoven’s careful study of Mozart; for example, the introduction is Mozartean in its compactness.

The piano, for its entrance, is accorded a secondary theme to introduce, rather than a restatement of melodies we have heard in the orchestra, and the finale harks back to a rondo in the opening movement -- both typically Mozartean gestures. In the midst of this loveliness, Beethoven presents us with a slow central movement of great eloquence, with a breadth and strength of utterance that portends the great concertos to come.

Listeners who think they don’t know this concerto may experience a jolt of recognition as soon as the joyful third movement begins, a romp that is melodic and playful. Even UTAH SYMPHONY MAR–APR 2015

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during its occasional modulations into minor, it never loses its sunny disposition.

Richard Wagner (1813–1883)

Orchestral Suite from The Ring Instrumentation: 3 flutes, 3rd doubling piccolo, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons; 8 horns, Wagner tuben, 3 trumpets, bass trumpet, 3 trombones, contrabass trombone, tuba; 2 timpani, anvil, crash cymbal, suspended cymbal, field drum, tam tam, glockenspiel, triangle; strings.

Performance Time: approximately 45 minutes.

BACKGROUND

The bicentennial of Richard Wagner’s birth occurred in 2013, providing another reason for the music world to reflect on the revolutionary impact of Wagner’s genius. Not that we are ever far from experiencing the effects of Wagner’s achievements. By the time he composed The Ring of the Nibelungen, Wagner’s thinking on aesthetics had departed so radically and importantly from tradition that artists of all kinds—painters, sculptors, writers, dramatists, as well as composers—knew that the ground rules for their creative efforts might be changed forever. His harmonies were suspended and ambiguous; his motifs lacked the clear resolution of Classical melodies of the past.

They expressed an inner reality—a world of emotion and thought seemingly more real than the world of material objects outside the mind. If a composer could make music like this, then nothing was off-limits for any artist.

Today, listening to late Romantic compositions after having heard the wide-ranging modern experiments that followed, it might be hard for us to imagine that Brahms and Wagner were considered artistic antagonists who represented music’s traditional glories on the one hand and its limitless future on MASTERWORKS

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the other. But for all the time-annihilating gorgeousness of Wagner’s music, it is relatively rare in the concert hall. We grow up knowing examples such as the wedding march extracted from his opera Lohengrin and the “Ride of the Valkyries” from his opera Die Walküre (which we’ll hear tonight). Yet his musical compositions were almost entirely for the operatic stage, and the tiny handful of instrumental works he produced do not represent his revolutionary side. Der Ring des Nibelungen, Wagner’s gigantic tetralogy of music-dramas, is the fullest representation of his life in art, and performing the complete cycle of these four immensely significant and immensely long operas takes about eighteen hours of strenuous mutual effort by musicians and listeners over a period of four days. Even Wagner’s orchestra and the voices required to carry over them are unusually large. The experience is almost like

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entering an alternate mode of existence and is an early example of the all-encompassing narrative adventure that moves Trekkies to create their own tricorders and phasers.

Wagner was in his mid-thirties when he began work on the The Ring and spent about twenty-six years crafting it, writing the libretto as well as the music. He completed the cycle in 1874. A four-part saga, it is comprised of a relatively brief one-act prologue and three epic-length operas based loosely on characters depicted in Norse mythology and the Nibelungenlied.

WHAT TO LISTEN FOR

Epic in scope and detailed in execution, The Ring encompasses a creation myth metaphorically spanning the dawn of humanity in its natural, edenic state; the rise of hierarchical enmities that separate humanity from the natural order; the destruction of the

Beethoven & Wagner

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hierarchy, bringing tragedy but also the hope of return to the natural order. In addition to his purely musical innovations, Wagner saw in his Ring the embodiment of his aesthetic of the Gesamtkunstwerk—a total theatrical conception integrating all of the arts into a total experience. He told his friend and fellowvisionary Franz Liszt that The Ring was “the poem of my life and of all that I am and feel.”

The suite of orchestral excerpts gives listeners a rare chance to sample key elements of this towering achievement as it wordlessly telescopes the action. But for those new to The Ring, the suite’s programmatic references should be heard as suggestions of action and of profound emotion rather than detailed narrative. It opens with one of the most famous single notes in classical music: a deep, rumbling E-flat that seems to conjure the emergence of life itself from the primordial ooze of the Rhine in the tetralogy’s prefatory work, Das Rheingold. We hear the laboring of a civilization being forged as the opening section continues, until stormy passages lead us to the second of the Ring’s

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installments, Die Walküre, where we meet the patriarchal god Wotan’s beloved valkyries. His tempestuous rage provoked by the disobedience of his favorite daughter, Brünnhilde, is all the more poignant because of the love he feels for her—all expressed in the complex tapestry of his farewell, in which he puts her to sleep surrounded by a magical ring of fire.

The third opera of The Ring, Siegfried, offers passages of breathless excitement as it evokes a hero’s discovery of self, destiny, and adventure. But equally expressive and significant is this opera’s evocation of nature in the beauty of the “Forest Murmurs” scene; each reference to nature offers the possibility of rebirth and return to the natural order.

The final opera of The Ring is Götterdämmerung, the twilight of the gods, in which we experience the violent destruction that leads to rebirth—and we hear the newly human Brünnhilde transfigured by Siegfried’s love. As the suite ends, we hear principal motifs of the monumental cycle woven together in an overwhelming expression of renewal and hope.

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Symphony Pro-Am

program

Symphony Pro-Am Mar 31 | 7 pm Abravanel Hall Vladimir Kulenovic, Conductor

Adult amateur musicians sit side-by-side with the professionals of Utah Symphony.

JOHANNES BRAHMS

RICHARD WAGNER

Academic Festival Overture, op. 80 Overture to Rienzi

Schedule for the evening:

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7–8 pm

Rehearsal

8–8:30 pm

Break

8:30-9:30 pm

Rehearsal and Performance

SPECIAL

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artist’s profile

Following the completion of his post-graduate conducting studies at the Juilliard School, Vladimir Kulenovic was named Associate Conductor of Utah Symphony in the U.S., Principal Conductor of the Kyoto International Music Festival in Japan and Resident Conductor of the Belgrade Philharmonic Orchestra in Serbia.

Upcoming engagements include debuts with Chicago Symphony, Houston Symphony, Columbus Symphony, Malaysian Philharmonic, Knoxville Symphony, Lubbock Symphony, Macedonian National Opera (Aida), and returns to Belgrade, Macedonian Philharmonic, and Jacksonville Symphony, where Mr. Kulenovic was a featured conductor at the biennial League of American Orchestras Bruno Walter National Conducting Preview in March of 2013.

Recent engagements include performances with the Beethoven‐Orchester Bonn at the Beethovenhalle, Deutsche Vladimir Kulenovic Kammerakademie/Neuss am Rhein, Belgrade, Slovenian, Conductor Zagreb, and Macedonian Philharmonic Orchestras, Lake Forest, Grand Rapids, and Evergreen Symphony Orchestras, the Juilliard Orchestra at Lincoln Center’s Alice Tully Hall, and the “An admirable statement National Arts Centre Orchestra in Ottawa. Festival appearances include of talent and potential…” Aspen, Cabrillo, Salzburg Mozarteum, and Verbier. He has collaborated - The Baltimore Sun with celebrated soloists such as Leon Fleisher, Augustin Hadelich, Mischa Maisky, Akiko Suwanai, Philippe Quint, Joseph Silverstein, and Ralph Votapek, and will perform with Emmanuel Pahud, José Feghali, Elena Bashkirova, Torleif Thedéen, and the Wanderer Trio in 2014–15.

In addition to studying with Kurt Masur from 2008-12, Kulenovic is an alumnus of the Juilliard School and was awarded the Charles Schiff Conducting Prize for Excellence upon the completion of his post-graduate studies with James DePreist. He also earned graduate degrees from the Peabody Institute, where he studied with Gustav Meier, and the Boston Conservatory where he graduated summa cum laude, as valedictorian, and was awarded the Alfred B. Whitney Award for the highest scholastic achievement. As a pianist, Vladimir Kulenovic has been a Second Prize winner of the Rubinstein International Piano Competition in Paris.

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Daphnis & Chloé

program

Daphnis & Chloé Apr 10–11 | 8 pm Abravanel Hall Thierry Fischer, Conductor Utah Symphony Chorus Barlow Bradford, Utah Symphony Chorus Director CLAUDE DEBUSSY IGOR STRAVINSKY

Prélude à l’Après-midi d’un faune (Prelude to the afternoon of a Faun) Symphony in Three Movements I. Allegro II. Andante-Interlude III. Con moto ­/ INTERMISSION /

MAURICE RAVEL

Daphnis et Chloé Scene 1 I. Introduction and Religious Dance II. General Dance III. Dorcon’s Grotesque Dance IV. Daphnis’ Light and Graceful Dance V. Lycanion’s Dance VI. The Nymphs’ Slow, Mysterious Dance Scene 2 I. Introduction II. War Dance III. Chloé’s Dance of Supplication Scene 3 I. Sunrise II. Pantomime: The Love of Pan and Syrinx III. General Dance: Bacchanale Utah Symphony Chorus C O N D U C TO R S P O N S O R

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artists’ profiles

Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Fischer was Principal Conductor of the BBC National Orchestra of Wales from 2006–12 and returned as a guest at the 2014 BBC Proms. Guest engagements have included the Czech Philharmonic, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Atlanta Symphony, Cincinnati Symphony, BBC Symphony, Scottish Chamber and London Sinfonietta. In October 2014 he made his debut with the Boston Symphony Orchestra.

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

Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30’s 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 “The Swiss conductor is the Abbado. He spent his apprentice years in Holland, and then became Principal real thing—a musician of clear Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief intelligence, technical skill, and Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall podium personality, drawing debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

performances that blended

impeccable balancing, textural clarity and fizzing exhilaration.”

- Chicago Classical Review, July 2013

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Daphnis & Chloé

artists’ profiles

Conductor, composer, arranger, pianist, and teacher Barlow Bradford founded the Utah Chamber Artists in 1991 and has since led the organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. His focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir from 1999–2003. In 2012 Dr. Bradford was named the Ellen Nielsen Barnes Presidential Chair of Choral Studies at the University of Utah, where he conducts the University’s Chamber Choir and A Cappella Choir and directs the graduate choral conducting program. Under Bradford’s direction, the University Chamber Choir won both the Grand Prix and Audience Favorite awards at the Florilege Vocal de Tours 2014 international competition. Dr. Bradford was named Director of the Utah Symphony Chorus in the fall of 2013.

Barlow Bradford Utah Symphony Chorus Director

Bradford’s compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Many of his arrangements have been performed and/or recorded by Cleveland Orchestra, Dallas Symphony, San Francisco Symphony, Tucson Symphony, Mormon Tabernacle Choir, and Utah Chamber Artists. His music is performed throughout the world by prominent university, high school, and church choirs.

Utah Symphony Chorus Soprano Christin Abbott Stephanie Bradshaw Rebecca Bryan Cydnee Farmer Erica Glenn Elizabeth Hokanson Renee L. Hunter Martha F. Lauritzen Bryn McDougal Kimberly S. Metcalfe Hannah LaRue Miller Karem Rodriguez-Ryker Norma F. Sonntag Alto Joan Jensen Bowles DaVauna Arbon Jessica Benson 58

Mary Burris Tarasina Compagni Kahli Dalbow Molly Dickamore Rena D’Souza Susan Fazio Kate Fitzgerald Marie Grudzien Marilyn K. Heightman Jeanne Marie Kelly Jeanne Leigh-Goldstein Nancy B. Matro Nancy E. Merrill Susan Moore Kristine B. Motta Victoria Norton-Strong Celeste Porter Patricia A. Richards Carolee R. Schofield

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Jennifer Tanner Wendy Q. Tibbitts Michele Golder Tyler Amanda Watson Tatjana Weser Nina Wolf Tenor Robert Aamodt Andrew Blunt Benjamin Ebel Stephen Fife Jerry Hatch Vince Huntington Paul Morris Nathan Moulton David Naylor Lo Nestman Glenn D. Prestwich

Kevin S. Rowe Peter Tang Bass Michael J. Hurst David A. Ebert Rulon Galloway Grant Hodson John T. Jorgensen James Marshall Steve McGregor Russell D. Merrill Jonathan Morris Mark J. Morrise Ryan Oldroyd Doug Pike Michael Provard Dee L. Russell Wayne L. VanTassell

UTAH SYMPHONY MAR–APR 2015

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program notes

Claude Debussy (1862–1918)

Prélude à l’Après-midi d’un faune Instrumentation: 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons; 4 horns; antique cymbals, harpsichord; strings.

Performance Time: approximately 10 minutes.

BACKGROUND

In performance, its duration is brief. But its influence is lasting and deep. Debussy’s Prélude à l’Après-midi d’un faune, or Prelude to the Afternoon of a Faun, is a landmark in Western music and cultural history: the cornerstone of Impressionism in music, and a critical step on the road to modernism.

By now we are comfortable viewing the paintings of Renoir, Monet, and their colleagues, and their works have gained such widespread popularity that we must remind ourselves how Impressionist paintings shocked the eye back in the 1870s: the colors seemed strangely bright, the shadowy neutrals were gone, and the paintings rendered impressions of light rather than the world of objects in space.

Yet somehow that world materializes before us as we simply relax and look.

In Debussy’s music, starting with Prelude, he showed us how evocations of mood and atmosphere could function as light does in Impressionist paintings. His instrumental color, texture, and meandering harmonies ignore traditional combinations. Where Impressionist paintings leave the world of objects behind, Impressionist music goes beyond earlier conventions of harmonic and rhythmic development, moving from one bar to the next in a spontaneous, organic flow. That said, Impressionist music continues to challenge us as listeners a bit more than Impressionist painting does. If we are less comfortable with Debussy UTAH SYMPHONY MAR–APR 2015

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and Ravel than with Renoir and Monet, that may not be such a bad thing; as the art critic Sister Wendy Beckett reminds us, the trick is to come to each work of art as something new, approaching it with courage and without preconceptions, opening ourselves to the experience it offers.

Debussy was influenced in his explorations by writers of his day—particularly the revolutionary poet Stéphane Mallarmé and the Belgian symbolist playwright Maurice Maeterlinck—as well as by the chromaticism of Wagner’s Tristan und Isolde. Mallarmé’s extraordinarily moody, dense poems hover in the netherworld between conscious thought and the unconscious mind. Rich in allusions and symbols that reveal the hidden world of human eroticism, they were crafted at a time when Freud’s study of the unconscious was changing the way we view erotic impulse.

Mallarmé was about 20 years older than Debussy, who composed a musical setting for one of Mallarmé’s poems when he was just 22. Quoted by the poet Paul Valéry, Mallarmé seems to have had his strong reservations about the very idea of composing such a work. After all, the words of a poem are their own music… why graft a redundant set of musical notes onto them? Nonetheless, just three years later the young composer joined Mallarmé’s salon, an influential and now legendary group of poets and artists who met on Tuesday evenings to exchange ideas and argue companionably.

In 1892, when Debussy was about 30, he began working on a composition inspired by another Mallarmé poem, “Afternoon of a Faun.” But in this case, the work is not a direct setting of the words, but an autonomous “prelude” suggested by the poem’s dense, drowsy eroticism.

Mallarmé called the poem an “eclogue,” a brief, nature-oriented lyric recalling the poems of Virgil; its narrator-subject, the faun, is the MASTERWORKS

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half-man-half-goat exemplified by the god Pan, always haunting the forest and un-selfconsciously randy. And this time, according to Debussy’s biographer Maurice Dumesnil, Mallarmé greatly admired the result when he heard it in concert— mpressed with Debussy’s success in capturing the poem’s elusive and all-important qualities of mood. Two years later, Debussy embarked upon his monumental Pelléas et Mélisande, an opera based upon Maeterlinck’s sad, densely Freudian fable set in a magical forest.

Sex, sex, sex…how much of the music’s erotic subtext was heard by Debussy’s contemporary listeners? One clue: The Prelude did not gain notoriety until 20 years after Debussy composed it, when Vaslav Nijinsky choreographed and danced it for the Ballets Russes with explicit depictions of the faun’s sexual daydreaming.

Sophisticated Parisian viewers were shocked; their howls of protest foreshadowed what would happen the following year, at the premiere of Stravinsky’s Rite of Spring.

WHAT TO LISTEN FOR

Prelude to the Afternoon of a Faun opens with one of the most iconic passages in classical music, a solo flute passage that ranks with the first four notes of Beethoven’s fifth symphony or the pulsing snare drum in Ravel’s Boléro as instantly recognizable and utterly universal.

Often signaled by just a nod or a brief hand gesture from the conductor, the phrase curls from a single flute like a wisp of smoke, falling in half-steps to delineate the mysterious tritone interval and then rising again. This is how Debussy introduces us to the languorous, amorous faun, ever in dreamy pursuit and always with the Pipes of Pan hanging from his neck. The conductor and scholar Pierre Boulez, one of the 20th century’s most authoritative champions of the new, cited this exquisitely dramatic entrance as a turning point in composition; in his 1958 “Entries for a Musical

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Encyclopedia” he notes that “the flute of the faun brought new breath to the art of music.”

While this gesture comprises a melodic theme, it was without precedent in classical melodic treatment: tonal yet fluid, without a fixed origin or resolution, and not suggesting conventional development. The orchestra joins the flute, seemingly surrounding it with soft, natural textures. The intensity swells and ebbs; the first clarinet and the first oboe take turns supplanting the flute; and as the tempo grows more animated a new melody joins them.

Each swelling phrase seems to share the flute’s promise of sensuality.

Igor Stravinsky (1882–1971)

Symphony in Three Movements Instrumentation: 2 flutes, piccolo, 2 oboes, 3 clarinets, 3rd doubling bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, harpsichord, keyboard; strings.

Performance Time: approximately 22 minutes.

BACKGROUND

Though his career predated passenger jet service and cell phones, classical music has probably never known a more international figure than the very cosmopolitan composer Igor Stravinsky.

He was, of course, a native of Russia. But the well-born Stravinsky was already comfortable speaking French when his career-breakthrough commission for the score of the ballet The Firebird led him to Paris, where his association with Serge Diaghilev’s Ballets Russes put him in community with the world’s most influential artists. It was in Paris that the infamously provocative premiere of Le Sacre du Printemps (The Rite of Spring) catapulted the already worldfamous Stravinsky, then in his early thirties, to a new level of global celebrity.

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Daphnis & Chloé

program notes

By the time he composed his Symphony in Three Movements, World War II was under way and the middle-aged Stravinsky was living in the U.S., as were many other expats whose native countries were nearer the war’s front lines (for example, the English writer Alastair Cooke). He had already become acquainted with the Hollywood life and formed an association with the movie industry, which he might well have disdained in his Paris days. The commission for what became his Symphony in Three Movements came in 1942 from the Philharmonic-Symphony Society of New York, a typical orchestral “friends-of-thelibrary” guild that works with the trustees to promote the orchestra’s mission and prestige.

In this case, the orchestra was the New York Philharmonic, which premiered the symphony under Stravinsky’s baton on January 24, 1946.

This symphony is considered the first major composition that Stravinsky completed after his emigration to the U.S. WHAT TO LISTEN FOR

Stravinsky is esteemed as perhaps the greatest master and synthesizer of musical styles of the 20th century—a kind of prism or lens, like Bach, focusing all the musical styles that preceded him to create something new. But while his fans divide his work into periods—Early, Late, NeoClassical, etc.—Stravinsky bridled at this idea and denied that his work had phases.

If, on the other hand, we accept the notion of specific periods in Stravinsky’s oeuvre, then the Symphony in Three Movements may be said to encompass all of them. In 1943, when Stravinsky had already begun composing the symphony, he began work on rescoring Le Sacre du Printemps, which he had composed about 30 years earlier. (Its notorious premiere was in 1914). Though he never completed work on the rescoring, music historians believe it influenced his work on the symphony. They hear it, for example, in the bold ostinatos and intense, almost brutally dramatic passages of the

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final movement, which seem to echo “Sacre’s” “Sacrificial Dance” and “Glorification of the Chosen One.” The Hollywood Stravinsky, too, is represented in this symphony. The musical materials for its three movements derived from his work for three different films—music that was never actually used in the movies themselves. Such recycling was standard practice in the industry; Erich Korngold, another expat who became a highly successful Hollywood composer, borrowed his own Academy Award-winning music from an Errol Flynn adventure to serve as the basis of his violin concerto. Despite the movie connection, Stravinsky strongly denied there was any narrative line or program in the symphony itself.

Then there is the Neo-Classical Stravinsky exemplified by his operas. But in this instance, the borrowing may have come later: astute listeners hear strains of the symphony’s slow movement and finale in Stravinsky’s opera The Rake’s Progress, which he composed almost a decade after the symphony.

Stravinsky hardly ever credited outside sources for musical inspiration, but the Symphony in Three Movements is an exception: he claimed it was his response to the horrors of World War II in Europe and Asia after witnessing news accounts of goose-stepping German soldiers and a documentary on Japan’s scorched earth tactics in China. But the symphony’s connection to these sources is hardly as apparent as in World War II-inspired works by composers such as Martinü, Shostakovich, and Bartók; in fact, they seem irrelevant to our listening experience in this case. Stravinsky’s longtime collaboration with the choreographer George Balanchine – another expat Russian artist of genius—is far more illuminating.

Balanchine choreographed a large-scale ensemble ballet on the Symphony in Three

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Daphnis & Chloé

program notes

Movements to open New York City Ballet’s 1972 Stravinsky Festival. The ballet’s “angular, turned-in movements and brisk, athletic walking sequences” emphasize another of the symphony’s stylistic assets: tangy inflections of American jazz.

Maurice Ravel (1874–1937)

Daphnis et Chloé Instrumentation: 3 flutes, 2nd and 3rd doubling piccolo, A-flat flute, 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon; 4 horns, 1 offstage horn, 4 trumpets, 1 offstage trumpet, 3 trombones, tuba; timpani, crotales, snare drum, tenor drum, crash cymbals, suspended cymbal, glockenspiel, xylophone, castanets, eoliphone, tambourine, bass drum, tam tam, triangle, harpsichord, celeste; strings; chorus.

Performance Time: approximately 57 minutes.

BACKGROUND

Friends and family are often indispensable resources for the program annotator. When this author mentioned to a longtime concertgoer that he was writing a note on Ravel’s Daphnis et Chloé, she said “I find that music quite erotic.”

She’s not the only one. With its huge orchestra and wordless chorus, this remarkable work— the largest-scaled that Ravel ever composed —captures the classical union of physical and spiritual love with vivid immediacy. Ravel worked on it for three years, completing it in April of 1912. It is one of the greatest ballet scores of the 20th century, and is considered by many to be Ravel’s greatest masterpiece.

Choreographer Michel Fokine created the scenario for the ballet based on a pastoral drama by the Greek poet Longus depicting the story of Daphnis and Chloé’s courtship and Chloé’s abduction and escape from a band of pirates. This exotic scenario, teeming with incident and passion, calls for music of color and intensity—a perfect opportunity for Ravel

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to explore the limits of musical Impressionism’s scintillating expressiveness.

The commission for Daphnis and Chloé came to Ravel in 1909 from Serge Diaghilev, impresario of the Ballets Russes—a company that was a virtual hothouse of creative talent, attracting the greatest composers and artists of the day. The ballet’s myth-based plotline, though unfamiliar here, was derived from an ancient Greek story by the 2nd-century novelist Longus. Well known in France since Renaissance times, it combines elements of a pastoral romance, a heroic adventure, and a fairy tale. The action takes place on the legendary Greek isle of Lesbos in a sylvan grove sacred to the god Pan and depicts how childhood companionship flares into passionate romance between two foundlings, Daphnis and Chloé, raised by shepherds.

As friendship blooms between them, Daphnis teaches Chloé to play the pan-pipes and they instruct each other in life. Their naïve but increasingly passionate relationship foreshadows modern romances such as The Blue Lagoon. They don’t realize they are falling in love, though it is obvious to us as we watch (or listen). When Chloé is abducted by pirates, Daphnis prays to the god Pan—who could be described as the patron saint of rustics—for aid. And aid them he does: the transcendent, ethereal chorus that is a signature sound of this ballet score depicts the god Pan’s entry into the pirates’ camp. His very presence overwhelms the pirates with fear of his power—the word “panic” is derived from “Pan”—and Chloé’s escape is effected in time for the ballet to close in triumph.

There is a sense of ancient and mythic breadth in the scope of Daphnis et Chloé, as in a great tapestry; Ravel described its music as “a choreographic symphony in three parts…a vast musical fresco, less scrupulous as to archaism than faithful to the Greece of my dreams.” The

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music’s extraordinary quality and expressive power are immediately apparent to us and must surely have been apparent to contemporary audiences, though its peculiar performance history does not reflect this; its premiere performance at the Théâtre du Châtelet in Paris received only a tepid response. ( Just a few days earlier, the dancer Vaslav Nijinksy’s erotically explicit performance in l’Après-midi d’un faune, also entailing the god Pan and sexual naiveté in the woods, had caused an uproar.) The full ballet is rarely performed today, in part because of the difficulty of assembling the full resources needed to perform it. But Ravel derived two suites from it, and these, along with the full score, have entered the standard concert repertory.

WHAT TO LISTEN FOR

While some critics have called Parts II and III the greatest music in Daphnis et Chloé, it may be more accurate to note that the lyrical impressions of Part I, when the two future lovers are maturing, are more relaxed than the music in Parts II and III, when their adventures take over. In Part I we hear the sounds of nature, evoking the sense of closeness to water and woods – ethereal, transparent, intensely textural.

Here, too, we are introduced to the sweepingly romantic theme that represents the love that Daphnis and Chloé share. The various themes and motifs woven into the section will be more fully developed in Parts II and III. Part II opens with one of the most iconic aural spectacles in music: the wordless chorus signaling Pan’s arrival in the camp where pirates hold Chloé hostage. It is a sound at once majestic and creepy. The scene mixes magical and martial feelings with trumpets blaring their staccato threats, contrasting with the horn, strings, and harp communicating the sexual

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magnetism of Chloé’s sinuous dancing. This young girl from the country is about as far from the European lyric drama’s tradition of the shepherdess as you can get.

In Part III, the drama of Chloé’s abduction concludes with her rescue. Daphnis is awakened at daybreak by his herdsmancompanions, who restore his beloved to him.

Together, the lovers pantomime the story of their savior Pan and his chaste lover Syrinx, providing a chance for the lovers to celebrate their togetherness, give thanks, and provide a pleasing, proportionate interval to the ballet’s narrative line. (Think of the drama of Pyramus and Thisbe in Shakespeare’s A Midsummer Night’s Dream.) In this section, which provides relief from the dramatic tension of Chloé’s rescue, a flute melody winds teasingly like a ribbon through the music, keeping the ballet’s element of sexual allure alive—perhaps with a bit of humor as well. The tumultuous story ends with the General Dance of pure and ecstatic fulfillment, an apotheosis of nature and romantic love.

Throughout Daphnis et Chloé we experience a sense of magic—an elusive sense that we have entered the world of our dreams, a sensual realm that extends into the furthest reaches of our imagination. Ravel achieves this in part through musical values that are beautiful and ambiguous in equal measure: strange, unfamiliar rhythms that never seem to settle down and resolve themselves; startling instrumental entrances; luminous textures and shimmering harmonies that, again, never seem to reach a clear resolution; and “stacked” intervals of interlocking fourths and fifths. But that accounts for only part of the ballet’s supernatural effect.

The rest is sheer genius.

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Mozart’s Jupiter Symphony

program

Mozart’s Jupiter Symphony Apr 17–18 | 8 pm Abravanel Hall Paul Goodwin, Conductor Benedetto Lupo, Piano

WOLFGANG AMADEUS MOZART

Symphony in D major after Serenade, K. 320, “Posthorn” I. Adagio maestoso- Allegro con spirito II. Andantino III. Presto

WOLFGANG AMADEUS MOZART

Concerto No. 21 in C major for Piano and Orchestra, K. 467 I. Allegro maestoso II. Andante III. Allegro vivace assai Benedetto Lupo, Piano

­/ INTERMISSION /

WOLFGANG AMADEUS MOZART

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Symphony No. 41 in C major, K. 551, “Jupiter” I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro

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artists’ profiles

Paul Goodwin is renowned for his historically-informed interpretations of music of all periods, his wide repertoire and his interest in contemporary music. He has a great passion for incorporating period style within the traditional orchestral world and creating idiosyncratic and dynamic programs. He is Artistic Director and Conductor of the Carmel Bach Festival in California.

Photo by Ben Ealovega

Paul Goodwin Conductor

Paul has a wide symphonic repertoire, conducting orchestras including the BBC Philharmonic, the Hallé Orchestra, the City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, and Scottish Chamber Orchestra. In the US he has conducted the Minnesota Orchestra, National Symphony Orchestra, Seattle Symphony Orchestra, the Philadelphia Orchestra, and the St. Paul Chamber Orchestra. In Europe he has worked with the Belgian and Spanish National Orchestras, the Rotterdam, Helsinki, Real Filharmonia de Galicia and Royal Stockholm Philharmonics and the Bayerischer, Hessischer, NDR (Hannover), and MDR (Leipzig) Rundfunkorchester.

In opera, Paul’s recent successes have included Iphigenie en Tauride at the Komische Oper Berlin, Rape of Lucretia at the Teatro Real Madrid, and Orlando at Scottish Opera, following its previous success at Opera Australia, and Handel’s Jeptha at Welsh National Opera.

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Paul’s dedication to educational projects has led him to work with National Youth Orchestras in Spain and Holland as well as the Royal Conservatoire in The Hague and the orchestras of the Royal College and Royal Academy of “Paul Goodwin is renowned for his Music, London. For many years he has been a regular visiting conductor for the historically informed interpretations Queen Elisabeth Competition Brussels.

In 2007, Paul Goodwin was awarded of music of all periods, his wide the Handel Honorary Prize of the City of Halle (Saale) in recognition of his repertoire and his interest in extraordinary services to performances of works by George Frideric Handel.

contemporary music.”

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artists’ profiles

Benedetto Lupo has been described by critics as an “exceptionally fine pianist ... who has a remarkably fine touch and beautiful tone control” (The Oregonian). Praised for his “keen musical intelligence and probing intellect” (Miami Herald), and for combining “meticulous technique with romantic sensitivity” (Birmingham News), he has gained worldwide recognition.

After winning the bronze medal in the 1989 Van Cliburn International Piano Competition, Benedetto made acclaimed debuts with several major American orchestras, as well as chamber appearances with the Tokyo String Quartet. His New York City recital debut at Alice Tully Hall followed in 1992, the same year he won the Terence Judd International Award, which in turn led to his debut at London’s Wigmore Hall. Benedetto Lupo’s recent North American performances include his Tanglewood Festival debut playing Mozart’s Piano Concerto No. 18, K. 456; Mozart’s Piano Concerto No. 27, K. 595 with the Los Angeles Philharmonic; Bartók’s Concerto No. 1 with the Baltimore Symphony; Schumann’s Piano Concerto with the Huntsville Symphony; Chopin’s E minor Concerto with I Musici de Montréal; his Mostly Mozart Festival and subscription debut with the Chicago Symphony; as well as appearances with the symphony orchestras of Calgary, Colorado, Jacksonville, Kansas City, Philadelphia, Montreal, Oregon, San Antonio, Seattle, St. Louis, Utah, Vancouver, and Virginia.

Benedetto Lupo Piano

Benedetto Lupo teaches at the Nino Rota Conservatory in Italy, gives master classes around the world, and has served on the jury of both the Cleveland International Competition and the Gina Bachauer Competition in Salt Lake City, from which he previously won second and third prize, respectively. He is featured on the Emmy-award winning documentary Here described by critics as an to Make Music: The Eighth Van Cliburn International Piano Competition and “exceptionally fine pianist ... who the seven-part series Encore! The Final Round of Performances of the has a remarkably fine touch and Eighth Van Cliburn International Piano Competition, both for PBS.

beautiful tone control”

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Mozart’s Jupiter Symphony

program notes

Wolfgang Amadeus Mozart (1756–1791)

Symphony in D after Serenade K. 320, “Posthorn” Instrumentation: 2 oboes, 2 bassoons; 2 horns, 2 trumpets; timpani; strings.

Performance Time: approximately 40 minutes.

BACKGROUND

In a recent interview by the author of these notes, the English conductor Harry Bicket compared Mozart’s opera La Finta Giardiniera to a Broadway show. Mozart composed it in 1775, when some of the most esteemed composers of his day were writing the occasional light theater piece for financial as well as artistic reasons. He composed his Posthorn Serenade four years later.

Both were heard as musical diversions, and the question that Maestro Bicket posed regarding La Finta Giardiniera applies equally to the Poshorn Serenade: Do you suppose that the brilliant composer and lyricist Stephen Sondheim—for whom every song is a study in character and drama—ever wishes he could simply toss off a casual moneymaker? Perhaps, Bicket speculated, this was what Mozart had in mind with the broadly farcical Giardiniera. But the problem, according to Bicket, was that “Mozart [like Sondheim] was incapable of writing anything shallow.”

Sondheim’s musicals are often neglected the first time around but find new life in revivals and film adaptations; Mozart’s “Posthorn” Serenade, a musical entertainment of a kind he loved to write,

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turned out to be far more substantive and lasting than the pleasant musical diversion implied by its name. It has all the musical depth of a symphony, and more.

Mozart was 23 when he received the commission for the Serenade. Two years earlier, after four frustrating years as a court musician for the Archbishop Colloredo in Salzburg, he had undertaken a tour through Germany and France in search of a new musical appointment or, barring that, increased public recognition of his talents and more prestigious assignments. He returned to Salzburg with disappointed hopes, but there was worse to come: A year later, after further professional disappointments, he lost his mother Anna Maria, who had been traveling with him.

Now, with his career at an uncertain stage, he felt compelled to return to the Archbishop’s court. Did these personal hardships deepen Mozart’s creative expression? The “Posthorn” Serenade came at the beginning of a two-year period that critics identify as the beginning of Mozart’s fullest musical maturity, preceding his move to Vienna in 1781.

The multi-movement form of serenades and divertimentos was well-suited to Mozart’s inexhaustible gift of melodic invention and his ease with novelty, but here, as is almost always the case with Mozart, the sublime lurks behind the surface beauty. Mozart’s contemporary listeners expected such works not to tax their attention or even to provide background music for another occasion; today we expect our seat-mates in Abravanel Hall to be quiet so we can concentrate on every inspired note, absorbing the beauty of

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Mozart’s Jupiter Symphony

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each movement and letting Mozart’s structural connections between themes and movements take effect. That kind of rapt listening, which intensifies Mozart’s magic, would have seemed inappropriate in 1779, when the “Posthorn” Serenade served as “Finalmusik” at the University of Salzburg—to be played at the (noisy) graduation ceremonies, where celebrating throngs had their minds on things other than music. (By the time Brahms composed his Academic Festival Overture almost exactly a century later, occasional music was heard a bit differently.)

Not that Mozart begrudged such usages, but they are one reason why some of his most remarkable and least-known orchestral music can be found in works he composed for single performances at private as well as public events, often in his hometown of Salzburg, Austria. He often extracted musical materials from these works for use in symphonies and operas rather than let them perish with the occasion. After all, why let a good idea go to waste, even if another one was always within his reach? As is often the case with Mozart’s melodies and developments, hearing works of different forms gives us a sense of his ideas “cross-pollinating” each other in the symphonies, concertos, and operas.

The original form of the seven-movement Serenade included two minuets and trios (also found in a separate score as actual dance music), and a two-movement Concertante scored for woodwinds that was performed as an autonomous concert piece in Vienna four years later. It was the remaining three movements that were isolated to form the Symphony, which was published as such in 1791, though this construction omitted the Serenade’s trademark use of the posthorn—a bit of compositional virtuosity that occurs in the Serenade’s second trio.

WHAT TO LISTEN FOR

The “Posthorn” Symphony begins with a full-scale Allegro—introduced in an untraditional manner, 70

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with a slow passage, but proceeding briskly, without a repeat. This movement, full of energy, moves from its first subject to a highly expressive theme in the violins, followed by an unusual, dramatic crescendo set up through a one-bar unison phrase that is taken over in the bass line (difficult to describe, but easy to recognize; the Mannheim Orchestra, which Mozart had heard on his tour of Germany, was famous for such crescendos.)

The symphony’s slow movement, an Andantino, has an air of gravity that might seem out of place in a Serenade, though the “Posthorn” Serenade’s original 45-minute structure carries us through a wide spectrum of emotions. In this case, the Andantino proceeds in somber D minor, though without the trumpets and drums that might have made it even darker. A celebratory Rondeau movement concludes the symphony, enriched by inventive, skillful counterpoint.

Wolfgang Amadeus Mozart (1756–1791)

Concerto No. 21 in C major for Piano and Orchestra, K. 467 Instrumentation: flute, 2 oboes, bassoon; 2 horns, 2 trumpets; timpani; strings; solo piano.

Performance Time: approximately 29 minutes.

BACKGROUND

Mozart moved to Vienna not long after composing the Posthorn Serenade. He arrived in that city on March 16, 1681, when he was 25, and wrote some of his greatest piano concertos, including No. 21, in a spurt of creativity that produced four great concertos in the year 1784 alone.

In modern times, especially after Peter Shaffer’s all-too-influential play Amadeus became a feature film, our shared notion of Mozart’s character and his motivation for UTAH SYMPHONY MAR–APR 2015

Mozart’s Jupiter Symphony

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moving to Vienna has been shaped by Shaffer’s brilliant characterization of the composer as an unfathomably gifted genius in matters musical, but immature and naïve in all other respects. Shaffer, of course, never aimed for historical accuracy in modeling a fascinating but wholly fictional rivalry between Mozart and his contemporary Antonio Salieri, whom Salieri presents to us as canny, worldly, cynical, manipulative, and—most of all—envious of Mozart to the point of homicide. The contrast between them sizzles on stage as it never did in life.

Shaffer’s funny, dark drama is not only great fun; it is also fascinatingly speculative, conjuring emotions and contradictions that Mozart’s genius could well have provoked both in himself and in those around him. But we pay a price for our enjoyment, among them a somewhat distorted view of Mozart’s move to Vienna. His motivations and expectations for this move were probably not those of an unrealistic, impulsive brat. With his career stalled in Salzburg, it was natural for Amadeus to want to live in the most important cultural capital in central Europe; Salzburg was a backwater by comparison. True, the vituperation in Mozart’s letters to his father fit Shaffer’s depiction of him as a childish savant, but both father Leopold and his son felt that Amadeus was far more talented than any of his rivals. Besides, neither one dreamed that we would be reading their very personal correspondence more than two centuries after it was written.

Of course, the very paternal Leopold looked upon his son’s relocation with some trepidation.

There were musical commissions to be secured and lessons to be taught, but to get such work required contending with the petty politics of the Viennese court and aristocracy — something resembling a viper’s nest. Leopold knew all too well his son’s impatience with such matters. So, for that matter, did Amadeus UTAH SYMPHONY MAR–APR 2015

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himself. His letters to Leopold often dwelled on Mozart’s resentment of those who underestimated him. It should have been a time for him to cultivate and consolidate favor in court and line up business elsewhere in Vienna, but professional obligations held over from Salzburg stood in his way, and the archbishop refused to release him from these requirements. His festering irritation made things worse. On one occasion, an evening of entertainment hosted by the archbishop, Mozart supplied a violin rondo, and an aria and a sonata for himself. His compensation was as modest as the program. Had the archbishop released Mozart to perform for the emperor that same evening, he could have earned the equivalent of half his salary in Salzburg.

In a meeting with the archbishop, matters reached a climax that unleashed a torrent of abuse from the archbishop and a request from Mozart that he be discharged. At first the request was refused, but the archbishop eventually released Mozart with what he described to Leopold as “a kick on my arse.” Once freed from the archbishop’s service, writing piano concertos—with which he could demonstrate his virtuosity as a composer, conductor and instrumentalist—was good career strategy. He completed his No. 21, one of the greatest and most popular of all his concertos, in March 1785.

WHAT TO LISTEN FOR

If you don’t know this masterpiece as “the Elvira Madigan Concerto,” consider yourself lucky; if you do, remember that there is much more to this concerto than its sublime Andante movement.

Elvira Madigan is a Swedish film released in 1967 that became an icon of the 60s’ changing values surrounding love and sex. Based on an actual incident, it chronicles the story of a Swedish lieutenant who chose to flee the army and die in the arms of his lover—a circus acrobat, no less— rather than submit to military authority. Their MASTERWORKS

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ecstatic union is artfully rendered on film with the Andante movement of Mozart’s Piano Concerto No. 21 as its soundtrack. Though it is not heard in Amadeus, it is one of those Mozart excerpts of such exquisite and profound beauty that, in Peter Shaffer’s telling, it drives the resentful Salieri to despair and madness.

The concerto was a good choice for Elvira Madigan, which required a perfect musical expression of romantic love so intense that it seems to eclipse the world outside it. Even more than the film, Mozart’s music created a public sensation, spurring enormous demand for recordings. Constant excerpting in the media prompted its rediscovery by pianists and a reassessment by critics of the importance of piano concertos in Mozart’s complete catalog. After the film’s release, the concerto was recorded by more than 30 pianists.

Almost 50 years after the film’s release, concert audiences still wait for that glorious Andante, which challenges pianists not with its requirements of virtuosic technique, but rather its poetry: the piano’s voice is so simple and transparent that the pianist’s most minute calibrations of touch—the sensitively modulated dynamics, the melting legatos—are totally exposed. The exposed trills must be beautifully machined to cast their spell.

But the entire concerto, needless to say, is full of riches. It opens slowly with a calm march that melds into a more lyrical melody alternating with a woodwind fanfare. A brilliant development section leads us to a boisterous G-major theme and cadenza—high-energy expressiveness that makes the transition to the Andante all the more dramatic. The concerto’s final movement is a joyous Rondo that gives the pianist the chance for an effervescent display of fingerwork.

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Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 41 in C major K. 551, “Jupiter” Instrumentation: flute, 2 oboes, bassoon; 2 horns, 2 trumpets; percussion; strings Performance Time: approximately 26 minutes.

BACKGROUND

Mozart’s 39th, 40th and 41st symphonies pose something of a musical mystery—especially No. 41, known as the “Jupiter” because it is the longest and most complex of his symphonies.

Always hungry for commissions, Mozart almost never wrote a bar that was not dedicated to a commissioned work—least of all a major work such as a symphony. But the historical record offers us no evidence of a commission for these three works, which figure among his supreme masterpieces. Had he turned to writing these symphonies to express musical ideas too advanced or too personal for his commissions?

We’ll probably never know. But the idea of such use of the symphonic form as a rubric for personal communication and experimentation is extremely appealing, and seems to prefigure Beethoven. Composers, especially symphonists, are fascinated by the accelerating creativity and daring that seemed to possess Mozart in the years before his death in 1791 (he completed the “Jupiter” in 1788). This symphony has been described as the work of a man who seemed ready to fly off the surface of the earth and enter a creative orbit all his own, beyond the reach of mere mortals. There is speculation that Mozart expected to sell his last three symphonies for presentation on an eventual tour of London, but again, history provides no solid evidence. It is

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not even certain whether Mozart ever heard his final three symphonies performed, though his musical mind had no need of a live performance to know how they would actually sound.

by pushing Classical conventions beyond their known limits. By now, of course, innovations that once seemed daring and experimental sound beautifully natural to our ears.

Unlike Beethoven’s most monumental symphonies, “Jupiter” is known for its prevailing good cheer. Thanks to Gustav Holst, classical music fans know Jupiter as the bearer of jollity, but this nickname for Mozart’s 41st precedes Holst by a couple of centuries, dating back to Johann Peter Saloman, a German impresario who lived in London and produced a concert including the symphony in 1821.

Saloman is credited with the first use of the name Jupiter for this work in a concert program.

The symphony’s opening movement has a sound that is emphatic and deep, yet there is also a sense of gladness that pervades in it. Critics have noted the sense of authority that inhabits the symphony from the outset and never gives way, yet its thematic materials and their development never push us toward pessimism. Its second movement is gentler and more subdued, and while it makes excursions into minor keys, the prevailing tone remains positive. The third movement, a traditional minuet, prepares us for the final movement’s bold energy. One of the symphony’s most analyzed features is its signature coda (referenced above by Robert Schumann), strident and shocking yet somehow perfectly appropriate and beautiful.

Among the many composers who found inspiration in “Jupiter,” Haydn modeled two of his own symphonies on it, Nos. 95 and 98— tributes to a man who had been his pupil and whom he esteemed as the greatest composer he had ever known. But the most eloquent tribute probably came from a dean of Romantic music, Robert Schumann, who was a distinguished critic as well as a composer. “About many things in this world there is simply nothing to be said,” he wrote—“for example, about Mozart’s C major symphony with the fugue, much of Shakespeare, and some of Beethoven.”

WHAT TO LISTEN FOR

Many listeners hear intimations of Romanticism in this symphony. But these are more related to its scope than its tone. While “Jupiter” looks forward to Beethoven by expanding the horizons of the symphonic form, Mozart did not use the symphony to struggle through inner conflict of Enlightenment philosophy, as Beethoven did; instead, he introduced new formal structures and harmonic transitions that seemed to make Romanticism necessary

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When Mozart wrote this symphonic valediction, Beethoven was in his late teens and was already sketching themes upon which his great concertos would be based. Huge changes for the symphony were in the offing. Mozart, for his part, was only 31. What separates the musical landscape of his “Jupiter” Symphony from those created by Beethoven and his successors? Mozart’s mastery of “Jupiter’s” expanded scope and its modern details make us certain that he could have taken the symphonic form as far as we can imagine, and beyond.

What we do not hear in “Jupiter” is the sense of conflict, struggle, and resolution that we hear in Beethoven—or the aesthetics of the Romantic symphony with man confronting nature, or in pursuit of an ideal, or presenting a programmed narrative. In “Jupiter” Symphony, abstract beauty says it all.

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Peter Pan and Other Adventures

program

Peter Pan and Other Adventures Apr 25 | 11 am & 12:30 pm Abravanel Hall Vladimir Kulenovic, Conductor Jay Perry, Narrator

JOHN WILLIAMS

“Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

RICHARD STRAUSS

Till Eulenspiegel’s Merry Pranks, op. 28

JOHN WILLIAMS

“The Flight To Neverland” from Hook

JAMES NEWTON HOWARD

Suite from Peter Pan Jay Perry, Narrator

Utah Symphony appreciates the wonderful art work of Erica Wangsgard's 5th grade students at Oakwood and Morningside Elementary Schools in the Granite School District that will be shown during today's concert.

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FAMILY

UTAH SYMPHONY MAR–APR 2015

Peter Pan and Other Adventures

artist’s profile

See page 52 for Vladimir Kulenovic’s profile

Jay Perry Narrator

Jay Perry (AEA) is thrilled and honored to join the Utah Symphony for this production. A native of Salt Lake, Jay’s work has been seen at Plan-B Theatre, Salt Lake Acting Company, The Grande Theatre, Pioneer Theatre Company, Salt Lake Shakespeare, Meat and Potato Theatre, Park City’s Egyptian and Pygmalion Productions. OffBroadway, Jay performed in the critically-acclaimed Plan-B production of Facing East. Regional highlights include Dark Play (Best Featured Actor in a Play - IN Magazine) and Go, Dog, Go! (Best Leading Actor in a Musical - IN Magazine) for Salt Lake Acting Company; Facing East in Salt Lake (City Weekly Arty Award - Best Theatre Performance) and San Francisco’s Theatre Rhinoceros, Gutenberg! The Musical! in Salt Lake and the Park City Egyptian, and, most recently, Clearing Bombs for Plan-B. Jay has voiced all nine installments of Plan B’s Radio Hour on KUER’s Radio West, Prokofiev’s Peter and the Wolf with the Gina Bachauer International Piano Foundation and the Salt Lake Symphony, and Stravinsky’s The Soldier’s Tale with the NOVA Chamber Music Series. His voice has been featured by Ballet West, Bae, Squatters, Hertz, The Utah Arts Festival, Chair Entertainment, Reading Horizons, and many others. Jay is Program Coordinator and theatre school faculty at the University of Utah Youth Theatre.

202 S. Main, Salt lake City (801) 363-5454 | baMbara-SlC.CoM Bambara is hip urban chic, casual and comfortable upscale American bistro dining; bringing a sophisticated, yet approachable element to Salt Lake City’s dining scene.

Enjoy Bambara’s seasonally inspired menu for special occasions or business...before and after the arts...or just because.

Voted: 2011 Best Lunch Salt Lake magazine Annual Dining Awards.

Utah Symphony | Utah opera’S CUltUral FeStival 2014/15

The artistic movement we call Romanticism swept through Western civilization at the beginning of the 1800s. Its practitioners rebelled against the structure and order cherished by previous generations, and regarded the free expression of individual feelings and experiences as more reliable sources of truth than rational thought.

In the 2014–15 season, Utah Symphony | Utah Opera celebrates the Romantics of the 19th century. We will explore art, dance, food, film, and music inspired by Romantic ideals.

>> For additional information visit:

usuo.org/festival

The Midtown Men

program

The Midtown Men Apr 24–25 | 8 pm Abravanel Hall Jerry Steichen, Conductor The Midtown Men, Vocalists HENRY MANCINI / ARR. CUSTER JOHN LENNON / ARR. MAURER & VORK GARY BONNER & ALAN GORDON ARR. MAURER & VORK SMOKEY ROBINSON / ARR. MAURER & VORK FRANKIE VALLI / ARR. MAURER & VORK GERRY GOFFIN & CAROLE KING / ARR. MAURER & VORK ROD ARGENT / ARR. MAURER & VORK BOB GAUDIO / ARR. JOHN MCDANIEL NICKOLAS ASHFORD & VALERIE SIMPSON / ARR. MAURER & VORK

Tribute to Henry Mancini “Can’t Buy Me Love” “Happy Together” “Ain’t That Peculiar?”

“Dawn (Go Away)” “Up on the Roof ” “Time of the Season” “Cry for Me” from Jersey Boys “Ain’t No Mountain High Enough” ­/ INTERMISSION /

PAUL SIMON / ARR. HOLCOMBE

“Bridge over Troubled Water”

PHIL SPECTOR, JEFF BARRY & ELLIE GREENWICH ARR. MAURER & VORK

“River Deep-Mountain High”

JOHN & MICHELLE PHILLIPS MIDTOWN MEN / ARR. MAURER & VORK BOB GAUDIO / ARR. JOHN MCDANIEL VARIOUS / ARR. MAURER & VORK BOB GAUDIO / ARR. MAURER & VORK

“California Dreaming” Orchestral Segue to “Can’t Take My Eyes Off You” “Can’t Take My Eyes Off You” Motown Medley “Oh, What a Night (December 1963)”

CONCERT SPONSOR

UTAH SYMPHONY MAR–APR 2015

ENTERTAINMENT

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The Midtown Men

artists’ profiles

Maestro Gerald Steichen has established himself as one of America’s most versatile conductors. He currently holds the positions of Principal Pops Conductor of the Utah Symphony and Music Director of the Ridgefield Symphony (Connecticut).

He also completed 16 seasons as Principal Pops Conductor of the New Haven Symphony Orchestra. Steichen began his tenure as the Music Director for Ballet West in 2014.

Jerry Steichen Conductor

Steichen is a frequent guest conductor with the New Jersey Symphony and has appeared with the Boston Pops, Cincinnati Symphony, Indianapolis Symphony, as well as the symphonies of Naples, Florida; Portland, Oregon; the Florida Orchestra in Tampa; Columbus, Oklahoma City, Hartford, and the New York Pops. International appearances include the Hong Kong Philharmonic Orchestra, Tokyo City Symphony, the NDR Philharmonie Hannover at the Braunschweig Festival, and numerous appearances with the Norwegian Radio Symphony.

During ten seasons with the New York City Opera, Steichen led performances including La Bohème, L’Elisir d’Amore, Jake Heggie’s Dead Man Walking, Rachel Portman’s The Little Prince, Jonathan Miller’s production of The Mikado, The Pirates of Penzance, and Rodgers & Hammerstein’s Cinderella. In …one of America’s 2007, he led the New York City Opera Orchestra and soloists in a live WQXR most versatile conductors. broadcast of Wall to Wall Opera from New York’s Symphony Space. A gifted pianist, he performed onstage for the New York City Opera’s acclaimed productions of Porgy and Bess and Carmina Burana. He has also conducted Utah Opera, Anchorage Opera, New Jersey Opera Theater, Glimmerglass Opera in Cooperstown, NY, and Opera East Texas.

Steichen toured nationally as Associate Conductor with The Phantom of the Opera, The Secret Garden, and Peter Pan, and he conducted CATS in New York for two years. He has also appeared on Broadway, portraying Manny the Accompanist in the Tony Award-winning Master Class. In pursuit of his passion for education, Steichen spent eighteen years with the “Meet the Artist” series at Lincoln Center as conductor, clinician, and pianist.

Originally from Tonkawa, Oklahoma, Maestro Steichen holds degrees from Northern Oklahoma College, Oklahoma City University, and the University of Southern California. He currently resides in New York City.

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ENTERTAINMENT

UTAH SYMPHONY MAR–APR 2015

The Midtown Men

artists’ profiles

THE MIDTOWN MEN

The high-octane musical tour de force that took the Jersey Boys phenomenon to Broadway and beyond brings to life the greatest hits of the Sixties, rocking performing arts centers and symphony halls across the continent. Tour highlights for these four Broadway vets and their powerhouse seven-piece band recently included a triumphant return to their “Jersey” roots with a live concert special filmed at the New Jersey Performing Arts Center in partnership with PBS. Following the development of Jersey Boys and a historic three-season run on Broadway, The Midtown Men are lifting audiences to their feet in venues across the continent, realizing the dream they brought to life as the iconic Four Seasons. Not only have they continued to win over audiences of all ages in nearly 2,000 live shows, their self-titled debut album, The Midtown Men: Sixties Hits, was met with critical acclaim and garnered 5-star album reviews across iTunes and was followed by their first radio single “All Alone On Christmas” with producer Steven Van Zandt and members of Springsteen’s E Street Band. Now the men have raised the bar once again with their explosive new live record, The Midtown Men: Live In Concert and companion DVD/Bluray.

G U E S T A R T I S T S P O N S O R S:

Download The Midtown Men App, available at iTunes and Google Play stores.

UTAH SYMPHONY MAR–APR 2015

ENTERTAINMENT

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The Midtown Men

Christian Hoff Vocalist

Michael Longoria Vocalist

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ENTERTAINMENT

artists’ profiles

Christian Hoff is thrilled to reunite with his fellow stars from the original cast of Broadway’s Jersey Boys as The Midtown Men. He won a Tony Award for his performance as Tommy DeVito in Jersey Boys, as well as Drama Desk Award, Drama League Award, and Outer Critics Circle Award nominations.

Theatrical highlights include the roles of Frank-n-Furter in the Los Angeles production of The Rocky Horror Show; King Herod in the national revival tour of Jesus Christ Superstar; Governor Hugh Dorsey in the Los Angeles revival of Parade; George M. Cohan in George M!; Will Rogers in The Will Rogers Follies; Huck in Big River; and his Broadway debut in the Tony Award-and Grammy Award-winning The Who’s Tommy. He recorded Grammy Award-winning Cast Albums for both Jersey Boys and The Who’s Tommy with famed Beatles producer George Martin. Christian sings and performs the entire original film score written by Mark Hart of Crowded House, Ringo Starr, and Supertramp fame. He has enjoyed solo performances in New York City’s Cutting Room, Triad Theater, Joe’s Pub, Metropolitan Room, BB Kings, Town Hall and repeat solo turns at Carnegie Hall. Christian is a proud husband and a father of five.

Michael Longoria is proud to be joining his co-stars from the original cast of Jersey Boys as The Midtown Men. Michael is best known for his star turn on Broadway as Frankie Valli in the Tony Award-winning musical Jersey Boys. Hollywood born and Broadway bound, Longoria trained at the Los Angeles County High School for the Arts, then traveled to the east coast to attend NYU’s Tisch School of the Arts, where he earned a BFA in Drama. Michael made his Broadway debut in the smash hit musical Hairspray (2003 Tony award for Best Musical), later creating the role of Joey in the original Broadway cast of Jersey Boys (2006 Tony award for Best Musical) before taking over the role of Frankie Valli. Other theatrical credits include Peter Pan in Peter Pan & Wendy at the Prince Music Theater, for which he earned a Barrymore Award nomination for Best Actor in a musical; Chino in West Side Story at the Walnut Street Theatre; Mark in A Chorus Line at Helen Hayes Performing Arts Center; and Chuck in Avenue X at the Abe Burrows Theater.

UTAH SYMPHONY MAR–APR 2015

The Midtown Men

artists’ profiles

Daniel Reichard Vocalist

Daniel Reichard is honored to join forces once again with Broadway’s original cast of Jersey Boys as The Midtown Men. Daniel, a native of Cleveland, Ohio, is best known for his portrayal of chief songwriter and original Four Seasons member Bob Gaudio in the box-office smash Jersey Boys, a role he originated both on Broadway and in the La Jolla Playhouse premiere. He followed Jersey Boys with a critically acclaimed performance as Candide in Leonard Bernstein’s Candide at New York City Opera.

Daniel made his New York City debut after graduating with a BFA from the University of Michigan with the original cast in the world-famous Forbidden Broadway: 20th Anniversary Celebration.

As a concert singer, Daniel has had sold-out engagements at New York City’s Joe’s Pub, Metropolitan Room and Ars Nova.

Other concert appearances include Symphony Space, The Alvin Ailey Citigroup Theater, BB Kings, Town Hall, Firebird, and the Cutting Room, as well as appearances with the Arkansas and Grand Rapids Symphonies. He can be seen as Frankie in the 2009 film version of the international hit musical comedy Forever Plaid.

J. Robert Spencer Vocalist

UTAH SYMPHONY MAR–APR 2015

J. Robert Spencer is excited to return to making music with The Midtown Men, which reunites four stars from the original cast of Jersey Boys. He is a Tony Award Nominated Actor, Independent Film Director, Producer, and Writer. In 2004, he originated the role of Nick Massi in the Tony and Grammy Award-winning musical Jersey Boys. In 2008 J. Robert originated the role of Dan Goodman in the critically acclaimed Broadway production of Next To Normal, for which he was nominated for the Helen Hayes Award for Outstanding Lead Actor, and nominated for a 2008–09 Tony Award for Best Performance by a Leading Actor in a Musical. In 2005, J. Robert began his Independent Film Company, 7 Spencer Productions, for which he produced, wrote, starred in, and directed his first independent feature comedy titled Farm Girl in New York. J. Robert can be seen and heard in CD/DVD through Sony Masterworks with Keith Lockhart and the Boston Pops in the PBS performances of Handel’s Messiah Rocks, for which he was Nominated for a 2010 Midwest Emmy Award for Best On Camera Performance by a Leading Actor. J. Robert is the 2009 recipient of an Honorary Doctorate of Fine Arts from Shenandoah University.

ENTERTAINMENT

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100 dEcibElS of dEcEPTiON

Stravinsky’s

THE RAKE’S PROGRESS May 9, 11, 13, 15 (7:30 pm) / May 17 (2 pm) Janet Quinney Lawson CapitoL theatre thierry Fischer, ConduCtor

Joélle harvey, anne trulove

norman reinhardt, tom rakewell

Mark schnaible, niCk Shadow

Tom Rakewell is deTeRmined To live by his wiTs and trust to luck, but he’s quickly deceived and led to a series of misadventures and a life of debauchery by the devil. Fate and a game of cards will decide whether Tom is saved by his true love or condemned to everlasting hell. Stravinsky’s beautiful and daring opera will come to life with David Hockney’s striking sets and Thierry Fischer’s eagerly anticipated Utah Opera conducting debut.

Season Sponsor:

Tickets start at $18.

UTAHOPERA.ORG

801-355-ARTS (2787)

ESCAPE INTO THE MUSIC

Smokey RobinSon with the utah symphony July 11, 2015 (Sat) | 7:30 pm | Deer Valley Resort Jerry Steichen, Conductor

DiSney’S FantaSia: Live in ConCeRt with the utah symphony

July 17, 2015 (Fri) | 7:30 pm | Deer Valley Resort Richard Kaufman, Conductor

FRank SinatRa, JR. with the utah symphony July 25, 2015 (Sat) | 7:30 pm | Deer Valley Resort

ozomatLi with the utah symphony august 1, 2015 (Sat) | 7:30 pm | Deer Valley Resort Jerry Steichen, Conductor

kRiStin Chenoweth with the utah symphony august 8, 2015 (Sat) | 7:30 pm | Deer Valley Resort Jerry Steichen, Conductor

Diana kRaLL with the utah symphony august 14, 2015 (Fri) | 7:30 pm | Deer Valley Resort Jerry Steichen, Conductor

Visit deervalleymusicfestival.org or call 801-533-6683 aLSo thiS SummeR:

Patriotic Pops with Bravo Broadway, Mozart & Mendelssohn, Big Bad Voodoo Daddy, Classical Mystery Tour, Muir String Quartet, Country Legends, Semiosis & Novo String Quartets, Bach & Vivaldi, 1812 Overture!, Mendelssohn, Bruch & Haydn, Hollywood Under the Stars.

SPeCiaL thankS to ouR vaLueD SPonSoRS:

Summer Symphony Sponsor

Summer Entertainment Sponsor

P E RP ET UAL motion

PERP ET UA L motion

CAMPAIGN LEADERSHIP Campaign Co-Chairs

Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler

Honorary Co-Chairs Spencer F. Eccles

Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

We are grateful for the momentum of The Campaign for Perpetual Motion, a $20 million public campaign to celebrate Utah Symphony’s 75th Anniversary in 2015–16. We have exciting plans leading up to this anniversary—including recording, broadcasting, and touring at the state and national levels.

We launched these plans with our unprecedented tour to Southern Utah last August providing a once-in-a-lifetime musical experience to visitors and citizens of those communities against the backdrop of Utah’s Mighty 5® National Parks. If you weren’t able to join us on this historic tour, we hope you observed with pride the national attention it received in the press and classical music world.

The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company.

Stay tuned for more—we know you will continue to be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond.

Find out more at usuo.org/support.

UTAH SYMPHONY MAR–APR 2015

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P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion.

FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($4.6 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Scott & Jesselie Anderson Edward R. Ashwood & Candice A. Johnson Mr. & Mrs. William C. Bailey Dr. J. R. Baringer & Dr. Jeanette J. Townsend Thomas Billings & Judge Judith Billings R. Harold Burton Foundation Howard & Betty Clark Thomas D. Dee III & Dr. Candace Dee Deer Valley Resort E.R. (Zeke) & Katherine W.† Dumke Burton & Elaine Gordon Mr. & Mrs. Martin Greenberg Dell Loy & Lynette Hansen Roger & Susan Horn Frederick Q. Lawson Foundation 86

Anthony & Renee Marlon Carol & Anthony W. Middleton, Jr., M.D. Edward & Barbara Moreton William H. & Christine Nelson Carol & Ted Newlin Scott & Sydne Parker Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon John & Marcia Price Family Foundation Bert Roberts Theodore Schmidt Norman C. & Barbara Tanner The Right Reverend Carolyn Tanner Irish Naoma Tate & the Family of Hal Tate M. Walker & Sue Wallace Wells Fargo UTAH SYMPHONY MAR–APR 2015

Masquerade Soiree

Utah Symphony Guild

March 27 two thousand fifteen

1st Tier Room ~ Abravanel Hall Dinner ~ Silent Auction 123 West South Temple

Utah Symphony Performance $65 per person

Everyone Invited! please RSVP by March 20 th to: Heather Benson 801~554~3071

Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level.

Please contact Leslie Peterson at lpeterson@usuo.org or 801.869.9012 for more information.

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall

Robert L.† & Joyce Rice Mr. & Mrs. Alvin Richer Patricia A. Richards Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Mr. & Mrs. Norman C. Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr. & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† 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 MAR–APR 2015

Planned Giving Dr. Glenn Prestwich and Dr. Barbara Bentley have a unique relationship with Utah. Prior to moving to Orcas Island in 2008, they made their home in Utah where they had lived, worked, and become integral contributors to our local fabric since 1996. Glenn, still working full-time as the University of Utah’s Presidential Professor of Medicinal Chemistry and Presidential Special Assistant for Faculty Entrepreneurism, is lauded by his colleagues at the U and in the medical field as an award-winning researcher, author, scientist, teacher, and entrepreneur, but in music circles he is known as a talented vocalist, dedicated supporter, and avid classical music lover.

Dr. Glenn Prestwich & Dr. Barbara Bentley

Glenn’s many years of singing first tenor in the Utah Symphony Chorus have led to a strong interest in choral music as well as new music. He is a member of the Boards of both the NOVA Chamber Music Series and the Orcas Island Chamber Music Festival. Recently, he started a non-profit, Sounds of Science Commissioning Club, which seeks to connect science and music. Sounds of Science will sponsor innovative new compositions inspired by the emotions and perceptions of scientists and physicians whose discoveries impact all of our lives.

Barbara, an Emerita Professor of Ecology and Evolution from Stony Brook University, is committed to maintaining the health and beauty of our unique shores, lands, and communities, and has served on the Community Council for the township of Emigration Canyon. Today, she is a fiber artist with a passion for knitting, spinning and weaving, pursuits that have led her to explore how the left-brain/right-brain interactions can create exciting new artistic expressions.

As scientists as well as performing and visual artists, Glenn and Barbara have a deep appreciation for the role the creative arts play in our lives, both for the opportunity to pursue artistic endeavors and the opportunity to live in a community rich with vibrant ideas.

To learn more about the various ways you can become a member of our Tanner and Crescendo Societies, please call Leslie Peterson at 801-869-9012, or visit us online at usuo.org/support.

UTAH SYMPHONY MAR–APR 2015

Their commitment to the arts extends beyond contributing their substantial talent and time: Glenn and Barbara have provided for the future of music in Utah by including Utah Symphony | Utah Opera in their will. You, too, can create a musical legacy for the future to ensure that future generations will enjoy meaningful opportunities.

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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year with gifts up to $10,000. The following listing reflects contributions received between 1/15/2014 and 1/15/2015. For a listing of our season honorees, who have made gifts of $10,000 and above, see pages 14–18.

$5,000 to $9,999 Anonymous (3) Bourne-Spafford Foundation Discover Financial Services Doubletree Suites* Durham Jones & Pinegar, P.C. The Jarvis & Constance Doctorow Family Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Henry W. & Leslie M. Eskuche Charitable Foundation Hoak Foundation Hyatt Place Hotel* Every Blooming Thing* Fabian & Clendenin Fleming’s Prime Steakhouse & Wine Bar* Goldener Hirsch Inns* Macy’s Martine* Marriott City Center* McCarthey Family Foundation Rasmussen Landscapes* Ruth’s Chris Steak House* Selecthealth Stoel Rives Union Pacific Foundation The Private Client Reserve of U.S. Bank U. S. Bancorp Foundation Victory Ranch Club Wrona, Gordon & DuBois $1,000 to $4,999 Advanced Retirement Consultants Bertin Family Foundation Timothy F. Buehner Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation

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Robert S. Carter Foundation Castle Foundation Chevron Humankind Matching Gift Fund City Creek Center Deseret Trust Company Epic Brewery* ExxonMobil Foundation Fidelity Charitable Gift Fund Goldman, Sachs & Co. Victor Herbert Foundation Hilton Hotel* Thomas A. & Lucille B. Horne Foundation Iasis Healthcare J. Wong’s Thai & Chinese Bistro* Jones & Associates Jones Waldo Park City Kirton | McConkie M Lazy M Foundation Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation The Charles & Annaley Redd Foundation Shilo Inn* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Summit Sotheby’s Swire Coca-Cola, USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation Wasatch Advisors

UTAH SYMPHONY MAR–APR 2015

VOLUNTEER

WITH UTAH SYMPHONY | UTAH OPERA

速

Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year with gifts up to $10,000. The following listing reflects contributions received between 1/15/2014 and 1/15/2015. For a listing of our season honorees, who have made gifts of $10,000 and above, see pages 14–18.

ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Doyle Arnold & Anne Glarner Mr. & Mrs. Michael Callen Mr. & Mrs. Chris Canale Hal M. † & Aileen H. Clyde Marc & Kathryn Cohen Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Thomas & Lynn Fey John & Dorothy Hancock Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family G. Frank & Pamela Joklik Julie Koch John & Adrian McNamara Rich & Cherie Meeboer Brooks & Lenna Quinn James & Gail Riepe Stuart & Molly Silloway Janet Sloan Gibbs & Catherine W. Smith David & Susan Spafford George & Tamie Speciale Sam & Diane Stewart Dr. Paula M. Swaner Thomas & Kathy Thatcher Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner Tom & Wendy Wirth

$3,000 to $4,999

Anonymous (3) E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Charles Black* Robert W. Brandt Brian Burka & Dr. J. Hussong Mr. & Mrs. Neill Brownstein Jonathan & Julie Bullen Mr. & Mrs. William D. Callister, Jr. Mark Casp Hal & Cecile Christiansen Edward & Carleen Clark Amalia Cochran Debbi & Gary Cook Mr. James Davidson B. Gale† & Ann Dick J. I. “Chip” & Gayle Everest Midge & Tom Farkas Jack & Marianne Ferraro Robert & Elisha Finney

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Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Mr. & Mrs. Eric Garen Dr. Jeffrey L. Giese & Mary E. Gesicki Shari Gottlieb Ray & Howard Grossman Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis Dale & Beverly Johnson Barbara & James R. Jones Mr. & Mrs. Kent Jones Robert & Debra Kasirer Hanko & Laura Kiessner Jeanne Kimball Elizabeth & Michael Liess Peter & Susan Loffler Mr. & Mrs. Wayne Lyski Daniel & Noemi P. Mattis Michael & Julie McFadden Jennifer & Mike McKee Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Leslie Peterson & Kevin Higgins Dr. Glenn Prestwich & Dr. Barbara Bentley Mr. & Mrs. Alvin Richer Dr. Wallace Ring Richard & Carmen Rogers Mr. & Mrs. Robert Rollo Henry & Kathie Roenigk James Romano Estate of Kathy Lynn Sargent William G. Schwartz & Joann Givan Elizabeth Solomon Verl & Joyce Topham Dr. Jeannette J. Townsend Mr. & Mrs. Glen R. Traylor Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Ardean & Elna Watts Jeremy & Hila Wenokur Ms. Gayle Youngblood

$2,000 to $2,999

Anonymous (6) Craig & Joanna Adamson Robert & Cherry Anderson Drs. Wolfgang & Jeanne Baehr Mr. & Mrs. William Bierer Anneli Bowen, M.D. & Glen M. Bowen M.D. Richard & Suzanne Burbidge Lindsay & Carla Carlisle

Robyn Carter Raymond & Diana Compton Mr. & Mrs. Kenneth R. Cutler Dr. & Mrs. J. Michael Dean James & Rula Dickson Mr. & Mrs. Robert Ehrlich Heidi Gardner Stuart† & Diana George Randin Graves David & SandyLee Griswold* Dennis & Sarah Hancock John B. & Joan Hanna Kenneth & Geraldine Hanni Sunny & Wes Howell Dixie S. & Robert P. Huefner Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Neone F. Jones Family J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Donald L. & Alice A. Lappe Paul Lehman Roger Leslie James Lether Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel Lofgren Milt & Carol Lynnes David & Donna Lyon Jed & Kathryn Marti David Mash David & Nickie McDowell Warren K. & Virginia G. McOmber George & Nancy Melling Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Mr. & Mrs. Barry Mower Dan & Janet Myers Rachel L. Oberg Bradley Olch Joseph & Dorothy Ann Palmer Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Chase† & Grethe Peterson Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Dr. Richard & Frances Reiser Gina Rieke Frank & Helen Risch David & Lois Salisbury

Mark & Loulu Saltzman Margaret P. Sargent Bertram H. & Janet Schaap Deborah Schiller Mr. & Mrs. Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Jerry Steichen Drs. Gerald B. & Nancy Ahlstrom Stephanz JoLynda Stillman Mr. & Mrs. G. B. Stringfellow Bill & Connie Timmons Foundation Ann Marie & William Thomas Frederic & Marilyn Wagner David J. † & Susan Wagstaff John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe Suzanne Weaver

$1,000 to $1,999

Anonymous (4) Fran Akita Christine A. Allred Alex Bocock & Amy Sullivan Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Daniel & Sheila Barnett Richard & Alice Bass David Bateman Mr. Barry Bergquist James & Marilyn Brezovec Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Dr. & Mrs. Thomas Coppin Carol Coulter Margaret Dreyfous Alice Edvalson Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Edward B. & Deborah Felt Robert S. Felt, M.D. Robert & Elisha Finney Blake & Linda Fisher Mr. & Mrs. Richard R. Graham Robert & Joyce Graham Anabel Greenlee Geoffery Grinney C. Chauncey & Emily Hall

UTAH SYMPHONY MAR–APR 2015

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 Adib’s Rug Gallery Bambara Bank of Utah BMW of Murray Caffè Molise Challenger Schools City Creek Living Classical 89 Country Hills Eye Center Daynes Music Excellence in the Community Concert Series Fleming’s Grand America Hale Centre Theatre Hilton

Kirton | McConkie KUED KUER Martine McCune Mansion Morris Murdock Travel Mount Olympus New Yorker Peter Prier & Sons Violins Pioneer High School for the Performing Arts Protel RC Willey Rowland Hall Ruth’s Chris Steak House Sage at Daybreak

Spencer’s Summit Sotherby’s Tuacahn Amphitheatre University Health Care Utah Festival Opera Utah Food Services Utah Museum of Arts Zions Bank

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

Individual Donors Robert & Marcia Harris Lex Hemphill & Nancy Melich John Edward Henderson Connie C. Holbrook The Steven Horton Family Bob† & Ursula Hoshaw Kay Howells Mr. & Mrs. Jerry Huffman Ms. Caroline Hundley Scott Huntsman Todd & Tatiana James Drs. Randy & Elizabeth Jensen Jill Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Mr. & Mrs. Alan D. Kerschner Eunice Kronstadt Mr. & Mrs. Melvyn L. Lefkowitz Mac & Ann MacQuoid Rick Mastain Christopher & Julie McBeth Michael Geary Janet O. Minden Dr. Michaela S. Mohr Mary Muir Oren & Liz Nelson Stephen & Mary Nichols Dr. & Mrs. Richard T. O’Brien Mary Jane O’Connor Ann G. Petersen

Rori & Nancy Piggot Eugene & Pamela Podsiadlo W. E. & Harriet R. Rasmussen Mr. & Mrs. William K. Reagan Dr. Barbara S. Reid Mr. August L. Schultz Mr. & Mrs. D. Brent Scott David & Claudia Seiter Karen Shepherd Margot L. Shott Barbara Slaymaker Dorotha Smart Dr. Otto F. Smith & Mrs. June Smith Brian & Deborah Smith Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Ann Jarcho Thomas Carol A. Thomas Robb Trujillo Mrs. Rachel J. VaratNavarro William & Donna R. Vogel Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg David & Jerre Winder Michael & Judy Wolfe Mr. & Mrs. E. A. Woolston Mr. & Mrs. Hugh Zumbro

In Honor of Barbara & Steven Anderson H. Brent & Bonnie Jean Beesley Dr. & Mrs. Joseph C. Bentley Paula J. Fowler Mark & Dianne Prothro Patricia A. Richards Susan Schulman Barbara Ann Scowcroft William & Joanne Shiebler Joe V. Siciliano Erin Svoboda Melia Tourangeau In Memory Of Gary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Dr. Robert H. Burgoyne Stewart Collins Kathie Dalton John R. Dudley Carolyn Edwards Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Herold L. “Huck” Gregory Carolyn Harmon

Duane Hatch Steve Horton Mary Louis Scanlan Humbert Howard Keen Robert Louis Beverly Love Clyde Meadows Jean Moseley Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader David Bennett Smith John Henry “Jack” Totzke Roger Van Frank Rick Wallace Sandra Wilkins Rosemary Zidow

*In-kind gift **In-kind & cash gift Donations as received between 1/15/2014 & 1/15/2015

T H e a r T o f g o o d e aT i n g .

D o w n to w n

60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com

94

UTAH SYMPHONY MAR–APR 2015

$25 Three Course – Pre Event –

Free Valet Parking 22 east 100 south · 363-9328

martinecafe.com

Classical 89 Broadcasts

Mar 7 | 9:30 AM TCHAIKOVSKY Violin Concerto, Mvt. III Allegro vivacissimo Thierry Fischer, conductor Itamar Zorman, violin (recorded 2/15/14) Mar 14 | 9:30 AM DVOŘÁK Symphony No. 9, “From the New World,” Mvt. I Adagio-Allegro Thierry Fischer, conductor (recorded 3/8/14) Mar 21 | 9:30 AM NIELSEN Symphony No. 5 Thierry Fischer, conductor (recorded 4/12/14) Mar 28 | 9:30 AM TCHAIKOVSKY 1812 Overture Thierry Fischer, conductor (recorded 9/20/13)

classical89.org classical89.org 89.1 & 89.1 89.5 & fm 89.5 fm

April 4 | 9:30 AM TCHAIKOVSKY Symphony No. 5, Mvt. I Thierry Fischer, conductor (recorded 4/12/13) April 11 | 9:30 AM TCHAIKOVSKY Symphony No. 5, Mvt. II Thierry Fischer, conductor (recorded 4/12/13) April 18 | 9:30 AM TCHAIKOVSKY Symphony No. 6, Mvt. I Thierry Fischer, conductor (recorded 4/12/13) April 25 | 9:30 AM TCHAIKOVSKY Symphony No. 6, Mvt. II Thierry Fischer, conductor (recorded 4/12/13)

MUSIC IN THE K E Y O F G R E AT

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

Melissa Robison

Phone Systems for Your Business

Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.

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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Service Training Technology

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

Proud Supporters of the Utah Symphony | Utah Opera

Voicing Our Community Since 1984

Frank Pignanelli, Esq. Utah Symphony | Utah Opera is funded by the Utah Arts Council, 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, and the Utah Humanities Council.

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.

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801-485-1107

UTAH SYMPHONY MAR–APR 2015

Our ENT physicians artfully deliver the latest medical advances with kind, personalized service.

healthcare.utah.edu/ent | 801.587.8368