Utah Symphony

MAY / 2014/15 UTAH SYMPHONY SEASON

MAY COVER

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Contents PUBLISHER Mills Publishing, Inc.

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PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow

Saint-Saëns’ Organ Symphony

ART DIRECTOR / PRODUCTION MANAGER Jackie Medina

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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.

The Music of Stravinsky

6 Welcome 7 Board of Trustees 8 Utah Symphony 9 Musician Spotlight 10 Testimonial 12 Administration 14 Season Honorees 23 Season Sponsors 66 Campaign for Perpetual Motion 69 Education 70 Tanner & Crescendo Societies 71 Leave a Legacy 72 Corporate & Foundation Donors 75 Individual Donors 80 Classical 89 Broadcasts 82 Acknowledgments

47 All-Star Evening

53 Mahler’s Symphony No. 4

© COPYRIGHT 2015

UTAH SYMPHONY MAY 2015

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Welcome

The arts world has been abuzz in recent years on the topic of innovation and the question of how we can be innovative with an art form that is hundreds of years old. We believe that innovation isn’t just creating something completely new; it is also giving life and energy to the things we know in the most traditional ways. A unique quality of classical music is that it has stood the test of time on its own merit.

Music is alive, dynamic, and full of energy. The arts stimulate innovation, adaptation, and progress. As we look to the future, we do not preserve the art of symphonic music by framing it in a certain state of existence. Instead, we give our musicians the necessary support to express their art at the highest level. Their artistic expression charges the air in Abravanel Hall, where we react to and reflect our own vitality.

This dynamic energy exchange between artistic

Melia Tourangeau USUO President & CEO 6

expression and audience resonance makes each performance remarkable.

This month marks the 75th anniversary of the formation of the Utah Symphony. As we celebrate this milestone over the coming year, we plan to highlight the important connections Utah Symphony and its musicians have developed throughout our community, and we will showcase all that is great about our state, both locally and beyond. Our anniversary season is not only a tribute to the legacy of the Utah Symphony for the past 75 years, but also a tribute to the people of our state who had the vision to create and support a rich cultural tradition for its citizens. Recently, a number of individuals have demonstrated their commitment to this tradition through their leadership in our Campaign for Perpetual Motion (see pages 66–68). We are grateful to all the great community leaders who help make Utah a wonderful place for great live music!

Thierry Fischer Utah Symphony Music Director

Dave Petersen USUO Board of Trustees Chair UTAH SYMPHONY MAY 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 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 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 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 MAY 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

James Hall Acting Principal Titus Underwood†† 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 Erin Svoboda Associate Principal Lee Livengood 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††

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

PICCOLO Caitlyn Valovick Moore

Jeff Luke Associate Principal

Caitlyn Valovick Moore Acting Associate Principal

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OBOE Robert Stephenson# Principal

Peter Margulies Nick Norton TROMBONE Mark Davidson Acting Principal Zachary Guiles†† Acting Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal 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 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 MAY 2015

Musician Spotlight Biography

It seems that few people in this world ever meet a bassoonist.

And likely far fewer meet a contrabassoonist. My name is Leon and I play that big thing that looks like a bassoon, but is even stranger looking. I’ve been playing it a long time. I’ve played contrabassoon with the San Jose Symphony, the Colorado Symphony, the Oregon Symphony, and for the last eight years with the Utah Symphony. I’m sure you have questions about what I do. If you ever get a chance to meet me, I’m not afraid to answer questions. And just so you know, I get to play really low notes. My bottom note is that B-flat at the bottom of the piano (right next to the last note on the left side of the keyboard).

Hobbies & Skills

Leon Chodos Contrabassoon

I’ve always loved baseball. I will never be very good at it, but for me, a great day is when the weather is good and I am out with my friends playing softball. Getting to throw the ball around with my wife and kids is especially fun. I used to do some rock climbing and took a really long time off from doing it. I’ve gotten back to it a few times this last year. I just need someone to drag me out and start me going again. I also like to join my son when he goes to the roller skating rink.

Musical Notes

There have been many concerts over the years with the Utah Symphony where I have left the stage exhausted but satisfied. I usually leave feeling proud to be part of something great, put together by the hard work and discipline of my orchestra.

Sometimes I am very proud of myself and the people around me. But more meaningful than anything else is when I hear how moved someone is in the audience. Sometimes the lasting memory of a concert will get brought up much later and I will hear about how important it was to someone. This brings me great joy and affirmation of what we do. I only do my small part in this large ensemble, but I am very proud to be part of a group that brings great music to the state of Utah.

UTAH SYMPHONY MAY 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 as the Chairman on the Utah Opera Board and as a Trustee of 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 other types of 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 audiences throughout the state can enjoy a world-class symphony and opera and 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 MAY 2015

STEAL THE SHOW.

2015 LEXUS GS 350 F SPORT The 2015 Lexus GS truly deserves the spotlight. And even the toughest critics agree. When AMCI tested the Lexus GS 350 F SPORT, they concluded that it has “better overall handling performance than the BMW 535i M Sport.” 1 With performance this sensational, it’s only natural to take the lead.

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Options shown. 1. AMCI Testing Certified handling performance: 2014 Lexus GS 350 F SPORT versus the 2014 BMW 535i M Sport with rear-steer performance options. 2. Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. ©2014 Lexus.

Administration ADMINISTRATION

Melia P. Tourangeau President & CEO

David Green

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Lisa Poppleton Grants Manager

Development Manager

Director of Education & Community Outreach

Conor Bentley

Beverly Hawkins

Symphony Education Manager

MARKETING & COMMUNICATIONS

Tracy Hansford

Kate Throneburg

Development Coordinator

Marsha Bolton

Jon Miles

Heather Weinstock Office Manager

Renée Huang

SYMPHONY ARTISTIC

Chad Call

Symphony Music Director

Aaron Sain

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

Thierry Fischer

Anthony Tolokan

Vice President of Symphony Artistic Planning

Jerry Steichen

EDUCATION

Paula Fowler

Vice President of Marketing & Public Relations Director of Public Relations Marketing Manager Graphic Design & Branding Manager

Mike Call

Website Manager

Education Coordinator

Brooke Adams Education Fellow

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

OPERA TECHNICAL

Jared Porter

Opera Technical Director

Principal Pops Conductor

Ginamarie Marsala

Vladimir Kulenovic Associate Conductor

Crystal Young-Otterstrom

Barlow Bradford

PATRON SERVICES

Properties Master

Director of Ticket Sales & Patron Services

Assistant Props

Symphony Chorus Director

Marketing Communications Manager Vivace & Cadenza Coordinator

Jay Morris

Assistant Technical Director

Kelly Nickle

Nina Richards

Lane Latimer

Natalie Thorpe

Keith Ladanye

Shawn Fry

John Cook

Charlotte Craff

Faith Myers

Lindsay Woodward Glenn Linder

Cassandra Dozet

Andrew J. Wilson

Supertitle Musicians

Chip Dance

Ellesse Hargreaves

Verona Green

Mark Barraclough

Kati Garcia Ben Ordaz Jackie Seethaler Powell Smith Robb Trujillo

Melonie Fitch

Nick Barker Emily O’Connor Ivan Fantini Aubrey Shirts Hilary Hancock

Wardrobe Supervisor

Eric V. Johnson

Director of Orchestra Personnel SYMPHONY OPERATIONS

Jeff Counts

Vice President of Operations & General Manager 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

Patron Services Manager Group & Corporate Sales Manager Sales Manager Patron Services & Group Sales Assistant Patron Services Coordinator

Sales Associates

Ticket Agents

ACCOUNTING & INFORMATION TECHNOLOGY

Production Carpenter Scene Shop Manager & Scenic Artist

COSTUMES

Costume Director Assistant Rentals Supervisor

Kierstin Gibbs LisaAnn DeLapp Rentals Assistants

Vicki Raincrow Milivoj Poletan Tailor

Tara DeGray Cutter/Draper

Anna Marie Coronado Milliner & Crafts Artisan

Production Coordinator

Mike Lund

Chris Hamberg Yoojean Song Connie Warner

Director of Information Technologies

Stitchers

DEVELOPMENT

SaraLyn Pitts

Yancey J. Quick

Wigs/Make-up Designer

Alison Mockli

Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino

Opera Company Manager

Shaun Tritchler 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

Melanie Steiner-Sherwood Annual Giving Manager

12

Steve Hogan

Vice President of Finance & CFO

Controller

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Julie Cameron

Wigs/Make-up Crew

Accounts Payable Clerk 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 MAY 2015

EXPERIENCE THE BEST IN LIVE PERFORMANCE—Near You! BEETHOVEN’S SYMPHONY NO. 7 at THE GALLIVAN CENTER

June 22 / 8 PM / GALLIVAN CENTER

This performance is free to the public. No tickets are required.

UTAH SYMPHONY at TAYLORSVILLE DAYZZ

June 25 / 7:30 PM / TAYLORSVILLE VALLEY REGIONAL PARK This performance is free to the public. No tickets are required.

UTAH SYMPHONY at SUNDANCE

June 26 / 8 PM / SUNDANCE RESORT

For tickets visit UtahSymphony.org or call 801-355-ARTS (2787)

PATRIOTIC POPS with BRAVO BROADWAY at THANKSGIVING POINT

July 1 / 8:30 PM / THANKSGIVING POINT

For tickets visit ThanksgivingPoint.org

PATRIOTIC POPS with BRAVO BROADWAY at SNOWBASIN RESORT

July 3 / 8 PM / SNOWBASIN RESORT

For tickets visit Snowbasin.com

TIME FOR THREE with the UTAH SYMPHONY at RED BUTTE GARDEN

August 13 / 7:30 PM / RED BUTTE GARDEN AMPHITHEATRE

For tickets visit RedButteGarden.org

Enjoy World Renowned Performances Near Your Neighborhood.

For more information visit UtahSymphony.org

Season Sponsor

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 3/15/2014 and 3/15/2015.

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

EDWARD ASHWOOD & CANDICE JOHNSON

GAEL BENSON

LAWRENCE T. & JANET T. DEE FOUNDATION

E.R. (ZEKE) & KATHERINE W.† DUMKE

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

DIANE & HAL BRIERLEY

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

14

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

UTAH SYMPHONY MAY 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 M I LLE N I U M $250,0 0 0 & A B OV E (Continue d )

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

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

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 16

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

UTAH SYMPHONY MAY 2015

Utah musicians on stage at the Gallivan Center

Steve Lindeman

5/14: Aspen Winds: woodwind quintet and dancers 5/21: Ray Smith Quintet: jazz 6/18: Harry Lee & Back Alley Blues 6/25: Corey Christiansen Trio: guitar, Hammond B3, drums Big Band Tuesdays start May 19 (weather permitting)

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

Simmons Family Foundation Stein Eriksen Lodge**

BMW of Pleasant Grove

Jack & Jan Massimino

Harris H. & Amanda Simmons

MINI of Murray

Carol & Anthony W.

Summit Sotheby’s

Rebecca Marriott Champion Chevron Corporation C. Comstock Clayton Foundation

Middleton, Jr., M.D. OPERA America’s Getty Audience Building Program

Norman C.† & Barbara Tanner Nora Eccles Treadwell Foundation Vivint

Thomas D. Dee III & Dr. Candace Dee

James A. Parke

M. Walker & Sue Wallace

John H. & Joan B. Firmage

Charles Maxfield & Gloria F. Parrish

Jack Wheatley

Thierry & Catherine Fischer**

Foundation

John W. Williams

Kristen Fletcher & Dan McPhun

Alice & Frank Puleo

Workers Compensation Fund

Holland & Hart**

S. J. & Jessie E. Quinney Foundation

Edward & Marelynn Zipser

Hotel Monaco* Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Mr. & Mrs. Ronald W. Jibson G. Frank & Pamela Joklik Jones Waldo** Katharine Lamb Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Peter & Cathy Meldrum 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. 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 George & Tamie Speciale 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

Adobe Scott & Kathie Amann 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 FoundationRussell Family CenturyLink Howard & Betty Clark Daynes Music* Skip Daynes* Delta Air Lines* Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Sue Ellis Mr. Joseph F. Furlong III Gastronomy, Inc.* GE Foundation Ann & Gordon Getty Foundation Douglas & Connie Hayes Susan & Tom Hodgson

18

See pages 68–79 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 MAY 2015

STAGE ARTS

Start Early.

Start Right.

Challenger School offers uniquely fun and academic classes for preschool to eighth grade students.

Our students learn to think for themselves and to value independence.

The results are unmatched at any price!

Come see for yourself. Observe our classrooms any time— no appointment needed.

B ec a us e Yo u K n o w th e Valu e of Educat ion An independent private school offering preschool through eighth grade © 2015, Challenger Schools • Challenger School admits students of any race, color, and national or ethnic origin.

STAGE ARTS

A LIVE MUSICAL REVUE OF DISNEY THROUGH THE YEARS FEATURING ORIGINAL DISNEY ANIMATION!

JUNE 5 – OCT 16

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MAY 29 – OCT 17

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STAGE ARTS

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STAGE ARTS

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 MAY 2015

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2015/16 Utah Symphony | Utah opERa SEaSon

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Sci-Fi Spectacular!

Nos. 4 & 5, September 11, 2015 Nos. 8 & 6, September 12 Nos. 1 & 3, September 18 Nos. 2 & 7, September 19

September 25 & 26, 2015

The Mahler Symphony Cycle

Home Alone: Feature Film with the Utah Symphony

No. 5, November 6 & 7, 2015 No. 6, “Tragic”, November 20 & 21 No. 7, January 8 & 9, 2016

Bugs Bunny at the Symphony December 22 & 23, 2015

December 18–19, 2015

75 years

75 Years of Bravo Broadway February 12 & 13, 2016

BRAVO! BROADWAY

Ballet West with the Utah Symphony

Utah Opera – Verdi’s Aida March 12–20, 2016

February 26 & 27, 2016

Holst’s The Planets April 8 & 9, 2016

Prokofiev’s Romeo & Juliet with Utah Shakespeare Festival April 15 & 16, 2016

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Saint-Saëns’ Organ Symphony

program

Saint-Saëns’ Organ Symphony May 1–2 | 8 pm Abravanel Hall Kazuki Yamada, Conductor (US Debut)

MODEST MUSSORGSKY

A Night on Bald Mountain

ALEXANDER GLAZUNOV

Symphony No. 5 I. Moderato maestoso II. Scherzo: Moderato III. Andante IV. Allegro maestoso ­/ INTERMISSION /

CAMILLE SAINT-SAËNS

UTAH SYMPHONY MAY 2015

Symphony No. 3, “Organ Symphony” I. Adagio-Allegro moderato-Poco adagio II. Allegro moderato-Presto-maestoso-Allegro

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Saint-Saëns’ Organ Symphony

artist’s profile

Kazuki Yamada appears regularly with such orchestras as Orchestre de Paris, Philharmonia Orchestra, Dresden Philharmonic, Rundfunk Sinfonieorchester Berlin, St. Petersburg Philharmonic, Czech Philharmonic, City of Birmingham Symphony, Royal Stockholm Philharmonic, Gothenburg Symphony, Orchestre de Chambre de Lausanne, Orquesta Sinfonica y Coro de RTVE, and Tonkünstler-Orchester at the Vienna Musikverein.

Kazuki Yamada Conductor 75 TH ANNIVERSARY M ASTERWORKS SERIES GUEST CONDUCTOR SPONSOR:

He is Principal Guest Conductor of Orchestre de la Suisse Romande and also holds the same title with Orchestre Philharmonique de Monte Carlo, starting in the 2014–15 season. In Japan, he holds further titles of Principal Conductor of Japan Philharmonic Orchestra, Music Partner with Sendai Philharmonic and Ensemble Orchestral Kanzawa, and Music Director of Yokohama Sinfonietta, an ensemble he founded while still a student. Passionate about choral repertoire, he is Tokyo Philharmonic Chorus’ Resident Conductor. The chorus has released four CDs with Yamada.

Forthcoming debut appearances include Helsinki Philharmonic, SWR Stuttgart, Orchestre National de Lyon, and his USA debut with Utah Symphony Orchestra. He also undertakes a large-scale project to conduct Honegger’s Jeanne d’Arc with three orchestras: Orchestre Philharmonique de Monte Carlo, Orchestre National du Capitole de Toulouse and Orchestre de Paris at the new Philharmonie Hall in Paris. The character of Joan of Arc will be performed by the French actress Marion Cotillard.

Yamada was the winner of the 51st Besançon International Competition for young conductors. Born in Kanagawa, Japan in 1979, he is now a resident in Berlin. In 2011 he received the Idemitsu Music Prize for young artists in Japan.

Yamada was the winner of the 51st Besançon International Competition for young conductors.

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UTAH SYMPHONY MAY 2015

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Saint-Saëns’ Organ Symphony

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By Michael Clive Modest Mussorgsky (1839–1881) (arr. Rimsky-Korsakov)

A Night on Bald Mountain Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, chime in D, crash cymbals, bass drum, tam tam, suspended cymbal, harpsichord; strings.

Performance Time: Approximately 12 minutes.

BACKGROUND

Over time, Modest Mussorgsky has acquired a reputation as the wild man of Russian music—a notion that is understandable if not entirely deserved. It is certainly reinforced by the thundering climaxes and raw emotion we hear in his music. But while the mysterious Mussorgsky seemed to shun the conservatory, training as a composer primarily through personal association with other composers and independent study, he was well-born and musically disciplined. If his compositions are moody and steeped in Russian folk tradition, that description could fit the music of many of his peers. Still, Mussorgsky’s voice is well-nigh unmistakable, especially in the brooding, innovative harmonies we hear in A Night on Bald Mountain and his other major compositions, such as his opera Boris Godunov.

Led by his passions and ardent in his beliefs, Mussorgsky left a relatively small body of work, some of it remaining unfinished. All of it is marked by high drama, dark textures, and the bold harmonies that Mussorgsky’s colleagues, including Rimsky-Korsakov, judged as excitingly expressive but raw. The exposed emotion and vividness of Mussorgsky’s expression suggests a visual component in almost everything he wrote.

In Night on Bald Mountain we can almost see the violence of the wind.

Composed in 1867, when Mussorgsky was 28

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still in his twenties, Night on Bald Mountain is early Mussorgsky and vintage subject matter: a tone poem depicting a witches’ Sabbath occurring on St. John’s Eve, the very night ( June 23) when he completed the work to his evident satisfaction. Unfortunately, his friend and mentor, the composer and piano virtuoso Mily Balakirev, held a lesser opinion of it—in part, perhaps, because of its innovative form and subject matter. (With Rimsky’s Sadko of the same year, it is considered one of the first Russian tone poems.) Mussorgsky recycled some of its musical materials in the opera-ballet Mlada and the opera The Fair at Sorochyntsi, but Night on Bald Mountain was never heard during Mussorgsky’s lifetime.

The version of the tone poem that has achieved popularity among today’s concert audiences is an arrangement that Rimsky based on Mussorgsky’s music in The Fair at Sorochyntsi. It received its concert premiere in St. Petersburg in 1886, five years after Mussorgsky’s death, and achieved immediate success. In the West, our indelible images of the windswept Bald Mountain are derived from the vivid collaboration between Leopold Stokowski and the Disney studios in the animated classic Fantasia (1940).

WHAT TO LISTEN FOR

There is much more to the eerie content of this tone poem than just Mussorgsky’s characteristically vivid tone-painting of craggy peaks at night in bad weather. He larded his score with bone chilling elements, including the sinister roll of the bass drum and scary descending phrases that slither like serpents.

The New Zealand writer Paul Serotsky deftly describes this witches’ brew as a “hatful of horrors.” In fact, the composer’s four-part structure for this tone poem begins with [1] “an underground noise of inhuman voices.

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Saint-Saëns’ Organ Symphony

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by an appearance of Satan and [2] his adoration.

[3] a Black Mass. [4] joyful dancing of the Witches’ Sabbath. With the tolling of a church bell, the darkness is finally dispersed.

Interestingly, the Black Mass section originally included a parody of a Russian Orthodox chant that Mussorgsky’s contemporary audiences in Russia would have recognized immediately—a shocking compositional strategy much like the bold religious parodies Berlioz worked into his Symphonie fantastique. Rimsky deleted the references, but Night on Bald Mountain still chills us to the bone, especially at Halloween.

Alexander Glazunov (1865–1936)

Symphony No. 5 in B flat, op. 55 Instrumentation: 3 flutes, 3rd doubling piccolo, 2 oboes, 3 clarinets, 3rd doubling bass clarinet, 2 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, glockenspiel, crash cymbals, triangle, harpsichord; strings.

Performance Time: Approximately 35 minutes.

BACKGROUND

Alexander Glazunov was a key figure in the group of Russian composers who, thanks to the financial backing of their patron Mitrofan Balyayev, became known as the Belyayev Circle. As successors to the group known as the Mighty Five, the Belyayev Circle was the second generation of classical composers who developed Russia’s classical voice with breathtaking speed and skill. In one of those historic intersections of need and genius in a given time and place, both generations of composers and beyond —from Tchaikovsky the Romantic to Stravinsky the Modernist— were nurtured by their towering patriarch, Rimsky-Korsakov. If the groups had much in 30

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common, the Belyayev Circle had a far easier time finding a prominent place in the classical music world.

Born in 1865, Glazunov straddled the 19th and 20th centuries—later on the scene than the composers of the Mighty Five, but early enough to share in their concerns in developing the voice of Russian nationalism in classical music.

As Russian composers entered the 20th century and began absorbing more cosmopolitan cultural values, the tradition-minded Glazunov filled a transitional role, creating a stylistic bridge between the centuries, fully accepted as a master in the European tradition.

Glazunov’s gifts and the circumstances of his biography echo those of earlier colleagues: born to a well-to-do family, he demonstrated his musical gifts early and became a protégé of Rimsky-Korsakov at age 14. “His musical development progressed not by the day, but literally by the hour,” Rimsky famously said of his pupil. Though their parent-teacher relationship lasted only two years, they remained friends until Rimsky’s death, when Glazunov was 20. In the meantime, he gained the patronage of Mitrofan Balyayev, who established the Balyayev Circle—composers who were heirs to the Mighty Five, carrying their standard into the mainstream of the international music scene.

Glazunov’s career spanned composing, conducting, and pedagogy; at the St. Petersburg Conservatory his students included Dmitri Shostakovich, and he received honorary doctorates from Oxford and Cambridge.

But heard in the context of Russian music’s forward march—his career overlapped those of progressive Russian colleagues Scriabin, Stravinsky, and Prokofiev—his rich melodies and colorful orchestrations sound more traditional than innovative. He lived until 1936, but his most UTAH SYMPHONY MAY 2015

Saint-Saëns’ Organ Symphony

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popular works remain those composed before the turn of the century or early in the 20th: The Four Seasons suite, his ballet Raymonda, and his sole concerto, composed for the violin in 1904.

Glazunov composed in most every major classical form except opera. Of his eight symphonies, many critics consider his fifth to hold the most musical interest. His violin concerto was recently revived by Joshua Bell.

WHAT TO LISTEN FOR

Glazunov’s symphonies sometimes mix traditional forms with cautious experimentation. His fourth symphony comprises only three movements, though the fifth returns to the traditional four movement structure. Nonetheless, the symphony’s thematic transformations are somewhat daring; Glazunov described the work as “silenced sounds” and “an architectural poem.” (He may well have known Goethe’s description of music as “liquid architecture” and architecture as “frozen music.”) With Glazunov’s treatment of these transformations, we hear many of the symphony’s themes and motifs in all four movements.

Though the symphony was nicknamed “The Heroic,” to Western ears it does not fit that description in the same way as a symphony by Beethoven does. It opens gradually—almost tentatively—and with great deliberation, as principal themes we will hear later in the work begin to take shape. They slowly morph into a melody with a distinctive lilt. In the second movement, a beguiling scherzo builds drama through contrast as it switches from high-energy motifs to serene passages. Its sparkle brings us to the slower, more lyrical sound of the third movement, an Andante whose emotions seem more serious, alternating between passages of sweeping optimism and dark seriousness— represented by regal passages in the horns, UTAH SYMPHONY MAY 2015

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woodwinds and strings followed by darker, almost bellicose statements in the brass section.

But in the final movement, marked Allegro maestoso—Animato, this symphony concludes in a traditional flurry of jubilant energy.

Camille Saint- Saëns (1835–1921)

Symphony No. 3 in C minor, op. 78, “Organ Symphony” Instrumentation: 3 flutes, 3rd doubling piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, crash cymbals, suspended cymbal, bass drum, triangle, organ, piano four hands; strings.

Performance Time: Approximately 34 minutes.

BACKGROUND

It’s possible to experience a lifetime of great music without encountering Camille SaintSaëns’ prodigious Symphony No. 3 in the concert hall. The reason for the relative scarcity of this chef-d’oeuvre is not a lack of popularity or critical esteem, but the formidable list of ingredients required to present it as it was meant to be heard: in addition to a conductor and orchestra that have mastered the idiom of Saint-Saëns’ elegant, precise style, this symphony demands a first-rate pipe organ as well as a piano.

Not that other organ symphonies and organ concertos are unknown. But some organ “symphonies” by composers such as Widor are actually solo works named for the organ’s symphonic breadth, while full-bore compositions for organ and orchestra survive mainly as niche works with a passionate following among organ aficionados. SaintSaëns’ Symphony No. 3, with its superlative craftsmanship and irresistible aural spectacle, has earned pride of place in standard-rep MASTERWORKS

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Saint-Saëns’ Organ Symphony

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symphonic literature. (In the original French, the symphony is designated “avec orgue,” or “with organ.”)

The “Organ” Symphony’s place in the repertory parallels its composer’s place in music history. Born in 1835, when the Romantic era was still young, the spectacularly gifted Saint-Saëns lived through one of the most turbulent periods in music history. The magisterial music critic Harold C. Schonberg, who reigned for two decades at The New York Times, described him as the greatest of all music prodigies, outpacing even Mozart and Mendelssohn. As an adult, Saint-Saëns recalled experiencing the aleatoric sounds of early childhood as music; his description of a two-year-old’s overheard “symphony of the kettle,” with its slow, eventful crescendo, is vivid. He began composing at age three, and performed one of Beethoven’s violin sonatas in a Paris salon at age four; by age ten, in a legendary concert at the Salle Pleyel, he followed his performance of a movement from Beethoven’s C minor Piano Concerto with an offer to play any of Beethoven’s 32 piano sonatas from memory.

“This young man knows everything, but he lacks in experience,” noted Berlioz—not a surprising observation, considering the age of the “young man” in question.

Saint-Saëns became a protege of Franz Liszt, who declared him “the world’s greatest organist,” and he won the ungrudging admiration of Berlioz, who called him “an absolutely shattering master pianist.” His mastery of the composer’s tools was staggering: encyclopedic knowledge of the orchestral instruments, of music history and theory, of harmony and structure. He was a visionary, cofounding the Société Nationale de Musique for the advancement of French music and appreciating his mentor Liszt as few of his contemporaries did, noting—with remarkable perspicacity—that they celebrated Liszt as the world’s greatest pianist in part because that was easier than appreciating his innovations and importance as a composer.

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If Saint-Saëns valued innovation in composition, he seemed to harbor no illusions about his own gifts as a composer. “First among composers of the second rank” was his famously modest self-assessment, perhaps underestimating his own achievements. But this remark would be echoed later by critics. Did he make it all seem too easy? Throughout his career Saint-Saëns produced music with a touch of the old masters and seeming effortlessness, “as a tree produces apples.” His tone poems, operas, symphonies, and concertos mobilize the astounding grasp of cultural history and musical erudition he was famous for, but his harmonic and melodic inventiveness—dazzling on their own terms— remained resolutely traditional at a time of musical revolution. By the time of Saint-Saëns’ death in 1921, his style of composition was in the background while experimental forms and atonal exploration were in the foreground.

WHAT TO LISTEN FOR

Now, in a time of musical eclecticism, we can hear that Saint-Saëns’ facility for musical drama and scene-painting has never really been surpassed, giving shorter works such as his ever-popular Danse Macabre a timeless visceral appeal. His tone poems on classical subjects have heart-pounding immediacy; no action movie has ever captured the dangerous thrill of joy-riding in a stolen car more intensely than Saint-Saëns’ Phaeton, but in this case the car is Dad’s chariot, and Dad is Apollo. In Omphale’s Spinning Wheel he twines deftly concocted melodies to convey the whirl of twisting yarn with a menacing seduction; with a skill unique to this composer, the wheel’s blinding speed is conveyed with slow, spare phrases.

In the “Organ Symphony,” Saint-Saëns combines this facility for sonic dazzle with larger ambitions. In an introductory note for the symphony, which was commissioned (like Beethoven’s Ninth) by the Royal Philharmonic

UTAH SYMPHONY MAY 2015

Saint-Saëns’ Organ Symphony

program notes

Society and premiered in London, the composer notes that “This symphony is divided into two parts…Nevertheless, it embraces in principle the four traditional movements, but the first is altered in its development to serve as the introduction to the poco adagio, and the scherzo is connected by the same process to the finale.” More simply stated, the work’s movements are paired, so that it seems to be divided in halves rather than fourths. Beyond that, the development is cyclical, with thematic material evolving throughout the symphony.

In this regard Saint-Saëns took his cue from Liszt, combining the traditional sonata-allegro scheme of thematic development in individual movements with a larger template that transforms his materials in a larger musical arc.

The symphony opens with an introductory theme comprised of a rising four-note figure. It is short, slow (marked adagio), and haunting in quality; no sooner does it appear than it begins to evolve in an allegro development.

Formally constructed, the movement seems to build tension with its large orchestral forces mounting in waves, only to let them subside. Eventually the development resolves into a serene conclusion that almost whispers, without even a suggestion of the organ’s presence. Has Saint-Saëns been teasing us with the expectation of a thundering organ?

This opening is followed by a calm adagio that introduces the organ not in thunder, but tranquility: with subtle, pianissimo pedal points.

It combines with a lush melody in the strings that demonstrates not the typical Romantic struggle between contending forces, but a coexistence that seems to express a harmonious view of the natural world.

To the contemporary London audience and especially to the French, who venerated their rigorously trained organists, the symphony’s

UTAH SYMPHONY MAY 2015

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third movement must have seemed to increase the probability that Saint-Saëns, a famously virtuosic organist, was toying with their expectations of a spectacular orchestral utterance by the “king of instruments.” Here, after the beautiful non-thunder of the second movement resolves into serenity, an allegro moderato takes care of business by presenting a conventional, string-dominated sound. In character, the third movement sounds like the kind of scherzo that might be typical of a traditional symphony, with no hint of another organ entrance in the offing.

But then, in the reprise, a new theme boldly announces its presence. Tension mounts, new possibilities arise, and we are reminded of the organ’s slumbering presence.

For organ enthusiasts, the fourth movement of this symphony offers one of the great climactic moments in music: an organ chord in C-major spanning three and a half octaves.

The marking is single-forte, but the effect is as huge as a mighty fortissimo, and soloists are within their discretion to blast it as loud as they deem fit, depending on the venue and the collaboration of the day. The point is not mere aural spectacle, but, as the composer wrote, “the defeat of the restless, diabolical element” leading to “the blue of a clear sky”—a solemn, majestic musical utterance, distinctly liturgical in character. The eruptive force of the organ is balanced by the sparkle of the piano, and its sepulchral weight is focused in a stately rhythm, all blending seamlessly with the colors of the orchestral choir. Saint-Saëns dedicated this symphony to Franz Liszt, who had admired the score but never heard it; having withdrawn from his rock-star lifestyle to live in religious contemplation, he died visiting Bayreuth only months after its premiere. The dedication seems especially appropriate for a work that reconciles spectacularly contrasting forces with a sense of inner unity. It seems likely that only Saint-Saëns could have brought it off.

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The Music of Stravinsky

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The Music of Stravinsky May 7 | 8 pm St. Mary’s Church, Park City Vladimir Kulenovic, Conductor

IGOR STRAVINSKY

Concerto in D major for String Orchestra, “Basel Concerto” I. Vivace II. Arioso: Andantino III. Rondo: Allegro Concerto in E-flat major for Chamber Orchestra, “Dumbarton Oaks” I. Tempo giusto II. Allegretto III. Con moto ­/ INTERMISSION /

IGOR STRAVINSKY

Octet (1952 revision) I. Sinfonia II. Tema con variazioni III. Finale Danses concertantes I. Marche-Introduction II. Pas d’Action III. Thème varié IV. Pas de Deux V. Marche-Conclusion

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The Music of Stravinsky

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, 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. Most recently, Kulenovic was named recipient of the 2015 Sir Georg Solti Conducting Award.

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UTAH SYMPHONY MAY 2015

The Music of Stravinsky

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By Michael Clive Igor Stravinsky (1882–1971)

Concerto in D Major for String Orchestra, “Basel Concerto” Instrumentation: strings.

Performance Time: Approximately 12 minutes.

BACKGROUND

When Europe was swept into the maelstrom of World War II, Stravinsky was in his mid-fifties. An outmigration of artists and intellectuals had already brought some of the most creative minds in Europe to the United States, starting more than a decade before the War’s first shots were fired—especially from Germany and Austria, where musicians lost their orchestra and teaching jobs, and some composers’ works were banned. Political turmoil elsewhere, too, sent classical composers fleeing to America, the safest of safe havens, where many found work in the movie industry. Born-again Los Angelenos included Sergei Rachmaninoff and, even more improbably, Stravinsky himself. “Hollywood during the war was a more intellectually stimulating and cosmopolitan city than Paris or Munich had ever been,” noted another of these émigrés, the Nobel Prize-winning writer Thomas Mann.

Stravinsky moved into his house in West Hollywood in the spring of 1941; that fall would see the Japanese attack on Pearl Harbor. By the time the War ended he was a confirmed Californian, and was living comfortably there as a naturalized U.S. citizen when he received a commission from Paul Sacher, the founding director of the Basel Chamber Orchestra, for what became the Basel Concerto. The work was composed to commemorate the 20th anniversary of the orchestra, an innovative ensemble that had already premiered Bela Bartók’s landmark Music for Strings, Percussion, and Celesta, and would continue to pioneer new music in the following years—with commissioned pieces from Bohuslav Martinů and Arthur Honneger, among others.

WHAT TO LISTEN FOR

This rather elegant, brief, three-movement chamber piece is more often encountered as the music for the ballet The Cage, choreographed

by Jerome Robbins for New York City Ballet, than as a concert work. But don’t expect to hear intimations of the ballet’s unusual scenario in the score; while the ballet presents a natural world that can seem horrifyingly violent in human terms, the music is relatively serene. It is haunting and vivid, with a rich quality in the writing for the Continued on page 43

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The Music of Stravinsky

program notes

strings. “I did not have to confine myself to human beings moving in a way that we know is human,” said Robbins. “In the way their fingers worked, in the crouch of a body or the thrust of an arm, I could let myself see what I wanted to imagine.”

Robbins’ choreography works with the music in a way that seems coordinated and harmonious with it, yet somehow independent of it. The stage action plunges viewers into a community dominated by female insects that view their male counterparts as prey—a world of natural selection in which Stravinsky’s music remains above the fray, maintaining a sense of artistic neutrality as it oscillates between D major and D minor.

Interested listeners may note references to the “Basle” or “Basler” Concerto, equally correct variants that derive from the French spelling of the name of the Swiss city.

Igor Stravinsky (1882–1971)

Concerto in E-flat major for Chamber Orchestra, “Dumbarton Oaks” Instrumentation: flute, clarinet, bassoon; 2 horns; strings.

Performance Time: Approximately 15 minutes.

BACKGROUND

Stravinsky’s music has been described as the antithesis of Tchaikovsky’s, but ballet scores laid the foundation for the international fame of both men. Stravinsky’s first major success, The Firebird, came when he was 27, and it was The Rite of Spring that made him an international celebrity four years later. His first collaboration with the choreographer George Balanchine brought him to America for an extended period: the ballet Jeux de cartes, composed in 1936.

Returning to Europe after the rehearsal period, UTAH SYMPHONY MAY 2015

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Stravinsky moved to the Haute-Savoie region of the French Alps, the highest topography in Europe, to be near his daughter Ludmila; not yet 30, she was dying of tuberculosis and confined to a sanatorium. Stravinsky described this as “perhaps the most difficult time of my life.” It was during this period that he composed his Concerto in E flat, beginning work in the spring of 1937, with the conductor Ernest Ansermet, a neighbor and supportive friend.

The commission for the concerto had come from Washington, D.C. A-listers Robert Woods Bliss and Mildred Bliss to celebrate their 30th wedding anniversary. The diplomat Robert Woods Bliss had held positions including ambassadorships to Argentina and Sweden; Mildred Bliss was a respected art collector with a deep knowledge of pre-Columbian sculpture. This cosmopolitan couple not only knew Stravinsky’s work by reputation, but had almost certainly heard the witty score for Jeux de cartes in performance.

As for the nickname “Dumbarton Oaks,” the phrase is one of those that strikes a familiar note with many of us who can’t quite place it exactly; it is, in fact, the name of the 19thcentury mansion where the Blisses resided in Washington, displayed their art, and entertained. The power couple donated the house, its contents and gardens to Harvard University in 1940. Dumbarton Oaks was the site of the international conference at which the United Nations was organized in 1944—the signal event that accounts for the familiarity of its name. Today it is a research center for the study of Byzantine and pre-Columbian art.

The premiere of the concerto took place at Dumbarton Oaks on May 8, 1938, about five weeks before Ludmila Stravinsky’s death, when the composer himself was ill with tuberculosis.

The premiere was conducted by his friend Nadia Boulanger.

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The Music of Stravinsky

program notes

WHAT TO LISTEN FOR

Like many a composer before and since, Stravinsky found consolation in Bach during the difficult time when he wrote the “Dumbarton Oaks” Concerto. “I played Bach regularly during the composition of the Concerto, and was greatly attracted to the ‘Brandenburg’ Concertos,” he wrote. “Whether or not the first theme of my [first] movement is a conscious borrowing from the third Brandenburg, however, I do not know.” Many listeners hear the theme clearly, first in the viola part of the opening bar, then more strongly as the movement develops.

The sound is effervescent throughout, and the movements are played without pause, an eightbar passage joining the first movement to the second, an Allegretto described by Stravinsky biographer Eric W. White as possessing “an intense purity of line.” A progression of dignified chords create an atmosphere of near-silence that leads to the third movement, an energetic finale.

Igor Stravinsky (1882–1971)

Octet (1952 revision) Instrumentation: flute, clarinet, 2 bassoons; 2 trumpets, 2 trombones.

Performance Time: Approximately 15 minutes.

BACKGROUND

For Stravinsky, music was music. When it came to critical analyses that divided his creative output into phases, he maintained an indifference with a seemingly contemptuous edge; his attitude paralleled that of Picasso, who instructed those who were curious about his life and ideas simply to look at his art. But for many listeners, the unusually scored Octet (only woodwinds and brass—no strings) marked, with the opera Mavra, the beginning of Stravinsky’s Neoclassical period, which occupied him when he approached his forties.

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According to his biographer Eric W. White, he began work on the Octet in the autumn of 1922, after returning to Biarritz from Germany, and completed it fairly quickly—in May 1923.

Regardless of the maestro’s own feelings, to contemporary admirers of Stravinsky’s music the Octet provoked both profound admiration and shocked dismay. It seemed to represent an abrupt turning away from the “primitivist” style of composition that had shocked the music world only nine years earlier in The Rite of Spring.

The premiere performance at the Paris Opera House in October 1923 marked the first time Stravinsky conducted the first performance of one of his works. The feeling of classical forms is pervasive throughout the Octet. But was it intended as an homage to past masters or a satire of obsolete forms pointing the way to a new musical age? As the years passed, the apparent contradiction between these two ideas seemed to fade—or, more accurately, they were eclipsed

by Stravinsky’s brilliance.

WHAT TO LISTEN FOR

“Neoclassical” is an apt descriptor for the overall sound of the Octet, with its dry wind sonorities, divertimento character, and adherence to the forms of the central European Classical tradition—including sonata, variation, and fugue. It opens with a sinfonia in sonata form; the second movement is built around a waltz theme that Stravinsky composed and developed before realizing that it could serve as the basis for a themeand-variations movement. Critics have compared the resulting rondo form to the slow movement of Mozart’s Piano Concerto No. 22, a resemblance they believe was intentional on Stravinsky’s part, though to untrained ears the variations are barely recognizable in their relation to the original theme. In the third movement Stravinsky harks back to his early ballets, The Firebird and The Rite of Spring,

UTAH SYMPHONY MAY 2015

The Music of Stravinsky

program notes

introducing the rhythm of the khorovod, a circle-dance. Though never easy to discern, the dance’s veiled 3-3-2 rhythm becomes more recognizable as the movement progresses.

Igor Stravinsky (1882–1971)

Danses concertantes Instrumentation: flute, oboe, clarinet, bassoon; 2 horns, trumpet, trombone; timpani; strings.

Performance Time: Approximately 20 minutes.

BACKGROUND

The time of personal tragedy that began for Stravinsky with the illness of his daughter Ludmila continued in the year that followed. His wife and mother died just months after the loss of Ludmila and just as the horrors of war were descending upon Europe, prompting him to describe 1939 as “the most tragic year of my life.” Already an exile in France, he now faced still another “reboot”— marrying his longtime mistress, Vera de Bosset, and fleeing with her to the U.S., settling in West Hollywood in the spring of 1941.

The commission for Danses concertantes came shortly after the Stravinskys’ arrival in West Hollywood; it came from Werner Janssen, a conductor whose accomplishments were especially remarkable at a time when very few Americans were conducting orchestras in classical repertory. Janssen was the first

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American-born conductor to lead the New York Philharmonic, where he was appointed Associate Conductor for the 1934–35 season, before becoming Music Director of the Baltimore Symphony Orchestra from 1937 through 1939.

He was also an extremely successful composer of movie scores, with five Academy Award nominations to his credit. In 1940 he formed his own ensemble, the Janssen Symphony, which became a worthy rival to the Los Angeles Philharmonic and a bastion of progressive programming. Janssen commissioned Danses concertantes as director of this group, which performed the work’s premiere under Stravinsky’s baton. It was the first major work that Stravinsky composed entirely in the U.S. WHAT TO LISTEN FOR

In Danses concertantes Stravinsky’s admirers hear a vintage example of the master’s Neoclassical period, a confirmation of the stylistic departure signaled by the Octet and his opera Mavra, though it differs from the Octet in its inclusion of strings. It has a nimbleness and lightness of expression characterized by tight, complex harmonies, crisp rhythms and fleet changes of character. It opens with a march, though, as in the Octet, the rhythm is veiled. The second movement is marked “Pas d’action,” a term for a group dance on the ballet stage. The third movement is still more balletic, taking the form of a theme and variations for two dancers, a “Pas de deux.” The movement’s finale reprises the march theme of the first movement.

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All-Star Evening

program

All-Star Evening May 19 | 7 pm Abravanel Hall Vladimir Kulenovic, Conductor Shenae Anderson, Violin Kana Yoshigi, Piano

FELIX MENDELSSOHN

Concerto for Violin and Piano in D minor I. Allegro molto appassionato II. Andante III. Allegro non troppo-Allegro molto vivace Shenae Anderson, Violin Kana Yoshigi, Piano

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ANTONÍN DVOŘÁK

Symphony No. 9 in E minor, op. 95 “From the New World” I. Adagio-Allegro molto III. Molto vivace IV. Allegro con fuoco

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All-Star Evening

artists’ profiles

Vladimir Kulenovic’s profile can be found on page 36.

Shenae Anderson, 16, began studying the violin at age 3 with Deborah Moench. She soloed with Utah Symphony in 2008, 2010, and 2014 for Salute to Youth. In December of 2010, she was invited back by Maestro Thierry Fisher to be a guest soloist with the Utah Symphony for its Associate Conductor auditions.

Since 2008, she has won numerous competitions, including Youth Guild, MTNA, and Utah State Fair. Shenae was the winner of Stradivarius International Violin Competition Utah Division in 2013, and she recently soloed with Salt Lake Symphony in April of 2015 performing Beethoven’s Violin Concerto. Shenae is a Sterling Scholar in music, has a 4.0 GPA, is first in her class, and will be graduating in June of 2015 from Summit Academy High School. Shenae will attend Julliard in the fall. A member of the Gifted Music School, she is currently studying with Eugene Watanabe. Shenae lives in Draper and is the youngest daughter of Travis and Heidi Anderson.

Shenae Anderson Violin

Kana Yoshigi, 16, is a full scholarship student at the Gifted Music School and a sophomore at Olympus High School. She studies piano with Dr. Vera Oussetskaia-Watanabe.

An accomplished individual, she has soloed with Utah Symphony twice on the annual Salute to Youth Concerts conducted by Maestro Thierry Fisher and Associate Conductor Vladimir Kulenovic.

Kana has performed under the baton of Leon Fleisher at the annual Gifted Music School Spring Gala Concert. She was chosen as a winner of the Beverley Sorenson Foundation Piano Competition and performed with the Utah Chamber Artists Orchestra conducted by Dr. Barlow Bradford in 2014. She was also chosen as one of the seven semi-finalists at the 2013 Yamaha International Junior Piano Competition and she also performed at Weill Recital Hall of Carnegie Hall. She recently performed on the 2014–15 Youth Guild Recital.

Kana Yoshigi Piano

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All-Star Evening

Youth Orchestra All-Stars

American Heritage Lyceum Philharmonic Kayson Brown, Director Johannes Bowman, Percussion VaNeta Burnett,* Trumpet Malachi Harper,* Trombone Isaac Loveland,* Trumpet McKenna Motto, Violin Christian Olsen, Viola Dallin Palmer, Bass Hanna Reategui, Viola Anne Saunders, Violin Michael Zhang,* Clarinet

Nebo Youth Philharmonic Julie Christofferson and Paul Wells, Directors Mat Stokes, Viola Mauri Stokes, Violin

Canyons Symphony Orchestra Randal Clark, Kristi Pehrson, RaNae Dalgleish and Caleb Shabestari, Directors Scott Balding, Trombone Kyle Blackham, Horn Jade Bliss, Clarinet Carl Colby, Cello Michael Hodson, Violin Kyle LeCheminant, Percussion Connor Madsen, Violin

Timpanogos Chamber Orchestra Lois Stout, Director Brooklyn Mock, Violin Natty Taylor, Cello

Davis Youth Symphony Sara Jane Thompson, Director VaNeta Burnett,* Trumpet Jessica Clarke, Violin Hans Fronberg,* Bassoon Amanda Gilchrist, Flute Malachi Harper,* Trombone Natasha Haslam, Bass Jackson Hughston, Horn Lauren Kettle, Violin Isaac Loveland,* Trumpet Granite Youth Symphony Gary Jensen, James Thompson and Amber Tuckness, Directors Elizabeth Blackburn, Violin Madison Nielsen, Violin J.T. Ontiveros, Horn Aisha Zuiter, Cello Jordan District Honors Orchestra James Thompson, Director Roberto Gomez, Violin Brandy Olsen, Violin Sam Worthen, Bass

UTAH SYMPHONY MAY 2015

Northern Utah Youth Symphony Conrad Dunn, Director Joshua Austin, Cello Clayton W. Johnson, Viola Garrett Johnson, Oboe Travis R. Seamons, Oboe Krystell Taylor,* Violin

Utah Valley Youth Philharmonic Cheung Chau, Director Michael Heaton, Timpani Amanda Howard, Violin Stephanie Martins, Cello Sarah Schiffman, Viola Utah Youth Orchestras Barbara Scowcroft, Director Lettie Berrett, Cello Hans Fronberg,* Bassoon Nicole Jensen, Viola Andrew Kjar, Bassoon Edward Koh, Horn Liana Mudrow, Bass Miranda Sanders, Violin Preston Stringham, Trombone Michael Zhang,* Clarinet Young Artist Chamber Players Jack Ashton, Director HR Clark, Bass Matthew Finlayson, Viola Audrey Lund, Violin Suni Norman, Violin

*students with asterisk play in more than one youth orchestra

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All-Star Evening

program notes

By Jeff Counts Felix Mendelssohn (1809–1847)

Antonín Dvořák (1841–1904)

Concerto in D Minor for

Symphony No. 9 in E

Violin and Piano

Minor, op. 95 “From the

Mendelssohn was an artist whose incredible natural gifts were matched only by the sheer luck of his birthright. Some are born poor, others decidedly more fortunate. Mendelssohn’s family was wealthy, prominent, and intellectual and their socially vibrant home was the perfect environment for nurturing (and funding) a precocious talent like Felix, who by the time he hit his teenage years was a well-traveled polymath who had already earned the admiration of important luminaries like Goethe.

Not least among the many opportunities the young genius enjoyed were the regular Sunday salon concerts his mother planned and presented in the spacious Mendelssohn household. The Concerto for Violin and Piano was composed for just such an event in 1823 and premiered by the young composer and his violin instructor Eduard Reitz. After a public performance later that same year, the piece seemed to vanish completely. It was rediscovered in various archives over a 100 years later and was not sufficiently reconstructed until the end of the 20th century. The fact that the music of the concerto was written by a 14-yearold is hard to reconcile with the ingenuity and maturity on display. Mendelssohn was still in the midst of becoming “Mendelssohn” in 1823, but his fascinating double concerto provided a glimpse of the future master who (only a few years later) would take his leave of both Mozart and Beethoven and create his own, equally lasting, compositional brand.

UTAH SYMPHONY MAY 2015

New World” In 1891, Dvořák was offered a position at the National Conservatory of Music in New York.

America was a country already greatly enamored of his music and the conservatory leaders were hoping to learn from his nationalistic voice as an artist. In a country without its own established musical identity, his example could have a powerful effect. Dvořák was fully aware of this hope and took the desires of his hosts quite seriously. Two months after his arrival in the States, Dvořák wrote, “The Americans expect great things from me…I am to show them a way into…the realm of a new, independent art.” Hardly daunted, he immediately sought out samples of American folk idioms and found a wealth of possibility in the spirituals of the African-American tradition as well as the culture of the continent’s Native people. The heartfelt Symphony No. 9 (1893) grew out of this fascination and created a representation of the “New World” that hardly seemed possible from the pen of a guest, even a pen as talented as Dvořák’s.

Many of the themes in the symphony appeared to be folk quotations but Dvořák was insistent that he crafted them from scratch, using his deep study of our indigenous melodies as a guide. So natural were his distillations of our heritage that, even today, this can be difficult to accept. Whatever the provenance of his source material, Dvořák gifted America with a masterpiece, one that delighted in the charms of our nation and celebrated its unique musical soul.

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In Memoriam This performance is dedicated with love and gratitude to the memory of

Norman Tanner 1914–2015

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Mahler’s Symphony No. 4

program

Mahler’s Symphony No. 4 May 22–23 | 8 pm Abravanel Hall Thierry Fischer, Conductor Veronika Eberle, Violin Celena Shafer, Soprano

DMITRI SHOSTAKOVICH

Concerto No. 1 in A minor for Violin and Orchestra, op. 99 I. Nocturne II. Scherzo III. Passacaglia IV. Burlesca

Veronika Eberle, Violin (Utah Symphony Debut)

­/ INTERMISSION /

GUSTAV MAHLER

Symphony No. 4 in G major I. Bedächtig, nicht eilen II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll, poco adagio IV. Wir geniessen die himmlischen Freuden. Sehr behaglich Celena Shafer, Soprano (Artist in Residence)

RICHARD STRAUSS

“Morgen,” op. 27 No. 4

Celena Shafer, Soprano (Artist in Residence) Ralph Matson, Violin

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Mahler’s Symphony No. 4

evelyn rosenblatt young artist

Veronika Eberle Evelyn Rosenblatt Young Artist

This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2014–15 Artist of Distinction is Veronika Eberle, this evening’s talented violinist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Ms. Eberle as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia and Denis Kozhukhin; violinists Viviane Hagner, Scott St. John, Baiba Skride and Will Hagen; cellists Julie Albers and Matthew Zalkind; and conductors Keri-Lynn Wilson and Andrew Grams.

The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano.

Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Artur Rubinstein, Beverly Sills, Glenn Gould and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

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UTAH SYMPHONY MAY 2015

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Mahler’s Symphony No. 4

artists’ profiles

Thierry Fischer recently extended his contract as Music Director of the Utah Symphony Orchestra to a 10-year term. Thanks to his vibrancy, commitment, and energy, he has attracted leading young musicians to join the orchestra and top soloists to come to Utah, has refreshed the programming, drawn consistently full houses, and galvanized community support. “He conducts with both clarity and passion…Utah is lucky to have this conductor” (Chicago Sun Times, July 2013).

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

Fischer was Principal Conductor of the BBC National Orchestra of Wales from 2006–12 and returned with them to the BBC Proms in 2014. A busy guesting career has taken him to orchestras as diverse as the Philharmonia, Czech Philharmonic, Oslo Philharmonic, Orchestre National de Lyon, Frankfurt Radio Symphony, Seoul Philharmonic, Cincinnati Symphony, Grant Park Orchestra Chicago, Orchestra of the Age of Enlightenment, London Sinfonietta, Scottish Chamber, and Swedish Chamber. Highlights of 2014 onwards include Oslo Philharmonic, Rotterdam Philharmonic, Residentie Orkest (The Hague), BBC Symphony, Salzburg Mozarteumorchester, Madrid RTVE, Aspen Music Festival, Detroit Symphony, and Atlanta Symphony. In October 2014 he made his debut with the Boston Symphony Orchestra.

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

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“He conducts with both clarity and passion…Utah is lucky to have this conductor” - Chicago Sun Times, July 2013 56

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Mahler’s Symphony No. 4

artists’ profiles

Veronika Eberle’s exceptional talent, and the poise and maturity of her musicianship have been recognized by some of the world’s finest orchestras, venues, and festivals, as well as by some of the world’s most eminent conductors.

Recent successes include the London Symphony Orchestra (Beethoven with Rattle), Montreal Symphony (Mendelssohn with Nagano), Concertgebouw Orchestra (Berg with Holliger), Gewandhausorchester Leipzig (Mozart with Langrée), Seattle Symphony (Berg with Morlot), Saint Paul Chamber Orchestra (Beethoven with R. Abbado), Paris National Opera (Beethoven with Philippe Jordan), Scottish Chamber Orchestra (Ticciati), CBSO (Ed Gardner), Northern Sinfonia (Zacharias) and Spanish National Orchestra (Dvořák with Harth-Bedoya).

Veronika Eberle Violin GUEST ARTIST SPONSOR:

ROSENBLATT YOUNG ARTIST AWARD

Veronika Eberle was born in 1988 in Donauwörth, Southern Germany, where she started violin lessons at the age of six. Four years later she became a junior student at the Richard Strauss Konservatorium in Munich, with Olga Voitova. After studying privately with Christoph Poppen for a year, she joined the Hochschule in Munich, where she studied with Ana Chumachenco 2011–12. Veronika Eberle plays the “Dragonetti” Stradivarius (1700), on generous loan from the Nippon Music Foundation.

Soprano Celena Shafer has garnered acclaim for her silvery voice, fearlessly committed acting, and phenomenal technique.

She spends much of her time on the concert stage, appearing regularly with orchestras in New York, Chicago, Philadelphia, San Francisco, and Los Angeles and with leading conductors such as Christoph von Dohnányi, Alan Gilbert, Lorin Maazel, Bernard Labadie, Nicholas McGegan, Kent Nagano, Donald Runnicles, Michael Tilson Thomas, David Robertson, and Sir Andrew Davis.

Celena Shafer Soprano

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A celebrated artist in her home state of Utah, Ms. Shafer has a long relationship with Utah Symphony | Utah Opera where during the 2014–15 season she has been an Artist-in-Residence with the Symphony. She toured the “Mighty Five” National Parks of Utah with the Symphony and Music Director Thierry Fischer during the summer, and throughout this season appears in Mahler’s Symphony No. 2 and Symphony No. 4, as well as Beethoven’s Symphony No. 9. Ms. Shafer began her career as an apprentice at Santa Fe Opera, and has since returned numerous times, most recently as Miss Wordsworth in Britten’s Albert Herring.

UTAH SYMPHONY MAY 2015

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Mahler’s Symphony No. 4

program notes

By Michael Clive Dmitri Shostakovich (1906–1975)

Concerto No. 1 in A minor for Violin and Orchestra, op. 99 Instrumentation: 3 flutes, 3rd doubling piccolo, 3 oboes, 3rd doubling English horn, 3 clarinets, 3rd doubling bass clarinet, 3 bassoons, 3rd doubling contrabassoon; 4 horns, tuba; timpani, tam tam, xylophone, tambourine, harpsichord, celeste; strings, solo violin.

Performance Time: Approximately 33 minutes.

BACKGROUND

In listening to a work as richly expressive as Shostakovich’s Violin Concerto No. 1—one of his most beautiful and significant compositions—it might be nice if we could forget the background and experience the art on its own. After all, as Shostakovich’s compatriot Igor Stravinsky contended on more than one occasion, the meaning of music is the music itself, and nothing more. But these days, listening to Shostakovich makes us part of one of the liveliest controversies in classical music, and one that is unlikely to end soon. At its center is Shostakovich’s relationship with Stalin and the Soviet bureaucracy.

At age 26, Shostakovich was a rising figure in the music world when his opera Lady Macbeth of the Mtsensk District made its sensational premiere, spurring international interest and vaulting him to a new level of celebrity. Its success made Stalin’s condemnation in a 1936 Pravda editorial all the more shocking. Stalin’s denunciation of the opera’s style as decadent and against the interest of the people could mean exile or death not just for the young composer, but for his family. Even his friends would be endangered.

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Shostakovich’s Symphony No. 5, which premiered in Leningrad in November 1937, is perhaps the most famous “apology” in music history—a monumental composition intended to restore Shostakovich’s position as a composer by signaling his acceptance of Stalin’s criticism and demonstrating his adoption of a state-approved style of musical expression. It repaired his reputation as a state-approved composer, at least in part.

But did he really mean it? At the time of his death in 1975, Western scholars and critics believed that the “reformed” Shostakovich was a “good communist” who had bent his artistic expression to the will of the state.

With the publication four years later of Testimony, a book purportedly based on the composer’s memoirs edited by the Russian musicologist Solomon Volkov, an alternative interpretation of Shostakovich’s life in music emerged. According to Shostakovich and Volkov, the composer’s post-1932 career was poised on a knife edge, with every note of every composition concealing a critique of the totalitarian state. The fifth symphony, long considered an account of the Nazis’ Siege of Leningrad, was reinterpreted as an account of Stalin’s reign of terror there. Volkov cites evidence that Shostakovich’s hatred of Stalin and the Soviet system was evident outside the government, but not within it.

Wherever the truth of this saga might be, the Violin Concerto No. 1 plays an important part in it. Shostakovich completed this ambitious work in 1948—the very year when Stalin, increasingly extreme and isolated, renewed his attack on intellectuals and artists.

A Communist Party resolution criticized composers for “formalistic distortions and anti-democratic tendencies alien to the Soviet people.” Sure in the knowledge that it would provoke the authorities, Shostakovich concealed the concerto until after Stalin’s death in 1953.

UTAH SYMPHONY MAY 2015

Mahler’s Symphony No. 4

program notes

WHAT TO LISTEN FOR

Stravinsky’s dictum notwithstanding, it’s easy for any listener to hear why Shostakovich believed this concerto would draw official ire—and, in fact, why his music might well have hidden its real meanings from bureaucrats behind a veil of irony. No other composer’s works are so consistently described as sardonic or even sarcastic. Just what is it about his style that makes them sound that way? The feeling is more easily heard than described, but a few artifacts come up again and again—for example, the trombone slurs, the march rhythms that seem a bit too emphatic to be real, the unexpected turns of phrase and fragments of quoted melodies that seem oddly out of context.

And yet the music grips us with its beauty, and is never merely playful.

Retrieving the concerto from its hiding place, Shostakovich dedicated it to the Russian violin virtuoso David Oistrakh, who played the premiere in Leningrad in October 1955 to enormous acclaim, then toured with it in America with equal success. Throughout the world, audiences embraced its traditional sweep and virtuosic demands, reminiscent of the great age of Romantic concertos. Oistrakh, a physically unflappable violinist who was an accomplished yogi, famously begged Shostakovich to switch the opening of the final movement from the violin to the orchestra so that “at least I can wipe the sweat off my brow” after the taxing cadenza at the end of the third movement.

The concerto opens in untraditional fashion: serene and slow, with a muted nocturne that rises from the deeps of the orchestra’s string choirs. An ineffable sadness prevails, with the solo violin’s singing voice backed by dark colors in the woodwinds. The movement ends with a gesture of almost heartbreaking poignancy, as the voice of the violin ascends heavenward in harmonics against the starry accompaniment of harp and celesta. In the second movement we UTAH SYMPHONY MAY 2015

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hear the kind of humor for which Shostakovich is known: a scherzo (literally, “joke”) that seems pointed and almost angry in its mockery. But with the soloist and the woodwinds seeming to chase each other in their mimicry, who or what is the butt of the joke?

In the third movement, Shostakovich constructs a Baroque passacaglia in the key of F-minor: a repeated motif broken into two-bar phrases that begins deep in the cellos and basses, then meanders through the orchestra until the soloist voices it with a spectacular double-stopped octave on the violin. The movement concludes with a cadenza of breathtaking athleticism, accelerating until it runs headlong into the fourth movement, titled “Burlesca” and marked “Allegro con brio.” Here an intensely energetic folk dance is played over a driving ostinato bass. After a brief reprise of the passacaglia, the movement accelerates to a finale that seems more about survival than about triumph. In a time of brutal totalitarianism, was survival the ultimate affirmation?

Gustav Mahler (1860–1911)

Symphony No. 4 in G major Instrumentation: 4 flutes, 3rd & 4th doubling piccolo, 3 oboes, 3rd doubling English horn, 3 clarinets, 2nd doubling e-flat clarinet, 3rd doubling bass clarinet, 3 bassoons, 3rd doubling contrabassoon; 4 horns, 3 trumpets; timpani, glockenspiel, sleigh bells, triangle, crash cymbals, suspended cymbals, tam tam, bass drum, harpsichord; strings; soprano soloist.

Performance Time: Approximately 55 minutes.

BACKGROUND

Reading recent essays by Alex Ross in The New Yorker magazine, Mahler fanciers were surprised to learn just how marginalized Mahler’s symphonies were as recently as the 1950s— especially since he is now widely considered the most important symphonist since Beethoven.

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Mahler’s Symphony No. 4

program notes

Through the middle of the last century, listeners and critics who accepted Beethoven’s pursuit of heroic ideas in his symphonies seemed put off by Mahler’s insistence on cosmological subjects… his contemplation of the eternal…his concern with death and immortality that could seem morbid or, to use New York Times music critic Harold C. Schonberg’s word, “adolescent.”

According to Mahler specialists, including the author Jonathan Carr, it was Mahler’s fourth that began to turn the tide of public appreciation in his favor. Often described as “accessible” (although their sheer beauty makes all Mahler symphonies inviting to hear), the fourth lasts less than an hour in most performances, making it the shortest of Mahler’s symphonies. It is more lightly scored than some, with a smaller string section and without the emphatic brass voices of trombone and tuba.

And it is full of ingratiating melody.

Nonetheless, the presence of death as the symphony’s central theme is undeniable, articulated in the poetic description of conditions in heaven. Mahler also used this poem in his song cycle Des Knaben Wunderhorn, “The Child’s Magic Horn,” based on poems from a collection of anonymous German folk songs of the same name. In the symphony, the child’s voice is heard as a radiantly lyrical soprano solo describing “Das himmlische Leben,” “the heavenly life,” but the child’s account of that life is a bizarre, characteristically Teutonic vision combining innocence, gore, and a fleeting reference to St. Ursula. Though Mahler also mentioned St. Ursula in correspondence about the symphony, some scholars question whether Mahler really was thinking about her story, which entailed the 12th-century martyrdom of 11,000 virgins under Emperor Diocletian; Mahler’s heaven was more the heaven of the Brothers Grimm, and Max and Moritz. The “heavenly life” he depicts can be read as an earlier exploration of the subject in the bestselling book and movie 62

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Heaven Is for Real. But was Mahler for real, or was he laying on the contradictions?

Mahler composed his fourth symphony in 1898 and 1899. With his appointment as Music Director of the Vienna Philharmonic Concerts, he was that city’s preeminent conductor, but was less esteemed as a composer. Nor did he enjoy untroubled relationships with the orchestra, whose players rankled under his authoritarian management style and his nonstandard musical ideas. It may well be that he sought refuge in composition, and over his summer holiday his work on the fourth took on real momentum. Encouraged by his progress, he searched for a new summer home in the early weeks of the 1899 season, eventually selecting a lakeside building site in the Carinthia district. The symphony’s premiere took place in Munich in November 1901 with Mahler conducting.

WHAT TO LISTEN FOR

This symphony’s reputation for childlike innocence is confirmed with its opening bars, one of the most cherished openings in the symphonic literature: a gentle sounding of sleigh bells and woodwinds that settle into a lovely melody, like water circling in an eddy. But the movement is far from lightweight; its development includes a reliance on complex counterpoint that Mahler would also employ in later symphonies. The sound is relaxed, but it is built through technical reliance on sonata form, with the second theme foreshadowing the song melody we will hear in the fourth movement. It closes with an accelerating coda whose sweeping momentum seems to carry us into the rest of the symphony.

In the second movement, we hear a scherzo alternating with a trio; at its center is a dramatic violin solo played on an instrument tuned one tone higher than normal—a technique that results in an eerie sound that Mahler and others used to evoke a deathly effect, heightened here through the use of col legno bowing, with the wood of the bow striking the strings. This sound UTAH SYMPHONY MAY 2015

Mahler’s Symphony No. 4

program notes

contrasts dramatically with the sound of the trio, which has the quality of the rustic Ländler dances that Mahler loved.

In the third movement, considered one of Mahler’s finest slow movements, the symphony seems to progress from its earlier, innocent concerns to deep, mature contemplation. Its themes arise in two groupings: first gentle and serene, then melancholy and inward. The movement’s detailed, interlocking development culminates in a broad, almost celestial coda whose energy and breadth seem to eclipse the melancholia that precedes it,

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taking us by surprise. It brings us into the key of E Major, the key of the final movement and the song around which it is built. This movement follows immediately upon the suspended final bars of the slow movement, a dramatic sequence that seems to counter any questions we may have about the sincerity of the heavenly verses. Four stanzas of celestial joys are recounted, alternating childlike naivete with sophisticated orchestral development. The song ends with the word “erdacht,” “awaken,” as the strains of the harp fade from our hearing—removing us from earthly pleasures to those in heaven.

THE HEAVENLY LIFE from Des Knaben Wunderhorn We enjoy heavenly pleasures and therefore avoid earthly ones.

No worldly tumult is to be heard in heaven.

All live in greatest peace.

We lead angelic lives, yet have a merry time of it besides.

We dance and we leap, We skip and we sing.

Saint Peter in heaven looks on.

John lets the young lamb out, and Herod the Butcher lies in wait for it.

We lead a patient, an innocent, patient, dear little lamb to its death.

Saint Luke slaughters the ox without any thought or concern.

Wine doesn’t cost a penny in the heavenly cellars; The angels bake the bread.

Good greens of every sort grow in the heavenly vegetable patch, good asparagus, string beans, and whatever we want.

UTAH SYMPHONY MAY 2015

Whole dishfuls are set for us!

Good apples, good pears and good grapes, and gardeners who allow everything!

If you want roebuck or hare, on the public streets they come running right up.

Should a fast day come along, all the fishes at once come swimming with joy.

There goes Saint Peter running with his net and his bait to the heavenly pond.

Saint Martha must be the cook.

There is just no music on earth that can compare to ours.

Even the eleven thousand virgins venture to dance, and Saint Ursula herself has to laugh.

There is just no music on earth that can compare to ours.

Cecilia and all her relations make excellent court musicians.

The angelic voices gladden our senses, so that all awaken for joy.

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THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU THANK YOU ONCE IS NOT ENOUGH! Our heartfelt Thank You to our Dedicated Volunteer Network These outstanding individuals have ha earned rave reviews for their performances in roles ranging from serving on our Board of Trustees, Life Trustees and committes to ushering, handling administrative tasks, providing hospitality services, leading tours, assissting with VIP events, running gift shops, fundraising, docents, teaching students, and helping Utah Symphony | Utah Opera run smoothly. For their unagging committment to this communty’s cultural kaledisoscope, we proudly give them a standing ovation.

Ann Petersen

Utah Symphony Guild President Donna Smith Executive Vice President Kari Landro Membership Vice President Heather Benson Social Vice President Marlene Dazley Development Vice President Carol Radinger Education Vice President Elise Stanley Youth Guild Vice President Wendy Ajax Recording Secretary Heidi Mandy Corresponding Secretary/Historian Mary Lynn Kinsel Treasurer Helen Petersen Publicity SandyLee Griswold Parliamentarian Natalie Cope Staff Liaison Roberta Zalkind Orchestra Liaison Julie Meredith Immediate Past President

Symphony U

T

A

H

G U I L D

Come and join the Utah Symphony Guild and continue 61 years of support for the Utah Symphony.

Some other programs the Symphony Guild support are:

Utah Symphony Youth Guild Gift Shop Outreach Violin Program School Docent Program Finishing Touches

For more information go to: www.utahsymphonyguild.org UTAH SYMPHONY MAY 2015

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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. O.C. Tanner recently committed an additional $500,000 to our Anniversary season efforts, bringing their total compaign giving to $5.1 million.

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 MAY 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 ($5.1 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)

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Anonymous (2) Scott & Jesselie Anderson Edward Ashwood & Candice 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 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 The Sam & Diane Stewart Family Foundation 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 MAY 2015

UTAH SYMPHONY EDUCATION

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 Norman† & Barbara 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-Maria 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 MAY 2015

Leave a Legacy with Planned Giving There are few places where you can go to hear world-class voices alongside a world-class orchestra set to inspiring dramatic narratives. Utah Symphony | Utah Opera offers this and more to audiences across the state of Utah. Your commitment to Utah Symphony | Utah Opera through a planned gift can allow us to continue to engage, astound, and delight current and future audiences. By including USUO in your estate plans, you can extend our legacy and safeguard our future as the premier arts organization of the Intermountain West. With smart planning, you may actually increase the size of your estate and/or reduce the tax burden on your heirs. Just as importantly, your gift will be a meaningful contribution for the future of USUO. To find out how you can begin preparing for your future and ours, visit our new planned giving website at usuo.giftplans.org!

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.

J. WONG’S THAI & CHINESE BISTRO 11am - 3pm Monday to Saturday 5pm - 10pm Monday to Saturday 4pm - 9pm Sunday

200 South 163 West (south of Salt Palace), SLC (801) 350-0888 Jwongs.com

2012 - 2014

UTAH SYMPHONY MAY 2015

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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 3/15/2014 and 3/15/2015. 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 Goldener Hirsch Inns* Larry H. Miller Ford/Lincoln Sandy Macy’s Martine* Marriott City Center* McCarthey Family Foundation Rasmussen Landscapes* Ruth’s Chris Steak House, Salt Lake City* Stoel Rives Union Pacific Foundation U. S. Bancorp Foundation Victory Ranch Club $1,000 to $4,999 Advanced Retirement Consultants Bertin Family Foundation Timothy F. Buehner Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Robert S. Carter Foundation Castle Foundation

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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 Intermountain 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* Ruth’s Chris Steak House/Hotel Park City* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Strong & Hanni, PC Swire Coca-Cola, USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation Wasatch Advisors

UTAH SYMPHONY MAY 2015

OPEN FULL PAGE THE JUSSI BJÖRLING SOCIETY–USA ANNOUNCES

A Jussi Björling Conference June 11-13, 2015 in Salt Lake City, Utah Including: Anders Björling, Andrew Farkas, Stephen Hastings, Harald Henrysson, Michael Mayer, Duff Murphy, Jared Oaks and Ingo Titze With a Free Special Session— RICHARD TUCKER: THE AMERICAN CARUSO with James A. Drake, Ph.D. and David N. Tucker, M.D. Details at jussibjorlingsociety.org

Intermountain Therapy Animals PETS HELPING PEOPLE

Serving Our Communities Since 1993

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T he r a p y An im a l s . o r g

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 3/15/2014 and 3/15/2015. 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 Anonymous (2) Doyle Arnold & Anne Glarner Mr. & Mrs. Michael Callen Mr. & Mrs. Chris Canale Hal M. † & Aileen H. Clyde Ken & Shelly Coburn Marc & Kathryn Cohen Patricia Dougall Eager Trust Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Thomas & Lynn Fey John & Dorothy Hancock Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family 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 Thomas & Kathy Thatcher Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner M. Walker & Sue Wallace 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. & Mrs. Kenneth R. Cutler Mr. James Davidson B. Gale† & Ann Dick J. I. “Chip” & Gayle Everest Midge & Tom Farkas

UTAH SYMPHONY MAY 2015

Jack & Marianne Ferraro Robert & Elisha Finney Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Mr. & Mrs. Eric Garen Jeffrey L. Giese, M.D. & Mary E. Gesicki Shari Gottlieb Ray & Howard Grossman Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis Mr. & Mrs. Kent Jones Robert & Debra Kasirer Hanko & Laura Kiessner Jeanne Kimball Elizabeth & Michael Liess Peter & Susan Loffler David & Donna Lyon 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 David & Jerre Winder Ms. Gayle Youngblood $2,000 to $2,999 Anonymous (7) Craig & Joanna Adamson Robert & Cherry Anderson Drs. Wolfgang & Jeanne Baehr Richard & Alice Bass Mr. & Mrs. William Bierer

Anneli Bowen, M.D. & Glen M. Bowen M.D. Richard & Suzanne Burbidge Lindsay & Carla Carlisle Robyn Carter Raymond & Diana Compton Dr. & Mrs. J. Michael Dean James & Rula Dickson Mr. & Mrs. Robert Ehrlich Robert S. Felt, M.D. Blake & Linda Fisher John F. Foley, M.D. Dorene Sambado, M.D. 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 Dale & Beverly Johnson Neone F. Jones Family James R. 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 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) Carolyn Abravanel Fran Akita Christine A. Allred Alex Bocock & Amy Sullivan Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Daniel & Sheila Barnett 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 Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal

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OUT OPEN FULL PAGEON

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 A Jussi Björling Conference Ad Council Adib’s Rug Gallery Bambara Bank of Utah BMW of Murray/Pleasant Grove Caffè Molise Challenger School City Creek Living County Hills Eye Center Daynes Music Excellence in the Community Gina Bachauer International Piano Festival Grand America

Human Society Intermountain Therapy Animals J. Wong’s Kirton | McConkie KUED Larry H. Miller Lexus Little America Martine Morris Murdock - Black Pearl New Yorker Peter Prier & Sons Violins Pioneer High School for the Performing Arts Protel RC Willey

Rowland Hall Ruth’s Chris Steak House Sagewood at Daybreak Tuacahn Amphitheater University of Utah Hospital Utah Arts Festival Utah Festival Opera Utah Food Services Utah Museum of Fine Arts Utah Shakespeare Festival ZIons Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Individual Donors

Edward B. & Deborah Felt Robert & Elisha Finney Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham Robert & Joyce Graham Anabel Greenlee Geoffery Grinney C. Chauncey & Emily Hall Robert & Marcia Harris Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. 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 Angela Shaeffer 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

UTAH SYMPHONY MAY 2015

Brian & Deborah Smith Dr. & Mrs. Michael H. Stevens Douglas & Susan Terry Ann Jarcho Thomas Carol A. Thomas Robb Trujillo Mrs. Rachel J. Varat-Navarro William & Donna R. Vogel Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg Michael & Judy Wolfe Mr. & Mrs. E. A. Woolston Mr. & Mrs. Hugh Zumbro $500 to $999 Anonymous (5) John C. Abercrombie Patricia Andersen Mr. & Mrs. David Anderson Ronald I. Apfelbaum, M.D. & Kathleen A. Murray, M.D. Daniel & Sheila Barnett Kyle & Melissa Barnett Reverend James Blaine Roger & Karen Blaylock Marianne Burgoyne Antonio & Linda Capobianco Mr. & Mrs. Fred L. Carter, Jr. Anna Cervania Po Cheng & Beatrice Chang Barbara Christensen Orson C. & Dianne Clay Dr. & Mrs. Hal S. Cole Milada Copeland & William French Denise Corr Norm & Kris Davis Robert DeBry Drs. Pilar & Christopher Dechet Ashby & Anne Cullimore Decker Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Josephine Divver Lorie Dudley Eric & Shellie Eide Janet Ellison Leah B. Felt Samuel & Erika Finlayson Drs. Norman & Carol Foster Carolyn C. Fredin Theresa A. Georgi Mr. & Mrs. David Golden Mr. & Mrs. Theodore Gurney, Jr. Mark & Kimberly Haroldsen

Sandra & Henry Harris Jonathan Hart Richard & Darlene Hirschi Leo & Harriet Hopf Chuck & Kathie Horman Robert & Virginia Huber Nelson James Eldon Jenkins & Amy Calara Jeff & Rachel Jensen Cosette Joesten David & Donna Johnson Maxine & Bruce Johnson James & Anne Johnson Drs. Sara & Jason Johnson Thomas H. Klassen & Carolyn Talboys-Klassen Pat Koch Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Nelean Meadows Layne Herbert & Helga Lloyd Uri Loewenstein & Elizabeth Tashjian Dennis & Pat Lombardi Thomas J. Martin PhD Clifton & Terri McIntosh Dan McKnight Johanna & Jack McManemin Hal & JeNeal Miller Richard & Jean Miller Richard & Anita Miner Robert & Dianne Miner David & Suzanne Moore Mary Muir Faye Muntz & Harlan Muntz Renate B. Nebeker David & Debra Neff John & Mary Ann Nelson Ellen Opprecht David & Elodie Payne Mr. & Mrs. L. Tom Perry Joan C. Peterson Anne E. Palmer Laszlo & Sandra Preysz Tom & Karma Ramsey Annelie Rathke Mr. Bill Reagan Angela Richens Kenneth Roach & Cindy Powell Dr. John W. Rose & Ms. Carolyn A. Pedone Don & Noreen Rouillard Catherine Rowan Bertram H. & Janet Schaap Sandefur Schmidt Darrell Schrick Jackie Seethaler Deborah Simmons

Val & Barbara Singleton Stuart & Suzanne Slingerland Mr. & Mrs. J. Leon Sorenson Roger & Shirley Sorenson Susan Chausow Southam Mildred Sparks Diana Major Spencer Gordon Steyaert William & Carol Stinner Lisa Stout & Greg Miyatake Dr. Paula M. Swaner Dr. Jennifer Van Horn William & Donna R. Vogel Harold & Emily Vonk Nadine Ward Dr. James C. Warenski Judith Warner Elaine & Joe Weis Catherine Wong John & Jean Yablonski Frank & Betty Yanowitz Norman & Kathy Younker $150-$499 Anonymous (22) James & Christiane Adams Eva-Maria Adolphi Robyn Airmet Dr. & Mrs. Ernst T. Ajax Mr. & Mrs. Franklin Alex Elizabeth & Dean Andersen Craig W. & Joan R. Anderson Dr. & Mrs. Jeffrey L. Anderson Christine & Marco Andrei Mr. & Mrs. Robert Archuleta Jayne V. Arellano Eugene Arner Lois & Stephen Baar Ms. Kathleen Badalian Mr. & Mrs. Lewis Baker Judy Barking Govert Bassett Brian Bateman Randy Bathemess Mary Ann Bauman Leroy & Barbara Bearnson Mary Beckerle & David Murrell Michael Behring & Debra Marin Streghina & Bobó Bell Michael & Janet Bennett Francine R. Bennion C. Verl & Shirley M. Benzley Robert & Charlene Bereskin Dan Bethel

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Individual Donors Sue Bhanos Eric & Tanya Blake Shari & Keith Bloom Dr. & Mrs. H. Allan Bloomer Brent Bogden Josephine Boswell Thomas Bowen & Martha Brace Elise Bowers Mr. Robert Boyle Mark Briesacher Vern & Dawn Brimley W. Robert & Connie P. Brinton Mark & Diane Bromberg Dr. & Mrs. Wallace B. Brown Susan Brown Judy & Larry Brownstein John & Kathryn Burnham Fred Burr Mr. & Mrs. Christopher L. Burton Walter & Julie Busse Thomas H. & Mary Ellen B. Caine Mr. & Mrs. David R. Campbell Luann & James Campbell Christie E. Canfield Luzmaria Cardenas Bartell & Kathleen Cardon Roger & Sharon Carrier Frederic Catoni Mr. & Mrs. Don M. Christensen Edward & Claudia Christensen MaryBeth Jarvis Clark John & Patricia Clay James Clayton Judge Henry Clayton Amy Coady John Coffin Tony Colby Vernon & Ila Cook Hilary Coon & Jim Yehle David & Sandra Cope Dorothy B. Cromer Richard & Julie Cummings Ronald & Carole Cutler Darwin & Sarah Cuvelier Kevin Damon William & Bonnie Daniloff Dave & Ariane Dansie Raymond & Rolinda Dardano Mr. James Davidson Mr. & Mrs. Merrill Day Harold & Sonja Decker Klancy & Noel DeNevers Catherine deVries, M.D. Linda & John Des Barres

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Mr. & Mrs. Richard Dibblee James & Rula Dickson Mary Dillon Mrs. Suzanne C. Driggs Mr. & Mrs. James E. Duane Vernon Dwire Candice Dwyer John & Arlene Edwards John Erickson Mr. & Mrs. Steven Ericson Robert P. & Mary Evans Rick & Alix Farnell Richard A. & Carol M. Fay Richard & Joyce Ferrone Omni Flux Ariel Bybee & James E. Ford Harry Franta Ernst Friedrich, M.D. & Marianne Friedrich, Phd. Keith & Phyllis Frogley Ann Futch Spencer & Patricia Gaines Al Galik Mr. & Mrs. B. Delworth Gardner Dennis & Sherrie Gardner Quinn & Julie Gardner Martin & Sheila Gelman Dr. Jennifer Genzen David & Ann George Deanna Gerber Catherine Gerwels Raymond & Harriett Gesteland Dr. & Mrs. Chris Ghicadus Pete Giacoma Kristi & Joseph Gilbert William L. Glad Scott & Robin Gochnour John & Beth Goebel Lawrence & Suzanne Goldsmith Abby Gottsegen & Leonard Haas Melvin & Diane Gourdin Dr. & Mrs. William R. Gray Paul “Hap” & Ann† Green Tammy Green Paul & Janet Griffin Karen McArthur & Bernard Grosser Marshall Summers-Gunn & Tim Gunn John & Ilauna Gurr Arlen Hale Jeff & Ellen Hall Mary Hammer Dr. Elizabeth Hammond Janet Y. Hammond Karen E. Hannahs Susan Hardy Misty Harper

Alene Harrison Rob Harter Dr. Mary Elizabeth Hartnett Mr. & Mrs. Clyde E. Harvey Linda Haslam Beverly Hawkins Mr. & Mrs. Jim Haynes Frank Heath Laura & Clayton Heckler Jeannine Heil Susan Hendry Douglas & Sandra Hill Richard & Ruth Ann Hills Kathryn Hoge Ronald & Judith Holdaway Mr. & Mrs. John W. Holt Ron & Marsha Houston Tina & Larry Howard Gerald Huber Dean & Kathleen Hughes Randy & Nikki Huizenga Marcus Hunt Michael & Stacy Hurst Gil† & Thelma Iker Gordon Irving Eric & Becky Jacobson Dr. Richard & Helene Jaffe James & Jeanne Jardine Michelle Jenkins Dr. & Mrs. Joseph D. Jensen Joanna & Jim Johnston Elmer Johnson Jeffery O. Johnson Robert & Mary Johnson Rodney Johnson Mr. & Mrs. Seth Johnson Virginia Johnson Laura & Chuck Kaiser Ryan & Diane Kamerath Saria Karhunen Dr. Siegfried & Ellen Karsten James & Lucille Kastanis Sylvia Katzman Umur Kavlakoglu Kristen Keefe & Herbert Hayashi Howard Keen Jeffrey & Jemina Keller Scott & Susan Kenney Michael & Margaret King Donald Kirk Robert Knox Saul Komisar Wendy Kuo David & Sandra Lamb Guttorm & Claudia Landro Clarann Larsen Gary & Suzanne Larsen Robert & Nila Lee Bruce Leisz Dr. Giavonni M. Lewis Gina Lewis

Richard & Carol Liddiard Katherine P. Liddle Otto Liebergesell Cameron Liljenquist Lisa & Sean Lindberg Gene & Carol Linder Gary & Sandra K. Lindstrom Allan & Kay Lipman Frederick Liu Herbert C. & Wilma S. Livsey Julius & Marion Lloyd Uri Loewenstein & Elizabeth Tashjian Richard & Connie Loomis Marilyn Lott Dr. & Mrs. Dean F. Luddington Kathy Lynch G. Macglaughlin & D. Costley Dr. Nicole Maclaren Jennifer Malherbe Dr. & Mrs. Ned L. Mangelson Mark & Libby Haslam Susan R. Marquardt Robin & Nassir Marrouche Dr. & Mrs. Fumisuke Matsuo Norma Matheson Dale & Carol Matuska Beverly J. McCurdie Ralph & Peggy McElvain Jerilyn McIntyre & David Smith Heather McMaster Macoy & Marjorie McMurray Warren K. & Virginia G. McOmber Clyde Meadows Sanford Meek Edward G. “Skip” & Patricia Mencimer Ron & Tamara Meyers Paula Michniewicz Nicole L. Mihalopoulos & Joshua Scoville Jean H. & Richard R. Miller Robert L. Miller Roland Byron Miller Charlotte Miller D. Allen Miller Dan P. Miller Jay D. Clark & Janine Miner Richard Mitchell & Carol Berrey Dave Moore & Mary Mallon Susan Moore Ted Moore & Julie HartleyMoore Roger & Kari Morandi Sue Morgan

UTAH SYMPHONY MAY 2015

Individual Donors Janet Morley Tom & Jean R. Moseley Mitchell Mounteer John Mulderig Janene Muller J. Larry & Romanie Murdock Dalmas & Joann Nelson Nicola Nelson Mr. & Mrs. L. J. Newell Dr. & Mrs. John H. Newton Elder & Mrs. Dallin H. Oaks Dr. & Mrs. Merrill C. Oaks Thomas & Barbara O’Byrne Karen Oelerich Daniel Ogura Patti O’Keefe Don E. & Sandra Lee Olsen Ferron & Donna Lee Olson Keith & Patricia Olson Maura & Serge Olszanskyj Carolyn L. Orthner Lee K. Osborne John Steven Ott Ralph & Kay Packard Brent Palfreyman Blaine & Shari Palmer Dr. Cheryl Ann & Mr. Michael Palmer J.J. Palmer Mr. & Mrs. Donald M. Pantone Kay Papulak Jeffrey Paris William & Carole Pariseau Mrs. Paula S. Paterson John & Barbara Patrick Mr. & Mrs. James Patterson Robert Peiser Sonja Penttila & Lewis Boynton Mr. & Mrs. Dean Peters Don & Carolyn Petersen Normand L. Peterson Karen K. Pierce Nancy G. Pitstick Milavoj Poletan Dr. & Mrs. Robert L. Poulson Joan Proctor Glen & Dorothy Purdie Dan Purjes Jeff Quigley Jana Ramacher Daniel Rapp Hildegard & Angela Rayner Delia & Craig Reece Ralph & Rita Reese Thomas & Ginger Reeve Ronald Rencher

UTAH SYMPHONY MAY 2015

Tim Rice Drs. John & Gayle Richards Mr. David S. Richardson Milton & Charman Riggs Dr. & Mrs. Delbert G. Ririe Delia Rochon Mr. Theodore Rokich Marilynn Roskelley & Paul Dorius Thomas & Shirley Rossa Gerry & Ginny Rothstein Patricia Curtis Rothwell Gail T. Rushing Mr. & Mrs. Leonard Russon Edwin Rutan Rachel Sabin Mr. & Mrs. Paul S. Sagers Juergen & Cheryl Sass Max & Teri Savage Lyda Sayge Sarah Scheuller Kristina Schmidt Dr. & Mrs. Frederick Schnell James Schnitz Susan Schulman John Schumacher Dr. & Mrs. Kent M. Seal Catherine Seale Roger & Connie Seegmiller Harry & Becky Senekjian Clark & Judith Sessions M. Tom & Junko Shimizu Glenda Shrader Sandra Sigman Sargent Stephanie Silas Howard Silliman Dr. Robert & Denise Silver Bonne Simmons Mrs. Margaret M. Simmons Brad Simons Allen & Karen Sims Deborah & Brian Smith Jill Smith Marion & Nicholas Smith John & Geraldine Snow Tom Sobchack Paul & Carol Sonntag Diane Soule Michael Stahulak Thomas Steigerwalt Mr. & Mrs. Larry Stevens Stewart Barlow Jeffrey Stone Kathleen Stout Annie & Cory Strupp Briant Summerhays Harold Sutherland Jeannette Swent

Gaylia Tanner Max Tanner Dr. & Mrs. Robert Tayler Lucy C. Taylor James & Carolyn Taylor Dr. & Mrs. Kim Y. Taylor Isabella Tcaciuc Richard B. Teerlink Jon & Gail Tensfeldt Joe & Evalyn Terry Teresa & Doug Thornberg Mr. & Mrs. Larry R. Thornock John & Frances Tornquist Fred Tripp Jerry Van Os Shirley Van Wagenen Michael & Carolyn Verkler Karl Voelkerding Mr. & Mrs. Clark Waddoups Susan Waters Werner & Dorothy Weixler Lauri Welch Charles & Ellen Wells Dr. & Mrs. James White Henry O. Whiteside Vincent & Virginia Wickwar John P. Wier James Wilcox Brian Wilkin Dr. George A. Williams Jody L. Williams Gary Williams E. McKay & Jean Willis Glenn & Connie Wimer Doris Woodward Kent Young Marjorie Young In Honor of Barbara & Steven Anderson H. Brent & Bonnie Jean Beesley Dr. & Mrs. Joseph C. Bentley Paula J. Fowler Carolyn Tanner Irish 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 Robert H. Burgoyne, M.D. 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 Dennis Meadows Jean Moseley Joseph Palmer 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 3/15/2014 & 3/15/2015

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Classical 89 Broadcasts May 2 | 9:30 AM SCHUBERT Symphony No. 3, Mvt. II Matthew Halls, Conductor (recorded 7/31/14) May 9 | 9:30 AM MOZART Symphony No. 36, Mvt. I Thierry Fischer, Conductor (recorded 8/6/14) May 16 | 9:30 AM BEETHOVEN Symphony No. 2, Mvt. III Thierry Fischer, Conductor (recorded 8/6/14) May 23 | 9:30 AM BRAHMS Piano Concerto No. 2 Thierry Fischer, Conductor Yefim Bronfman, Piano (recorded 9/19/14) May 30 | 9:30 AM HANDEL Harp Concerto No. 6, Mvt I Vladimir Kulenovich, Conductor Caroline Richards, Harp (recorded 9/30/14) June 6 | 9:30 AM MOZART Sinfonia Concertante, Mvt. I Vladimir Kulenovic, Conductor Margaret Ivory, Violin Rebecca Epperson, Viola (recorded 9/30/14) June 13 | 9:30 AM SAINT-SAËNS Introduction and Rondo Capriccioso Vladimir Kulenovic, Conductor Karen Ferry, Violin (recorded 9/30/14)

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

June 20 | 9:30 AM CHOPIN Piano Concerto No. 2, Mvt. III Vladimir Kulenovic, Conductor Sanne Christensen, Piano (recorded 9/30/14) June 27 | 9:30 AM BEETHOVEN Violin Concerto, Mvt. I Vladimir Kulenovic, Conductor Shenae Anderson, Violin (recorded 9/30/14) July 4 | 9:30 AM MOZART Rondo for Piano & Orchestra llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14) July 11 | 9:30 AM STRAUSS Burleske in D minor llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14) July 18 | 9:30 AM MAHLER Symphony No. 2, “Resurrection” Thierry Fischer, Conductor Celena Shafer, Soprano; Jennifer Johnson Cano, Mezzo-Soprano; Utah Symphony Chorus; Utah Chamber Artists; University of Utah A Cappella Choir; University of Utah Chamber Choir (recorded 11/14/14) July 25 | 9:30 AM BEETHOVEN Symphony No. 9, “Choral” Thierry Fischer, Conductor Celena Shafer, Soprano; Cynthia Hanna, Mezzo-Soprano; Chad Shelton, Tenor; Michael Dean, Bass-baritone; Utah Symphony Chorus (recorded 12/6/14)

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