Deer Valley® Music Festival

JULY 2 - AUGUST 9 / 2016 / THIRTEENTH SEASON

D E E R V A L L E Y M U S I C F E S T I V A L . O R G

Guild Hall

WHERE MODERN MEETS TRADITIONAL

Today’s classics meet the cutting-edge sophistication of contemporary.

Enjoy the process, love the outcome!

Beautiful Showroom • Inspiration • Experienced Design Team • Retail • To the Trade

3640 SOUTH HIGHLAND DRIVE SALT LAKE CITY, UTAH 801.277.6534 UTAHGUILDHALL.COM

CONQUER ALL FOUR SEASONS.

BMW xDrive

bmwusa.com 1-800-334-4BMW

xDRIVE, BMW’S INTELLIGENT ALL-WHEEL-DRIVE SYSTEM IS NOW ON MORE MODELS THAN EVER. Sure, BMW xDrive gives you pulse-racing performance on every road, in every condition. But most importantly, it gives you peace of mind when driving on slick or uneven roads without sacrificing performance. And now that xDrive is available on more models than ever before, it’s the perfect time to experience it for yourself.

Special lease and finance offers available by BMW of Murray and BMW of Pleasant Grove through BMW Financial Services.

BMW of Murray 4735 South State 801-262-2479 bmwofmurray.com

Murray, UT 84107

BMW of Pleasant Grove 2111 W. Grove Parkway 801-443-2000 bmwofpleasantgrove.com

Pleasant Grove, UT 84062

©2015 BMW of North America, LLC. The BMW name, model names and logo are registered trademarks.

Proud Sponsor of The Deer ValleyÂŽ Music Festival

We know what it takes to complete a successful performance. There i s no substitute f or working hard, staying on top of your game and accepting only perfection.

We are proud of our participation in the Utah community working to bring new and vibrant businesses to our state. We understand business and we are equipped through our various affiliations to undertake any assignment, large or small.

435.615.9911 / M 951.314.4258 / F 435.655.7062 E-mail: tom@tomjacobsonlaw.com www.tomjacobsonlaw.com

WELCOME TO DEER VALLEY® MUSIC FESTIVAL

Welcome to the 13th annual Deer Valley® Music Festival!

Utah is a magnificent place to visit and to call home.

Because of our state’s great natural beauty, its stupendous outdoor recreation offerings, and the overall quality of life, Utah Symphony | Utah Opera attracts some of the best musicians, artists, and staff nationwide. It’s no wonder that our festival experience has become a favorite way for many people to spend their summer evenings.

Paul Meecham President & CEO

Dave Petersen Chair, Board of Trustees

The Deer Valley® Music Festival attracts thousands of visitors to Summit County, which benefits the economy of the area and reinforces Park City’s reputation as an outstanding vacation destination. Thank you for your dedication to the festival, which helps us demonstrate the stability of the positive cultural and economic effect we bring to our summer home in the mountains.

This year’s festival is the finale of what has been a truly inspirational season for us as we celebrated the 75th anniversary of the Utah Symphony. In response to the artistic excellence demonstrated throughout the season, our 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation, made an extraordinary commitment of $3 million to our organization. The generosity of the George S. and Dolores Doré Eccles Foundation has made a remarkable impact on USUO over many years that is impossible to overstate. In addition to supporting our Campaign for Perpetual Motion and ongoing annual fund efforts, this pledge includes a $500,000 challenge grant to help USUO reach our $20 million campaign goal before the end of the 2015–16 season. We hope you will consider helping us meet the matching challenge grant with a new or increased donation to demonstrate what USUO means to you and to your community.

Thank you for joining us for tonight’s concert. We trust that the exceptional music in this outstanding landscape will confirm for you why a thriving performing arts community is an integral part of what makes Utah great.

DEER VALLEY® MUSIC FESTIVAL / 5

TESTIMONIALS

What a remarkable year this has been for the Utah Symphony as it celebrated its 75th Anniversary! Building on such a distinguished past, Maestro Thierry Fischer and the symphony have set the stage for an exciting future highlighted by new recordings, innovative programming, and national performances, including the memorable 75th Anniversary Concert at Carnegie Hall in New York!

For more than 30 years, our foundation has valued and treasured the symphony for its key role in Utah’s cultural life, and for its impact as an economic driver attracting new businesses that value our strong arts community. We invite everyone in Utah to experience the treasure we have in the Utah Symphony by joining in the celebration of this milestone anniversary right here at home. At Carnegie Hall, Abravanel Hall, or on the mountainside at Deer Valley…a Utah Symphony concert is not to be missed!

Lisa Eccles | President & COO George S. and Dolores Doré Eccles Foundation Deer Valley® Music Festival Summer Symphony Series Sponsor Utah Symphony 75th Anniversary Signature Sponsor

As sponsors of the DVMF VIP Experience, The St. Regis Deer Valley and the Deer Crest Club are proud supporters of the Utah Symphony | Utah Opera’s Deer Valley® Music Festival. After six years of dedicated collaboration, we see the impact this festival has on our summer economy and are excited for the growth still to come. As one of the “Preferred Lodging Partners” of the festival we are thrilled to offer visitors and Deer Crest Club members the opportunity to enjoy beautiful music and casual concert experiences singular to Utah. The Utah Symphony is a gem in our state and their growing national exposure will surely bring even greater notoriety to our beloved Deer Valley® Music Festival each summer. Thank you for joining us in your support!

Mr. Edward Shapard | General Manager VIP Experience Sponsor

6 / DeerValleyMusicFestival.org

TESTIMONIALS

One of the reasons I am proud to call Utah my home is because of the treasure we have in our community with Utah Symphony | Utah Opera. The opportunity to attend world-class performances throughout the year in the fabulous venues offered in our vibrant community is one of the privileges of living in Utah. Our family favorite is the Deer Valley® Music Festival because of the combination of a spectacular setting and some of the best performances one can experience in any location. Serving as a Trustee of USUO has been one of the greatest honors of my life because of the association with such great performers, musicians, staff, and dedicated volunteers.

Thomas N. Jacobson | USUO Trustee Deer Valley® Music Festival Executive Council Member

Music…it relaxes, inspires, comforts, energizes. When one of the nation’s finest symphony orchestras is combined with a selection of talented guest artists, and placed in the incomparable setting of the mountains, there is no better way to enjoy an evening with friends. We are fortunate to be part of a community that cherishes and supports the Deer Valley® Music Festival. The volunteers who give selflessly of their time; the exceptional staff that plans, organizes, and flawlessly executes these events; and the talented musicians who share their gifts with us create an environment unlike any other.

“If a composer could say what he had to say in words, he would not bother trying to say it in music.” ~ Gustav Mahler As you settle in for this experience that is so unique to Park City, please know that you are blessed to be surrounded by people who share your passion for music and the many ways it touches our hearts. Thanks for being a supporter of this marvelous organization.

Kathie & Scott* Amann *Deer Valley® Music Festival Executive Council Member

DEER VALLEY® MUSIC FESTIVAL / 7

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.

THANK YOU

DEER VA L L E Y ® MUSIC FESTIVA L FOUNDERS

MARK & DIANNE PROTHRO

SHIEBLER FAMILY FOUNDATION Bill & Joanne Shiebler

SWARTZ FOUNDATION Jim & Susan Swartz

MIL L ENNIUM L E V EL ($25 0,0 0 0+)

EDWARD ASHWOOD & CANDICE JOHNSON

GAEL BENSON

E.R. (ZEKE) & KATHERINE W.†

KEM & CAROLYN GARDNER

DUMKE

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

SAM & DIANE STEWART

LAWRENCE T. &

DIANE & HAL BRIERLEY

JANET T. DEE FOUNDATION

MARTIN & JANE GREENBERG

CAROL & TED NEWLIN

JAMES A. & MARILYN PARKE

CORPORATION

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

8 / DeerValleyMusicFestival.org

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

ANTHONY & RENEE MARLON

THANK YOU ENCORE L E V EL ($10 0,0 0 0+)

DOYLE ARNOLD & ANNE GLARNER

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

THE RIGHT REVEREND CAROLYN TANNER IRISH

EMMA ECCLES JONES FOUNDATION

GIB & SUSAN MYERS

**

RONALD & JANET JIBSON

WILLIAM H. & CHRISTINE NELSON

THIERRY & CATHERINE FISCHER**

ROGER & SUSAN HORN

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

DR. DINESH AND KALPANA PATEL

BR AVO L E V EL ($ 5 0,0 0 0+) SCOTT & JESSELIE ANDERSON

**

DAVID WALL*

THOMAS BILLINGS & JUDGE JUDITH BILLINGS

MARRINER S. ECCLES FOUNDATION

THE FLORENCE J. GILLMOR FOUNDATION

SCOTT & SYDNE PARKER

FRANK R. PIGNANELLI & D’ARCY DIXON

ALBERT J. ROBERTS IV

GRAND & LITTLE AMERICA HOTELS*

DOUGLAS & CONNIE HAYES

** MR. & MRS. G.B. STRINGFELLOW

LOIS A. ZAMBO

OV ER T URE L E V EL ($25,0 0 0+) Scott & Kathie Amann Anonymous in honor of the March of Dimes Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray BMW of Pleasant Grove Judy Brady & Drew W. Browning R. Harold Burton Foundation Michael & Vickie Callen Chevron Corporation C. Comstock Clayton Foundation John & Flora D’Arcy Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage

Kristen Fletcher & Dan McPhun Holland & Hart** Richard K. & Shirley S. Hemingway Foundation Tom & Lorie Jacobson Janet Q. Lawson Foundation Love Communications* Markosian Family Trust Carol & Anthony W. Middleton, Jr., M.D. OPERA America’s Getty Audience Building Program Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation

Dr. Wallace Ring Simmons Family Foundation Harris H. & Amanda Simmons Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint M. Walker & Sue Wallace Wells Fargo Jack Wheatley John W. Williams† Workers Compensation Fund Edward & Marelynn Zipser

DEER VALLEY® MUSIC FESTIVAL / 9

THANK YOU M A ESTRO ($10,0 0 0+) Anonymous Adobe American Express Ballard Spahr, LLP Haven J. Barlow Family B. W. Bastian Foundation H. Brent and Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris and Lois Canale Capital Group Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. and Mrs. Ralph Earle Sue Ellis Chip & Gayle Everest

Thomas and Lynn Fey Robert & Elisha Finney Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine and Burton L. Gordon Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** Josh and Cherie James G. Frank and Pamela Joklik Robert and Debra Kasirer Katharine Lamb Marriott Residence Inn* Charles & Pat McEvoy Pete & Cathy Meldrum Harold W. and Lois Milner Moreton Family Foundation Fred and Lucy Moreton National Endowment for the Arts Ogden Opera Guild Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley

Promontory Foundation ProTel* David and Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David and Lois Salisbury Lori and Theodore Samuels Ben & Peggy Schapiro Pauline Collins Sells Sounds of Science Commissioning Club George and Tamie† Speciale Thomas and Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Zibby and Jim Tozer Tom and Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* U.S. Bancorp Foundation

Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2016 Deer Valley® Music Festival.

BRONZE ($7, 5 0 0+) Jack & Marianne Ferraro Joe and Dixie Furlong

Glen & Rayna Mintz Terrell & Leah Nagata

Robert & Kim Rollo Victory Ranch and Conservancy

John & Dorothy Hancock Harrison & Elaine Levy Hallie & Ted McFetridge Brooks & Lenna Quinn

James & Gail Riepe Squatters Pub Brewery*

Margo & Ken Jacobs Sharon Jenkins Jim & Penny Keras Laura Kiessner Merele & Howard Kosowsky Roger & Sally Leslie Michael & Beth Liess Bill Ligety & Cindy Sharp Wayne & Barbara Lyski Rebecca Marriott Champion Ginni Mithoff Ralph & Dee Muller James & Ann Neal Ray Pickup Jon Poesch

Joyce Rice Tom & Jeanne Rueger Tom Safran sPower Shirley & Eric Schoenholz Thomas & Gayle Sherry Deborah & Brian Smith Snell & Wilmer Christine St. Andre & Cliff Hardesty StayParkCity Glen & Nancy Traylor Vince & Melanie Trotta Jeremy & Hila Wenokur Gayle & Sam Youngblood

STA NDA RD V IP ($ 4, 5 0 0+) Suzanne & Clisto Beaty Judy & Larry Brownstein Neill & Linda Brownstein Howard & Ray Grossman

V IP PATRON ($2 , 5 0 0+) Robert & Cherry Anderson Caryl & John Brubaker Jonathan & Julie Bullen Mark & Marcy Casp Coley Clark Debbi & Gary Cook David & Sandra Cope Mike & Sheila Deputy Carol & Greg Easton Linda & Blake Fisher John Foley & Dorene Sambado Susan Glasmann & Richard Dudley Goldman Sachs Wes & Sunny Howell Jerry Huffman

FRIEND OF THE FESTI VA L ($1, 5 0 0+) James & Marilyn Brezovec Peter & Lisa Fillerup Susan Gillett

Caroline & David Hundley Susan Keyes & Jim Sulat Allison Kitching Park City Foundation

Gifts as of 6/15/16

**In-Kind & Cash Gift

*In-Kind Gift

†Deceased

10 / DeerValleyMusicFestival.org

Ruth’s Chris Steak House/Hotel Park City* Karen & Richard Urankar

Utah Symphony 75th Anniversary Signature Sponsor

George S. and Dolores Doré Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles

W

ith a tradition of generous support spanning more than three decades, the

George S. and Dolores Doré Eccles Foundation continues to play a key role in the success of Utah Symphony | Utah Opera. Today – as Signature Sponsor of Utah Symphony’s 75th Anniversary – the Eccles Foundation’s unwavering partnership of support is leading the way for Utah Symphony’s exciting future ... one filled with growth, opportunity, innovation and excellence!

ANNIVERSARY

BECAUSE TRUE WEALTH IS ABOUT SO MUCH MORE THAN MONEY.

Our Premier Wealth Management Group offers a full suite of services to help you make the most of what you’ve worked to earn. To schedule an appointment with a wealth management consultant, call 888-290-8488 or visit zionsbank.com/wealth.

A division of ZB, N.A.

CONTENTS

Mills Publishing, Inc. Publisher Dan Miller President Cynthia Bell Snow Office Administrator Jackie Medina Art Director/ Production Manager Patrick Witmer Program Designer Leslie Hanna Ken Magleby Patrick Witmer Graphic Designers Paula Bell Karen Malan Dan Miller Paul Nicholas Advertising Representatives Jessica Alder Office Assistant Ruth Gainey Administrative Assistant Melissa Robison Editor The UTAH SYMPHONY | UTAH OPERA program is published

by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@ millspub.com Website: millspub. com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © Copyright 2016

5

»

Welcome to Deer Valley® Music Festival

6 » Testimonials 8

»

Thank You

16

»

Utah Symphony

18

»

Festival Council

23

»

Board of Trustees

24 » Administration 26

»

2016 Salon Series

27

»

The St. Regis VIP Experience

28

»

Festival Map

30

»

Park City Summer Staycation-ing

32

»

Q&A with Paul Meecham

37

»

Deer Valley® Music Festival Series Sponsors

137 »

Insight from the Inside

140 »

Hot Deals - Restaurants

142 »

Giving on the Hill

144 »

The Campaign for Perpetual Motion

146 »

Plan Big

147 »

Tanner & Crescendo Societies

148 »

House Rules

150 »

Classical 89 Broadcasts

152 » Acknowledgments 153 » Education

DEER VALLEY® MUSIC FESTIVAL / 13

CONTENTS

39

JULY 2 | 7:30 PM | DEER VALLEY RESORT

45

JULY 6 | 8 PM | ST. MARY’S CHURCH

55

JULY 8 | 7:30 PM | DEER VALLEY RESORT

61

JULY 9 | 7:30 PM | DEER VALLEY RESORT

67

JULY 13 | 8 PM | ST. MARY’S CHURCH

75

JULY 15 | 7:30 PM | DEER VALLEY RESORT

81

JULY 16 | 7:30 PM | DEER VALLEY RESORT

85

JULY 20 | 8 PM | ST. MARY’S CHURCH

93 14 / DeerValleyMusicFestival.org

PATRIOTIC CELEBRATION with BROADWAY’S DOUG LaBRECQUE

SCHUBERT’S SYMPHONY NO. 5

ROCK ON! HITS FROM THE 70s & 80s

THE B-52s LIVE with the UTAH SYMPHONY

HANDEL’S WATER MUSIC

UNDER THE STREETLAMP with the UTAH SYMPHONY

MATTHEW MORRISON with the UTAH SYMPHONY

McDUFFIE plays THE AMERICAN FOUR SEASONS

JULY 22 | 7:30 PM | DEER VALLEY RESORT

A RODGERS & HAMMERSTEIN CELEBRATION & SING-ALONG

CONTENTS

99

JULY 23 | 7:30 PM | DEER VALLEY RESORT

THE MUSIC OF DAVID BOWIE with the UTAH SYMPHONY

105

JULY 27 | 8 PM | ST. MARY’S CHURCH

115

JULY 29 | 7:30 PM | DEER VALLEY RESORT

119

JULY 30 | 7:30 PM | DEER VALLEY RESORT

123

AUGUST 3 | 8 PM | ST. MARY’S CHURCH

129

AUGUST 5 | 7:30 PM | DEER VALLEY RESORT

133

AUGUST 6 | 7:30 PM | DEER VALLEY RESORT

135

AUGUST 9 | 7:30 PM | DEER VALLEY RESORT

HAYDN’S “OXFORD” SYMPHONY

DREAMWORKS ANIMATION IN CONCERT with the UTAH SYMPHONY

STEEP CANYON RANGERS with the UTAH SYMPHONY

MOZART’S PIANO CONCERTO NO. 9

1812 OVERTURE!

THE MUSIC OF JOHN WILLIAMS

MICHAEL FEINSTEIN with the UTAH SYMPHONY

DEER VALLEY® MUSIC FESTIVAL / 15

UTAH SYMPHONY

Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* 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 David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Karen Wyatt•• Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks† Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian# Lynnette Stewart Julie Wunderle

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair

Roberta Zalkind Associate Principal

James Hall# Associate Principal

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Titus Underwood†† Acting Associate Principal

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang Joyce Yang†† BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn 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 Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

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 Acting Principal Llewellyn B. Humphreys Alexander Love†† Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

16 / DeerValleyMusicFestival.org

Peter Margulies Nick Norton TROMBONE Mark Davidson Principal Sam Elliot†† 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 LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

331 Rio Grande Suite 105 Salt Lake City, Utah Carpet: Octagon in Desert Night from David Hicks Collection

Room Design by Mendelson Group

P. 801.575.6525 • Regencyroyale.com or Starkcarpet.com © 2016 Stark Carpet Corp.

FESTIVAL COUNCIL

Not being inclined toward triskaidekaphobia, we welcome you to the 13th season of the Deer Valley® Music Festival. The festival was originally founded to provide a summer home for our very own Utah Symphony.

In so doing, it allows us to be a full-time, year-round symphony orchestra, one of only 15 in the entire U.S.

DEER VALLEY® MUSIC FESTIVAL EXECUTIVE COUNCIL Ted Newlin Chair Scott Amann Beth Armstrong Ed Ashwood Judy Billings Hal Brierley Kurt Diekhoff Kristen Fletcher Martin Greenberg Jane Greenberg Tom Jacobson Debra Kasirer Bill Ligety Tony Marlon Renee Marlon Pat McEvoy Charles McEvoy Dan McPhun Dave Petersen Mark Prothro Alice Puleo Frank Puleo Ben Schapiro Joanne Shiebler James R. Swartz Susan Swartz Beth Thornton Jim Tozer Zibby Tozer Bob Wheaton Lois Zambo

DEER VALLEY® MUSIC FESTIVAL ADVISORY COUNCIL Rebecca Marriott Champion Lynn Fey Joseph F. Furlong Elinor McLaren Hal Milner Lois Milner

18 / DeerValleyMusicFestival.org

Such an accomplishment comes only as a result of the generous support of you, our audience, and significant donors such as Summit County and the Eccles Foundation whose ongoing contributions have been both substantial and critical to our success.

Such financial underwriting has allowed us to provide a breadth of program variety designed to excite and entertain. This results from the pairing of outstanding orchestral performance with a broad array of uniquely talented guest artists enabling us to provide world class entertainment to our Park City audience and the many tourists and visitors who see our festival as a welcoming and entertaining destination.

Once again, we’re delighted that you have chosen to join us here in this uniquely charming mountain setting. What better way to spend an evening enjoying your favorite entertainment than here in Deer Valley amidst the company of family and friends!

It’s been my pleasure and privilege to chair this festival and I, too, anxiously await the unfolding of our new season.

In addition, for those of you who enjoy the intimacy of a chamber orchestra venue, we invite you to join us for the Chamber Series at St. Mary’s Church. Information concerning these events is contained in this program guide.

In closing, let me again welcome you to the 2016 Deer Valley® Music Festival and invite you to provide any feedback you might wish to offer so that we may better serve your interests.

Thank you, TED NEWLIN, Chair Deer Valley® Music Festival Executive Council

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.

Inspiring Children to Achieve Since 1963 An independent private school offering preschool through eighth grade © 2016, Challenger Schools • Challenger School admits students of any race, color, and national or ethnic origin.

Visit Utah’s Heart of the Arts June 9 – Aug. 6 435-797-8022 lyricrep.org

July 6 – Aug. 6 435-750-0300 utahfestival.org

Arsenic and Old Lace • Baskerville: A Sherlock Holmes Mystery • Singin’ in the Rain • You Can’t Take It With You

Show Boat • Porgy and Bess • Ragtime • Puccini’s Trilogy • Peter Pan Concerts • Gala Dinner • Classes & More

May 30 – Aug. 5 Noon Music at the Tabernacle A wide variety of FREE concerts every weekday in Historic Downtown Logan

1-800-882-4433 | explorelogan.com

CITY CREEK LIVING. NOTHING LIKE IT ANYWHERE. City Creek combines the best of city and mountain living with doorstep access to world-class shopping, fine dining, NBA basketball, symphony, opera, theater and Utah’s best nightlife. As your primary residence or vacation retreat, City Creek homes offer a refined urban lifestyle at the foot of the Wasatch Mountains— beautifully designed living spaces and Salt Lake City’s most stunning views.

LOVE YOUR HOME Draper 801-567-2200 • Orem 801-227-8800 • South Salt Lake 801-461-3800 Murray 801-261-6800 • Syracuse 801-774-2800 • Riverdale/Ogden 801-622-7400 Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm Closed Sunday Shop online rcwilley.com

Furniture | Electronics | Appliances | Flooring | Mattresses

BOARD OF TRUSTEES ELECTED BOARD David A. Petersen* Chair

Thomas Thatcher Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Lynnette Hansen Gregory L. Hardy Matthew Holland Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD 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 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

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Alvin Richer (Arizona)

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

MUSICIAN REPRESENTATIVES

Travis Peterson* Karen Wyatt* EX OFFICIO

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

DEER VALLEY® MUSIC FESTIVAL / 23

ADMINISTRATION ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Assistant Company Manager DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations

24 / DeerValleyMusicFestival.org

Melanie Steiner-Sherwood Director of Individual Giving Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Conor Bentley Development Manager Heather Weinstock Manager of Special Events MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Nicholas Siler Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts Controller Alison Mockli Payroll & Benefits Manager

Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Mandi Titcomb Education Fellow Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Jennifer Mitchell Yoojean Song Louise Vanderhooft Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew

Stunning new coupe or powerful SUV? Yes. Introducing the Mercedes-Benz GLE Coupe. The 2016 GLE Coupe combines the pure style and driving thrills of a legendary Mercedes-Benz coupe with the impressive power and athleticism you’ve come to expect from a Mercedes-Benz SUV. It’s a dual threat that is a very singular achievement. The all-new 2016 GLE Coupe. MBUSA.com/GLECoupe

2016 GLE450 AMG® Coupe shown in Palladium Silver metallic paint with optional equipment. ©2016 Authorized Mercedes-Benz Dealers For more information, call 1-800-FOR-MERCEDES, or visit MBUSA.com.

2016 SALON SERIES Experience the distinct flair of artists, gracious hosts, beautiful homes, and delicious food. Presented in intimate settings in luxurious area homes, guests can enjoy close range virtuoso performances by outstanding artists.

Tuesday, July 5 | 7PM Featuring Jason Hardink, Utah Symphony Principal Keyboard

Thursday, July 14 | 7PM Featuring Under the Streetlamp Michael Ingersoll, Christopher Kale Jones, Brandon Wardell, Shonn Wiley, Vocalists Generously Hosted by: Eric & Nancy Garen

Tuesday, July 19 | 7PM Featuring Robert McDuffie, Violin Elizabeth Pridgen, Piano Generously Hosted by: The Fickling Family

Thursday, July 28 | 7PM Featuring Utah Symphony Percussion Trio Keith Carrick, Eric Hopkins, Michael Pape Generously Hosted by: Alice & Frank Puleo

26 / deervalleymusicfestival.org

Please contact vipevents@usuo.org or 801-869-9009 for more information or to purchase tickets.

For more information about our 2016 Salon event schedule, visit deervalleymusicfestival.org/ support/salon-events.

THE ST. REGIS VIP EXPERIENCE

VIP PACKAGES Fully experience Deer ValleyÂŽ Music Festival with one of our VIP packages. Help support a great musical tradition and receive exclusive benefits. Become a VIP Patron, Standard, Bronze, Silver, Gold, or Platinum VIP member!

Benefits include premium VIP reserved seating, VIP parking, access to the VIP dinner, discounted tickets, donor recognition, personalized ticketing assistance, festival gift, and more.

For more information on our VIP Packages visit us online, deervalleymusicfestival.org/vip or contact: vipevents@usuo.org or 801-869-9011.

DEER VALLEYÂŽ MUSIC FESTIVAL / 27

FESTIVAL MAP

St. Regis Bar & Lounge

28 / DeerValleyMusicFestival.org

The most rewarding journey quest for knowledge.

A Mythical Odyssey

CREATE WORDS AND IMAGES WITH US IN MONTANA! Sep.14-18, 2016 Trip Leader: Stephen Trimble

Walk In Ancient Footsteps

GO ON AN ODYSSEY AROUND THE ISLAND OF SICILY! Oct. 9-20, 2016

Trip led by: Associate Professor Randall Stewart & Assistant Dean for Humanities Taunya Dressler Come journey with us to an island steeped in ancient story where

Sicily is a land layered in history, intense in beauty, and rich in culture. As

Dionysus discovered the vine and Hephaestus forged thunderbolts from

complex as its past, Sicily today is an island of mystique, where ancient

Etna’s molten lava. We’ll experience Sicily from its legends and discover

ruins stand in symphony with modern mayhem, snow capped volcanoes

the magic still vibrant in this land of myth.

paint the skyline, and the spice of life is present in everything from its cuisine to its language. It is Italy intensified, western civilization distilled.

golearn.utah.edu

October 9-20, 2016 Double occupancy: $3,995* Single supplement: +$400* *Airfare not included

Reserve today!

Call: 801-581-6980 Email: golearn@aoce.utah.edu

Trip Leaders: Dr. Randall Stewart & Taunya Dressler

Experience Cuba

EMBARK ON AN EXOTIC JOURNEY TO THE ISLAND OF CUBA! Oct. 21-30, 2016 Trip led by: Emeritus Professor Al Campbell, Department of Economics, University of Utah

Al Campbell will lead an incredible journey to Cuba where he has

enjoy some of the most amazing hotels and scrumptious meals Cuba has to

researched, lived and played for the past twenty years. The expedition

offer , as well as ground transportation and entrances to popular

begins in Miami, where we will meet before boarding a flight to the

destinations with local guides. This is truly a trip of a lifetime - join us!

colorful city of Havana the following morning. While in Cuba, we will

October 21-30, 2016 Double occupancy: $5,800* Single supplement: +$450* *Airfare to/from Miami not included

golearn.utah.edu

Reserve today!

Call: 801-581-6980 Email: golearn@aoce.utah.edu

Trip Leader: Dr. Al Campbell

JOIN US: golearn.utah.edu | golearn@utah.edu | 801.581.6980 Trips also scheduled to Guatemala, London, Japan, and Rome.

PARK CITY SUMMER STAYCATION-ING

Take in the summer days by wandering into the mountains of Park City and enjoy entire weekends of cultural family fun surrounding the Deer Valley® Music Festival.

RITUAL CHOCOLATE FACTORY TOURS Every Thursday, Friday, & Saturday ritualchocolate.com/tours-events Come learn about the unique chocolatemaking process by taking a tour through Park City’s Ritual Chocolate Factory. Learn about the company, the ethnobotany of cacao, and taste various types of chocolate during production and as a finished product.

Tours take place every Thursday and Friday at 5 PM and Saturdays at 2 PM. Don’t forget to register online in advance!

PARK SILLY SUNDAY MARKET Every Sunday from June 5–September 18 parksillysundaymarket.com The Park Silly Sunday Market is a familyfriendly street festival and open air market on Park City’s Historic Main Street. Each week the Park Silly Sunday Market is filled with gourmet food, music, performers, vendors, artisans, kids’ activities, and more. Perfect for an easy-going Sunday with friends and family, and it’s free for all. The event is held on Historic Main Street every Sunday from 10 AM–5 PM.

FLYING ACE ALL-STARS FREESTYLE SHOW Every weekend from June 26–September 4 utaholympiclegacy.org/activity/freestyle-shows Catch the high-flying action every summer weekend at the Flying Ace All-Stars Freestyle Show. See Olympians and National Team skiers and snowboarders perform acrobatic feats as they soar up to 60 feet in the air before landing in the Park’s NEW Spence Eccles Olympic Freestyle Pool. The show takes place every Saturday and Sunday at 1 PM. Tickets are $12 for adults and $7 for seniors and kids.

PARK CITY FOOD AND WINE CLASSIC July 7–10 parkcityfoodandwineclassic.com/schedule The 12th annual Park City Food & Wine Classic is a festival for those who enjoy summer air, great wine, and tasty food.

Join in the epicurean extravaganza, from wine lunches to group sporting events and evening soirées. Each event revolves around great food and wine, and can also go well with music-filled evenings: July 6: Schubert’s Symphony No. 5 St. Mary’s Church | 8 PM July 8: Rock On! Hits from the 70s & 80s Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM July 9: The B-52s with the Utah Symphony Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM

30 / DeerValleyMusicFestival.org

PARK CITY KIMBALL ARTS FESTIVAL August 12–14 kimballartcenter.org

LAST FRIDAY GALLERY STROLL July 29 parkcitygalleryassociation.com

Come participate in the 47th annual Park City Kimball Arts Festival. The Arts Festival is an entire weekend devoted to fundraising for visual arts, filled with various activities and events for all ages. Enjoy exhibitions and gallery strolls right on Park City’s Historic Main Street.

Join Park City for a free community event in appreciation of their exciting art scene.

Locals and visitors alike are invited to enjoy light refreshments while perusing the various art galleries located on Park City’s Historic Main Street. From 6–9 PM on the last Friday of each month, members of the Park City Gallery Association offer a unique monthly showcase highlighting artists, special exhibits, and art events.

JUPITER PEAK STEEPLECHASE Saturday, July 30 mountaintrails.org An event that draws athletes from all over the country, the Jupiter Peak Steeplechase is a 21-year-old Park City tradition, and one of the top ten races in the United States. The event features a 16-mile trail running loop on a challenging single track trail with 3,000' elevation gain. After watching these epic trail warriors take on the challenge, give yourself a rest and relax to some tunes: July 29: DreamWorks Animation in Concert with the Utah Symphony – Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM July 30: Steep Canyon Rangers with the Utah Symphony – Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM

SUMMIT COUNTY FAIR August 6–13 summitcountyfair.org Head to the annual Summit County Fair for a traditional small town fair experience filled with cowboys and bucking broncos, clowns, a carnival midway, home canned goods, flowers, vegetables, and more! Take the day to enjoy various activities at the fair and head on over to the Deer Valley Snow Park Outdoor Amphitheater for some live music in the evening: August 6: The Music of John Williams Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM August 9: Michael Feinstein with the Utah Symphony – Deer Valley Snow Park Outdoor Amphitheater | 7:30 PM

DEER VALLEY® MUSIC FESTIVAL / 31

Q&A WITH PAUL MEECHAM Utah Symphony | Utah Opera’s President and CEO Paul Meecham started July 1 after completing a final 100th anniversary season with Baltimore Symphony Orchestra, where he held the role of their chief executive for 10 years.

He shares why he and his family are excited to move to Utah and start a new chapter.

daughter will agree with us! Both our kids are keen on sports such as soccer and baseball, and my daughter rides horses, of which I’m told you have a few in the state! We are a close-knit family and have quickly picked up that Utah is a very family-friendly state so we expect to settle in very quickly.

Q: First of all, welcome to Utah. Everyone is thrilled to have someone with your vast industry experience. What factors influenced you to take the role as the President and CEO of Utah Symphony | Utah Opera?

Q: Utah has had a big year in the media, attracting attention as the best place for skiing, mountain biking, as well as earning accolades as the top state for business. What has surprised you most about Utah?

A: Ultimately, it was an easy decision to make because of the people at USUO. In meeting with Thierry Fischer, Christopher McBeth, the board, staff, and musicians, as well as several community leaders, I immediately sense a shared vision towards artistic and community excellence. I believe that the synergies created in merging the Symphony and the Opera have yet more potential to be tapped, and the success of the Deer Valley® Music Festival has added a whole new and exciting dimension.

A: I think the biggest surprise has been the quality of all the arts. Obviously I was aware of the world-class symphony, but was less familiar with the equally high level of the opera, ballet, theater, and visual arts scene.

And although this summer’s concerts are my first in Park City, it is clear there is a lot going on up here as well.

Q: Among other things, Utah is known as a mecca for outdoor recreation, phenomenal geographic landscape, and community involvement. Tell us what your family is excited about experiencing.

A: Well, we are certainly looking forward to the world-class skiing! And none in the family has ever visited the fabulous national and state parks in southern Utah. Also, I think my kids have already got their hearts set on Dinosaur National Monument!

My wife and I love hiking, so we couldn’t be happier in moving to Utah. We’ll have to see whether my 13 year old son and 11 year old

32 / DeerValleyMusicFestival.org

Q: Your experience leading top-tier orchestras is widely known and respected in the classical music industry. We feel fortunate to have attracted a leader with such a great track record to help shape what is yet to come. Describe what you see in store for the future of the organization.

A: It’s perhaps too early to speak of an overarching vision yet—after all, I just began July 1! However, I will want to build upon the momentum that has developed during the 75th anniversary including the celebrated Carnegie Hall performance, the commercial recordings, and the artistic partnerships forged with the ballet, theater, and others.

And just around the corner is another reason to celebrate–the 40th season of Utah Opera in 2017–18. There’s much to look forward to in the years ahead!

Eric Schramm Heidi Larsen

Perfect pairing Park City dining and recreation — fresh, simple, beautiful

Your complete guide to Park City area dining >

www.ParkCityRestaurants.com

historic

1

9

• HOTELS • CAMPING • RESTAURANTS

• • • • •

16

6

ruby’s inn –20

1

HORSEBACK RIDING SWIMMING POOLS GENERAL STORE ATV RENTALS RV PARK

Closest accommodations to

BRYCE CANYON

BOOK YOUR STAY TODAY

RUBYSINN.COM • 866.866.6616

DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS

SUMMER SYMPHONY SERIES

SUMMER ENTERTAINMENT SERIES

VIP EXPERIENCE SPONSOR

BMW OF MURRAY BMW OF PLEASANT GROVE

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

DEER VALLEY® MUSIC FESTIVAL / 37

Pairs nicely with fresh air.

Unique cuisine, fine wines, seasonal cocktails and so much more.

Dine at Deer Valley Grocery~Café, The Brass Tag and Royal Street Café this summer and get your fill of extraordinary food with an incredible backdrop.

®

435-649-1000 l deervalley.com/dining

SUMMER ENTERTAINMENT SERIES JERRY STEICHEN Conductor DOUG LaBRECQUE Vocalist

PATRIOTIC CELEBRATION WITH BROADWAY’S DOUG LaBRECQUE AND THE UTAH SYMPHONY JULY 2 | 7:30 PM

PRODUCTION SPONSOR:

COPLAND COHAN ARR. HOLCOMBE CONCERT SPONSOR:

BERLIN DVOŘÁK

LOIS A. ZAMBO LOWDEN ARR. EILERS CONDUCTOR SPONSOR:

ANONYMOUS IN HONOR OF MARCH OF DIMES

ORCHESTRA SPONSOR:

Cohan Medley “Alexander’s Ragtime Band” “Largo” from Symphony No. 9 in E minor, Opus 95, “From the New World” Armed Forces Salute I. The Caisson Song II. Semper Paratus III. The Marines’ Hymn IV. The U.S. Air Force V. Anchors Aweigh

GERSHWIN

“Embraceable You” from Girl Crazy

GERSHWIN

“Swanee”

VARIOUS ARR. WYSS & CIONEK GERSHWIN

Orchestra Goes West INTERMISSION Strike Up the Band

KANDER & EBB

“All I Care About is Love” from Chicago

KANDER & EBB

“Sara Lee”

SCHÖNBERG & BOUBLIL

“Bring Him Home” from Les Misérables

SOUSA

The Thunderer

TRADITIONAL

“Shenandoah”

BERLIN

“This is a Great Country” from Mr. President

COPLAND

“Hoe Down” from Rodeo

SIMON & GARFUNKEL WARD & BATES

#DVMF

“Buckaroo Holiday” from Rodeo

“Bridge Over Troubled Water” “America the Beautiful”

DEER VALLEY® MUSIC FESTIVAL / 39

ARTISTS’ PROFILES

With a career that ranges from symphony to opera, Broadway to chamber music, Maestro Gerald Steichen has established himself as one of America’s most versatile conductors. He is currently Music Director of the Ridgefield Symphony in Connecticut, and completed 6 seasons as Principal Pops Conductor of the Utah Symphony as well as 15 seasons as Principal Pops Conductor of the New Haven Symphony Orchestra.

Jerry Steichen Conductor

Mr. Steichen is a frequent guest conductor for the Boston Pops and the New Jersey Symphony; and has appeared with the Detroit, Indianapolis, Oregon, Cincinnati, Columbus, and Hartford Symphonies; the Oklahoma City and Naples Philharmonics; the Florida Orchestra; and the New York Pops. International appearances include the Hong Kong Philharmonic Orchestra, Tokyo City Symphony, the NDR Philharmonie Hannover at the Braunschweig Festival, and the Norwegian Radio Symphony.

During ten seasons with the New York City Opera, Steichen led performances including La bohème, L’elisir d’amore, The Pirates of Penzance, Jake Heggie’s Dead Man Walking, Rachel Portman’s The Little Prince, Jonathan Miller’s production of The Mikado, and Rodgers & Hammerstein’s Cinderella. In 2007, he led the New York City Opera Orchestra and soloists in a live WQXR broadcast of “Wall to Wall Opera” from New York’s Symphony Space. A gifted pianist, he performed on stage for the New York City Opera’s acclaimed productions of Porgy and Bess and Carmina Burana. He has also conducted Utah Opera, Virginia Opera, Anchorage Opera, New Jersey Opera Theater, Glimmerglass Opera, and Opera East Texas.

Steichen toured nationally as the associate conductor of The Phantom of the Opera, The Secret Garden, and Peter Pan, and conducted Cats in New York for two years. He has also appeared on Broadway portraying Manny, the Accompanist in the Tony Award-winning Master Class. Originally from Tonkawa, Oklahoma, Maestro Steichen holds degrees from Northern Oklahoma College, Oklahoma City University, and the University of Southern California. He currently resides in New York City.

40 / DeerValleyMusicFestival.org

SPORT WITH A SIDE OF UTILITY THE NX TURBO AND HYBRID Why settle for mere utility? Go beyond with the Lexus NX Turbo and Hybrid. Bold design.

Dynamic handling. A spacious cargo area. And intuitive technology, like the available Remote Touchpad that puts the control literally at your fingertips. The Lexus NX. Go beyond utility. lexus.com/NX | #LexusNX

LARRY H. MILLER LEXUS MURRAY 5686 S. State Street, Murray (801) 264-3600 Options shown. ©2016 Lexus

LARRY H. MILLER LEXUS OF LINDON 544 S. Lindon Park Drive, Lindon (801) 227-3200

ARTISTS’ PROFILES

Doug LaBrecque Vocalist

Doug LaBrecque thrilled theatre audiences as The Phantom and Raoul in the Harold Prince production of The Phantom of the Opera. In addition, Mr. LaBrecque has starred on Broadway as Ravenal in the Hal Prince revival of Showboat, a role he also performed in Canada and Chicago. He was featured in Oscar Hammerstein’s 100th Birthday Celebration on Broadway at The Gershwin Theatre and toured nationally with Les Misérables.

Regionally, Mr. LaBrecque has performed leading roles in Candide, A Chorus Line, and Man of La Mancha among many others. A graduate of University of Michigan, he was also featured in the world premiere of A Wonderful Life, written by Sheldon Harnick and Joe Raposo, and starred in the premiere revival of Kurt Weill and Alan Jay Lerner’s Love Life.

One of the most prolific concert performers of his generation, Mr. LaBrecque has been a soloist with some of the world’s finest symphony orchestras, including the Israel Philharmonic; Cleveland Orchestra; and the National, Chicago, Atlanta, and San Francisco Symphonies; among many others. In the last few years, Mr. LaBrecque’s U.S. appearances have included the Minnesota Orchestra; Rochester Philharmonic; Detroit, Indianapolis, Houston, Baltimore, New Jersey, Dallas, San Diego, and Utah Symphonies; and with Marvin Hamlisch both at the Ravinia Festival with the Chicago Symphony, and also with the Pittsburgh Symphony.

In a tribute to Richard Rodgers, Mr. LaBrecque recently made his Carnegie Hall debut as a soloist with the New York Pops, the same season he debuted with The Boston Pops. Alongside Jeff Tyzik, he appeared with both the St. Louis and Seattle Symphonies for their Holiday Celebration performances, as well as in numerous performances with The Naples Philharmonic. With Peter Nero he was featured in Broadway Showstoppers, a live recording with Mr. Nero’s Philly Pops. International engagements have included the Korean National Symphony, the Shanghai Radio Orchestra, the Hong Kong Philharmonic, the Vancouver and Calgary Symphonies, the Brazilian Symphony Orchestra, the Jerusalem Symphony, and numerous return engagements with the Israel Philharmonic.

For upcoming engagements or CD information log onto www.DougLaBrecque.com.

42 / DeerValleyMusicFestival.org

FEATURING FEATURING

exclusively at Madison McCord exclusively at Madison McCord

3960 South Highland Drive, Salt Lake City | 801 277 5555 | madisonmccordinteriors.com

T H E

N E W

A L B U M

F R O M

T H E

U T A H

S Y M P H O N Y

Dawn to Dust Featuring utaH SYMPHOnY cOMMiSSiOnS FrOM three leading american composers WitH MuSic DirectOr thierrY Fischer anD PercuSSiOniSt colin cUrrie

As part of its 75th-anniversary season, the Utah Symphony releases dawn to dust, a new recording featuring world premieres of orchestral works commissioned from three leading American composers: Augusta Read Thomas, Nico Muhly, and Andrew Norman.

Available Now at t H e uta H S YMPHO n Y gu il D St O r e

a l s o ava i l a b l e F r O M t H e u t a H S Y M P H O n Y :

Mahler SyMphony no. 1 “TiTan”

75 th anniversary signature sponsor:

CHAMBER ORCHESTRA SERIES

SCHUBERT’S SYMPHONY NO. 5 JULY 6 | 8 PM

CONCERT SPONSOR:

JAYCE OGREN Conductor SIMONE OSBORNE Soprano

CONDUCTOR SPONSOR:

SAMUEL BARBER HEMINGWAY FOUNDATION

WOLFGANG AMADEUS MOZART

ORCHESTRA SPONSOR:

Adagio for Strings Exsultate jubilate, K. 165 I. Exsultate, jubilate II. Recitative: Fulget amica dies III. Tu virginum corona IV. Alleluja!

Simone Osborne, Soprano

INTERMISSION

#DVMF

SAMUEL BARBER

Knoxville: Summer of 1915 Simone Osborne, Soprano

FRANZ SCHUBERT

Symphony No. 5 in B-flat Major, D. 485 I. Allegro II. Andante con moto III. Menuetto: Allegro molto IV. Allegro vivace

DEER VALLEY® MUSIC FESTIVAL / 45

ARTISTS’ PROFILES

With mounting success in both symphonic and operatic repertoire, Jayce Ogren is building a reputation as one of the finest young conductors to emerge from the United States in recent seasons.

Jayce Ogren Conductor

A native of Washington State, Ogren received his Bachelor’s Degree in Composition from St. Olaf College in 2001 and his Master’s Degree in Conducting from the New England Conservatory in 2003. With a Fulbright grant, he completed a postgraduate diploma in orchestral conducting at the Royal College of Music in Stockholm, where he studied with the legendary conductor Jorma Panula, and spent two summers at the American Academy of Conducting at Aspen. He was appointed by Franz Welser-Möst as Assistant Conductor of the Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra and has led the Cleveland Orchestra in regular season subscription concerts and at The Blossom Festival.

As a composer, Mr. Ogren’s works have been performed at the Royal Danish Conservatory of Music, the Brevard Music Center, the American Choral Directors Association Conference, and the World Saxophone Congress.

His Symphonies of Gaia has been performed by ensembles on three continents and is the title track on a DVD featuring the Tokyo Kosei Wind Orchestra.

Ogren is an award-winning triathlete, most recently completing the 2015 Boston 2 Big Sur Challenge, in which he ran the Boston Marathon and the Big Sur Marathon backto-back. He also completed the 2014 Ironman Lake Placid Triathlon and one week later finished fourth in his age group in the 2014 New York City Triathlon.

He makes his home in Brooklyn, New York.

46 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Canadian soprano Simone Osborne has been hailed as “a joy to hear” (Los Angeles Times) with “a sweet and clear sound, sensitive phrasing and gleaming sustained high notes” (The New York Times). Ms. Osborne was one of the youngest winners of the Metropolitan Opera National Council Auditions and was a member of the Canadian Opera Company Studio Ensemble.

Simone Osborne Soprano

Simone Osborne began the 2015–16 season with a return to the role of Gilda from Verdi’s Rigoletto with Vancouver Opera. She also returns to the Canadian Opera Company to debut the role of Micaela in Bizet’s Carmen with an all-star cast. On the concert stage, Ms. Osborne crossed the United States in a 15-city tour in 2016. She returns to the Toronto Symphony Orchestra for performances of both Mahler’s Fourth Symphony and a selection of soprano opera arias, and debuts Berlioz’ Les nuits d’été with Berkeley Symphony.

She also joins the Vancouver Symphony and Bach Choirs for Handel’s Messiah.

Ms. Osborne made her role debut as Gilda in Christopher Alden’s production of Rigoletto and returned for Lauretta in Gianni Schicchi conducted by Sir Andrew Davis, both at the Canadian Opera Company in the 2011–12 season. She also made her Vancouver Opera debut as Juliette in Roméo et Juliette to great critical acclaim. In concert, she made her Toronto Symphony debut in Mozart’s Requiem under Music Director Peter Oundjian, was a soloist in the Victoria Symphony’s New Year’s Day Viennese Gala, and toured Canada in recital presented by Debut Atlantic Recital Series.

Along with the 2008 Metropolitan Opera National Council Auditions, Ms. Osborne was the 2008 winner of the Marilyn Horne Foundation Competition at the Music Academy of the West, the 2007 winner of the International Czech and Slovak Opera Competition and a prizewinner at the George London Foundation Competition, Palm Beach Opera Competition, Sylva Gelber Foundation, and Jaqueline Desmarais Foundation.

DEER VALLEY® MUSIC FESTIVAL / 47

NOTES ON THE PROGRAM Samuel Barber (1910–1981)

Adagio for Strings INSTRUMENTATION: strings

Performance: 7 minutes

Background Samuel Barber’s moving Adagio for Strings is one of the most popular and frequently programmed American compositions in the standard repertory. Barber originally composed this work in 1936 as the second movement of his String Quartet, Opus 11. It seems likely that his life partner Gian Carlo Menotti, the phenomenally successful Italian-born opera composer with a sure sense of drama and popular appeal, was instrumental in its success; knowing that Barber had a potential hit on his hands, Menotti ensured that its manuscript would be seen and programmed

by Arturo Toscanini when the reticent Barber was less sure of its appropriateness. It was premiered by the NBC Symphony Orchestra under Toscanini’s baton in 1938.

Today, almost 80 years later, Barber’s Adagio for Strings is more than just a staple of the orchestral repertory; it is almost always turned to when American orchestras seek a musical work to provide beauty, solace, and inspiration for their audiences. This was first noted in November 1963, after President John F. Kennedy’s assassination, when hundreds of ensembles throughout the U.S. spontaneously chose to play the Adagio in tribute; it was equally true in the days following 9/11. It is revered not only for its sensual appeal, but also for the way it seems to evoke a prayerful feeling of solemn contemplation—and, ultimately, of inspiration.

What to Listen For Elemental and beautiful, the Adagio has qualities that are rarely found together: a

48 / DeerValleyMusicFestival.org

spacious, quintessentially American sound, but also a melancholy, ruminative mood that offers both insight and solace to the listener.

The Adagio’s long, flowing, deeply voiced melodic line remains a constant presence that is both elegiac and hopeful as it passes from one string choir to another—first in the violins and then, a fifth lower, in the violas. As the violas continue with their heartfelt voicing of the theme, it is taken up by the cellos and further developed, eventually building to a climax in which the basses underline it, adding a sense of depth and timelessness with their unique resonance. A fortissimo climax, like a cry from the heart, is followed by silence, leading to the restatement of the original, with an inversion of its second statement offering perhaps the possibility of healing and hope.

Wolfgang Amadeus Mozart (1756–1791)

Exsultate jubilate, K. 165 INSTRUMENTATION: 2 oboes; 2 horns; organ; strings

Performance time: 16 minutes

Background If Mozart had lived two centuries later, his life would surely have made ideal fodder for paparazzi and Hollywood scandal sheets.

As it is, we have inherited a partial but vivid picture of his personality from musicologists’ anecdotes and most particularly from playwright Peter Shaffer’s Amadeus. They show us a composer whose sublime talent, which seemed to touch the divine, contrasted with his behavior as a prankster, vulgarian, skirt-chaser, and all-round bad boy.

These colorful stories are fine as far as they go, but they obscure another side of Mozart that is reflected in his letters, his religious music and the moral tone of many of his operas: the religious Mozart, whose

NOTES ON THE PROGRAM beliefs ran deep. His Exsultate jubilate is a three-movement religious motet originally composed for the castrato singer Venanzio Rauzzini in 1773, while Mozart was staying in Milan for the production of his opera Lucio Silla. Rauzzini had been cast as the leading man in Silla, which ran for a month in Milan starting the day after Christmas in 1772.

By the time he was 16, when he composed the Exsultate, Mozart was not only a mature composer, but one of the finest soloists in Europe on two very different instruments, the piano and the violin. Not every musician could meet his high standards, and the incompetence of some could drive him from the auditorium during performances of his own work. But Rauzzini was a singer he actually admired, and he composed

Exsultate jubilate as a tribute both to God and to Rauzzini, revising the work around seven years later.

What to Listen For We expect a continuous flow of beautiful melody from Mozart, and we hear it in the Exsultate. But the spontaneous grace we hear in the operas and the piano concertos is tempered here by an upright quality that gives the motet a sense of dignity without diminishing its energy. Not until the requiem he was working on at the time of his death did Mozart choose to put the spontaneous, dramatic feel of his operatic writing into a religious work.

Mozart’s Exsultate jubilate used to be everywhere; recording it and performing it in recital was nearly mandatory for lyric

Exsultate jubilate, K. 165 Exsultate, jubilate,

Rejoice, resound with joy,

O vos animae beatae,

O you blessed souls,

Dulcia cantica canendo,

Singing sweet songs,

Cantui vestro respondendo, Psallant aethera cum me.

Fulget amica dies, Jam fugere et nubila et procellae; Exorta est justis, Inexspectata quies.

Undique obscura regnabat nox, Surgite tandem laeti, qui timuistis adhuc, Et jucundi aurorae fortunatae, Frondes dextera plena et lilia date.

Tu virginum corona

In response to your singing, Let the heavens sing forth with me.

The friendly day shines forth, Both clouds and storms have fled now; For the righteous there Has arisen an unexpected calm.

Dark night reigned everywhere [before] Arise, happy at last, you who feared till now, And joyful for this lucky dawn, Give garlands and lilies with full right hand.

You, o crown of virgins,

Tu nobis pacem dona,

Grant us peace,

Tu consolare affectus,

Console our feelings,

Unde suspirate cor.

From which our hearts sigh.

Alleluja, alleluja!

DEER VALLEYÂŽ MUSIC FESTIVAL / 49

NOTES ON THE PROGRAM sopranos, and while it is by no means a rarity, programming and listening patterns have made it scarcer. After the era of castrato singing, it was adopted by sopranos and high mezzo-sopranos. In the 20th century it became a calling card for the groundbreaking African-American soprano Dorothy Maynor (1910–1996), whose purity of voice and sensitive phrasing were ideal for it.

The motet’s final movement, the gorgeous Alleluja, is its most familiar section, and remains a popular concert solo and audition piece. As a religious expression of joyful gratitude, it takes on a sense of culmination when the motet is performed in full.

Samuel Barber (1910–1891)

Knoxville: Summer of 1915 INSTRUMENTATION: flute doubling piccolo,

oboe doubling English horn, clarinet, bassoon; 2 horns, trumpet; triangle; harp; strings Performance Time: 14 minutes

Background “As I have said so many times, God doesn’t play dice with the world,” Albert Einstein told author William Hermanns in 1943. But in some things—for example, the allotment of talent to us mortals—the luck of the draw seems to come into play. It did for Samuel Barber, who was only 14 when he became one of the first students to enroll at a new conservatory that had just opened its doors in Philadelphia, the Curtis Institute, which quickly became one of the world’s most prestigious training grounds for classical musicians.

Barber had grown up in nearby West Chester, Pennsylvania, in a highly cultured family.

His aunt was the legendary contralto Louise Homer, one of America’s first opera stars.

When Barber arrived at Curtis, it was the dice player’s equivalent of “rolling boxcars”: He

50 / DeerValleyMusicFestival.org

distinguished himself in composition, piano, and vocal studies, showing more musical gifts than even a prodigy is entitled to have.

An oversupply of talent was not enough to assure the fretful, self-doubting Barber of his compositions’ lasting merit. But fate held another lucky break in store for him (and for us listeners, as the beneficiaries of his gifts): As a student at Curtis, Barber met the man destined to become his life partner, Gian Carlo Menotti, who emigrated from Italy to study there. Also spectacularly gifted, the aristocratically handsome and confident Menotti had already had three of his operas produced in Italy by the time he matriculated at Curtis at age 17. Menotti’s feeling for theater and for opera librettos, together with his sure marketing sense, equipped him to function as an editor and advocate for Barber.

And Barber himself had a deep feeling for vocal music, as demonstrated in three of his acknowledged masterpieces: the operas Vanessa, Antony and Cleopatra, and Knoxville: Summer of 1915—a recollection for high voice and chamber orchestra that is unique in form, encompassing qualities of art song, cantata, secular motet, and chamber oratorio. Barber characterized it as a “lyric rhapsody.” This is a work that transports us to a bygone world in less than a quarter of an hour.

Barber was inspired to compose Knoxville when he encountered a prose poem by the American writer James Agee in the literary magazine The Partisan Review. Agee’s written recollections of his childhood in Knoxville struck Barber as remarkably similar to his own youth in what was then rural Pennsylvania—in a small town that would later become the headquarters of television-shopping giant QVC. “Agee’s poem was vivid and moved me deeply, and my musical response was immediate and intense,” Barber wrote. “The summer evening

NOTES ON THE PROGRAM he describes…reminded me so much of similar evenings when I was a child…We both had backyards where our families used to lie in the long summer evenings, we each had an aunt who was a musician. I remember well my parents sitting on the porch, talking quietly as they rocked…” Dreamlike, yet so immediate as to be almost palpable. Barber selected what were for him the poem’s most representative and personal passages for his musical setting.

The score’s epigraph, unsung but drawn from Agee’s poem, reads: “We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child.” Except for the particulars of geography, the words could’ve been written by Barber about himself.

What to Listen For Samuel Barber’s open, American sound, which encompasses a broad range of musical sources, has outlasted the “Neoromantic” label that was once attached to it—sometimes for better and sometimes for worse. Lyrical melody is never far away in his compositions. But his way with the sung word is especially noteworthy: along with a few other American composers, most notably Ned Rorem, it is distinctively naturalistic. Critics even describe it as “conversational” because of its lack of the artful repetition and rhetorical locutions that characterize many European art songs and librettos. Underlying this seeming artlessness is art of a very high order.

Interviewed by author Ira Siff for The Santa Fe Opera, the great American mezzosoprano Rosalind Elias, who created the role of Erika in Barber’s Vanessa, noted “…but he was a singer! He [knew] the voice so well.

It’s a pleasure to sing his music.”

Utter naturalness is one reason why listeners and performers alike seem to take Knoxville:

Summer of 1915 personally, as if it had been composed just for them. The distinguished Metropolitan Opera soprano Eleanor Steber, who commissioned Knoxville to advance her career and on whom the role of the narrator was created, said “That was exactly my childhood in Wheeling, West Virginia.” One of her most brilliant successors at the Met, Leontyne Price, expressed much the same thought. Even though, as an African American woman, she experienced a childhood that must have differed in some ways from Steber’s and Barber’s, the shared memories are stronger. “As a southerner,” she noted, “it expresses everything I know about my roots and about my mama and father…my home town…You can smell the South in it.” Price, a distinguished interpreter of Barber’s music, opened the new Metropolitan Opera House at Lincoln Center as Barber’s Cleopatra.

Knoxville sings with this universal appeal whenever and wherever it is performed, but perhaps we are especially sensitized to its qualities in a presidential election year, when— rightly or wrongly—candidates are calling upon us to recapture the glories of a remembered American past. Composed in the spring of 1947, just after World War II, Knoxville harkens back to an America that was already gone…a time before urbanization, industrialization, and two world wars displaced the small town life that Agee and Barber remembered.

Knoxville: Summer of 1915 Libretto [Unsung epigram :] We are talking now of summer evenings in Knoxville, Tennessee, in the time that I lived there so successfully disguised myself as a child.

It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street

DEER VALLEY® MUSIC FESTIVAL / 51

NOTES ON THE PROGRAM and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt: a loud auto: a quiet auto: people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard, and starched milk, the image upon them of lovers and horsemen, squaring with clowns in hueless amber. A streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter; fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew.

Now is the night one blue dew, my father has drained, he has coiled the hose. Low in the length of lawns, a frailing of fire who breathes…Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

On the rough wet grass of the backyard my father and mother have spread quilts.

We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there…

They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near.

All my people are larger bodies than mine,…

52 / DeerValleyMusicFestival.org

with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.

After a little I am taken in and put to bed.

Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

Franz Schubert (1797–1828)

Symphony No. 5 in B-flat Major, D. 485 INSTRUMENTATION: flute, 2 oboes, 2 bassoons;

2 horns; strings Performance time: 26 minutes

Background It’s odd to think of Schubert, beloved and widely regarded as one of the greatest Western composers, as underestimated. But musicians frequently describe him in this way. One reason is that enthusiasts tend to focus on only one of his artistic genres: his lieder (art songs), his chamber music, or his symphonies. Schubert’s achievements in any one of these fields would have been enough to secure his place in the musical pantheon, and his legacy of over 600 songs is, of course, without equal in Western music. Pianists and string players venerate his chamber

NOTES ON THE PROGRAM music as the equal of any ever written. But his symphonies, especially those numbered one through six, used to be described as “Mozartean” with a hint of dismissiveness— especially in light of the way Schubert idolized Beethoven, who enlarged the symphony’s scope for everyone who followed him. The implication was that Schubert’s symphonies were characteristically pretty, with simple melodies that charmed the ear, but that they lacked the gravitas or complexity of the form’s more profound statements.

More recently, scholars and music historians such as Joseph Horowitz have demonstrated that behind the apparent simplicity of Schubert’s symphonies, there is harmonic sophistication and structural complexity that looks forward to the form’s future rather than its classical past. Among those first six “Mozartean” symphonies, No. 5 is considered the most advanced. And yet the link to Mozart is apt; Schubert’s journal entries around the time he began composing this symphony, in September 1816, focus on Mozart with a sense of euphoric appreciation.

He completed the symphony in about a month, at age 19, performing it in one of those “Hausmusik” evenings of salon music with friends. It remained popular throughout the 19th century, and in the modern era trails only his Eighth and Ninth Symphonies in frequency of programming.

What to Listen For Schubert’s Symphony No. 5 projects a gently affirmative mood even when the key turns minor or the dynamics and tempo intensify. You can gain some insight into how Schubert accomplishes this through a simple Internet-based experiment at home.

Use your favorite search engine to explore the phrase “without drums or trumpets,” which became a catch-phrase throughout

Europe after this symphony gained popularity and then took on a life of its own.

When Schubert scored the Symphony No. 5 without percussion and without trumpets in the brass section, it wasn’t for lack of knowledge about orchestration; he was a veteran orchestral player by the time he wrote it, and had conducted as well. But his selective instrumentation helps give the symphony its limpid, supple sound. The phrase has come to signify anything that is admirable or significant, yet unassuming… such as this symphony.

It’s also interesting to compare this Fifth to another that at first seems different in every conceivable way: that of one of Schubert’s idols, Beethoven, whose Symphony No. 5 is a monumental struggle from darkness to light.

But the two have more in common than just their number: both have utterly unforgettable opening moments. While Beethoven gives us the famous sound of “fate knocking at the door,” Schubert presents us a burbling melody of such innocence and purity that even upon first hearing, it seems as if we’ve always known it. The distinguished musicologist Phillip Huscher has called this melody “the essence of Schubert’s distinctive gifts.” As in Schubert’s Eighth, this joyful opening theme is balanced with contrasting thematic material that is emphatically minor, yet somehow the positive mood remains unbroken.

In the slower second movement, Schubert modulates downward by a third—a device that might sound odd in another composer’s work, but sounds completely and enchantingly natural in Schubert’s. The third movement is labeled a minuet, but has more effervescence than the stateliness characteristic of minuets. Melodically, it is elegant, but its energy is luminous, culminating in a joyful finale.

DEER VALLEY® MUSIC FESTIVAL / 53

Who is protecting your assets?

Kirton McConkie is committed to supporting the community it serves, whether it’s through the arts or the individualized assistance we provide our clients. We develop plans for small to multi-million dollar estates, aiming to accomplish your goals while minimizing tax consequences and maximizing asset protection.

LEGAL INSIGHT | BUSINESS JUDGMENT | PROFESSIONAL INTEGRITY Kirton McConkie is a full-service law firm successfully representing intellectual property, business, real estate, construction, healthcare, international, employment, litigation, tax and estate planning clients.

Salt Lake City, UT | 801.328.3600 | kmclaw.com

SUMMER SYMPHONY SERIES

RANDALL CRAIG FLEISCHER Conductor MORGAN JAMES Vocalist LaKISHA JONES Vocalist ROB EVAN Vocalist

ROCK ON! HITS FROM THE 70s & 80s WITH THE UTAH SYMPHONY JULY 8 | 7:30 PM ROB PARISSI BRUCE SPRINGSTEEN ROBERT HAZARD DON FELDER, DON HENLEY & GLENN FREY

PRODUCTION SPONSOR:

GEORGE MERRILL & SHANNON RUBICAM

Overture into Play That Funky Music Dancing in the Dark Girls Just Want To Have Fun Hotel California I Wanna Dance With Somebody (Who Loves Me)

JOHN HURLEY & RONNIE WILKINS

GUEST ARTIST SPONSOR:

Son of A Preacher Man

ROBERT LAMM

25 or 6 to 4

OTIS REDDING

Respect

BILLY STEINBERG & TOM KELLY NICKOLAS ASHFORD & VALERIE SIMPSON FREDDIE MERCURY

Alone Ain’t No Mountain High Enough Bohemian Rhapsody

INTERMISSION DAVID SHIRE

Night on Disco Mountain from Saturday Night Fever

VOLUNTEER SPONSOR:

BEE GEES PAUL JABARA JIMMY PAGE & ROBERT PLANT MADONNA GLEN BALLARD & SIEDAH GARRETT GERALD & PETER JACKSON STEVEN TYLER BRIAN MAY & FREDDIE MERCURY

Stayin’ Alive Last Dance Stairway to Heaven Like A Prayer Man in the Mirror Turn the Beat Around Dream On We Will Rock You / We Are the Champions

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 55

ARTISTS’ PROFILES With three music director positions, arrangements and compositions played around the world, a demanding guest conducting schedule, major awards, and a career spanning four continents, Randall Craig Fleischer is making a substantial impact. Mr. Fleischer has appeared as a guest conductor with many major orchestras in the United States and internationally, including engagements with the Boston Pops, China Philharmonic, Hong Kong Philharmonic, Israel Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Houston Symphony, Utah Symphony, San Diego Symphony, Philadelphia Chamber Orchestra, Festival Cesky Krumov (Czech Republic), and many others.

Randall Craig Fleischer Conductor

Active as a composer and arranger, Mr. Fleischer is a national leader in the area of symphonic rock and world music fusion. His works and arrangements have been played by many major orchestras, including the Boston Pops, San Francisco Symphony, Los Angeles Philharmonic, Hong Kong Philharmonic, San Diego Symphony, China Philharmonic, Atlanta Symphony, National Symphony, and many others. Fleischer’s groundbreaking Native American fusion work ECHOES was featured in an article in Symphony Magazine. ECHOES was premiered by the Anchorage Symphony in October 2008, followed by an East Coast premiere at the National Museum of the American Indian at the Smithsonian Institute in Washington, D.C. Fleischer’s work Symphony in Step, written for the dance company Step Afrika, was premiered by the Anchorage Symphony and performed at the Atlas Theater in D.C. Pioneering rock and world music fusion since the late 1980s, Fleischer has worked with artists such as John Densmore (The Doors), Natalie Merchant, Blondie, Ani DiFranco, John Cale (Velvet Underground), Garth Hudson (The Band), Kenny Rogers, Chris Baron (Spin Doctors), and The Bendaly Family, plus Native American artists R. Carlos Nakai, Burning Sky, The Hawk Project, and others. As a fervent advocate of new music, Mr. Fleischer has commissioned and conducted many world premieres and many works by living composers, including Chris Brubeck, Kenji Bunch, George Tsontakis, Joan Tower, John Corigliano, Eric Ewazen, Avner Dorman, Chris Theofanidis, John Luther Adams, and many others.

Mr. Fleischer lives in Los Angeles with his wife Heidi and daughter Michaela.

56 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Morgan James Vocalist

Epic recording artist Morgan James is not just a great soul singer…or a great R&B artist, or even a great jazz artist.

As a classically trained vocalist, she is malleable enough to encompass several genres, while displaying vocals reminiscent of Motown-era greats, all while making her mark on Broadway. At home on the classical, concert, and rock stages, Morgan James is one of the country’s most soughtafter singers. As a solo artist, she has played to sold-out crowds at popular New York night spots such as Birdland, Dizzy’s Club Coca-Cola at Lincoln Center, Dominion, Joe’s Pub, Le Poisson Rouge, and Rockwood Music Hall. Both her debut solo album Morgan James Live and her full-length studio album Hunter are available on iTunes and Amazon (both on Epic Records).

Morgan’s Broadway credits include four original casts: Motown: The Musical, the Broadway revival of Godspell, Frank Wildhorn’s Wonderland, and The Addams Family, starring Nathan Lane and Bebe Neuwirth. Regional theatre credits include leading roles at Barrington Stage Company, Paper Mill Playhouse, the O’Neill Theatre Center, and Arizona Theatre Company. Morgan was a featured soloist in Bernstein’s Mass with the Baltimore Symphony Orchestra (conducted by Marin Alsop) at Carnegie Hall and the Kennedy Center, and has appeared with the Detroit, San Diego, National, Utah, Youngstown, and Modesto symphony orchestras. A veteran of commercials and voice-overs, in addition to her extensive theatre and concert career, she has participated in numerous workshops and readings of new theatre works. Her discography includes the Broadway cast recordings of Motown, Godspell, Wonderland, and The Addams Family, the concept albums of The Little Princess and Tears from Heaven, and is featured on several composer and artist albums. Morgan is a graduate of The Juilliard School in New York City where she received her Bachelor of Music in Voice, and is a proud member of AEA, AFTRA, and SAG.

DEER VALLEY® MUSIC FESTIVAL / 57

ARTISTS’ PROFILES

LaKisha Jones Vocalist

Best known to millions of TV viewers as a top four finalist during the 2007 season of American Idol, LaKisha Jones is ready to reclaim center stage in music, theatre, and television. Her last album, So Glad I’m Me, was full of Jones’ expressive, full-bodied, and arresting vocals, the same voice that electrified American Idol viewers with the Dreamgirls showstopper “And I Am Telling You” and later the Broadway stage in the Oprah Winfrey-produced and Tony Award-winning musical, The Color Purple. Having worked with hit-making songwriters and producers including Tony Nicholas (Patti LaBelle, Luther Vandross), Ro & Sauce (Brandy, Ne-Yo) and Greg Curtis (Keyshia Cole, Yolanda Adams), Jones’ album featured a spirited mix of R&B and soul. Her drive and motivation dates back to her childhood in Flint, Michigan. Raised by her mother and grandmother, Jones was exposed to music by legendary singers such as Whitney Houston, Aretha Franklin, and Patti LaBelle, with her grandmother urging the young girl to “let your voice shine,” thereby prompting Jones to sing in church choirs and music programs. Joining various choral groups and a cappella choruses throughout high school, Jones entered and won the top prize at Flint’s local talent contest, “The Super Show,” in 1997.

A two-year stint studying vocal performance at the University of Michigan left the high school graduate craving to sing more than hit the books. She relocated to various cities (Dallas, Houston, and Virginia Beach) to pursue her dream as a singer. A frequent soloist with orchestras around the world, Ms. Jones has performed with the National Symphony, San Diego Symphony, Utah Symphony, Winnipeg Symphony, Evansville Philharmonic, Jacksonville Symphony, Minnesota Orchestra, Colorado Symphony, Windham Chamber Singers, Grand Rapids Symphony, Vancouver Symphony, Calgary Symphony, Battle Creek Symphony, and the Reno Philharmonic. Upcoming engagements include Houston Symphony, Phoenix Symphony, Oregon Symphony, Long Bay Symphony, and the Festival Cesky Krumlov in the Czech Republic.

58 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Rob Evan Vocalist

During the span of his diverse career, Rob Evan has performed in seven leading roles on the New York Stage, including the original Broadway cast of Jekyll & Hyde, in which he played the title roles for three years and over 1,000 performances worldwide. He also appeared on Broadway as Jean Valjean in Les Misérables, Kerchak in Disney’s Tarzan, the Dentist in Little Shop of Horrors, and Count von Krolock in Jim Steinman’s Dance of the Vampires. Off-Broadway, Rob created the roles of The Dancin’ Kid in Johnny Guitar and the hero Miles Hendon in Neil Berg’s The Prince and the Pauper.

As a vocalist and recording artist, Rob is a member of the multi-platinum-selling rock band Trans-Siberian Orchestra.

He can be heard on TSO’s The Lost Christmas Eve (Platinum - Lava/Atlantic) and their latest release, Nightcastle, which debuted at #5 on Billboard’s Top 100 (Gold - Atlantic Records). He has played in arenas across the country for up to 20,000 people. Rob has toured Europe and the US with TSO as Beethoven in their Rock Opera, Beethoven’s Last Night. Rob has opened for and performed with Sir Elton John, Trisha Yearwood, Linda Eder, Phil Collins, R.E.M., Bonnie Tyler, John Cougar Mellencamp, Joe Walsh, Usher, and Michael Crawford, among others.

In concert, Rob has been a featured soloist with many leading symphonies, including recent appearances in San Francisco, San Diego, Atlanta, Chicago, Alabama, and Calgary as well as recent and upcoming appearances in Bravo Broadway’s “Broadway Rocks” with the Hong Kong Philharmonic; the Cleveland and Minnesota Orchestras; and the Utah, West Virginia, National, Houston, Dayton, Maryland, Taipei, and New Jersey Symphonies. He conceived, co-created (with Maestro Randall Craig Fleischer) and stars in ROCKTOPIA, a new Classical/Classic Rock fusion concert event that is currently touring worldwide.

DEER VALLEY® MUSIC FESTIVAL / 59

C

M

Y

CM

MY

CY

MY

K

Savor the Moment

www.steinlodge.com | (800) 453-1302

UFS_SymphonyAd2012.pdf

1

12/8/11

11:12 AM

SUMMER ENTERTAINMENT SERIES

PRODUCTION SPONSOR:

THE B-52s LIVE GUEST ARTIST SPONSOR:

WITH THE UTAH SYMPHONY

GIB & SUSAN MYERS

JULY 9 | 7:30 PM

CONCERT SPONSOR:

RANDALL CRAIG FLEISCHER Conductor THE B-52s DAVID RICHARD CAMPBELL Orchestral Arrangements

CONDUCTOR SPONSOR:

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE

ORCHESTRA SPONSOR:

SUMMIT COUNTY

RESTAURANT

TAX

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 61

ARTISTS’ PROFILES See page 56 for Randall Craig Fleischer’s bio.

The B-52s

It is well known that the B-52s are The World’s Greatest Party Band. 35 years into their career and with over 20 million albums sold, there can be no doubt as to why they remain one of rock music’s most beloved and enduring bands. Any mystery concerning the band’s longevity and ongoing appeal is immediately solved when exposed to a B-52s concert experience. From groundbreaking songs like “Rock Lobster,” “Dance This Mess Around,” and “Private Idaho” to chart-topping hits like “Love Shack,” “Roam,” and “Deadbeat Club” to their thrilling reemergence on the pop scene with their 2008 CD Funplex, the B-52s’ unforgettable dance-rock tunes start a party every time they begin.

Formed on an October night in 1976 following drinks at a Chinese restaurant in Athens, Georgia, the band played their first gig at a friend’s house on Valentine’s Day 1977.

Naming themselves after Southern slang for exaggerated bouffant hairdos, the newly-christened B-52s began weekend road trips to New York City for gigs at CBGB’s and a handful of other venues. Before long, their thrift store aesthetic and genre-defying songs were the talk of the postpunk underground.

On February 18, 2011 the band joyfully celebrated its 34th anniversary with a triumphant return to their hometown of Athens, Georgia. Wig-wearing, boa-draped, glitter-covered fans came from near and far to celebrate this historic event, which saw the band deliver a sizzling 90-minute set that turned Athens’ Classic Center into a cosmic dancehall. The concert was released on CD, DVD, and Blu-ray, entitled The B-52s With The Wild Crowd! Live in Athens, GA. In a review of the CD, Chuck Howard from Scripps Howard News Service proclaimed, “How The B-52s have maintained their endearing vitality after all these years is a wonder, yet fans who hear ‘With the Wild Crowd!’ will doubtless wish immortality on this uplifting band.”

As they take their party-music revolution into the 21st century, the B-52s show no signs of slowing down, serving up their own unique blend of music and showmanship to millions of fans around the world.

62 / DeerValleyMusicFestival.org

BAKER - HICKORY CHAIR - HANCOCK & MOORE - LILLIAN AUGUST - LEXINGTON

E L D R E D G E Fine Furniture - Complimentary Design Services 4750 SOUTH 900 EAST, SALT LAKE CITY 801.261.1414 LOCATED IN IVY PLACE-ON THE CORNER OF VAN WINKLE & 9TH. ENTER FROM 9TH EAST.

www.eldredgefurniture.com

ARTISTS’ PROFILES

Arranger-conductor David Campbell’s work appears on more than 425 Gold or Platinum LPs. Albums on which he has worked have received 50 GRAMMY®s and his film music has earned two Oscars.

David Campbell Orchestral Arrangements

As an arranger, Campbell began a string of successes from the 70s that has continued to the present day, with No. 1 albums and songs including: “Your Smiling Face” (James Taylor), “The Pretender” (Jackson Browne), “The Rose” (Bette Midler), “Uninvited” (Alanis Morissette), “Time of Your Life” (Green Day), “Tal Vez” (Ricky Martin), “Jaded” (Aerosmith), “I Hope You Dance” (Lee Ann Womack), “Not Ready to Make Nice” (Dixie Chicks), and 21 (Adele)—as well as recent No. 1 hits from Miley Cyrus (“Wrecking Ball”) and Taylor Swift (Red).

Campbell has guest-conducted the Los Angeles Philharmonic; the Hollywood Bowl Orchestra; the Dallas, Nashville, Melbourne and Baltimore Symphonies; and the Tokyo Philharmonic.

Exceptional live chamber music atop Powder Mountain. FREE, no tickets required.

Music in the Mountains

Experience classical masterworks in the outdoor paradise of Powder Mountain!

July 15 and 17, 2016

Powder Mountain Resort | Eden, Utah

(801) 745-3772

Powder Mountain | 6965 E Powder Mountain Rd., Box 1119 | Eden, UT 84310 musicinthemountainseden.com

Music-inthe-Mountains.indd 1

6/15/16 12:45 PM

DARE TO COMPARE

2016 Infiniti QX50

2016 Infiniti QX60

2016 Infiniti QX80

AWD Premium 39 MONTH LEASE FOR

AWD Premium 39 MONTH LEASE FOR

AWD Premium DISCOUNTS UP TO

$249

1

per month, + tax

$249

1

per month, + tax

$12,500 1

off MSRP

There has never been a better time to purchase or lease a new Infiniti. Let us show you how affordable a true luxury automobile can be during this limited time engagement. Visit Tim Dahle Infiniti for a truly exceptional buying experience and unmatched customer service.

TIM DAHLE INFINITI

4594 South State, Murray, UT

801-262-5500

www.timdahleinfiniti.com 1) See dealer for complete details. © 2016 INFINITI

2016 / Deer Valley® Music Festival

ESCAPE INTO THE MUSIC sChubert’s syMphony no. 5 July 6 | 8 PM | St. Mary’s Church Jayce ogren, ConduCtor / Simone osborne, SoPrano / utah Symphony orchestra BarBer Mozart BarBer scHuBert

adagio for strings exsultate jubilate knoxville: summer of 1915 Symphony no. 5

hAnDel’s WATER MUSIC July 13 | 8 PM | St. Mary’s Church Jeannette Sorrell, ConduCtor / utah Symphony orchestra Handel Handel Haydn Mozart

Selections from Water Music Selections from Terpsichore overture to The Uninhabited island Ballet Music from idomeneo

MCDuFFie plAys THE AMERICAN FOUR SEASONS July 20 | 8 PM | St. Mary’s Church rei Hotoda, ConduCtor / robert Mcduffie, violin / utah Symphony orchestra Mussorgsky “dawn on the Moscow river” from khovantchina tcHaikovsky Suite no. 4 “Mozartiana” PHiliP glass violin Concerto no. 2 “the american Four Seasons”

hAyDn’s “oxForD” syMphony July 27 | 8 PM | St. Mary’s Church Pierre Bleuse, ConduCtor / Kathryn Eberle, violin / Brant Bayless, viola utah Symphony orchestra Mozart Mozart Handel/ HalvOrsen Haydn

overture to così fan tutte sinfonia concertante for violin, viola and orchestra Passacaglia Symphony no. 92 “oxford”

Choose 4+ ConCerts and sAVe 20% For TickeTs, call (801)-533-note (6683) or visiT

Summer Symphony SponSor

DeerValleyMusicFestival.org

Summer entertainment SponSor

CHAMBER ORCHESTRA SERIES

HANDEL’S WATER MUSIC JULY 13 | 8 PM

CONCERT SPONSOR:

ED ASHWOOD & CANDICE JOHNSON

JEANNETTE SORRELL Conductor GEORGE FRIDERIC HANDEL

CONDUCTOR SPONSOR:

RICHARD K. AND SHIRLEY S. HEMINGWAY FOUNDATION

Selections from Water Music: Horn Suite in F Major Allegro – Andante – Allegro Air (Andante) Menuet Bourrée - Hornpipe Selections from Water Music: Flute Suite in G Major Rigaudons Menuets I & II Country Dance & Gigue Selections from Water Music: Trumpet Suite in D Major Allegro & Hornpipe Lentemente La Réjouissance & Bourrée INTERMISSION

GEORGE FRIDERIC HANDEL

#DVMF

Selections from Terpsichore Air: La Jalousie Chaconne

JOSEPH HAYDN

Overture to The Uninhabited Island, H. Ia:13

WOLFGANG AMADEUS MOZART

Ballet Music from Idomeneo, K. 366 Chaconne Passepied Gavotte La Chaconne, qui reprend Pas seul de M. LeGrand

DEER VALLEY® MUSIC FESTIVAL / 67

ARTIST’S PROFILE

Jeannette Sorrell has quickly gained international attention as a leading creative voice among the new generation of early-music conductors. Sorrell was one of the youngest students ever accepted to the prestigious conducting courses of the Aspen and the Tanglewood Music Festivals.

She studied conducting under Robert Spano, Roger Norrington, and Leonard Bernstein; and harpsichord with Gustav Leonhardt in Amsterdam. She won both First Prize and the Audience Choice Award in the 1991 Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the U.S., and the Soviet Union.

Jeannette Sorrell Conductor

As a guest conductor, Sorrell has worked with many leading American symphony orchestras. She has appeared as conductor or conductor/soloist with the New World Symphony (Miami), Los Angeles Chamber Orchestra, Seattle Symphony, Opera Theatre of St. Louis with the St. Louis Symphony, Handel & Haydn Society (Boston), Omaha Symphony, Grand Rapids Symphony, Arizona Opera, and has appeared with the Cleveland Orchestra as guest keyboard artist. In 2014, Ms. Sorrell filled in for British conductor Richard Egarr on five days’ notice, leading the complete Brandenburg Concertos and playing the harpsichord solo in Brandenburg Concerto No. 5 for the closing concert of the Houston Early Music Festival. In 2015, she returned to the Pittsburgh Symphony as conductor/soloist.

Sorrell has attracted national attention and awards for creative programming. She holds an honorary doctorate from Case Western University, two special awards from the National Endowment for the Arts for her work on early American music, and an award from the American Musicological Society. Passionate about guiding the next generation of performers, Ms. Sorrell has led many baroque projects for students at Oberlin Conservatory.

68 / DeerValleyMusicFestival.org

What are the benefits of Park City living?

Puddle stomping, log-hopping adventures with your best friend.

All in your backyard.

LIVING LOCAL. SINCE 1976.

RESIDENTIAL | COMMERCIAL | NEW CONSTRUCTION | RELOCATION

ONLINE: BHHSUTAH.COM | VOICE: 435.649.7171 WALK-IN: 354 MAIN STREET, PARK CITY © 2016 BHH Affiliates, LLC. An independently owned and operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc. Equal Housing Opportunity.

NOTES ON THE PROGRAM

George Frideric Handel (1685–1759)

Selections from Water Music INSTRUMENTATION: 2 flutes, 2 oboes, bassoon;

2 horns, 2 trumpets; harpsichord; strings Performance time: 30 minutes

Background “No more water but fire next time,” goes the familiar injunction from the AfricanAmerican spiritual. The warning is based on verses of the biblical story of Noah, but it could have been based on Handel’s two most famous “occasional” instrumental suites, the Water Music and the Music for the Royal Fireworks, especially since the first performance of the Fireworks Music was intended for a celebration that ended in a disastrous fire. The Water Music, on the other hand, proved so popular that it helped solidify the crown’s patronage of Handel; its premiere required two encore performances despite its substantial length.

England proudly claims Handel as a favorite son, but he arrived in that country by way of his native Germany and travels in Italy.

He received his crucial grounding in music in his homeland, and absorbed the lessons of Italy’s sensuous and highly decorated Baroque style, arriving in England with a thorough mastery of all the latest styles of continental composition. He abetted this knowledge with entrepreneurial drive and good financial sense, quickly becoming England’s most esteemed musician and a celebrity throughout Europe. Despite many financial setbacks and changing popular tastes, he died a wealthy man.

Less information survives about the

70 / DeerValleyMusicFestival.org

background of the Water Music than the Fireworks Music, which was composed over three decades later. But we do know that it was created to mark a royal, water-borne procession via barge down the Thames. By 1717, at age 32, Handel was already England’s most prominent composer and occupied the position of Composer to the Royal Chapel.

Like the king, Handel was a native of Germany who adopted England as his home. His wild popularity and success were based not only on the brilliance of his music, but also on his skill as an entrepreneur and producer of musical events. Regarding matters musical in a royal commission, only one person could outrank him: the king himself.

What to Listen For Though it is far from our modern experience of government, the idea of a royal procession passing in grandeur down a river has been familiar throughout history, extending at least as far back as Cleopatra, and it remains vivid in the popular imagination. In the glorious strains of the Water Music we can hear all the pomp and majesty of this kind of state gesture. Small wonder that Handel’s mastery of “occasional music”—a reference not to the infrequency of performance, but the importance of the occasion—made Handel a favorite of the royal court.

The Water Music also demonstrates the breadth of Handel’s professional portfolio, which brought together the best aspects of musical style from throughout Europe.

Handel’s operas and concertos brought Italian sparkle to England, and his religious music shows the skills he acquired as a youngster in Germany. But the Water Music could not sound more English. Though the names of some of

NOTES ON THE PROGRAM

its many movements are in doubt—the score was not published until more than 70 years after it was composed—we can imagine, as we listen, the characteristic dances that we see in period evocations of 18th-century England.

George Frideric Handel (1685–1759)

Selections from Terpsichore INSTRUMENTATION: 2 oboes; harpsichord; strings

Performance time: 8 minutes

Background Especially in Handel’s writing for opera and staged oratorio, we enjoy the fruits of his entrepreneurial zeal. The suite of dances comprising his ballet Terpsichore, composed in 1734 for a revival of his opera Il Pastor Fido (“The Faithful Shepherd”).

Il Pastor Fido was a success the first time around, in 1712. But in 1734 London, Handel encountered a situation not unlike that faced by the founders of New York’s Metropolitan Opera at the end of the 19th century, when Oscar Hammerstein set up his rival Manhattan Opera Company a few blocks away. Though Handel enjoyed the favor of the King, a new opera company— the Opera of the Nobility—had arisen in the early 1730s to compete with him, and this upstart organization enjoyed the patronage of the Prince of Wales. Equally important, it had put some of the most illustrious vocal stars of the day, wildly popular castrati soloists, under contract.

What to Listen For Interpolating ballet sequences into operas

NOTES ON THE PROGRAM

was a rising tradition in Handel’s day, and its growing importance in the total experience of an operatic evening would give impetus to the development of ballet as a dance form.

But including so substantial a set of dance movements was somewhat unusual; here Handel the musician abetted Handel the businessman, who had signed the esteemed ballet soloist Marie Salle, a soloist on a par with those at the Opera of the Nobility.

As a vehicle for her, he composed a new prologue for the opera: Terpsichore.

The ballet is vintage Handel—a suite of dance movements rich in stately and Baroque melodic drive. The ballet itself, named for the muse of dance, must surely have provided Ms. Salle with a spectacular showcase for her talents.

Joseph Haydn (1732–1809)

Overture to The Uninhabited Island, H. Ia:13 INSTRUMENTATION: flute, 2 oboes, bassoon;

2 horns, strings Performance time: 8 minutes

Background Haydn was a master of form. Any discussion of the symphony, chamber music, or choral oratorio must include his role in the development of these genres. But we rarely encounter his operas; if we do, it is usually in the concert hall or in a scholarly presentation, rather than in staged productions. Yet opera was one of the most popular entertainments for the aristocracy of Haydn’s time, and in his work for the Esterházy Court, composing operas was one of Haydn’s duties. It can come as a bit of a jolt to learn that The Uninhabited Island was in fact his tenth opera. He composed it

72 / DeerValleyMusicFestival.org

in 1779, when he was 47 and at the height of his powers.

The relative obscurity of Haydn’s operas, at least in this case, is not for lack of a good operatic yarn. This opera was his sole collaboration with the phenomenally prolific librettist Metastasio, who was the most popular librettist of his generation. But it is the overture to this opera, rather than the vocal music, that survives in the repertory of modern orchestras.

What to Listen For “Sturm und Drang” (storm and stress) is the descriptive phrase most often associated with this overture, and we can hear the intensity of emotion that it portends.

The opera’s story, which has attracted numerous composers besides Haydn, involves two sisters who are stranded on a desert island—one of them enraged by her lover’s desertion. In the course of the opera, the clouds of anger, suspicion, and misunderstanding clear from the stage, and our angry heroine and her erstwhile lover are reconciled.

Wolfgang Amadeus Mozart (1756–1791)

Ballet Music from Idomeneo, K. 366 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets,

2 bassoons; 2 horns, 2 trumpets; timpani; strings Performance time: 17 minutes

Background Mozart was 25 when he received the commission for the opera we now know simply as Idomeneo. He was eager for this kind of assignment; even in his teens he demonstrated the mature ability to probe human psychology through

NOTES ON THE PROGRAM

beautiful music that we hear in Idomeneo.

The circumstances of this assignment resembled those of his much lighter (though equally lengthy) comic opera La finta giardiniera, which he composed at age 18; like that romantic farce, it was produced on commission from a nobleman for a court carnival. But in character, the work has much more in common with Haydn’s L’isola disabitata. It was inspired by a story by that opera’s librettist, Metastasio, and is intensely melodramatic. A shipwreck is central to the plot of both works, and both are populated by noble characters who learn a moral lesson. It is considered Mozart’s first operatic masterpiece.

2016 BROADWAY SEASON!

What to Listen For Mozart was not inclined to let a complaint go unexpressed, and his impatience with the idea of including ballet music in opera was on record. Still, as an avid practitioner of the form, he knew ballet was considered crucial in many operas. In Idomeneo, the occasion for dance music is provided by a scene of formality and grandeur: a royal coronation.

Considering that Mozart was more than capable of providing his own melodies, it is interesting that he developed the ballet music for Idomeneo based on a theme from Christoph Willibald von Gluck’s opera Iphigénie en Aulide. Gluck was an operatic reformer who simplified its forms. Mozart admired him, and may have incorporated Gluck’s melody as a tribute.

2016 BROADWAY SEASON!

GET YOUR TICKETS NOW! 2016 BROADWAY SEASON Back by popular demand

The high-flying classic musical that brings out the child in all of us The high-flying classic musical that brings out the child in all of us

HUNC HBACK C ONTAINS AD UL T T HE M E S , PA RE NT A L GUI DA NCE S UGGESTE D.

NOW – OCT

AUG – OCT

NOW – OCT

GET A SEASON PACKAGE FOR THE BEST SAVINGS!

(800) 746-9882

(800) 746-9882 | TUACAHN.ORG

TUACAHN.ORG

BEYOND EXPECTATION

Complete your evening of extraordinary musical performances at The St. Regis Deer Valley.

Join us at The St. Regis Bar for drinks and a full menu of light fare featuring Chef Jean-Georges Vongerichten’s favorites. Or enjoy an exquisite meal at J&G Grill paired with a selection from our 14,000 bottle wine collection, the largest in the state.

The worldly delights of The St. Regis are a funicular ride away.

2300 deer valley drive east stregisdeervalley.com 435.940.5700

a legacy of luxury. now at over 30 of the world’s finest hotels & resorts. stregis.com

SUMMER SYMPHONY SERIES

PRODUCTION SPONSOR:

UNDER THE STREETLAMP WITH THE UTAH SYMPHONY JULY 15 | 7:30 PM

GUEST ARTIST SPONSOR:

JIM & MARILYN PARKE

JERRY STEICHEN Conductor MICHAEL INGERSOLL Vocalist CHRISTOPHER KALE JONES Vocalist

CONCERT SPONSOR:

TED & CAROL NEWLIN

BRANDON WARDELL Vocalist SHONN WILEY Vocalist

ORCHESTRA SPONSOR:

DOUG & CONNIE HAYES TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 75

ARTISTS’ PROFILES See page 40 for Jerry Steichen’s bio.

Michael Ingersoll Vocalist

Christopher Kale Jones Vocalist

76 / DeerValleyMusicFestival.org

Michael Ingersoll is a Dayton, Ohio-born artist whose grounded musical style exudes the sincerity, warmth, and generosity of the Rockabilly/Rhythm and Blues greats. Before rocking the American Radio Songbook classics, Mr. Ingersoll worked as an actor on stage and screen. The multitalented musician and actor has a diverse array of critically acclaimed and award-nominated Chicago and regional theater credits, from Frost/Nixon to A Closer Walk With Patsy Cline; from Beauty and the Beast to Cincinnati Shakespeare’s Julius Caesar. He made his film debut in the Johnny Cash biopic Walk the Line, and enjoyed a three-year run as Nick Massi of the Four Seasons in Jersey Boys, originating the role for the first national tour. Mr. Ingersoll is passionate about community service and is a dedicated artist advocate. He holds a BFA in Acting from Miami University, Oxford, Ohio; as well as a Second Degree Black Belt in Tae Kwon Do. For more information, visit www.michaelingersoll.com.

Christopher Kale Jones has been singing since he was a kid in church. Before his voice changed, he sang soprano in the prestigious Iolani Boys Choir in his home island of Hawaii. At Northwestern University, Mr. Jones began acting professionally, including work with Chicago Shakespeare Theater and Steppenwolf Theatre. Mr. Jones’ big break came in 2006, when he was cast in Jersey Boys as Frankie Valli for the first national tour. Other career highlights include Mercury in Olympus On My Mind (Bristol Riverside Theatre), for which he received a Barrymore Award Nomination, and Seymour in Little Shop of Horrors (Ford’s Theatre, D.C.), opposite his wife, Jenna Coker-Jones. In 2013, the couple was blessed to add their little girl, Presley Rose Jones, to their family.

When not performing with Under The Streetlamp, he spends as much time as he can with them and their awesome dogs, Fender and Rocket. He is thankful to God for all the blessings in his life. www.christopherkalejones.com

Something’s coming,

Something good.

Experience downtown Salt Lake City’s newest venue for live entertainment. Opening Fall 2016.

E C C L E S T H E A T E R . C O M

ARTISTS’ PROFILES

Brandon Wardell is the newest member of Under The Streetlamp. A native of North Carolina, Mr. Wardell is equally at home on stage, in front of a camera, in the recording studio, or in the concert hall. He made his Broadway debut in James Joyce’s The Dead alongside Christopher Walken, and also appeared in Thoroughly Modern Millie opposite Sutton Foster. He performed on Broadway in the casts of Assassins with Neil Patrick Harris, Good Vibrations, and Catch Me If You Can, and was featured in RENT at the Hollywood Bowl, directed by Neil Patrick Harris.

Brandon Wardell Vocalist

Shonn Wiley Vocalist

78 / DeerValleyMusicFestival.org

Mr. Wardell sang before a live audience of more than 1 million at the 2005 Times Square New Year’s Eve Celebration, and also performed on the stage of Radio City Music Hall and at The Merle Watson Festival, sharing the bill with Alison Krauss and Emmylou Harris. He is a proud member of the Broadway Inspirational Voice Choir and the Recording Academy. Also an avid producer, his work for the stage and in the recording studio has been honored with a Tony Award (he has been nominated for an additional four) and four GRAMMY® Award nominations. www.brandonwardell.com Shonn Wiley is the consummate song-and-dance man and a gifted choreographer. He made his Broadway debut in the Tony Award-winning revival of 42nd Street. He was then asked to star in a groundbreaking production of 42nd Street in Moscow, making Mr. Wiley the first American actor to perform in an English-language musical in Russia. Mr. Wiley later returned to the Broadway stage in Dracula the Musical, during which time he also made his television debut on Guiding Light. He received a Lucille Lortel Award as well as a Drama Desk Award Nomination for Outstanding Choreography for My Vaudeville Man, and was featured in the Chicago cast of Jersey Boys as Bob Gaudio. Additional highlights include his debut as the title character in Candide at New York City Opera, costarring opposite Kristin Chenoweth in “Stairway to Paradise” for City Center Encores!, and performing Sweeney Todd for Stephen Sondheim. He holds a Bachelor of Fine Arts in Drama from Carnegie Mellon University. www.shonnwiley.com.

A World-Class, Locally Owned Rug Source

DIRECT IMPORTER

2016 Plays

June 27 – October 22 Much Ado about Nothing Henry V The Three Musketeers The Cocoanuts Mary Poppins Julius Caesar Murder for Two The Odd Couple

1460 Foothill Drive Salt Lake City, Utah 84108 801-582-3500

The Greater Escape.

800-PLAYTIX bard.org • #utahshakes

Nature created the setting.

The storyline is up to you.

SUMMER ENTERTAINMENT SERIES

PRODUCTION SPONSOR:

MARTIN & JANE GREENBERG

MATTHEW MORRISON WITH THE UTAH SYMPHONY JULY 16 | 7:30 PM

GUEST ARTIST SPONSOR:

JERRY STEICHEN Conductor

ALICE & FRANK PULEO MATTHEW MORRISON Guest Artist

CONCERT SPONSOR:

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE

CONDUCTOR SPONSOR:

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 81

ARTIST’S PROFILE See page 40 for Jerry Steichen’s bio.

“At the end of the day, I’m a song and dance man,” says Matthew Morrison. Not that there was ever any doubt.

The Emmy, Tony, and Golden Globe-nominated star may have come to national prominence through his role as the perpetually optimistic high school teacher Will Schuester on Fox TV’s Glee, but the Southern California native was turning heads years earlier on the Great White Way.

Matthew Morrison Guest Artist

After studying musical theater, vocal performance, and dance at Tisch School of the Arts in New York, Mr. Morrison made his Broadway debut in Footloose, followed by The Rocky Horror Picture Show. However, it was his role as Link Larkin in the original cast of the Broadway production of Hairspray that served as his breakthrough and led to Morrison being cast in the critically acclaimed The Light In The Piazza. His portrayal of young lover Fabrizio Naccarelli garnered him a Tony nomination for Best Performance by a Featured Actor in a Musical. He subsequently received a Drama Desk nomination for Outstanding Actor in the off-Broadway musical 10 Million Miles and reprised the role of Lieutenant Cable in Lincoln Center’s Tony-nominated production of South Pacific.

Mr. Morrison most recently starred as J.M Barrie in the Harvey Weinstein musical Finding Neverland for which he received two Drama Desk nominations.

Morrison was the first artist signed to Adam Levine’s record label, 222 Records, where he released his Broadway standards album, Where it All Began, in June 2013.

In 2012, Morrison starred in the Lionsgate film, What to Expect When You’re Expecting, which was based on the book of the same name. In March of the same year, Morrison hosted and narrated the PBS special “Oscar Hammerstein II - Out of My Dreams,” and was featured in a performance of Dustin Lance Black’s play, 8, a staged reenactment of the federal trial that overturned California’s Prop 8 ban on same-sex marriage. The performance raised money for the American Foundation for Equal Rights.

Mr. Morrison currently resides in New York.

82 / DeerValleyMusicFestival.org

M O A B

MUSIC

FESTIVAL

music in concert with the landscape ™

24th Annual Festival

September 1–12, 2016

Chamber music, jazz, Latin, and traditional music with exceptional artists among the unforgettable red rocks of Southeastern Utah 435.259.7003

moabmusicfest.org

There’s Sun for Everyone!

Going solar has never been more affordable!

Find out how much you could save with Legend Solar.

Significant Monthly Power Bill Savings Reduced Equipment Costs

Largest Government Tax Credits in History No Money Down Options

WWW.LEGENDSOLAR.COM

CALL FOR A FREE QUOTE 877-595-9197

SHARE YOUR ADVENTURE

#DVMF

CHAMBER ORCHESTRA SERIES

CONCERT SPONSOR:

PAT RICHARDS & BILL NICHOLS

MCDUFFIE PLAYS THE AMERICAN FOUR SEASONS JULY 20 | 8 PM

GUEST ARTIST SPONSOR:

JOANNE SHIEBLER GUEST ARTIST FUND

REI HOTODA Conductor ROBERT McDUFFIE Violin, Conductor*

MODEST MUSSORGSKY ARR. RIMSKY-KORSAKOV PIOTR ILYICH TCHAIKOVSKY

“Dawn on the Moscow River” from Khovantchina Suite No. 4 in G Major, Opus 61 “Mozartiana” I. Gigue II. Minuet III. Prayer IV. Theme and Variations

INTERMISSION

PHILIP GLASS

#DVMF

Violin Concerto No. 2 The American Four Seasons* Prologue Movement I Song No. 1 Movement II Song No. 2 Movement III Song No. 3 Movement IV Robert McDuffie, Violin

DEER VALLEY® MUSIC FESTIVAL / 85

ARTISTS’ PROFILES

Rei Hotoda is rapidly becoming one of America’s most sought-after and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Dallas, Edmonton, Fort Worth, Toronto, and Winnipeg, as well as the Colorado and St. Louis Symphonies, the Las Vegas Philharmonic, and the Civic Orchestra of Chicago, among others.

Rei Hotoda Conductor

In September 2015, Ms. Hotoda assumed the titled position of Associate Conductor of the Utah Symphony—the first female to hold this position in the organization’s 75-year history. As Associate Conductor she plays an active role in the orchestra’s education department, conducting family, education, and outreach concerts as well as chamber concerts throughout the state of Utah. Ms. Hotoda previously held the position of Assistant Conductor with the Dallas Symphony Orchestra, the Winnipeg Symphony Orchestra, and the Cabrillo Festival of Contemporary Music. At the Cabrillo Festival, Ms. Hotoda worked very closely with Marin Alsop, the Festival’s Music Director, as her cover conductor, and led the world premiere of Rafael Hernandez’ Unfadeable.

Her deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with such ensembles and artists as the Canadian Brass, Jackie Evancho, Ben Folds, the Indigo Girls, Bridget Kibbey, Pink Martini, Idina Menzel, and Joyce Yang. In addition to her work as a pianist and conductor on Guy Maddin’s film Brand Upon the Brain, she was also a featured actress in a short film by the same director entitled Send Me to the ‘Lectric Chair, starring Isabella Rossellini.

Ms. Hotoda studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a Doctor of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music in piano performance from the Eastman School of Music.

In addition to her work with the Utah Symphony, Ms. Hotoda’s 2015–16 season includes guest conducting debuts with the North Carolina Symphony and Atlantic Classical Orchestra, as well as a return engagement with the Winnipeg Symphony Orchestra.

86 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Robert McDuffie Violin & Conductor

GRAMMY® nominated violinist Robert McDuffie enjoys a dynamic and multi-faceted career. While appearing as soloist with the world’s foremost orchestras, he can also be found sharing the stage with Gregg Allman and Chuck Leavell in Midnight Rider, with actress/playwright Anna Deavere Smith reciting Martin Luther King’s “Letter from a Birmingham Jail,” or playing Bach for Memphis Jook dancer Lil Buck. Philip Glass dedicated his Second Violin Concerto, “The American Four Seasons,” to Mr. McDuffie. Mike Mills of the iconic band R.E.M. is currently composing a concerto for violin and rock band for him. Robert McDuffie is the founder of both the Rome Chamber Music Festival in Italy and the Robert McDuffie Center for Strings at Mercer University in his native city of Macon, Georgia.

Mr. McDuffie has appeared as soloist with most of the major orchestras of the world, including the New York and Los Angeles Philharmonics; the Chicago, San Francisco, National, Atlanta, Houston, Dallas, St. Louis, Montreal, and Toronto Symphonies; the Philadelphia, Cleveland, and Minnesota Orchestras; the Leipzig Gewandhaus Orchestra; the North German Radio Orchestra; the Düsseldorf Symphony; the Frankfurt Radio Orchestra; the Deutsche Kammerphilharmonie Bremen; the Hamburg Symphony; Bruckner Orchester Linz; Orchestra del Teatro alla Scala; Santa Cecilia Orchestra of Rome; Venice Baroque Orchestra; Jerusalem Symphony; Orquesta Sinfónica Nacional de Mexico; Orquesta Sinfónica de Mineria; and all of the major orchestras of Australia.

As founder of the Rome Chamber Music Festival, Robert McDuffie has been awarded the prestigious Premio Simpatia by the Mayor of Rome in recognition of his contribution to the city’s cultural life. He served for ten years on the board of directors of the Harlem School of the Arts in New York City, where he was chairman of the artistic and education committee. Mr. McDuffie holds the Mansfield and Genelle Jennings Distinguished University Professor Chair at Mercer University. He plays a 1735 Guarneri del Gesù violin, known as the “Ladenburg.” This instrument is owned by a limited partnership formed by Mr. McDuffie. Robert McDuffie lives in New York City with his wife, Camille. They are proud parents of Eliza and Will.

DEER VALLEY® MUSIC FESTIVAL / 87

NOTES ON THE PROGRAM Modest Mussorgsky (1839–1881) arr. Nikolai Rimsky-Korsakov (1844–1908)

“Dawn on the Moscow River” from Khovantchina INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets,

2 bassoons; 4 horns; timpani, tam tam; strings Performance time: 5 minutes

Background We know Pictures at an Exhibition; we know Boris Godunov. But for most American listeners, our view of the Russian composer Modest Mussorgsky is misleading and incomplete, and his strange and remarkable opera Khovantchina is one of the gaps. He was one of the “Mighty Five” who emerged as founding fathers of the Russian tradition in classical music, who had widely divergent composing styles—from the glittering, elegant craft of Rimsky-Korsakov to the boundless melodic richness of Tchaikovsky. In his day and ours, Modest Mussorgsky’s reputation among these giants has been as the wild man of Russian music, a composer of raw power who was heedless and unrefined in executing his ideas. But among critics and musicologists, the lack of technical polish that Rimsky and others detected in Mussorgsky’s operas is gaining appreciation on its own terms.

Mussorgsky’s opera Boris Godunov is a supreme operatic expression of Russian nationalism, and Khovantchina, like Boris, is based on an episode in Russian history.

An alternate translation of the title is “The Khovansky Affair,” and a recent production in London was called Khovanskygate. It was brought to Mussorgsky’s notice by Mussorgsky’s friend Vladimir Stasov, an intellectual and critic. Mussorgsky worked on the opera from 1872 to 1880, finishing it about a year before his death at the age of 42. The

88 / DeerValleyMusicFestival.org

complex story of the opera focuses on the rebellion that allied Prince Ivan Khovansky, a breakaway Russian Orthodox sect called the Old Believers, and Russian guardsmen known as the Streltsy—pitting them against the regent Sofia Alekseyevna and two young czars. The cast of characters seems exotic and remote to us, but their conflict is one we can well understand in an age of technological change and cultural conflict: domestic resistance to the westernizing, modernizing policies of Czar Peter the Great.

What to Listen For Khovantchina is not just a historical opera; it is long and historic in sweep—full of intrigue and conflict, with music that is often turgid and dark. But we would never know it from hearing the much-loved excerpt “Dawn on the Moscow River,” which may well be the lightest and most lyrical music in the entire work. Its melody is sublime and songlike.

This passage, structured as a theme-andvariations, functions as the prelude to the opera. But it also does more. With its recognizable link to the Russian folk song tradition, it establishes the Russian people as the true heroes of Khovantchina, as they are in Boris Godunov. The subtle development of the theme as it is repeated through the prelude is characteristic of Russian folk music.

Piotr Ilyich Tchaikovsky (1840–1893)

Suite No. 4 in G Major, Opus 61, “Mozartiana” INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets,

2 bassoons; 4 horns, 2 trumpets; timpani, glockenspiel, crash cymbal, suspended cymbal; strings Performance time: 25 minutes

Background Audiences’ and critics’ esteem for Mozart has been cyclical, but composers from

NOTES ON THE PROGRAM one generation to the next have venerated and learned from him. Tchaikovsky adored his music, as did his contemporary Mendelssohn. Perhaps their feelings were best articulated by Gioacchino Rossini, who called Mozart “the inspiration of my youth, the frustration of my maturity and the consolation of my old age.”

Tchaikovsky and one-quarter Mozart. But in the craftsmanship and deference of Tchaikovsky’s settings, we can hear the lapidary care shown by his contemporary Karl Faberge in setting gems, seeking to glorify and popularize works that he called “the culmination of musical beauty.”

Tchaikovsky composed “Mozartiana” as a tribute to Mozart on the 100th anniversary of Don Giovanni, which had premiered in Prague in October 1787. In it he works four piano pieces into orchestral movements of a suite.

Three of the movements are orchestrations of pieces taken directly from Mozart: his Little Gigue for Piano, K. 574; the Minuet for Piano K. 355; and the Variations on a Theme

by Gluck, K. 455. The Preghiera movement, which occurs as the third movement of the suite, is based on Liszt’s piano transcription of Mozart’s Ave verum corpus, K. 618.

Violin Concerto No. 2, The American Four Seasons

Though Tchaikovsky had written three previous orchestral suites that were numbered, he did not number this one, but rather titled it “Mozartiana,” and biographers suggest that he felt differently about this one. He attended the Moscow premiere in November 1887, and it is the only one of his orchestral suites that he ever conducted.

What to Listen For We can hear Tchaikovsky’s great affection for Mozart in every bar of “Mozartiana.”

Cloaking the music in stylistic conventions of the Romantic era, he sought to open it to greater appreciation by listeners of the late 19th century. And by contemporary accounts, he succeeded: The audience at the premiere was enthusiastic, winning an encore of the Preghiera movement. According to one tart-voiced analyst, “Mozartiana” has the proportions of a martini: three-quarters

Philip Glass (b. 1937)

INSTRUMENTATION: synthesizer; strings

Performance time: 40 minutes

Background When writing about living composers, it is customary to defer judgments about merit and importance, letting history make the final judgments. But American composer Philip Glass, now 79, has earned acknowledgment in his own lifetime as one of the most important and influential composers of the 20th century, much as Aaron Copland became known as the “dean of American composers” long before his death in 1990.

Glass is recognized as the seminal figure in the musical style known as Minimalism, a term Glass himself has never liked. And though its other major practitioners, including the composer John Adams, are understandably leery of it—Glass prefers the phrase “music with repetitive structures”—it is not inapt in identifying a compositional technique that strictly focuses its use of harmony and rhythm while magnifying our awareness of small, sequential variations in pattern. Glass’ music consistently conveys a sense of the inchoate tension and poetry of our inner lives as we confront the complexities of the external world.

Within those repetitive structures, patterns take on shape and emotional meaning.

DEER VALLEY® MUSIC FESTIVAL / 89

NOTES ON THE PROGRAM Born in 1937 in Baltimore, Glass studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud.

His website notes that he found himself “dissatisfied with much of what then passed for modern music,” prompting him to move to Europe, where he studied with the legendary Parisian pedagogue Nadia Boulanger; he also worked with the Indian composer and sitar virtuoso Ravi Shankar and began a lasting association with film. We can assume that Boulanger helped Glass find his own unique compositional voice, as she did for generations of other composers, but his fascination with cinema can also be heard in his closely observed narrative line.

Certainly, there has been nothing “minimalist” about Glass’ output. In the past 25 years he has composed more than 20 operas, large and small; 8 symphonies; 2 piano concertos; and concertos for violin, piano, timpani, and saxophone quartet and orchestra. His film scores range from new scores for the stylized classics of Jean Cocteau to Errol Morris’ documentary about former defense secretary Robert McNamara, The Fog of War, and the Hollywood version of Michael Cunningham’s novel The Hours. Glass’ opera Einstein on the Beach (1975), a collaboration with the director-designer Robert Wilson, was a breakthrough work that had an immediate and deep impact on the course of modern opera throughout the world.

The violinist Robert McDuffie, who attended Juilliard with Glass, suggested in 2002 that he create a modern counterpart for Vivaldi’s ever-popular The Four Seasons, an orchestral suite spanning 12 movements that comprise four violin concertos. Glass completed his Violin Concerto No. 2 in 2009.

90 / DeerValleyMusicFestival.org

What to Listen For McDuffie has been frank in describing how his initial skepticism about Glass’ music turned to admiration. As he became more attuned to Glass’ unique musical voice, he noticed a kinship between Glass’ music and that of great composers of the past, and he has been quoted as saying that Vivaldi was “the world’s first minimalist. That may or may not be true, but it’s pretty close.” Intentional overstatement, perhaps, but we can hear what he meant as we listen to closely calibrated rhythmic repetitions in Glass’ concerto. They certainly function in a way that is similar to the ostinato bass line that runs through Vivaldi—the “obstinate” low voice that constantly strums its accompaniment as a foil for the soloist and gives each movement its characteristically Baroque rhythmic drive. The unusual scoring, which includes no brass or winds, was also due in part to McDuffie’s influence; he requested that Glass use a synthesizer rather than the harpsichord employed in Vivaldi’s The Four Seasons. “I wanted the original, the indigenous, rock-and-roll Philip Glass that turned David Bowie on,” McDuffie said.

A major point of difference between the two Four Seasons concertos lies in the specificity—or lack of it—in their creation of the natural weatherscape. Vivaldi’s dazzling scene-paintings evoke wind and weather with pinpoint vividness, while Glass leaves much more up to the imagination of each listener. In program notes for the European premiere of the concerto with the London Philharmonic in April 2010, Glass noted, “if Bobby [McDuffie] and I are not in complete agreement, an independent interpretation can be tolerated and even welcomed.

Therefore, there will be no instructions for the audience, no clues as to where spring, summer, winter, and fall might appear in the new concerto—an interesting, though not worrisome, problem for the listener.”

a tradition of

Exceptional Dining

From business lunches to private dining events, The Little America Hotel’s Lucky H Bar and Grille offers gracious service and impeccable surroundings.

801.596.5704

|

saltlake.littleamerica.com

SUMMER SYMPHONY SERIES

JERRY STEICHEN Conductor CHRISTIANE NOLL Vocalist JOHN CUDIA Vocalist

A RODGERS & HAMMERSTEIN CELEBRATION & SING-ALONG WITH THE UTAH SYMPHONY JULY 22 | 7:30 PM RODGERS & HAMMERSTEIN

WILLIAM MICHALS Vocalist

Overture from The King and I “It’s a Grand Night for Singing” from State Fair

KERN & HAMMERSTEIN

“All the Things You Are” from Very Warm for May “Make Believe” from Showboat “Ol’ Man River” from Showboat

RODGERS & HART

“Where or When” from Babes in Arms

PRODUCTION SPONSOR:

HAL & DIANE BRIERLEY

“Falling in Love with Love” from The Boys from Syracuse

RODGERS & HAMMERSTEIN

Selections from The Sound of Music “The Sound of Music” “Lonely Goatherd” “Edelweiss” “Climb Ev’ry Mountain”

CONDUCTOR SPONSOR:

BEN & PEGGY SCHAPIRO

INTERMISSION RODGERS & HAMMERSTEIN

Carousel Waltz Selections from South Pacific “There is Nothin’ Like a Dame” “A Wonderful Guy” “Some Enchanted Evening” “Shall We Dance” from The King and I “Soliloquy” from Carousel Selections from Oklahoma!

“Oh, What a Beautiful Mornin’” “People will Say We’re in Love” “Oklahoma!”

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 93

ARTISTS’ PROFILES

See page 40 for Jerry Steichen’s bio.

Christiane Noll, a New York born, New Jersey raised actress, starred on Broadway in the Kennedy Center Revival of Ragtime, receiving Tony and Drama Desk Award nominations and winning a Helen Hayes Award for her portrayal of Mother. She made her Broadway debut creating the role of Emma in Jekyll & Hyde, receiving a FANY Award for Best Actress in a Musical. Ms. Noll received her second Drama Desk nomination for her work in Chaplin. She has been seen perennially as Sister Margaretta in NBC’s The Sound of Music Live! with Carrie Underwood. She supplied the singing voice of Anna in the Warner Brothers animated feature The King and I. Christiane Noll Vocalist

Ms. Noll has enjoyed starring in Broadway productions of Elf (at Madison Square Garden), It Ain’t Nothin’ but the Blues and on tour in Urinetown (Ovation Award), The Mambo Kings, Grease, Miss Saigon, and City of Angels, as well as a tour of Australia and Thailand of South Pacific. With a reputation for great versatility, Ms. Noll has performed varied repertoire in Broadway, operetta, and jazz. She has been a frequent guest soloist with symphony orchestras in every state in the USA, as well as international appearances with Toronto Symphony, Vancouver Symphony Orchestra, Jerusalem Symphony, Orquestra Sinfônica Brasileira, China Philharmonic (with concert pianist Lang Lang) and orchestras in Hong Kong, Czech Republic, and Kuala Lumpur, Malaysia. She made her Carnegie Hall debut with Skitch Henderson in his last pops performance with The New York Pops and sang with Steven Reineke in “Sondheim: The Birthday Concert” at Carnegie Hall. She made her Hollywood Bowl and O2 Arena debut singing with Julie Andrews in Gifts of Music and her opera debut with Placido Domingo in The Merry Widow at the Kennedy Center, and has also performed in programs with City Center Encores! such as The New Moon, The Student Prince, The Pirates of Penzance, and The Mikado.

Ms. Noll is a graduate of Carnegie Mellon University. For more information, please visit ChristianeNoll.com

94 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Tenor John Cudia recently marked two important debuts.

First, with Lyric Opera of Chicago in their production of Oklahoma! As Curly, he was praised by Opera News for his “naturally appealing timbre graced with an attractive, rather tenorish ring above the staff.” Next, he made his role debut as Alfredo in La Traviata with Lyric Opera of the North.

John Cudia Vocalist

Since he ended his run starring as the title role in Broadway’s The Phantom of the Opera in 2010, Mr. Cudia has studied with Metropolitan Opera baritone Mark Oswald, expanding his repertoire to include a wide range of lyric tenor music. He was a musical artist and performer from an early age. Growing up in Toms River, New Jersey, Mr. Cudia performed in his first musical play at age eight, started playing the drums at ten and was active in his school’s band, drama club, and his local community theater. Mr. Cudia went on to earn his Bachelor of Arts from Fordham University and began his private classical voice studies in New York City. Shortly after graduation, he earned a role in the Broadway production of Les Misérables. He would later join Phantom and enjoy runs with the Broadway company as well as the national tour. Mr. Cudia proudly holds the distinct honor of being the first and only singer to have performed as both the Phantom and Jean Valjean on Broadway. For his performance of Jean Valjean at Chicago’s Marriott Theatre in Lincolnshire, John was awarded the Joseph Jefferson Award© for Best Actor in a Musical. He has also appeared at some of the most prestigious regional theaters in the United States, including The Paper Mill Playhouse, Sacramento Music Circus, North Shore Music Theater, The Pioneer Theater, Portland Stage, and St. Louis Repertory. He appears regularly in concert with The Broadway Tenors and with orchestras across the country.

Mr. Cudia is happily married to Broadway actor Kathy Voytko and the proud father of Alena Joyce, six, and Evelyn Rose, four.

DEER VALLEY® MUSIC FESTIVAL / 95

ARTISTS’ PROFILES

William Michals Vocalist

Broadway and concert headliner Williams Michals recently starred at Lincoln Center as Emile De Becque in the landmark revival of Rodgers and Hammerstein’s South Pacific, and made his Broadway debut as The Beast in Disney’s Beauty and the Beast, performing opposite Andrea McArdle, Deborah Gibson, and Toni Braxton, and later returned to play Gaston in the same production. His career has continued in such roles as Javert in Les Misérables, Billy Flynn in Chicago, Don Quixote in Man of La Mancha, Harold Hill in The Music Man, Captain von Trapp in The Sound of Music, and the title role in The Phantom of the Opera. A recipient of the prestigious Anselmo Award, he also earned recognition by Chicago’s Jeff and the National Star Awards for his portrayal of Chauvelin in the national company of The Scarlet Pimpernel.

Not only has Mr. Michals played the great houses of the nation, from Broadway’s fabled Palace Theatre to LA’s Ahmanson Theater and D.C.’s Kennedy Center for the Performing Arts, but he has also entertained in New York’s finest rooms, including the Rainbow Room, The Four Seasons, and the Grand Ballroom of The Plaza. Casino dates, like his recent concert at the Foxwoods Resort, will continue to be a part of his calendar. Mr. Michals regularly appears with the country’s leading orchestras and conductors, including the San Diego, Utah, and Hartford Symphonies; Michael Tilson Thomas and his New World Symphony; and a recent return to perform with Peter Nero and the Philly Pops for another sold-out evening of “Broadway Showstoppers”.

Following the success of his live CD, William Michals: Broadway in Concert, Mr. Michals is now collaborating with some of the extraordinary creative talents behind Sarah Brightman, Josh Groban, and Charlotte Church, fusing the myriad musical styles with which he has been associated, and providing the true baritone sound the crossover market has so far lacked.

With a varied career on stage, in concert, and in the studio, William Michals continues to live up to the moniker “America’s Baritone.”

96 / DeerValleyMusicFestival.org

2016/17 UTAH SYMPHONY SEASON

OPENING GALA for the UTAH SYMPHONY’S 2016–17 SEASON

Mary Anne Huntsman performs Rach 2

September 13, 2016 / 7:30 PM / ABRAVANEL HALL THIERRY FISCHER, conductor / MARY ANNE HUNTSMAN, piano / UTAH SYMPHONY

BEETHOVEN

Symphony No. 5

RACHMANINOFF

Piano Concerto No. 2

Celebrate and support Utah Symphony’s 2016-17 Season with our Opening Gala featuring piano soloist Mary Anne Huntsman performing Rachmaninoff’s Piano Concerto No. 2.

VIP gala packages and sponsorships available, including pre-and-post-concert receptions and premium seating. For more information, please contact vipevents@usuo.org or 801.869.9011.

SYMPHONY SEASON SPONSOR

CONCERT SPONSOR

LAW NIGHT AT THE SYMPHONY

The law firms participating in Law Night at the Deer Valley® Music Festival are pleased to support the Utah Symphony as sponsors of this event. The legal industry recognizes the importance of the symphony to our community both in terms of the excellent entertainment it provides and the contributions it imparts to our educational institutions and communities throughout the state. We have a strong commitment to the continued efforts and success of the Utah Symphony. It is a privilege for the legal community to sponsor this event, and we applaud the musicians of the symphony who continue to share their musical gifts with us.

“Ballard Spahr recognizes the important role arts and culture play in our state’s economy. Utah’s ‘creative industry’ provides many direct and indirect economic benefits to all of us. Law Night brings together the legal community, our business clients and friends of our firms in a way that no other event does—and creates a unified voice that says ‘this is important to us and to the community where we work and live.’ For Ballard Spahr, our involvement isn’t necessarily about advertising—it’s about recognizing how the arts enhance our quality of life, complement community development, enrich our local amenities and attract young professionals to our State.”

BLAKE WADE Managing Partner at Ballard Spahr

98 / DeerValleyMusicFestival.org

SUMMER ENTERTAINMENT SERIES PRODUCTION SPONSOR:

GUEST ARTIST SPONSOR:

LAW NIGHT AT THE SYMPHONY

THE MUSIC OF DAVID BOWIE WITH THE UTAH SYMPHONY

CONCERT SPONSOR:

Summit

JULY 23 | 7:30 PM MARTIN HERMAN Conductor

CONDUCTOR SPONSOR:

TONY VINCENT Vocalist SOPHIA ANNE CARUSO Vocalist ORCHESTRA SPONSOR:

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE VOLUNTEER SPONSOR:

MOGUL FINANCIAL GROUP

VIP DINNER SPONSOR:

VICTORY RANCH

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 99

ARTISTS’ PROFILES

Martin Herman Conductor

Martin Herman has appeared as guest conductor with symphony orchestras in North America, Europe, Australia, and Canada. His most recent engagements include the Buffalo Philharmonic and the Fort Worth Symphony Orchestra with Windborne’s “Music of the Rolling Stones” and “Music of the Eagles.” He recently guest-conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal and continues as music director and arranger for “Classical Mystery Tour.” Recent performances with the Sydney Symphony Orchestra in the Sydney Opera House, Seattle Symphony, Detroit Symphony, North Carolina Symphony, Long Beach Symphony, Vancouver Symphony, San Diego Symphony, and Florida Orchestra.

Mr. Herman also served as Music Director of Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S. and the Czech Republic. In the fall of 2009, he was conductor and Music Director at LaMaMa Theatre in New York City where he led performances of his one-act opera, The Doctor, based on Chekhov short stories. He has served as Assistant Conductor with the San Francisco Contemporary Music Players, conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra, and has conducted several orchestra crossover projects in Amsterdam and Berlin.

Mr. Herman studied conducting and composition at Duke University, University of Pennsylvania, and University of California, Berkeley. He also spent two years in Paris, France on a Fulbright Grant and U.C. Berkeley Ladd Prix de Paris fellowship, where he worked as conductor and composer with the New American Music in Europe Festival and American Music Week. He has received recognition for his work in the promotion of international cultural exchange from the Trust for Mutual Understanding in New York City.

100 / DeerValleyMusicFestival.org

Well-orchestrated...

legal advice to keep you in harmony Holland & Hart is proud to support the Utah Symphony and Utah Opera Eric G. Maxfield, Administrative Partner 801.799.5800 222 South Main Street, Suite 2200 Salt Lake City, UT 84101

www.hollandhart.com

Proud Supporter of the Arts

IS PLEASED TO SUPPORT

THE UTAH SYMPHONY Find us on Instagram!

@HYATTPARKCITY

#HyattParkCity

3551 NORTH ESCALA COURT :: PARK CITY, UTAH 84098 435.940.1234 :: PARK CITY.HYATTCENTRIC.COM

ARTISTS’ PROFILES Tony Vincent grew up in the small town of Albuquerque, New Mexico, where from a young age he was exposed to the music of The Beatles and The Rolling Stones. In his early teens Mr. Vincent began writing songs heavily influenced

by Depeche Mode, New Order, and Tears for Fears. While attending university in Nashville, Tennessee, he started a makeshift record company out of his dorm room and recorded a five-song EP, which led to a recording contract with EMI records. His two solo albums (Tony Vincent, One Deed) followed producing six #1 Billboard radio singles.

Tony Vincent Vocalist

Shortly after moving to NYC in 1997 to continue his recording career, Mr. Vincent took an unexpected detour into the world of rock-based theater, joining the cast of RENT, initially as part of the first national tour, then making his Broadway debut in the New York production in 1999. He was featured as Simon Zealotes in Andrew Lloyd Webber’s remake of the film Jesus Christ Superstar (2000), and when the production was revived on Broadway that same year, Mr. Vincent earned critical acclaim starring as Judas Iscariot. In 2002 he originated the role of Galileo Figaro in the rock band Queen’s smash hit We Will Rock You in London’s West End. He also fronted the band itself on several occasions, including a performance of “Bohemian Rhapsody” at Queen Elizabeth’s Golden Jubilee concert for a live audience of over 1 million people surrounding Buckingham Palace and over 200 million television viewers world-wide.

Two years later he was invited to Las Vegas to open the North American premiere of We Will Rock You (2004–2005).

During this time Mr. Vincent continued to write, and in 2008 he independently released the EP A Better Way, produced by Adam Anders. In the fall of 2009, he returned to Broadway, originating the role of St. Jimmy in Green Day’s American Idiot.

Mr. Vincent is best known for his appearance on the second season of NBC’s reality singing competition, The Voice. While on the show, he was selected to be on “Team CeeLo,” and made a lasting impression on fans worldwide with his final performance of The Eurythmics’ “Sweet Dreams.”

After 10 long months of writing, recording, and producing, Mr. Vincent released his highly anticipated studio project, In My Head, through iTunes and CD baby on July 10, 2012. He continues to write and produce for future projects, both as a solo artist, as a producer for other artists, and under the band moniker Mercer.

102 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES Sophia Anne Caruso is a 14-year-old professional, bi-coastal actress living in New York City. She loves the stage, and is currently starring in the role of Girl alongside Michael C. Hall in Lazarus, the new David Bowie-Edna Walsh stage show, which opened off-Broadway in December 2015.

Sophia Anne Caruso Vocalist

Ms. Caruso began her professional career at the age of 9 starring as Helen Keller in The Miracle Worker in Spokane, Washington. She was nominated for a Lucille Lortel Award as “Outstanding Featured Actress in a Play” for her performance as Iris in The Nether at The MCC Theater, and she recently completed a critically acclaimed run in Little Dancer, the Edgar Degas story. In the fall of 2013, Ms. Caruso starred as Jane in the world premiere of Secondhand Lions, a new musical at the 5th Avenue Theatre in Seattle.

Along with her many stage credits Ms. Caruso also enjoys a busy film career. Her current project, 37, tells the story of the Kitty Genovese murder of 1964. She recently completed filming Jack of the Red Hearts, a story about a streetwise teen, Anna Sophia Robb, and the casualties of the flawed foster care system. The award-winning film was directed by Janet Grillo, and is currently being presented at major film festivals and soon to be released.

She played Brigitta von Trapp in NBC’s The Sound of Music Live! starring Carrie Underwood, and was also featured as Young Norma Jean in a song-and-dance number with Bernadette Peters on NBC’s Smash. Other TV credits include Last Week Tonight with John Oliver and Celebrity Ghost Stories.

With Broadway aspirations, Ms. Caruso is studying voice, acting, and all forms of dance. She is trained in classic Russian Ballet, Broadway tap, and focuses especially on theatre dance, among other styles. In her spare time, she loves to play her guitar, write plays, rock-climb, do aerial skills, sing Cabaret, and enjoy the New York live theatre scene.

Follow Sophia on Twitter, Instagram and Facebook. Learn more about her work on IMDb and Broadway World.

DEER VALLEY® MUSIC FESTIVAL / 103

2016/17 UTAH SYMPHONY SEASON

December 21, 2016 / 7:30 PM / ABRAVANEL HALL CHLOË AGNEW, LISA LAMBE, MÉAV NÍ MHAOLCHATHA, gu e s t a r t i s t s / UTAH SYMPHONY ORCHESTRA

Celebrate this holiday season with the celestial voices of multi-platinum Irish singing sensation Celtic Woman as they present Home for Christmas with the Utah Symphony.

Tickets start at $40 / (801) 533-NOTE (6683) / UtahSymphony.org

UTAH SYMPHONY SE A SON SPONSOR

CHAMBER ORCHESTRA SERIES

HAYDN’S “OXFORD” SYMPHONY JULY 27 | 8 PM PIERRE BLEUSE Conductor KATHRYN EBERLE Utah Symphony Associate Concertmaster BRANT BAYLESS Utah Symphony Principal Viola

WOLFGANG AMADEUS MOZART

Overture to Così fan tutte, K. 588

WOLFGANG AMADEUS MOZART

Sinfonia concertante for Violin, Viola and Orchestra, K. 364 I. Allegro maestoso II. Andante III. Presto Kathryn Eberle, Violin Brant Bayless, Viola

JOHAN HALVORSEN

Passacaglia Kathryn Eberle, Violin Brant Bayless, Viola

INTERMISSION

JOSEPH HAYDN

#DVMF

Symphony No. 92 in G Major “Oxford” I. Adagio – Allegro spiritoso II. Adagio cantabile III. Menuetto: Allegro IV. Presto

DEER VALLEY® MUSIC FESTIVAL / 105

ARTISTS’ PROFILES

After a career as a violinist and concertmaster of various chamber orchestras, Pierre Bleuse has dedicated his time and efforts to conducting. He worked with Jean Sébastien Beraud in France and Jorma Panula in Finland, and did a master class with Laurent Gay at the Haute école de musique in Geneva.

Pierre Bleuse Conductor

In 2013, he made his debut with the Orchestre National du Capitole de Toulouse and Bordeaux Aquitaine National Orchestra, and was also appointed Assistant Conductor at the Opéra de Lyon for two productions with Maestro Kazushi Ono. In 2014, he led the Orchestre National du Capitole de Toulouse in Schubert’s Symphony No. 5 and replaced Maestro Josep Pons at short notice for a concert later that season. Since September 2014, he has been the assistant to Laurent Gay, directing an orchestra class at the Haute école de musique in Geneva. He was also an assistant to Thierry Fischer for the tour of the European Youth Orchestra Animato, during which he conducted a concert at the Salzburg Mozarteum. In March 2015, he returned to the Opéra de Lyon as assistant to Enrico Onofri for the production of Gluck’s Orpheus and Eurydice. In the course of the 2015–16 season, he conducted the Orchestre National de Bordeaux Aquitaine and the Orchestre National du Capitole de Toulouse.

Pierre Bleuse created the Musika Orchestra Academy in Toulouse, surrounded by musical personalities such as Bertrand Chamayou, Gautier Capuçon, Jean-Frédéric Neuburger, Thierry Fischer, David Kadouch, and Sol Gabetta. The first performance was held in the Halle aux Grains of Toulouse with cello soloist Gautier Capuçon. In 2015, Pierre Bleuse was named as Music Director of the European Youth Orchestra Animato, which will embark on a tour through Budapest, Berlin, Prague, and Vienna this year.

106 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

Violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony. Previously, Ms. Eberle was a violinist with the St. Louis Symphony and served as Guest Concertmaster with the Richmond and Omaha Symphonies.

She served extensively as Concertmaster of the Juilliard Orchestra, including the ensemble’s tour of China as well as performances in Avery Fisher, Alice Tully, and Carnegie Halls.

Kathyrn Eberle Utah Symphony Associate Concertmaster

Ms. Eberle made her solo subscription series debut with the Utah Symphony in April 2014 performing Leonard Bernstein’s Serenade. The Salt Lake Tribune described her performance as “marrying unimpeachable technical skill with a persuasive and perceptive voice.” Other solo performances include appearances with the Los Angeles Philharmonic, Louisville Orchestra, Nashville Symphony, National Academy Orchestra of Canada, and Bahia Symphony in Brazil.

An avid chamber musician, Ms. Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, Ricardo Morales, and members of the New York Philharmonic. Her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac, Sewanee, Laguna Beach, Innsbrook, and Festival Mozaic.

Ms. Eberle received a Master’s Degree from The Juilliard School and studied with Sylvia Rosenberg. She previously studied with Robert Lipsett both at the Colburn School and the University of Southern California where she received the String Department and Symphony awards upon graduation. A native of Nashville, Tennessee, she was a pre-college student of Cornelia Heard at Vanderbilt’s Blair School of Music. She performs on a J.B. Vuillaume violin made in 1870.

DEER VALLEY® MUSIC FESTIVAL / 107

ARTISTS’ PROFILES

Born in Kansas and raised in Ponca City, Oklahoma, Brant Bayless came to Utah after completing his studies in New York City. After early piano lessons and singing in his father’s various church choirs, Brant started the viola at age 12.

Winning the Governor’s Scholarship to Interlochen Arts Camp in 1992 gave him his first glimpse of the musical world outside Oklahoma. After two years at the University of Kansas studying with Michael Kimber, Brant found his way to New York. Invited to study on scholarship with Pinchas Zukerman and Patinka Kopec at the Manhattan School of Music, Brant finished his bachelor’s degree in 1997.

Brant Bayless Utah Symphony Principal Viola

He regularly performs at the Grand Teton Music Festival, and has appeared as principal violist with other summer music festivals including the Mainly Mozart Festival, Bellingham Festival of Music, and Strings in the Mountains. Formerly a member of the Arcata Quartet, with which he appeared in venues such as Carnegie’s Weill Recital Hall, New York City’s Town Hall, and the famed Wigmore Hall in London, Brant continues to enjoy chamber music collaborations on the NOVA and Intermezzo series. He has also performed and taught at the Killington Festival and International Musical Arts Institute, and has joined as guest violist with the Muir and Fry Street String Quartets. He has performed as guest principal violist with the St. Louis Symphony under Music Director David Robertson.

His viola is attributed to the Milanese maker Luigi Bajoni from 1858. Having fallen in love with the mountains and deserts of Utah, he spends as much time as possible hiking, cycling, and seeking out backcountry ski descents. Brant is married to the cellist Anne Francis Bayless, and they have a 3 ½ year old son named Harrison.

108 / DeerValleyMusicFestival.org

More Drama on KUED

Dancing on the Edge

Endeavour

The Tunnel

Sunday Nights

NOTES ON THE PROGRAM

Wolfgang Amadeus Mozart (1756–1791)

Overture to Così fan tutte, K. 588 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets,

2 bassoons; 2 horns, 2 trumpets; timpani; strings Performance time: 4 minutes

Background The collaboration between Mozart and librettist Lorenzo da Ponte is considered one of the great partnerships in Western art. Da Ponte, who was perhaps the greatest Italian poet of his generation—his principal rival was the legendary lover and memoirist Giacomo Casanova—worked with Mozart on three of his greatest operatic masterpieces: Don Giovanni, Le nozze di Figaro, and Così fan tutte. So how is it that two of these operas won immediate and continuing popularity throughout the Western world, becoming household names, while the third—Così— was neglected for generations, and had to wait until 1922 for its premiere performance at New York’s Metropolitan Opera?

Boldness of form was not the problem.

It’s fair to say that the first two entries in the Mozart-da Ponte collaboration were more innovative than Così. Like Nozze it is an opera buffa—that is, a comic opera in the Italian language bearing standard hallmarks of the form. But where the story of Nozze was based on the radically modern plays of Beaumarchais and was politically subversive, Così was conventional for its day, a romantic farce based on a prank. The story had been kicking around for years, and a setting had even been attempted

by Mozart’s contemporary Antonio Salieri, though he never completed it.

Controversy arose later on. A storyline that seemed like sophisticated, titillating

110 / DeerValleyMusicFestival.org

comedy in 1790, when Così premiered at the Burgtheater in Vienna, seemed vulgar and morally questionable in the decades that followed. Today it could be the basis for a movie bromance by Judd Apatow: Two best buddies get lured into a bet that they can seduce each other’s girlfriend, don disguises, and complications ensue. But despite the opera’s steady stream of fabulous solo arias, duets, and a magnificent trio and quartet, it is still less frequently performed than Nozze and Don Giovanni. But for today’s opera companies, the problem is not the story’s raciness, but its misogyny. When the girlfriends give way to temptation and are exposed, the moral lesson put forward is the one we learn in the title, usually translated as “Women are like that.”

What to Listen For Mozart’s thrillingly beautiful opera overtures do not generally quote the melodies that will come later in the opera. But they do more than merely set the mood for the drama to come; they wordlessly bring us into the heart of the story, providing a context for the drama. In the case of Così fan tutte, we hear boisterous energy that rolls along gleefully, telling us that we should enjoy the action with a clear conscience. But as always in Mozart opera overtures, we must pay special attention when the tempo shifts gears. In this case, when the overture reaches an emotional climax nearly at its end, the pace changes from rollickingly fast to portentously slow, and where themes have been tossed playfully from one orchestral section to another, suddenly we hear an emphatic tutti. It’s as if Mozart is making a foreboding announcement. And that is, in fact, what happens: The entire orchestra joins in the emphatic chords that are not heard again

NOTES ON THE PROGRAM

until the opera is almost over, when the two sadder-but-wiser buddies sing in unison, not once, but twice: “Così fan tutte.” Yes, women are like that—at least according to Mozart and da Ponte, who preview this message in the overture’s whirlwind of a finale.

Wolfgang Amadeus Mozart (1756–1791)

Sinfonia concertante in E-flat Major for Violin, Viola and Orchestra, K. 364 INSTRUMENTATION: 2 oboes; 2 horns; strings

Performance time: 30 minutes

Background The symphony and the concerto were well established forms during Mozart’s lifetime, and the rigors of form were an important part of what made the Classical era “classical.”

But the sinfonia concertante was a form less strictly defined than most, lying somewhere between the symphony and the concerto— an entertainment designed to please the ear as well as to showcase multiple soloists in a single work. As in the Baroque concerto grosso, the sinfonia concertante established interest by combining instruments in unexpected ways—juxtaposing individual players against the larger group.

As is so often the case with Mozart, his Sinfonia concertante in E-flat Major both exemplifies the form and extends its limits. As was typical, the work is composed in a major key and is written to delight. Its major themes are introduced by soloists as if in a concerto, and provide plenty of opportunity for skillful display. But the development of themes is unusually sophisticated for the sinfonia genre.

Mozart composed the sinfonia in 1779, when he was 23. At that point in his life he was still

living in his hometown of Salzburg, Austria, where he felt his patrons and the listening public did not fully appreciate his music.

Artistically, he was already a mature composer producing timeless masterpieces, and within two years he would be living in Vienna. He had visited Paris in 1778, and during his lengthy stay there he became familiar with the sinfonia concertante form, which was popular in France.

The Sinfonia concertante in E-flat Major was the second of two compositions in this form that he composed upon his return to Austria.

What to Listen For In this sinfonia, as in Mozart’s great concertos for the piano and the violin, virtuosic display is balanced by the sheer beauty of melodic statement; if anything, brilliance is placed at a higher premium here than in many of his concertos. On the other hand, the development of thematic material is more surprising and complex than is typical in the sinfonia form.

But this sinfonia is equally noteworthy—if not notorious—for its association with the American music group Mannheim Steamroller, founded by Chip Davis. This term is actually a bizarre misnomer we can trace back to Mozart’s residence with the excellent orchestra at the Court of Mannheim before his visit to Paris. In listening to the sinfonia’s exciting first movement, we hear an introduction of extraordinary dramatic tension that Mozart achieves through the controlled building of a sustained crescendo that rises from a piano to a fortissimo marking over a span of six measures.

Eventually this technique, dubbed in German as the Mannheim Walze (the “Mannheim roller”), was inaccurately—but memorably—translated by music historians as the “Mannheim Steamroller.” The effect

DEER VALLEY® MUSIC FESTIVAL / 111

NOTES ON THE PROGRAM

is not unlike the dramatic crescendo that opens the winter section of Vivaldi’s The Four Seasons.

Johan Halvorsen (1864–1935)

Passacaglia Duo for Violin and Viola after G.F. Handel Passacaglia from Suite No. 7 in G minor for Harpsichord INSTRUMENTATION: Violin and Viola

Performance time: 8 minutes

Background The music of composer Edvard Grieg dominates the history of Norwegian classical music. Among the composers who followed him, Johan Halvorsen was among the most prominent—perhaps the most important to have worked in theater music, both as a composer and conductor.

Born in 1864, Halvorsen received his musical education in Oslo (known then as Kristiania) and in Stockholm, Sweden, where he studied violin with the eminent teacher Jakob Lindberg. Later, in Leipzig, he continued violin studies with Adolph Brodsky. Halvorsen played in theater and opera orchestras from the age of 15, becoming Concertmaster of the Bergen Philharmonic in 1885, and in Aberdeen in 1888.

In 1889 Halvorsen returned to Scandinavia, settling in Helsinki as a teacher and concert artist. There, turning his attention to composition with the encouragement of colleagues including Ferruccio Busoni, he composed popular orchestral works. In the course of his career he led countless performances of theatrical works and opera, and composed incidental music for over thirty plays—along with three symphonies

112 / DeerValleyMusicFestival.org

and two Norwegian Rhapsodies. His wife, Anna, was the daughter of Edvard Grieg.

What to Listen For The freshness and deftness of Halvorsen’s Duo for Violin and Viola, based on Passacaglia and Sarabande movements

by Handel, make us wonder about Halvorsen’s many theatrical compositions that have lapsed into obscurity. The writing is skillful and engaging, with imaginative G-minor variations. According to Halvorsen scholar and biographer Robert Cummings, “Halvorsen’s stock has been on the rise since the late 20th century, as recordings of his works have become more widely available.”

Joseph Haydn (1732–1809)

Symphony No. 92 in G Major, “Oxford” INSTRUMENTATION: flute, 2 oboes, 2 bassoons;

2 horns, 2 trumpets; timpani; strings Performance time: 28 minutes

Background Haydn’s success as a composer continued to grow throughout his career; he had two full decades of brilliantly productive work still ahead of him when, in his fifties, his fame spread throughout Europe. He was revered in England, and the final dozen of his 104 symphonies were produced for performance there—his “London” Symphonies. The “Oxford” Symphony, his No. 92, gained its nickname because Haydn was thought to have conducted it at a ceremony at Oxford in 1791, when he was awarded a doctorate honoris causa at Oxford University; he had not yet completed any of the “London Symphonies.”

NOTES ON THE PROGRAM

It is now clear that Haydn actually composed the “Oxford” Symphony at an earlier date for performance in Paris, and which of his symphonies was actually performed at the Oxonian awards ceremony is not known. But we do know that the symphony was rehearsed and played later in his stay at Oxford, and was fully and deservedly acclaimed, as it was in performance in London.

What to Listen For Haydn opens his “Oxford” Symphony with a slow introduction that unfolds to reveal a development section that was offbeat for the time—modulating to the parallel minor before proceeding to the dominant, and then introducing his principal theme in the tonic key, but with a dramatically unstable dominant seventh chord. Without understanding the vocabulary of harmonic theory, we can hear that this was a boldly modern way to begin a symphony in the

1790s. The second movement begins in a more relaxed vein, with a slow, singing melody. But here, too, dramatic innovation takes over, as the opening theme gives way to a central section in a minor key. It is built upon thematic materials from the movement’s opening, but is far more intense.

The third movement of the symphony takes the form of a minuet and trio.

Rhythmically offbeat for its time, the minuet and trio are constructed from six-measure phrases rather than the usual four that contemporary listeners expected to hear.

To us, with the benefit of centuries of symphonic composition in the orchestral repertory, it sounds perfectly natural; to Haydn’s audiences, the strangeness of this construction was enough to raise eyebrows. The symphony concludes with a dramatically compressed finale with a brisk (presto) marking. The movement’s brevity gives it a strong sense of climax.

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

D o w n to w n

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

DEER VALLEY® MUSIC FESTIVAL / 113

THE 2016 SEASON OF ENTERTAINMENT DEC 31 through ~ JAN 30

Call 801.984.9000 or online at www.HCT.org

SEASON TICKETS ON SALE NOW!

FEB 12 through ~ APR 2

APR 15 through ~ MAY 18

MAY 26 through ~ JUL 23

AUG 5 through ~ OCT 1

OCT 12 through ~ DEC 3

HOLI DAY E NCORE ~ N O T I N C L U D E D O N S E A S O N T I C K E T

DEC 9 through ~ DEC 24

SEASON SPONSOR

SUMMER SYMPHONY SERIES

PRODUCTION SPONSOR:

THE MARLON FAMILY FOUNDATION

CONCERT SPONSOR:

DREAMWORKS ANIMATION IN CONCERT WITH THE UTAH SYMPHONY JULY 29 | 7:30 PM JUSTIN FREER Conductor

CONDUCTOR SPONSOR:

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE

TED & LORI SAMUELS

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 115

ARTIST’S PROFILE

Justin Freer Conductor

American composer/conductor Justin Freer was born and raised in Huntington Beach, California. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly sought-after conductor and producer of film music concerts around the world. Mr. Freer began his formal studies on trumpet, playing in wind ensembles, marching bands, and community orchestras. He quickly turned to piano and composition and composed his first work for wind ensemble at age 11.

Continuing trumpet performance while studying piano and composition, Mr. Freer saw multiple wind ensemble, choral, and big band performances of his music while still a teenager and gave his professional conducting debut at age 16.

Continually composing for various mediums, he has written music for world-renowned trumpeters Doc Severinsen and Jens Lindemann, and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music at some of the most well-known concert halls, festivals, music clinics, and conventions in the world. Major League Soccer called upon Mr. Freer to compose and conduct music for the 2011 and 2012 Major League Soccer Championship Cups in Los Angeles, CA. He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, Dragonball Evolution, and Aliens in the Attic.

As a conductor, Maestro Freer has appeared with many of the world’s leading orchestras including the Philadelphia Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Philharmonia Orchestra, and Sydney Symphony Orchestra. Upcoming seasons will include his debut with the New York Philharmonic, London Philharmonic, and Tokyo Philharmonic and repeat performances with the orchestras of Philadelphia, Chicago, St. Louis, and others.

Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/ conductor Jerry Goldsmith.

116 / DeerValleyMusicFestival.org

luxury is Grand

Whether providing luxurious accommodations or personalized amenities, The Grand America Hotel offers Grand Experiences Through Grand Service.

8 0 0 - 3 0 4 - 8 6 9 6 | W W W. G R A N DA M E R I C A . C O M

Only With Us ® can you search for real estate by lifestyle, not only in Park City, but around the world. Summit Sotheby’s International Realty specializes in lifestyle real estate and knows all the individual features and amenities to help you find your perfect property. Whether you are looking for a prestigious gated golf community, a skiin/ski-out mountain retreat, or a rustic ranch, you can now search for the finest selection of extraordinary properties by lifestyle.

Looking to sell? Only With Us ® can you showcase your property to a highly targeted buyer searching by lifestyle for properties like yours.

Experience our lifestyle property search… summitsothebysrealty.com/lifestyle

Only With Us

®

800.641.1884 | SUMMITSOTHEBYSREALTY.COM/ONLY-WITH-US

©MMXV Sotheby’s International Realty Affiliates LLC. All Rights Reserved. Sotheby’s International Realty® is a licensed trademark to Sotheby’s International Realty Affiliates LLC. Equal Housing Opportunity. Each Office Independently Owned & Operated.

SUMMER ENTERTAINMENT SERIES

PRODUCTION SPONSOR:

STEEP CANYON RANGERS WITH THE UTAH SYMPHONY

GUEST ARTIST SPONSOR:

JULY 30 | 7:30 PM

ALPINE GROUP REI HOTODA Conductor CONCERT SPONSOR:

STEEP CANYON RANGERS

CONDUCTOR SPONSOR:

Radio Blow Me Away Blue Velvet Rain Diamonds in the Dust Simple is Me Midnight and the Dawn Knob Creek

KATHIE & SCOTT AMANN

INTERMISSION VIP DINNER SPONSOR:

JONES WALDO PARK CITY

#DVMF

Old Stone House Call the Captain Long Shot Stand and Deliver Tell the Ones I Love Las Vegas Mountains Gonna Sing Auden’s Train

DEER VALLEY® MUSIC FESTIVAL / 119

ARTISTS’ PROFILE

See page 86 for Rei Hotoda’s bio.

Steep Canyon Rangers

What does North Carolina sound like? In a state that’s also produced Doc Watson, James Taylor, and the Avett Brothers, there’s hardly a more well-rounded answer than the Steep Canyon Rangers.

A bluegrass band at their core, the Steep Canyon Rangers effortlessly walk the line between festival favorite and sophisticated string orchestra. They’re as danceable as the most progressive, party-oriented string band, and equally comfortable translating their songs for accompaniment by a full symphony.

It’s that mix of serious chops and good-natured fun that earned the Steep Canyon Rangers the GRAMMY® Award for Best Bluegrass Album in 2013 (for Nobody Knows You), and that drew celebrated comedian/banjoist Steve Martin to them when he needed a backing band. The Rangers are worldclass musicians who are just as at home taking the stage at Carnegie Hall as they are knee-deep in a mountain brook, fly rod in hand.

15 years and 9 studio albums since forming in Chapel Hill, the sextet—who reside in the western North Carolina mountains of Brevard and Asheville—returned to their roots at Echo Mountain Recording for their staggering new collection, RADIO. Recorded over three four-day sessions as the deep, snowy winter of 2015 held fast in the Blue Ridge, the band took full advantage of producer Jerry Douglas, who contributes his distinctive Dobro playing throughout the album.

120 / DeerValleyMusicFestival.org

THIS THIS IS IS PARK PARK CITY. CITY. THIS THIS IS IS HOME. HOME. #lovewhereyoulive #lovewhereyoulive

coldwellbankerhomes.com coldwellbankerhomes.com ©2016 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. Real estate agents affiliated with Coldwell Banker ©2016 Coldwell Banker Estate LLC. All Rights Reserved.

Coldwell Banker® is a registered trademark licensed to Coldwell Estate LLC. An Brokerage Equal Opportunity Residential Brokerage areReal independent contractor sales associates and are not employees of Coldwell Banker Real Estate LLC, Banker ColdwellReal Banker Residential or NRT LLC. Company. Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates and are not employees of Coldwell Banker Real Estate LLC, Coldwell Banker Residential Brokerage or NRT LLC.

FIND A PARK CITY RESIDENCE TO FIT YOUR LIFESTYLE. FIND A PARK CITY RESIDENCE TO FIT YOUR LIFESTYLE. VISIT US ONLINE AT VISIT US ONLINE AT

TeamSchlopy.com TeamSchlopy.com Marny Schlopy REALTOR Marny Schlopy REALTOR 435.640.5660 Marny@TeamSchlopy.com 435.640.5660 ® ®

TeamSchlopy.com Marny@TeamSchlopy.com TeamSchlopy.com

Kevin Crockett REALTOR Kevin Crockett REALTOR 435.640.3412 Kevin@TeamSchlopy.com 435.640.3412 ® ®

TeamSchlopy.com Kevin@TeamSchlopy.com TeamSchlopy.com

©2016 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates and are not employees of Coldwell ©2016 Real Coldwell Banker Estate LLC. All Rights Reserved.

Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell Banker Estate LLC, Real Coldwell Banker Residential Brokerage or NRT LLC. Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates and are not employees of Coldwell Banker Real Estate LLC, Coldwell Banker Residential Brokerage or NRT LLC.

CHAMBER ORCHESTRA SERIES

CONDUCTOR SPONSOR:

RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION

MOZART’S PIANO CONCERTO NO. 9 AUGUST 3 | 8 PM REI HOTODA Conductor, Piano See page 86 for Rei Hotoda’s bio.

WOLFGANG AMADEUS MOZART

Piano Concerto No. 9 in E-flat Major, K. 271 “Jeunehomme” I. Allegro II. Andantino III. Rondo: Presto Rei Hotoda, Piano

INTERMISSION

ARTHUR HONEGGER FRANCIS POULENC

#DVMF

Pastorale d’été (Summer Pastoral) Sinfonietta I. Allegro con fuoco II. Molto vivace III. Andante cantabile IV. Finale: Très vite et très gai

DEER VALLEY® MUSIC FESTIVAL / 123

NOTES ON THE PROGRAM

Wolfgang Amadeus Mozart (1756–1791)

Piano Concerto No. 9 in E-flat Major, K. 271 “Jeunehomme” INSTRUMENTATION: 2 oboes; 2 horns; strings;

solo piano Performance time: 32 minutes

Background These days, in staking out a durable claim on a classical music career, even the most spectacularly gifted prodigy might be in conservatory at age 20, thinking about repertory and the competition circuit. But by the time he entered his teen years, Mozart was already a musical celebrity. He had toured Europe extensively with his father and sister, performing for royalty since earliest childhood.

For all of the very real merits of his youthful compositions and instrumental skills, part of his appeal was as a novelty act. His abilities were quite literally unbelievable in one so young, and they were marketed accordingly.

That’s a professional strategy that can only last so long (though later stage parents, with Mozart in mind, were notorious for lying about their children’s ages and dressing them to look younger than they were). So it was perhaps inevitable that the weight and responsibilities of professional maturity brought a premature end to his musical childhood and adolescence—if they existed at all.

Most experts date the onset of Mozart’s musical maturity to 1773, when he was 16.

Resettled in his hometown of Salzburg, Austria, he was already composing mature masterpieces in the chamber repertoire at that age, including the three string quartet divertimenti bearing Köchel numbers 136

124 / DeerValleyMusicFestival.org

through 138 and the String Quintet in B-Flat, K. 174. It was during this period that he composed what is perhaps the first piano concerto to rank among these masterpieces: the No. 9 in E-flat, known as the “Jeunehomme.” At age 20, he was already chafing under the limitations of his position as concertmaster to the archbishopprince of Salzburg, and knew that the piano concerto would be a means of displaying his professional skills as both composer and soloist. All told, Mozart composed 23 original piano concertos, numbered through 27; the first four were arrangements of sonata movements by other composers. From about 1782 onward, when he was living in Vienna, they are a series of masterpieces, of which the “Jeunehomme” can be considered the earliest. Many experts consider these concertos, with his operas and symphonies, to be the anchors of Mozart’s catalog. This concerto was the first of Mozart’s piano concertos to be published (in 1780).

These circumstances have led many enthusiasts to the misleading conclusion that there is a particular “young man” referenced in the “Jeunehomme” nickname: Mozart himself. Actually, musicologists have long been aware that Jeunehomme is a variant spelling representing the pianist who inspired Mozart in composing the concerto.

Recent scholarship confirms that this artist was Victoire Jenamy, the daughter of a well-known ballet master. She is known to have been in Salzburg during the winter of 1776–1777, when Mozart composed it.

What to Listen For The Piano Concerto No. 9 is an example

NOTES ON THE PROGRAM

of Mozart innovating within forms rather than breaking them—bringing freshness, beauty, and surprise to Classical elegance.

For example, though this concerto is in the traditional three-movement form with fastslow-fast sequence, it startled contemporary listeners even in its opening moments— introducing the piano in a conversational exchange with the orchestra rather than with the usual extended orchestral introduction.

Mozart is quite capable of capturing and holding our interest without building suspense through such a ploy. Instead, an extended trill at the end of the introduction is a bit of good humor shared with the listener.

his parents were of Swiss background, and he asserted his Swiss national identity all his life. Nonetheless, when it comes to music, Honegger was not merely French, but importantly French. He was born in 1892 in the French seaport town of Le Havre, where his family had settled because of his father’s business in the coffee trade. After studies at the Zurich Conservatoire, he enrolled at the Paris Conservatoire in 1911. In 1920, when the influential group of French composers known as “Les Six” took rise, Honegger was among them. Together they would chart the course of innovation in French musical composition in the early 20th century.

The drama and gravity usually reserved for a concerto’s introduction are found instead in the second movement, marked andantino, which contrasts passages of brightness and darkness with compelling effect. But in the third movement, an energetic rondo returns us to the breezy mood of the first. The pace slows temporarily before returning to speed, long enough for Mozart to incorporate a balletic minuet. Was this a winking reference to Victoire Jenamy and her ballet-master father?

First performed in 1921 in Paris, the intimately scaled Pastorale d’été can be considered Honegger’s first major orchestral work; his vastly ambitious Horace victorieux, in which the influences of his idols Bach and Beethoven are more apparent, would not be completed until the following year. Honegger wrote the Pastorale after vacationing in Wengen, an alpine town overlooking the Swiss city of Bern, where he was inspired by his experience of the mountains and nature.

Dedicated to the French composer and critic Alexis Roland-Manuel, the Pastorale bears an epigraph by the French poet Arthur Rimbaud: J’ai embrassé l’aube d’été (“I have embraced the summer dawn”).

Arthur Honegger (1892–1955)

Pastorale d’été (Summer Pastoral) INSTRUMENTATION: flute, oboe, clarinet, bassoon;

strings Performance time: 8 minutes

Background We can be forgiven for thinking of Arthur Honegger as a Swiss composer; after all,

What to Listen For The sound of Honegger’s music combines solemnity and sensuality. He was a stickler for formal development, and—as we might guess of someone who embraced his Helvetian heritage so emphatically—composed with great precision, claiming to subordinate

DEER VALLEY® MUSIC FESTIVAL / 125

NOTES ON THE PROGRAM

merely “picturesque” effects to the more intellectual demands of musical structures.

And yet…what about musical Impressionism, which Honegger strongly advocated?

By now we are comfortable viewing the Impressionist paintings of Renoir, Monet, and their colleagues, and their works have gained such widespread popularity that we must remind ourselves how Impressionist paintings shocked the eye. The colors seemed strangely bright, the shadowy neutrals were gone, and the paintings rendered impressions of light rather than the world of objects in space. Yet somehow that world materializes before us as we simply relax and look. Honegger and his colleagues in “Les Six” incorporated the principles in Impressionist paintings and in the sensual verse of poets such as Mallarmé and Rimbaud in their music.

With Debussy’s Prélude à l’Après-midi d’un faune, also suggested by a poem (by Mallarmé), Honegger’s Pastorale is one of the important musical documents of Impressionism. Suffused with light and lushness, it seems to evoke a mountain sunrise and unfolding morning. It gathers brightness and energy before gradually winding down, perhaps to a peaceful sunset. Honegger’s use of the horn, which opens the Pastorale with a soaring melody, adds to the alpine feeling of the work.

Francis Poulenc (1899—1963)

Sinfonietta INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarintes,

2 bassoons; 2 horns, 2 trumpets; timpani; harp; strings Performance time: 30 minutes

126 / DeerValleyMusicFestival.org

Background Like Arthur Honegger, the French composer Francis Poulenc was a member of the influential group of composers known as “Les Six.” But in France, where matters of style are not taken lightly—and where the nation’s most prominent conservatory, the Paris Conservatoire, is notoriously rigorous—Poulenc was often misconstrued as a compositional lightweight, for reasons that were more circumstantial than artistic.

Born in 1899, Poulenc was the son of wealthy parents who intended him for a career in business, and who barred him from conservatory studies. It was only through his own determination and private instruction with the pianist Ricardo Viñes that he gained his grounding in music. Viñes became a mentor to Poulenc after the death of his parents, helping him develop performancelevel keyboard skills as well as his abilities as a composer. In “Les Six,” Poulenc was most closely associated with Erik Satie, whose compositional style, like Poulenc’s, was deceptively light, even inscrutable.

The buoyancy of Poulenc’s chamber works, which sparkle with energy and irreverence—together with his privileged background—exposed him to suspicions of dilettantism or triviality. Only later in his career did his seriousness and depth as an artist become apparent to a broader public.

An early exponent of musical technology, he began recording seriously in 1928, when it was fairly unusual for composers to do so. In 1936 he shifted his musical focus toward religious music that shed light on the depth of craft in his earlier works, which had sometimes been dismissed as light entertainments. His 1956 opera Dialogues of the Carmelites, set amid the violence of

NOTES ON THE PROGRAM

the French Revolution, is considered one of the greatest masterpieces of 20th-century opera. His Sinfonietta, while always admired for its technical polish and beauty, has been subject to reassessment in light of our deepening understanding of Poulenc’s work since his death in 1963.

What to Listen For Commissioned by the BBC in 1947, Poulenc’s Sinfonietta occupies a middle ground in his catalog: weightier than the lightest of his early compositions, but lighter than his operas and religious works. Of its four movements, the speed and energy of the first, second, and final movements frame a haunting third movement, marked andante cantabile.

Though unmistakably Gallic in style, the sound of the Sinfonietta might aptly be called eclectic, commingling the innovations of musical Impressionism with traditionally Romantic harmonies and structural refinements that harken back to the Classical era. At times it evokes whimsy; at others, as in the third movement, it treats themes with a lyrical grace that borders on melancholy.

The depth of Poulenc’s craftsmanship is revealed not only in his ease in integrating these disparate elements, but also in his superb use of the chamber orchestra.

Utah musicians on stage at the Gallivan Center

Caleb Chapman & Voodoo Orchestra

Big Band Dances on Tuesday evenings Concerts on Thursday evenings See excellenceconcerts.org for complete schedule

SUMMER SYMPHONY SERIES

GUEST ARTIST SPONSOR:

1812 OVERTURE! AUGUST 5 | 7:30 PM REI HOTODA Conductor

CONCERT SPONSOR:

WILL HAGEN Violin CANNONEERS OF THE WASATCH Cannons CANNON SPONSOR:

DMITRI SHOSTAKOVICH THE LAW OFFICES OF THOMAS N. JACOBSON

PIOTR ILYICH TCHAIKOVSKY

CONDUCTOR SPONSOR:

Festive Overture, Opus 96 Violin Concerto in D Major, Opus 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Will Hagen, Violin

INTERMISSION

ALEXANDER BORODIN

“Polovtsian Dances” from Prince Igor

ARAM KHACHATURIAN

“Adagio of Spartacus and Phrygia” from Spartacus

PIOTR ILYICH TCHAIKOVSKY

#DVMF

“1812” Ouverture Solonnelle, Opus 49

DEER VALLEY® MUSIC FESTIVAL / 129

ARTISTS’ PROFILES See page 86 for Rei Hotoda’s bio.

23-year-old violinist William Hagen is the third prize winner of the 2015 Queen Elisabeth International Music Competition (the highest ranking American since 1980). Already a seasoned performer on concert stages around the United States and abroad, Mr. Hagen’s 2015–16 season includes his Tokyo recital debut and recitals in Brussels, Los Angeles, and various cities in Florida. He makes his Bulgarian debut with the Sofia Philharmonic, and performs with the Jacksonville and Shreveport Symphony Orchestras, among others.

William Hagen Violin

Since his professional debut at age nine with the Utah Symphony and Keith Lockhart conducting, Mr. Hagen has performed with conductors Marin Alsop, Christian Arming, Placido Domingo, Miguel Harth-Bedoya, Fabio Mechetti, Ward Stare, Michel Tabachnik, Arie van Beek, and Hugh Wolff; with the symphony orchestras of Albany, Buffalo, Fort Worth, Jacksonville, St. Louis, Utah; and with the Aspen Philharmonic at the Aspen Music Festival. Abroad, he has performed with the Brussels Philharmonic, the National Orchestra of Belgium, the ORF Radio-Sinfonieorchester and with the Orchestre Philharmonique Royal de Liège in a tour of Belgium. He has also performed in Japan with the Yokohama Sinfonietta and the Sendai Philharmonic.

As an active and enthusiastic chamber musician Mr. Hagen has performed on the Colburn Chamber Music Society series and at the Aspen Music Festival with artists such as Veronika Eberle, Narek Hakhnazaryan, Edgar Meyer, Steven Osborne, Orli Shaham, Robert Spano, and Joaquin Valdepeñas. Mr. Hagen has also had the privilege of performing Mozart’s Sonata K. 454 with pianist Menahem Pressler in Los Angeles. This season, he performs with the Jupiter Chamber Players in New York City.

A native of Utah, Mr. Hagen first heard the violin at the age of three and began lessons at the age of four. At age ten, he entered the studio of Robert Lipsett at the Colburn Community School of Performing Arts, commuting to Los Angeles every week for lessons. After studying with Itzhak Perlman at The Juilliard School for two years, Mr. Hagen returned to Los Angeles in 2012 to continue studying with Robert Lipsett at the Colburn Conservatory of Music. He is an alumnus of the Verbier Academy and the Perlman Music Program, and spent many summers at the Aspen Music Festival and School. Mr. Hagen plays on an Andrea Guarneri violin (Cremona, c. 1675.)

130 / DeerValleyMusicFestival.org

ARTISTS’ PROFILES

The Cannoneers of the Wasatch have traveled the Wasatch Front for 44 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s 1812 Overture with cannon fire, but lacked cannons. For more than four decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

Utah Symphony | Utah Opera is the proud recipient of Charity Navigator’s highest rating for sound fiscal management, commitment to accountability and transparency, and adherence to good governance and best practices—all of which allow us to execute our mission in a responsible way.

DEER VALLEY® MUSIC FESTIVAL / 131

THERE’S NO STOP IN YOU.

ONLY GO. Daily nonstop flights from Salt Lake City to London, Amsterdam and Paris.

SUMMER ENTERTAINMENT SERIES

THE MUSIC OF JOHN WILLIAMS AUGUST 6 | 7:30 PM

PRODUCTION SPONSOR:

REI HOTODA Conductor See page 86 for Rei Hotoda’s bio.

JOHN WILLIAMS

Overture from The Cowboys Liberty Fanfare

CONCERT SPONSOR:

“Hymn to the Fallen” from Saving Private Ryan

BURTON & ELAINE GORDON

“The Flight to Neverland” from Hook KLAUS BADELT CONDUCTOR SPONSOR:

JOHN WILLIAMS

Pirates of the Caribbean Harry Potter and the Sorcerer’s Stone “Sayuri’s Theme” from Memoirs of a Geisha Superman March

ORCHESTRA SPONSOR:

INTERMISSION JOHN WILLIAMS

Raiders of the Lost Ark Jurassic Park “Devil’s Dance” from The Witches of Eastwick Theme from Schindler’s List “Adventures on Earth” from E.T. the Extra-Terrestrial Suite from Star Wars: The Force Awakens

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 133

Stream KUER’s Classical Station on your mobile device .

Download the KUER app from the App Store or Google Play. Visit kuer.org/app for details.

SUMMER ENTERTAINMENT SERIES

PRODUCTION SPONSOR:

THE MARLON FAMILY FOUNDATION

MICHAEL FEINSTEIN WITH THE UTAH SYMPHONY AUGUST 9 | 7:30 PM

GUEST ARTIST SPONSOR:

REI HOTODA Conductor

JIM & ZIBBY TOZER MICHAEL FEINSTEIN Guest Artist

CONCERT SPONSOR:

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE

CONDUCTOR SPONSOR:

MICHAEL & VICKIE CALLEN

#DVMF

DEER VALLEY® MUSIC FESTIVAL / 135

ARTISTS’ PROFILES

See page 86 for Rei Hotoda’s bio.

Michael Feinstein has built a dazzling career over the last three decades bringing the music of the Great American songbook to the world. His recordings that have earned him five GRAMMY® Award nominations, his Emmy nominated PBS specials, his acclaimed NPR series and concerts spanning the globe, and his work as an educator and archivist define Feinstein as one of the most important musical forces of our time.

Michael Feinstein Guest Artist

In 2007, he founded the Great American Songbook Foundation, dedicated to celebrating the art form and preserving it through educational programs. This summer music intensive, which is open to students from across the country, has produced graduates who have gone on to record acclaimed albums and appear on television programs such as NBC’s America’s Got Talent. Michael serves on the Library of Congress’ National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation, and increased public availability of America’s sound recording heritage.

The most recent album from his multi-platinum recording career is A Michael Feinstein Christmas from Concord Records.

Feinstein earned his fifth GRAMMY® Award nomination in 2009 for The Sinatra Project, his CD celebrating the music of “Ol’ Blue Eyes.” He is featured on the CDs The Power Of Two– collaborating with Glee and 30 Rock star Cheyenne Jackson– and Cheek To Cheek, recorded with Broadway legend Barbara Cook. For Feinstein’s CD We Dreamed These Days, he co-wrote the title song with Dr. Maya Angelou.

His Emmy Award-nominated TV special “Michael Feinstein–The Sinatra Legacy” aired across the country in 2011. The PBS series Michael Feinstein’s American Songbook was the recipient of the ASCAP Deems-Taylor Television Broadcast Award, was broadcast for three seasons, and is available on DVD. His most recent primetime PBS Special, “New Year’s Eve at The Rainbow Room”, written and directed by Desperate Housewives creator Marc Cherry, aired in 2014. For his nationally syndicated public radio program Song Travels, Michael interviews and performs alongside music luminaries such as Bette Midler, Neil Sedaka, Liza Minnelli, Rickie Lee Jones, David Hyde Pierce, and more. For further information about Mr. Feinstein, please visit michaelfeinstein.com.

136 / DeerValleyMusicFestival.org

INSIGHT FROM THE INSIDE

MUSIC AND A VIEW: As a percussionist, I’m often playing a shaker or tambourine to support the groove in the pop shows. One time, I was playing a tambourine rhythm in the background and I gazed out to enjoy the view. Just as I was looking up, a school of deer casually trotted across the hill, simply for my personal viewing pleasure. That’s certainly not the last time I saw deer in Deer Valley!

Eric Hopkins

Associate Principal Timpani

OFF STAGE: One time Carl, Utah Symphony violist, and I went up to Deer Valley early one morning for a local news interview. We rode up on his motorcycle and took in the stunning views. The spring scenery was so green, the air was crisp, and the deer seemed to be running alongside us. Carl and I took the lift up and hiked around afterward. It was a really nice bonding experience, from percussionist to violist, generation to generation.

Utah is an outdoor enthusiast’s mecca, and Park City is the classy hub for adventurous folks (and normal sane people, too). The ski areas are literally intertwined with the town, with a playground of gondolas and ski bridges connecting the landscape. I just can’t help but be fascinated at these engineering feats! I enjoy skiing too. One time I was skiing at PCMR with a trombonist in the orchestra and we got some great powder off of a groomer, after which we ended up on the bank of a small road. We almost rode into the road, it was hilarious! Thanks Park City for being fun and beautiful in both the winter and summer!

MUSICAL MEMORIES: So far, my all-time favorite show was with Steve Martin and the Steep Canyon Rangers at Deer Valley. Yeah, he plays the banjo, and he’s darn good! He and his band rocked it, and of course, he’s hilarious. My personal favorite tune was his a capella song, “Atheists Ain’t Got No Songs.”

THINGS TO REMEMBER: Don’t forget your wine stake, picnic supplies, and a warm blanket.

DEER VALLEY® MUSIC FESTIVAL / 137

INSIGHT FROM THE INSIDE

I started volunteering the very first year of the festival. One of my best friends was managing volunteers and she recruited me from the get-go. Some years I’ve helped more than others, but I’ve been a regular face up on the hill for the last six years.

THINGS TO TRY: Head to the Deer Valley Concession Stand and try a carrot cake cupcake. It is one of the food items I miss most since being diagnosed with celiac disease a few years ago. Maybe enjoy a second one for me?

Caprene Thompson Front of House Manager (volunteer)

RETURN APPEAL: I love to help people, although I’m a pretty shy person. I use the festival to help myself become more outgoing and comfortable with strangers. I love the regular faces I look forward to seeing in the crowd each summer. Our patrons are awesome, and they make every night fun for me. I absolutely love listening to our symphony, but I am there for the people too.

I’ve worked with a number of unhappy customers too.

Whether it’s the rainy weather, a sold out show, or not having the best seats on the hill, I love the challenge of being introduced to an unhappy patron. Nothing is more satisfying than “turning that frown upside down.” The symphony makes me smile, so I want to be sure that others are smiling as well while attending a concert.

TIPS TO MAXIMIZE ENJOYMENT: Come early! Set up your blankets and chairs and head over to the St. Regis for a ride on the funicular for a great view of Deer Valley. Pack a picnic dinner and enjoy the surroundings prior to the concert.

Prepare extra food or drinks to share with your neighbors and make some new friends! It’s always fun to bring card or board games to play while waiting as well.

Bring warm clothes. It often gets chilly on the hill once the sun sets. If you forget to bring a blanket or sweater, you can always head to the Symphony Guild’s gift shops which sell clothes and blankets.

138 / DeerValleyMusicFestival.org

INSIGHT FROM THE INSIDE

I first started off volunteering with the Utah Symphony | Utah Opera, so when I started volunteering at the Deer Valley® Music Festival it just seemed natural. Now the years have added up, and I am on my eighth season as a volunteer.

David Lach Volunteer Head Usher

CHERISHED MOMENTS: I really enjoy when the music is upbeat, like rock n’ roll. I love seeing music inspiring people to dance. I know that many people are shy when it comes to dancing, so I’ll get up and dance to encourage others.

Sometimes when I get up, a few others will get on their feet and we’ll all dance together. Even if it’s just one or two people, it’s a really great feeling to dance with others. Seeing people really enjoy the music is one of the things I look forward to the most every year.

YEAR AFTER YEAR: Honestly, I love the music at the Deer Valley® Music Festival, but I love the people even more. As head usher, I walk all around the hill to check on my volunteers and the patrons. This really gives me the opportunity to strike up conversation and get to know the crowd, as well as my volunteers. Everyone has a different story which makes for a lot of fun.

RAIN OR SHINE: Even though it’s summer, I always recommend bringing a rain jacket or a sweater. Over the last few years, we’ve mostly been pretty lucky. But, when it does rain, I sometimes see people huddled under their blankets and tarps. It’s just better to be prepared, that way you can enjoy the music no matter what the weather turns out to be.

DEER VALLEY® MUSIC FESTIVAL / 139

HOT DEALS – RESTAURANTS

SQUATTERS ROADHOUSE GRILL AND PUB 1900 PARK AVE. – PARK CITY WASATCH BREW PUB 250 MAIN ST. – PARK CITY Present your 2016 Deer Valley® Music Festival ticket stub at the Squatters Roadhouse Grill and Pub or at Wasatch Brew Pub (Park City locations only) and receive 10% off food and non-alcoholic beverages. Valid July 1–August 16, 2016.

May not be combined with any other offers. utahbeers.com

WAHSO 577 MAIN ST. – PARK CITY Present your 2016 Deer Valley® Music Festival ticket stub and receive a free appetizer with the purchase of two (2) entrees. Not valid with any other offer. Not valid on value nights or blackout dates. wahso.com

140 / DeerValleyMusicFestival.org

FLANAGAN’S ON MAIN 438 MAIN ST. – PARK CITY Receive 20% off all food purchases, just show us your 2016 Deer Valley® Music Festival ticket stub! flanagansonmain.com

501 ON MAIN 501 MAIN ST. – PARK CITY Pre-order your Sounds of Summer Picnic Basket and receive two free 501 on Main togo coffee mugs. Orders must be placed at least 24 hours in advance. To reserve, email reservations@501onmain.com. www.501onmain.com

456 Trolley Square Salt Lake City, Utah 84102 (801) 359-2020 www.thespectacle.com

GIVING ON THE HILL

Thank you for joining us at the Deer Valley® Music Festival, the summer home of Utah Symphony | Utah Opera. Our Summer Symphony Series Sponsor and 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation has challenged us to raise $500,000 in new and increased gifts. Donate today for a 1:1 match by our generous sponsor!

Donate now at GiveDVMF.org Or scan to give

Utah Symphony | Utah Opera is a non-profit arts organization, and in addition to our performances at our home venues, including the Deer Valley® Music Festival, we reach 140,000 K–12 students across the state with more than 240 free education concerts a year. Visit GiveDVMF.org or contact the USUO Development team at 801.869.9015 to support our mission of providing great live music to all Utahns.

142 / DeerValleyMusicFestival.org

TICKETS ON SALE NOW

THE SOUND of INSPIRATION COMPLETE SCHEDULE AT UTAHSYMPHONY.ORG

2016–17 SEASON HIGHLIGHTS INCLUDE:

SEPTEMBER 16 & 17, 2016

FEBRUARY 17 & 18, 2017

Emanuel Ax plays Beethoven’s “Emperor”

Mozart’s Requiem

OCTOBER 28 & 29, 2016

MARCH 4, 2017

Superheroes!

Pokémon: Symphonic Evolutions with the Utah Symphony

NOVEMBER 4 & 5, 2016

MARCH 21, 2017

Dvořák’s “New World” Symphony

Pink Martini with the Utah Symphony

DECEMBER 21, 2016

MAY 5 & 6, 2017

Celtic Woman “Home for Christmas”

Rhapsody in Blue

TICKETS FOR MOST CONCERTS START AT $21

801-533-NOTE (6683) | UTAH SYMPHONY.ORG U TA H S Y M P H O N Y | U TA H O P E R A SEASON SPONSOR:

PERPETUAL MOTION CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott & Jesselie Anderson Lisa Eccles Kem & Carolyn Gardner Gail Miller & Kim Wilson Bill & Joanne Shiebler

Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION The 2015–16 season has truly been 75 years in the making.

We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today.

The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. 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.

The Foundation has pledged an additional $1 million during our 75th anniversary season, along with a challenge to us to raise an additional $500,000 in new and increased gifts, which they will match dollar for dollar. 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 also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.

Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more.

Find out more at usuo.org/support/grassroots-campaign

144 / DeerValleyMusicFestival.org

PERPETUAL 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 ($7 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) Anonymous (3) Scott & Jesselie Anderson Doyle Arnold & Anne Glarner 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 Douglas & Connie Hayes Roger & Susan Horn Ronald & Janet Jibson Frederick Q. Lawson Foundation

Anthony & Renee Marlon Carol & Anthony W. Middleton, Jr., M.D. Edward & Barbara Moreton William H. & Christine Nelson Carol & Ted Newlin James A. & Marilyn Parke Scott & Sydne Parker Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon John & Marcia Price Family Foundation Dr. Wallace Ring 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

DEER VALLEY® MUSIC FESTIVAL / 145

PLAN BIG

Plan Big.

Utah Symphony | Utah Opera planned big, imagining that our reach could extend to a summer festival to entertain new audiences and inspire with a wide variety of music.

Today, the Deer ValleyÂŽ Music Festival is in its 13th season, delighting audiences in our summer mountain home. Utah Symphony | Utah Opera is the premier arts organization of the Intermountain West, unmatched in the reach of our statewide education programs and excellence in symphonic and operatic music.

Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians at our summer home, the Deer ValleyÂŽ Music Festival. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy.

To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

146 / DeerValleyMusicFestival.org

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 Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

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

DEER VALLEY® MUSIC FESTIVAL / 147

HOUSE RULES A Midsummer Night’s Dream…

That’s what we’re hoping tonight’s outdoor musical experience becomes for you! However, everyone on the hill could potentially make or break each performance—not just the musicians on stage.

Which means you have an important part to play, but don’t worry if you left your violin back home. We’ve got some simple markings to keep you easily following along as you sit back, relax, and enjoy the music.

Pianissimo Please Beethoven didn’t write a part for beeping cell phones in his Moonlight Sonata. Let those around you enjoy their own moonlight sonata of sorts by silencing your phones, pagers, loud conversations, and other noise-making devices before the performance begins.

Dance of the Sugar Plum Fairies Yes, your children are adorable. However, please keep a close eye on the little sugar plums to be sure they’re not distracting other patrons or running around the lawn during the performance.

No Ledger Lines Please don’t block the view of those behind you with large objects (e.g. strollers, umbrellas, etc). Unfortunately, a clear view of the stage can’t be written up on ledger lines. Chairs are only permitted on the west side of the hill, and the maximum chair height is 9 inches in the general admission seating area.

Also, there is a limited amount of wheelchair and other accessible seating available. If you need wheelchair seating or other accessible seating please call the ticket office at least 24 hours in advance of the performance.

Symphonie Fantastique Of course our symphony is utterly fantastic—breathtaking indeed! But attending the Deer Valley® Music Festival can literally take your breath away as well. Depending on where you are in Park City, the altitude varies from 6,800 to 10,000 feet above sea level. We recommend you drink a lot of water

148 / DeerValleyMusicFestival.org

HOUSE RULES to stay hydrated. The air is thin, so pace yourself—the effects of exercise and alcohol are magnified at high altitudes.

Smoking is only allowed on the south side of the plaza deck behind the Snow Park Ticket Office.

Belshazzar’s Feast Enjoy a feast of music and food while you’re here! Deer Valley® has a full concession stand available, and food and beverages from home may be brought to the performance as well. Large coolers and strollers, however, are not allowed in the reserved seating section.

Dissonant Lights and Dynamic Diversions Your fabulous experience tonight will likely tempt you to capture a few moments on film. Please withhold the urge to do so. No picture taking (with or without flash), videos, or recording of any kind is allowed during Utah Symphony | Utah Opera performances. Share your experience via social networks with the hashtag #dvmf.

Afternoon of a Faun Unfortunately this is not the evening of a faun… or your dog, or little Timmy’s goldfish. Please leave your pets at home, even if they love music just as much as you do.

Rushing the Tempo We truly appreciate those of you who look forward to performances with great anticipation. However, please remember the gate doesn’t open until approximately 5:30 p.m. Once the gate is open, you may reserve an area on the lawn with a blanket, tarp, or by roping off an area. Only reserve enough space for the exact number of people in your party, please. If you plan to leave your blanket and come back later, wind may also be a factor. Please do not use rocks to hold down your blankets or other items, as they can become some intense dissonant tones for the lawn mowers.

Reminder: You will always need your ticket stub or handstamp to re-enter the performance venue.

DEER VALLEY® MUSIC FESTIVAL / 149

CLASSICAL 89 BROADCASTS June 4 | 9:30 AM BACH BRANDENBURG CONCERTO NO. 3 Aisslinn Nosky, Conductor (recorded 7/29/15)

July 2 | 9:30 AM BEETHOVEN SYMPHONY NO. 3 “EROICA” Thierry Fischer, Conductor (recorded 9/18/15)

June 11 | 9:30 AM BRUCH VIOLIN CONCERTO NO. 1 Stefan Milenkovich, Violin Vladimir Kulenovic, Conductor (recorded 8/5/15)

July 9 | 9:30 AM BEETHOVEN CORIOLAN OVERTURE Thierry Fischer, Conductor (recorded 9/11/15)

June 18 | 9:30 AM BACH ORCHESTRAL SUITE NO. 1 Aisslinn Nosky, Conductor (recorded 7/29/15) June 25 | 9:30 AM BEETHOVEN SYMPHONY NO. 1 Thierry Fischer, Conductor (recorded 9/18/15)

July 16 | 9:30 AM BEETHOVEN SYMPHONY NO. 4 Thierry Fischer, Conductor (recorded 9/11/15) July 23 | 9:30 AM BEETHOVEN SYMPHONY NO. 5 Thierry Fischer, Conductor (recorded 9/11/15) July 30 | 9:30 AM BEETHOVEN SYMPHONY NO. 8 Thierry Fischer, Conductor (recorded 9/12/15)

THANK YOU TO OUR ADVERTISERS Academic Outreach Continuing Education Alaskan Inn Berkshire Hathaway BMW of Murray | BMW of Pleasant Grove BTG Wine Bar Cache Valley Visitors Bureau Caffè Molise Challenger School City Creek | Living Classical 89 Coldwell Bankers Daynes Music Deer Crest Club Deer Valley Resort Delta Eldridge Furniture Excellence in the Community Concert Series Foothill Oriental Rugs Grand America Hotel Guild Hall Hale Centre Theatre

Helper Arts, Music & Film Festival Holland & Hart Hyatt Centric Kirton | McConkie KUED KUER Larry H. Miller Lexus Law Offices of Thomas N. Jacobson Legend Solar Little America Hotel Madison McCord Interiors Magic Space Mercedes Benz of Salt Lake Moab Music Festival Montage Music in the Mountains New Yorker Park City Restaurant Association Pioneer Theatre Company RC Willey Regency Royale

Ruby’s Inn Sierra~West Jewelers The Spectacle St. Regis Stein Eriksen Lodge Summit Sotherby’s International Realty Teach Law Offices Tim Dahle Infiniti United Way University of Utah Health Care Utah Festival Opera Utah Food Services Utah Shakespeare Festival Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

ACKNOWLEDGEMENTS

UTAH SYMPHONY | UTAH OPERA DEER VALLEYÂŽ MUSIC FESTIVAL 123 West South Temple Salt Lake City, UT 84101 801-533-5626 Melissa Robison Editor Hudson Printing Company www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 Auditing and Accounting services provided by Tanner, LLC Legal Representation provided by Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo Governmental Relations Representative Frank Pignanelli, Esq.

Utah Symphony | Utah Opera is an equal opportunity employer. Utah Symphony | Utah Opera policy prohibits unlawful discrimination based on race, color, creed, sex, marital status, sexual orientation, age, national origin, ancestry, handicap, disability, medical condition, or any other consideration made unlawful by federal, state, or local laws.

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

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

152 / DeerValleyMusicFestival.org

2016 / Deer Valley® music festival

education events The USUO education Department offers events that provide access for our community members to professional musicians and music-making.

FAMILY INSTRUMENT PETTING ZOO Saturday, July 2 | 6–7 pm • Preceding the Patriotric Celebration with Broadway’s Doug LaBrecque and the Utah Symphony • Behind Snow Park Lodge Ticket Office • Instruments provided by Summerhays Music • Available to all ticket holders.

PLAZAFEST Symphony Youth Guild instrumentalists offer pre-performance music at St. Mary’s Church.

Come early and enjoy!

PRO-AM CLINICS New this year!

Community musicians hone their musical skills under the mentorship of Utah Symphony musicians. Instrumentspecific clinics are held from 3–5 pm on Saturdays in July, at the Weilenmann School of Discovery in Parley’s Summit.

DvMF ARTS OUTREACH PARTNERS:

Details about registration and cost, plus optional add-on tickets to the Deer Valley® concert at Snow Park Lodge the same evening, are available on the DVMF website.

LYCEUM MUSIC FESTIvAL

LISTEN/SPACE COMMISSIONS

vU SYMPOSIUM

July 25–30 / 2016

July 1–3 / 2016

July 5–7 / 2016

Zermatt Resort, Midway, UT

listenspacemusic.wordpress.com

Park City Library · vusymposium.org

Summer music camp for students ages 14–21

Works by young experimental composers

Critical Exploration of experimental, electronic & improvised music

For more info about 2016 Deer VALLeY® music festival education events, visit deervalleymusicfestival.org

Romance isn't as far away as you think.

bed and breakfast . adults only Alaskaninn.com ︹ 801-621-8600 435 Ogden Canyon, Ogden UT 84401