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welcome to deer valley ®
Welcome to the 12th 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 unique festival experience, which combines great live music with a casual mountain atmosphere, has become a favorite way for many people to spend their summer evenings. USUO has benefited from an increased exposure on the national stage in recent years. With a fervent, unified board and superb artistic and administrative leadership in place, USUO is in a strong position to attract superior executive talent in our search for a new CEO and will continue our upward trajectory. We firmly believe in our mission to connect communities through great live music, and we are confident that the Deer Valley® Music Festival will enjoy continued growth well into the future. Last summer, we kicked off a series of special events planned to build and to showcase our world-class orchestra and opera company through a host of exciting initiatives leading up to the 75th anniversary of Utah Symphony in 2015–16. The touring, broadcasting, recording, recruiting, and education activities that are part of this celebration are possible thanks to the incredible support of many community leaders through our Campaign for Perpetual Motion (see pages 140–142). We are very grateful for their advocacy of these kinds of activities, which not only bring focus to the high-quality artistry we provide in every performance, but demonstrate how we inspire our community in meaningful and relevant ways. Thank you for joining us at tonight’s concert. We hope that your enjoyment of exceptional music in this outstanding landscape confirms for you why a thriving performing arts community is an integral part of what makes Utah great. Sincerely, Pat Richards Interim President & CEO
Dave Petersen Chair, Board of Trustees
DEER VALLEY® MUSIC FESTIVAL / 5
testimonials Mark & Dianne Prothro | DVMF Founders
Our most treasured Deer Valley® Music Festival memory is the magical feeling of symphonic music under the stars at Deer Valley. We hope that everyone has a Deer Valley® Music Festival memory. As the Festival enters its 12th season, we begin our 30th year in Deer Valley. What began as an occasional concert in the 1990s has developed into a full festival through the foresight of the Swartz, Shiebler, and Prothro families as Festival founders. We believe that all Park City residents, whether full time or second homeowners, should support their community. We have helped leave a legacy for Park City with our support as USUO Board members and by establishing an endowment fund for the Deer Valley® Music Festival— an event enjoyed by four generations of our family. Please join us in supporting the Utah Symphony | Utah Opera in Park City. From Randy Travis, Steve Martin, Kenny G, the Utah Symphony’s own Tad Calcara, or the Symphony’s own version of the “Eyes of Texas,” every concert is special in its own way and leaves lasting memories. We have loved introducing our grandsons to “music under the stars” and seeing their appreciation of music grow—the oldest now plays in his high school orchestra! We hope everyone enjoys the many concerts yet to come and that they will treasure their own Deer Valley® Music Festival memories.
Allen Highfield | General Manager | Montage Deer Valley
A community is truly evolved when it prioritizes art in everyday life. Montage Hotels & Resorts is committed to original art in all forms— visual, culinary, architectural, musical, and the art of spa. As the summer home of the Utah Symphony | Utah Opera, the Deer Valley® Music Festival brings artists from all corners of the earth for the enjoyment of locals and visitors alike, bringing our hills to life with the sound of music. Thank you for your support of this world-class festival and for taking time to incorporate art and music into your life, transforming the mundane into the sublime.
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testimonials Bill & Joanne Shiebler | DVMF Founders
Since becoming Utahns in the 1990s, we have come to treasure Utah Symphony | Utah Opera and Deer Valley® Music Festival as an integral part of life in Park City and in Utah. We have lived in large cities across the country with many art forms to choose from, and it quickly became obvious that we have a home-grown symphony and opera company right here in Utah that rivals the best large arts organizations in other communities. With each passing year we have come to appreciate the wonderful amenity we have right in our own backyard. It is easy to be transported to another place and time with beautiful music and such talented performers. We can all sit back, relax and let the music carry us away. We are especially proud to be associated with USUO and DVMF for their realization of such high artistic goals and performance standards. Whether you prefer the pure classical repertoire of Masterworks at Abravanel Hall, the creativity and acclaimed voices of opera, or the casual experience of Deer Valley® Music Festival with its wide selection for all audiences, everyone benefits from the pleasure and enjoyment the symphony and opera bring to Park City, Salt Lake City, and across Utah. We are grateful for the generous support of the entire community that maintains Utah Symphony | Utah Opera as the top arts organization in the state of Utah.
Kim Carson | Chair | Summit County Council
Summit County is proud to be a long-time supporter of Utah Symphony | Utah Opera. The Deer Valley® Music Festival enhances our local cultural landscape and tourist economy through the presentation of world-class live music in Summit County’s beautiful natural surroundings each summer. It provides residents an outstanding opportunity for localized cultural enhancements and experiences. The reputation of the Festival and its guest artists also attract thousands of visitors from outside the county and state, building Summit County’s economic diversity and supporting a healthy, prosperous culturally-diverse citizenry. Thank you for your support, and enjoy tonight’s performance.
DEER VALLEY® MUSIC FESTIVAL / 7
thank you
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.
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
JANET T. DEE FOUNDATION
MARTIN & JANE GREENBERG
ANTHONY & RENEE MARLON
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
CAROL & TED NEWLIN
THEODORE SCHMIDT
CORPORATION
LAWRENCE T. &
DIANE & HAL BRIERLEY
Sam & Diane Stewart Family Foundation
NAOMA TATE & THE FAMILY OF HAL TATE
UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION
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JACQUELYN WENTZ
thank you ENCORE L E V EL ($10 0,0 0 0+) **
DOYLE ARNOLD & ANNE GLARNER
DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND
R. HAROLD BURTON FOUNDATION
DELL LOY & LYNNETTE HANSEN
ROGER & SUSAN HORN
THE RIGHT REVEREND CAROLYN TANNER IRISH
EMMA ECCLES JONES FOUNDATION
GIB & SUSAN MYERS
WILLIAM H. & CHRISTINE NELSON
DR. DINESH AND KALPANA PATEL
EDWARD & BARBARA MORETON
THIERRY & CATHERINE FISCHER**
FREDERICK Q. LAWSON FOUNDATION
RESTAURANT TAX RAP TAX
BR AVO L E V EL ($ 5 0,0 0 0+) THOMAS BILLINGS & JUDGE JUDITH BILLINGS
SCOTT & JESSELIE ANDERSON
ELAINE AND BURTON L. GORDON
FRANK R. PIGNANELLI & D’ARCY DIXON
*
PATRICIA DOUGALL EAGER†
JANET Q. LAWSON FOUNDATION
ALBERT J. ROBERTS IV
MARRINER S. ECCLES FOUNDATION
* **
THE FLORENCE J. GILLMOR FOUNDATION
SCOTT & SYDNE PARKER
LOIS ZAMBO
OV ER T URE L E V EL ($25,0 0 0+)
Mr. & Mrs. William C. Bailey BMW of Murray BMW of Pleasant Grove Rebecca Marriott Champion Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun Holland & Hart** Richard K. & Shirley S. Hemingway Foundation
Jack & Jan Massimino Carol & Anthony W. Middleton, Jr., M.D. OPERA America’s Getty Audience Building Program James A. & Marilyn Parke Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda Simmons
Stein Eriksen Lodge** Summit Sotheby’s Norman C. & Barbara Tanner Nora Eccles Treadwell Foundation Vivint M. Walker & Sue Wallace Jack Wheatley John W. Williams Workers Compensation Fund Edward & Marelynn Zipser
DEER VALLEY® MUSIC FESTIVAL / 9
thank you
Gifts as of 6/15/2015
**In-Kind & Cash Gift
*In-Kind Gift
†Deceased
Utah Symphony | Utah Opera is grateful to the following donors and sponsors for their support of the 2015 Deer Valley® Music Festival. M A ESTRO ($10,0 0 0+)
Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family Brent & Bonne Jean Beesley Foundation Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine FoundationRussell Family Chris & Lois Canale Howard & Betty Clark CenturyLink Daynes Music* Skip Daynes* BRONZE ($7, 5 0 0+) Bambara Restaurant* Chip & Gayle Everest Fabian & Clendenin Joe & Dixie Furlong
The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Ralph & Glenda Earle Sue Ellis Douglas & Connie Hayes Thomas & Susan Hodgson Hyatt Escala Lodge** Gastronomy, Inc.* GE Foundation Ann & Gordon Getty Foundation Tom & Lorie Jacobson Katherine Lamb Hal & Lois Milner Moreton Family Foundation Mount Olympus Waters* National Endowment for the Arts Park City Chamber/Bureau
Mr. David A. Petersen Promontory Foundation David & Shari Quinney Resorts West* Dr. Clifford Reusch Salt Lake City Arts Council Theodore & Lori Samuels Pauline Collins Sells Marilyn Sorensen Tom & Marilyn Sutton Taft & Anne Symonds Tom & Kathy Thatcher Zibby & Jim Tozer
Goldener Hirsch Inns* Katherine Lamb Larry H. Miller Ford/Lincoln Sandy Charles & Pat McEvoy
Elinor S. McLaren & George M. Klopfer Rich & Cherie Meeboer** Bob & Kim Rollo
Thomas & Lynn Fey Ray & Howard Grossman Jones Waldo Park City Debra & Robert Kasirer Wayne & Barbara Lyski
Rick & Annie Mastain Terry & Leah Nagata Brooks & Lenna Quinn Squatters Pub Brewery* Victory Ranch & Conservancy
James & Penny Keras Alan D. & JoAnne Kerschner Susan Keyes & Jim Sulat Laura Kiessner (Packsize) Jean Kimball Kirton & McConkie Darryl Korn & Jeannie Sias Chris & Erlynn Lansing Roger & Sally Leslie Elaine & Harrison Levy Michael & Beth Liess Kirton | McConkie Bill Ligety & Cyndi Sharp Ann & Mac MacQuoid Julie & Michael McFadden Linda & George Mendelson
Richard & Ginni Mithoff Ralph & Dee Muller Jim & Ann Neal Chuck & Amy Newhall Thomas & Barbara O’Byrne Bradley Olch Jon Poesch Thomas Safran Shirley & Eric Schoenholz Snell & Wilmer L.L.P. Christine St. Andre & Cliff Hardesty Stoel Rives Ged & Sheila Walsh Jeremy & Hila Wenokur Gayle & Sam Youngblood
Thomas & Caroline Tucker
Utah Food Services* Utah Hispanic Chamber of Commerce*
STA NDA RD V IP ($ 4, 5 0 0+) E. Wayne & Barbara Baumgardner Suzanne & Clisto Beaty Neill & Linda Brownstein** EY Jack & Marianne Ferraro
V IP PATRON ($2 , 5 0 0+) Bob & Cherry Anderson John & Caryl Brubaker Jonathan & Julie Bullen Michael & Becky Callen Mark & Marcy Casp Debbi & Gary Cook David & Sandra Cope Mike & Sheila Deputy Margarita Donnelly Durham Jones & Pinegar, P.C. Robert Edwards Blake & Linda Fisher Bob & Annie Lewis Garda Susan Glassman & Richard Dudley Goldman Sachs Wes & Sunny Howell
FRIEND OF THE FESTI VA L ($1, 5 0 0+) Caroline & David Hundley Millcreek Cacao Roasters* Millcreek Coffee Roasters*
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Park City Foundation Ruth’s Chris Steak House/Hotel Park City*
Elizabeth Sullentrop
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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
5
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Welcome to Deer Valley®
6 » Testimonials 8
»
Thank You
16
»
Utah Symphony
18
»
Festival Council
23
»
Hot Deals
26
»
Board of Trustees
Kyrsten Holland Administrative Assistant
28 » Administration 30
»
2015 Salon Series
Melissa Robison Editor
31
»
The St. Regis VIP Program
32
»
Festival Map
37
»
Summer Sponsors
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@ millspub.com Website: millspub. com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © Copyright 2015
85 » Education 96
»
Emerging Quartets & Composers
99 » Four’s a Crowd 140 »
The Campaign for Perpetual Motion
143 »
Tanner & Crescendo Societies
144 »
House Rules
146 »
Classical 89 Broadcasts
148 » Staycation-ing 150 »
DVMF Familiar Faces
152 » Acknowledgments
DEER VALLEY® MUSIC FESTIVAL / 13
contents
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JULY 4 | 7:30 PM
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JULY 8 | 8 PM
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JULY 10 | 7:30 PM
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JULY 11 | 7:30 PM
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JULY 17 | 7:30 PM
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JULY 22 | 8 PM
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JULY 22 | 8 PM
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JULY 24 | 7:30 PM
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JULY 25 | 7:30 PM
PATRIOTIC POPS with Bravo Broadway
MOZART & MENDELSSOHN
BIG BAD VOODOO DADDY with the Utah Symphony
SMOKEY ROBINSON with the Utah Symphony
DISNEY’S FANTASIA Live in Concert with the Utah Symphony
CLASSICAL MYSTERY TOUR with the Utah Symphony
MUIR STRING QUARTET
COUNTRY LEGENDS
CURTIS STIGERS CELEBRATES SINATRA with the Utah Symphony
contents
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JULY 28 | 8 PM
105
JULY 29 | 8 PM
113
JULY 31 | 7:30 PM
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SEMIOSIS & DENOVO STRING QUARTETS
BACH & VIVALDI
1812 OVERTURE!
AUGUST 1| 7:30 PM
OZOMATLI with the Utah Symphony
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AUGUST 5 | 8 PM
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AUGUST 7 | 7:30 PM
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AUGUST 8 | 7:30 PM
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AUGUST 14 | 7:30 PM
MENDELSSOHN, BRUCH & HAYDN
HOLLYWOOD UNDER THE STARS
KRISTIN CHENOWETH with the Utah Symphony
DIANA KRALL with the Utah Symphony
DEER VALLEY速 MUSIC FESTIVAL / 15
utah symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
Barlow Bradford Symphony Chorus Director
Roberta Zalkind Associate Principal
VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Julie Edwards Silu Fei Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Matthew Johnson Associate Principal
Erin Svoboda Associate Principal
John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang
Lee Livengood
BASS* David Yavornitzky Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton 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 Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Aubrey Woods †† Julie Wunderle ••
Corbin Johnston Associate Principal
OBOE Robert Stephenson# Principal
TROMBONE Mark Davidson Acting Principal
James Hall Acting Principal
Zachary Guiles†† Acting Associate Principal
Titus Underwood†† Acting Associate Principal
BASS TROMBONE Graeme Mutchler
Lissa Stolz ENGLISH HORN Lissa Stolz
BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda
James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera
Leon Chodos Associate Principal
HARP Louise Vickerman Principal
HORN Bruce M. Gifford Principal
FLUTE Mercedes Smith Principal The Val A. Browning Chair
Edmund Rollett Associate Principal
Lisa Byrnes# Associate Principal Caitlyn Valovick Moore Acting Associate Principal PICCOLO Caitlyn Valovick Moore
Jennifer Rhodes CONTRABASSOON Leon Chodos
Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal Peter Margulies Nick Norton
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TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIAN Clovis Lark Principal Maureen Conroy Associate Librarian ORCHESTRA PERSONNEL Eric V. Johnson Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
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festival council DEER VALLEY® MUSIC FESTIVAL ADVISORY COUNCIL Ted Newlin Chair Scott Amann Edward Ashwood Judith M. Billings Hal Brierley Rebecca Marriott Champion Lynn Fey Kristen Fletcher Joseph F. Furlong Martin Greenberg Jane Greenberg Tom Jacobson Bill Ligety Ann MacQuoid Renee Marlon Tony Marlon Charles McEvoy Pat McEvoy Elinor McLaren Dan McPhun Hal Milner Lois Milner Glen Mintz Rayna Mintz Gib Myers Susan Myers Dave Petersen Mark Prothro Dianne Prothro Alice Puleo Frank Puleo Frank Risch Helen Risch Ben Schapiro Joanne Shiebler James R. Swartz Susan Swartz Jim Tozer Zibby Tozer Tom Tucker Bob Wheaton Lois Zambo
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Once again it’s with a great sense of anticipation that we welcome you to another season of the Deer Valley® Music Festival. This marks our 12th season here in this uniquely charming mountain setting. What better way to spend an evening enjoying your favorite entertainment than here at Deer Valley amidst the company of family and friends! Each year it is our goal to provide a breadth of program variety designed to excite and entertain. I think you’ll find this summer’s offerings no exception. In fact, we’ve extended our season by an additional weekend in 2015. The Festival was founded to provide a summer home for our own Utah Symphony. As such, it gives us the opportunity to pair the orchestra with a broad array of uniquely talented guest artists. This enables us to provide world-class entertainment to our Park City audience, other Utahns, and the many tourists and visitors who see our Festival as a welcoming and entertaining destination. Over the years we have watched the popularity of the Festival grow dramatically. We thank you, our audience and generous donors, for making this possible. Your support has never been stronger, our appreciation never greater. It is this very support which allows us to provide the many and varied performances and talents chosen to appeal to your extensive range of musical preferences. It’s been my pleasure and privilege to chair the 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 concerts is contained in this program guide. In closing, let me again welcome you to the 2015 Deer Valley® Music Festival and invite you to provide any feedback you might wish to offer so that we may better serve your interests. Ted Newlin, Chair Deer Valley® Music Festival Advisory Council
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Visit Utah’s Heart of the Arts June 11 – Aug. 1 435-797-8022 arts.usu.edu/lyric Noises Off • Last Train to Nibroc • The Mystery of Edwin Drood: The Musical • And Then There Were None
July 8 – Aug. 8 435-750-0300 utahfestival.org
May 25 – July 31 Noon Music at the Tabernacle
Man of La Mancha • Carousel • La Boheme • How To Succeed in Business Without Really Trying • Concerts • Gala Dinner • Classes & More
A wide variety of FREE concerts every weekday in Historic Downtown Logan
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hot deals - accommodations PREFERRED LODGING PARTNERS DEER VALLEY RESORT Save up to 20% on lodging at select Deer Valley Resort lodging properties. Minimum night stay required and varies by property based on availability. Visit www.deervalley.com or call our vacation planning experts at 800-558-3337 ST. REGIS Delight in an extraordinary evening with the Deer Valley® Music Festival, summer home of the Utah Symphony | Utah Opera. Reserve a night at the St. Regis Deer Valley and be captivated by one of these musical events for a memorable night in Park City. The St. Regis Deer Valley is offering a special package for each event that includes: 2 general admission tickets to a Utah Symphony event, overnight accommodations & Complimentary hotel valet parking. Reserve online www.stregisdeervalley.com or call 866-716-8135 and ask for rate plan LCPKG1. RESORTS WEST Resorts West represents the finest on-mountain private homes and trailside lodges in Deer Valley. Combined with personalized guest services, including in-home check-in and 24-hour assistance, Resorts West creates a seamless vacation experience at Deer Valley and Park City Resort, the largest ski resort in the USA. Enjoy a complimentary 4th night at select Deer Valley vacation rentals and 10% off of advance ticket purchases (please book two weeks in advance; based on availability and other restrictions may apply). Call us at 1-855-408-7398 or e-mail reservations@resortswest.com to start planning your summer escape. STEIN ERIKSEN LODGE Rates starting at $379 – Including a deluxe room, 2 concert tickets, breakfast for 2 along with complimentary transportation to/from the concert. Visit www.steinlodge.com or call 435-649-3700
MONTAGE DEER VALLEY Montage Memories includes deluxe accommodations, daily breakfast credit of $50 and valet parking. Reserve online at www.montagehotels.com/deervalley using promo code BB or call 888-604-1301 and ask for Montage Memories. Montage Music Memories includes deluxe accommodations and 2 tickets per room to the Deer Valley® Music Festival concert on day of show, only. Reserve by calling 888-604-1301 and ask for Montage Music Memories. THE CHATEAUX DEER VALLEY Rates starting at $229–Including accommodations, 2 concert tickets, breakfast for 2 and complimentary transportation to/from the concert. Visit www.the-chateaux.com or call 435-658-9500 MORE HOT DEALS IDENTITY PROPERTIES Ready to make your Deer Valley® Music Festival getaway a complete vacation? Identity Properties is offering a 20% discount on all 2-night stays for festival dates. Planning a longer stay? Pay for 2 nights at full price and receive your 3rd night of lodging free! Based on availability and select locations; certain restrictions apply. Offer is valid for select dates in July and August 2015. Call us today at 800-245-6417 x 2 or email Identity Properties at reservations@pclodge.com. PARK CITY LODGING, INC. Stay 2 nights in our hotel or studio and save 20%. Stay 3 nights in a condo and save 25%. Visit www.parkcitylodging.com or call 855-348-6759 to book your stay. PARK CITY PEAKS HOTEL Present your Deer Valley® Music Festival ticket to receive a 10% discount on lodging at the Park City Peaks Hotel. Visit www.parkcitypeaks.com or call 800-649-5000 to make a reservation.
HYATT ESCALA LODGE PARK CITY This summer, Utah’s great outdoors beckons...and why resist when you can experience the extensive summer recreational activities offered in Park City, Utah while staying in an AAA Four Diamond resort. Utah resident rates start at $139 per night. For reservations call 435-940-1234 or go online at www.escalalodge.hyatt.com and request rate code UTAHRR. DEER VALLEY® MUSIC FESTIVAL / 23
hot deals - restaurants & others
BANGKOK THAI ON MAIN 605 MAIN – PARK CITY Present your Deer Valley® Music Festival ticket and receive a free entrée with purchase of another dinner entrée of equal or greater value. Limit two per table. Not valid with other promotions. Dine in only. www.bangkokthaionmain.com RIVERHORSE ON MAIN 540 MAIN STREET – PARK CITY Present your Deer Valley® Music Festival ticket to receive 20% off food purchases. www.riverhorseparkcity.com BISTRO 412 412 MAIN STREET – PARK CITY Patrons of Deer Valley® Music Festival are entitled to 20% off all food purchases at Bistro 412. An American Bistro with a French Flair in the heart of rustic Park City. Reservations welcome 435-649-8211. Please present your ticket stub to the server before ordering. Not valid with any other offer. www.bistro412.com Cisero’s Ristorante 306 Main Street – Park City Patrons of Deer Valley® Music Festival are entitled to 20% off all food purchases at Cisero’s Ristorante. Farm-Fresh Italian in the heart of rustic Park City. Reservations welcome 435-649-5044. Please present your ticket stub to the server before ordering. Not valid with any other offer. www.ciseros.com
UBER WWW.UBER.COM Uber is an app that allows you to request a ride with the tap of a button. Drivers arrive curbside in just minutes— you can track the arrival of your ride on your Smartphone and payment is charged directly to your credit card on file. To get your first Uber ride free (up to $20), sign up at get.uber.com/go/RIDEUT or download the app and enter the promo code RIDEUT. ZANIAC PARK CITY WWW.ZANIACLEARNING.COM/PARKCITY One Free Parents Night Out at Zaniac Park City – bring your Deer Valley® Music Festival ticket stub to Zaniac and receive a FREE Parents Night Out (a $20 value). Drop your K-8 kids at Zaniac and enjoy a night on the town while they explore STEM (Science, Technology, Engineering & Math) concepts with our engaging instructors through fun, hands-on technology activities call 435-575-7737 or visit zaniaclearning.com/parkcity to learn more! UTOPIAN LUXURY VACATION HOMES WWW.UTOPIANLVH.COM Are you looking for someone to manage your vacation home? Or perhaps looking to book a special mountain getaway? Utopian LVH represents the finest luxury vacation homes in Park City. Free nights & more are available to Deer Valley® Music Festival ticket holders; call us for more information at 435-659-2398
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board of trustees ELECTED BOARD David A. Petersen* Chair
Alex J. Dunn Kristen Fletcher* Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Laura S. Kaiser Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Mark H. Prothro Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate
Thomas Thatcher Bob Wheaton John W. Williams
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon M. Huntsman Jon Huntsman, Jr. G. Frank Joklik
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates
Burton L. Gordon Richard G. Horne Warren K. McOmber
Mardean Peterson E. Jeffery Smith Barbara Tanner
HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous
Lisa Eccles Spencer F. Eccles Howard Edwards The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler
Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO Jesselie B. Anderson Doyle L. Arnold Edward Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee*
MUSICIAN REPRESENTATIVES
John Eckstein* Travis Peterson* EX OFFICIO
Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee
NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
Alvin Richer (Arizona)
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WHERE OTHERS SEE CHALLENGES, WE SEE OPPORTUNITIES.
E X PE R T ISE
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djplaw.com | 801.415.3000 S A LT L A K E C I T Y | L E H I | O G D E N | S T. G E O R G E | L A S V E G A S
administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Marsha Bolton Executive Assistant to the Music Director and the Senior VP & COO SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor Barlow Bradford Symphony Chorus Director Eric V. Johnson Director of Orchestra Personnel SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Charlotte Craff Manager of Artistic Operations Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Director of Foundation & Government Gifts Ashley Magnus Director of Corporate Partnerships Natalie Cope Director of Special Events & DVMF Community Relations Melanie Steiner-Sherwood Annual Giving Manager Richard Lane Major Gifts Officer
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Lisa Poppleton Grants Manager Kate Throneburg Development Manager Conor Bentley Development Coordinator Heather Weinstock Special Events Coordinator 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 Shawn Fry Group & Corporate Sales Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Kati Garcia Ben Ordaz Jackie Seethaler Powell Smith Robb Trujillo Sales Associates Nick Barker Emily O’Connor Ivan Fantini Aubrey Shirts Hilary Hancock 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 Brooke Adams Education Fellow OPERA TECHNICAL Jared Porter Opera Technical Director Jay Morris Assistant 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 Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Vicki Raincrow Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew
We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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2015 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.
Wednesday, July 15 Featuring The Muir String Quartet 7 PM Generously Co-hosted by: Marilynn Dunn & Debra Saunders
Tuesday, July 21 Featuring “Country Legends� Artist Patrick Thomas, Guitar, Piano, Vocals 7 PM Generously Hosted by: Jerry & Claudia Howells
Tuesday, July 28 Featuring Chi Ho Han, Piano 7 PM Generously Hosted by: Mark & Marcy Casp
Thursday, August 6 Featuring GENTRI-The Gentlemen Trio Brad Robins, Casey Elliott, & Bradley Quinn Lever, Tenors 7 PM Generously Hosted by: Michael & Vickie Callen
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Please contact vipevents@ usuo.org or 801-869-9009 for more information or to purchase tickets. For more information about our 2015 Salon Event Schedule, visit deervalleymusicfestival.org/ support/salons.
the st. regis vip program VIP PACKAGE LEVELS AND INCLUSIONS VIP Patron Package: $2,500 Donation + Ticket Cost
VIP PROGRAM
This à la carte package includes standard VIP benefits (Lot 1 VIP parking, access to premium seating, 2 tickets to a salon event, and intermission receptions) and the opportunity to add your ticket selection at an additional cost. Choose one of the following ticket options for each concert, (each ticket varies in price):
VIP PACKAGES Our VIP packages are designed for patrons who want to support the Deer Valley® Music Festival with a charitable contribution and enjoy our exclusive VIP concert experiences throughout the summer festival.
FRIEND OF THE FESTIVAL With a $1,500 donation to the Deer Valley® Music Festival (DVMF), you’ll become a “Friend of the Festival” receiving perks such as access to VIP Intermission Receptions and entry into all Friday and Saturday evening performances prior to the general public (through our Fast Pass gate). For more information on our VIP Packages visit us online, deervalleymusicfestival.org/vip or contact vipevents@usuo.org or 801-869-9010.
VIP Ticket (Premium Reserved Seating with Dinner) Premium Reserved Seating Ticket Lawn Ticket (includes Fast Pass) Standard VIP Package: $4,500 Donation + Ticket Cost This à la carte package includes standard VIP benefits (Lot 1 VIP parking, access to premium seating, 2 tickets to a salon event, and intermission receptions) and the opportunity to add your ticket selection at an additional cost. Choose one of the following ticket options for each concert, (each ticket varies in price): VIP Ticket (Premium Reserved Seating with Dinner) Premium Reserved Seating Ticket Lawn Ticket (Fast Pass)
Bronze ($7,500), Silver ($12,500), Gold ($17,500) and Platinum ($25,000) VIP Package Highlights: Premium Reserved Seating including pre-concert VIP dinner VIP Parking Salon and chamber event tickets Donor Recognition Intermission Reception VIP Pass Festival Gift
DEER VALLEY® MUSIC FESTIVAL / 31
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summer entertainment series JULY 4 | 7:30 PM
PATRIOTIC POPS WITH BRAVO BROADWAY JERRY STEICHEN ELIZABETH Conductor SOUTHARD Vocalist MORTON GOULD
CONCERT SPONSOR: PRODUCTION SPONSOR:
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GARY MAUER Vocalist
American Salute
IRVING BERLIN “Top Hat, White Tie and Tails” / ARR.BISHOP “Steppin’ Out With My Baby” GEORGE M. COHAN ARR. HOLCOMBE
Cohan Medley
SHERMAN EDWARDS “He Plays the Violin” from 1776
CONDUCTOR GUEST ARTISTSPONSOR: SPONSOR:
COLE PORTER “You’re the Top” from Anything Goes STEPHEN FLAHERTY AARON COPLAND
Medley from Ragtime Variations on a Shaker Melody from Appalachian Spring
IRVING BERLIN “God Bless America” CANNON SPONSOR: CONCERT SPONSOR:
ABEL MEEROPOL “The House I Live In” & EARL ROBINSON from The House I Live In JEROME KERN ARR. DEPUIT
Medley from Showboat INTERMISSION
MEREDITH WILLSON “Seventy Six Trombones” ARR. ANDERSON from The Music Man GEORGE GERSHWIN “Strike Up the Band” from ARR. KESSLER Strike Up the Band IRVING BERLIN “Anything You Can Do” from Annie Get Your Gun MITCH LEIGH “The Impossible Dream” from The Man of La Mancha RICHARD RODGERS & OSCAR HAMMERSTEIN ARR. BENNETT
Selections for Orchestra from The Sound of Music
ARR. HOLCOMB “A Wonderful Guy” from South Pacific CLAUDE-MICHEL SCHÖNBERG “Bring Him Home” from Les Misérables LEE GREENWOOD “God Bless The U.S.A.” ARR. HAYMAN 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 currently holds the positions of Principal Pops Conductor of the Utah Symphony; Music Director of the Ridgefield Symphony (Connecticut); and Principal Pops Conductor of the New Haven Symphony Orchestra.
Jerry Steichen Conductor
Mr. Steichen has guest conducted the Boston Pops and the New Jersey Symphony, as well as the symphonies of Naples, Florida; Portland, Oregon; the Florida Orchestra in Tampa; Cincinnati; Columbus, Oklahoma City, Hartford and the New York Pops. International appearances include the Hong Kong Philharmonic Orchestra, the NDR Philharmonie Hannover and the Norwegian Radio Symphony. During ten seasons with the New York City Opera, Mr. Steichen led performances including La bohème, L’elisir d’amore, Jake Heggie’s Dead Man Walking, The Little Prince, and The Mikado. 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, Anchorage Opera, New Jersey Opera Theater, Glimmerglass Opera in Cooperstown, NY, and Opera East Texas. Mr. Steichen toured nationally with 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 resides in New York City.
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artists’ profiles Gary Mauer was seen on Broadway as the Phantom in the Hal Prince production of The Phantom of the Opera, a role he previously performed on the National Tour. Previously he starred in the Broadway production of The Phantom of the Opera, performing the romantic leading role of Raoul. In addition, Mr. Mauer performed in the Broadway production of Les Misérables in the role of Enjolras, the revolutionary leader, a role he also performed with the National Tour in the US and Singapore. In addition, he performed the leading role of Gaylord Ravenal in the National Tour of Show Boat, opposite his wife, Elizabeth Southard. Gary Mauer Vocalist
A graduate of the University of Arizona, Mr. Mauer has performed with symphony orchestras all over the world, including the Brazil Symphony Orchestra in Rio de Janeiro the Cleveland Orchestra, Chicago Symphony, Hong Kong Philharmonic, Colorado Symphony, Utah Symphony, Buffalo Philharmonic, Phoenix Symphony, San Diego Symphony, among many others. Mr. Mauer has performed numerous times with Peter Nero and the Philly Pops and toured with Mr. Nero in Spain. Gary was the guest soloist in many concerts with the late Marvin Hamlisch. He is the tenor soloist in the popular Bravo Broadway! Elizabeth Southard has worked extensively in musical theatre, on Broadway and in National tours. Beth starred on Broadway as Christine in Andrew Lloyd Webber’s The Phantom of the Opera, a role she also performed in the Vancouver, B.C. production and the national tour along side her husband, Gary Mauer. She was chosen by Harold Prince to star as Magnolia in his latest revival of Showboat in the First National Tour. She was also seen Off-Broadway in Jack Eric William’s Swamp Gas and Shallow Feelings as Sherlyn.
Elizabeth Southard Vocalist
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Ms. Southard has been guest soloist with orchestras including the Pittsburgh Symphony with Marvin Hamlisch, the Buffalo Philharmonic, the Anchorage Symphony, the Flagstaff Symphony, the Detroit Symphony, the Virginia Symphony, the Long Beach Symphony, and the Maui Philharmonic. Ms. Southard received her degrees in Vocal Performance and music education from Ithaca College School of Music. She received early recognition for her potential including a scholarship to study at the prestigious American Institute of Musical Studies in Graz, Austria and a first place award in the National Association of Teachers of Singing competition.
ETHAN ALLEN
DE SIG N E R SE RV IC E S I N D I V I D U A L . I N VA L U A B L E . O N T H E H O U S E . S C H E D U L E A D E S I G N C E N T E R O R I N - H O M E C O N S U LT A T I O N .
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2015/16 Utah Symphony | Utah opERa SEaSon
DESIGN-A-SERIES & SAVE! See 4 concerts for as little as $58 Beethoven Symphony Festival
Sci-Fi Spectacular!
Nos. 4 & 5, September 11, 2015 Nos. 8 & 6, September 12 Nos. 1 & 3, September 18 Nos. 2 & 7, September 19
September 25 & 26, 2015
The Mahler Symphony Cycle
Home Alone: Feature Film with the Utah Symphony
No. 5, November 6 & 7, 2015 No. 6, “Tragic”, November 20 & 21 No. 7, January 8 & 9, 2016
Bugs Bunny at the Symphony December 22 & 23, 2015
December 18–19, 2015
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75 Years of Bravo Broadway February 12 & 13, 2016
BRAVO! BROADWAY
Ballet West with the Utah Symphony
Utah Opera – Verdi’s Aida March 12–20, 2016
February 26 & 27, 2016
Holst’s The Planets April 8 & 9, 2016
Prokofiev’s Romeo & Juliet with Utah Shakespeare Festival April 15 & 16, 2016
Outstanding performances at great savings! Choose any 4 or more performances and SAVE 20% off regular ticket prices. Reserve your seats today at UtahSymphony.org/DAS or call 801-533–NOTE (6683)
Season Sponsor
chamber orchestra series
ST. MARY’S CHURCH
JULY 8 | 8 PM
MOZART & MENDELSSOHN REI HOTODA Conductor, Piano
GUEST ARTIST SPONSOR: CONCERT SPONSOR:
JOANNE SHIEBLER GUEST ARTIST FUND
CONCERT SPONSOR:
WOLFGANG AMADEUS MOZART
CONDUCTOR SPONSOR:
PAT RICHARDS & BILL NICHOLS
Overture to La clemenza di Tito, K. 621 Concerto No. 12 in A major for Piano and Orchestra, K. 414 I. Allegro II. Andante III. Allegretto
CANNON SPONSOR:
Rei Hotoda, Piano INTERMISSION FELIX MENDELSSOHN
Symphony No. 3 in A minor, op. 56, “Scottish” I. Andante con moto Allegro agitato II. Scherzo assai vivace III. Adagio cantabile IV. Allegro guerriero Finale maestoso
DEER VALLEY® MUSIC FESTIVAL / 45
artist’s profile 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. She has led performances of Beethoven’s Symphony No. 3 “Eroica,” Copland’s Symphony No. 3, Mussorgsky’s Pictures at an Exhibition, Rimsky-Korsakov’s Scheherazade, and Tchaikovsky’s Manfred Symphony, just to name a few. Rei Hotoda Conductor
Ms. Hotoda will begin serving as Utah Symphony’s Associate Conductor in the fall of 2015. Ms. Hotoda was also the assistant conductor of the Winnipeg Symphony Orchestra and the Cabrillo Festival of Contemporary Music. In Winnipeg, Ms. Hotoda conducted many subscription concerts, including those on the Masterworks, Family, and Pops series, as well as programs that were part of the New Music and Baroque Festivals. She also actively participated in pre-concert lectures, community outreach—including leading the orchestra in its popular multimedia concerts, Musically Speaking. At the Cabrillo Festival, Ms. Hotoda worked closely with Marin Alsop, the Festival’s Music Director, as her cover conductor, and led the world premiere of Rafael Hernandez’s 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.
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A WORLD OF OPPORTUNITIES.
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notes on the program
By Michael Clive
Overture to La clemenza di Tito INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns,
2 trumpets; timpani; strings. Duration: approximately 5 minutes.
Wolfgang Amadeus Mozart (1756–1791)
Some of Mozart’s overtures employ a device that adds to the drama of what we hear: a very slow, emphatic opening that seems almost to fling down a gauntlet before us as listeners— as if to remind us that no matter how enjoyable the music we are about to hear, the matter at hand is serious and we should listen carefully. Though the overture to The Magic Flute is perhaps the most familiar example of this technique, the overture to Mozart’s opera seria La clemenza di Tito is another example of this structure, opening with a very serious motif stated repeatedly. It’s almost like hearing a fanfare: portentous silences separate each iteration and the sound is very upright and foursquare, with a martial air. This is an opera of ramrod-straight morality, and as the overture proceeds and the tempo gains momentum, we hear this strictness underlining every theme. This slow-fast structure is not La clemenza di Tito’s only link to The Magic Flute. Both were composed in 1791, the last year of Mozart’s life, and a period of such intense and prolific composition that it has become a separate area of specialty for musicologists. Mozart was already far along in composing the better-known opera when the impresario Domenico Guardasoni offered the commission for an opera seria to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. (Guardasoni’s first choice, the more eminent Antonio Salieri, was unavailable.) Mozart was well-regarded in Prague, and he was happy to accept the assignment for what would be a very good fee. The schedule was rushed, but for the unbelievably prolific Mozart, this was no problem. (According to one account, he finished the extensive score in 18 days.) Getting an original libretto produced in such short order was another matter, and in the end Guardasoni fell back on a libretto by Metastasio that had already been set by nearly 40 composers. After its initial success, the years were not kind to La clemenza di Tito—at least, not until relatively recently. Characteristic of its form, the opera proceeds through static declamation: much of the singing is commentary on offstage action. But, as always with Mozart opera, the music is full of melodic richness and psychological insight. Today it is acknowledged as a masterpiece of opera seria, and revivals are increasingly common.
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THE CHATEAUX
THE RESIDENCES
PARK MEADOWS
STEIN ERIKSEN
THE STEIN ERIKSEN COLLECTION WWW.STEINERIKSENCOLLECTION.COM UFS_SymphonyAd2012.pdf
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notes on the program Concerto No. 12 in A major for Piano and Orchestra K. 414 INSTRUMENTATION: 2 oboes, 2 horns, strings.
Duration: approximately 26 minutes.
Wolfgang Amadeus Mozart (1756–1791)
Mozart mania lives. The mythology that has sprung up around his life and work is everywhere, but especially in his native Austria, where the two cities he was most closely associated with—his hometown of Salzburg and his adopted city of Vienna, then the undisputed cultural capital of central Europe—have laid claim to Mozart as a favorite son, attaching his name and likeness to anything that a tourist might want to buy. During his lifetime, of course, the affection was not so unalloyed: Mozart was frustrated with his patronage in Salzburg, where he felt unappreciated and underpaid. He considered the town a cultural backwater. But even though he was well-established as a composer and performer when he decided to try his luck in Vienna, the move was not without risk. He arrived in that city on March 16, 1781, when he was 25, and correspondence to his father reflects high ambitions and hard work. He knew that piano concertos would be a calling card for him—a way to affirm his mastery both as a composer and a soloist. Mozart composed the Piano Concerto No. 12 in the fall of 1782, after he had been living in Vienna just over a year—one of three (nos. 11, 12 and 13) known as the “early Viennese” concertos. It is a versatile work: like all three of his early Viennese concertos, it can be performed a quattro, with just a string quartet supplementing the solo piano, though the full score calls for oboes, bassoons, and horns in addition to strings. To some musicologists, these concertos seem to represent a retreat from the more adventurous concertos that preceded them—particularly No. 9, the “Jeunehomme.” But this may have been another way in which Mozart ensured their suitability for a wide variety of audiences and occasions. And despite No. 12’s economy of scale and instrumentation, it beguiles us with its beauty and grace. The concerto’s second movement pays tribute to one of Mozart’s musical mentors, Johann Christian Bach, by quoting a theme from his opera La calamita de cuori. J.C. Bach had died earlier that year. “What a loss to the musical world,” Mozart remarked in a letter to his father.
DEER VALLEY® MUSIC FESTIVAL / 51
notes on the program Symphony No. 3 in A minor, “Scottish” INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns,
2 trumpets; timpani; strings. Duration: approximately 43 minutes.
Felix Mendelssohn (1809–1847)
Some of Mendelssohn’s most brilliant musical inspirations came from his travels, as we can readily hear in the landscapes evoked in his compositions, and in their nicknames—the “Italian” Symphony, the Hebrides Overture and the “Scottish” Symphony, to name three. By his own account, Mendelssohn conceived the “Scottish” Symphony after his first visit to Great Britain in 1829. Following a successful series of performances in London, he embarked on a walking tour of Scotland with his friend Karl Klingemann and was particularly moved by the picturesque, evocative ruins of the chapel at Holyrood Palace in Edinburgh. In a letter describing this experience, he included a sketch of the symphony’s opening theme. Despite the deep impression that this visit made and a quick start on the opening movement, Mendelssohn struggled with the symphony’s development. After a series of initial sketches, he laid the work aside in 1831. This interruption, apparently, was just what was needed; after resuming work in 1841, he was able to complete the symphony in the first weeks of the year—the fifth and final symphony he composed, though the third to be published. The premiere was played in March, 1841 in the Leipzig Gewandhaus. As we can readily hear in the “Scottish” Symphony, Mendelssohn’s “travel music” really does suggest the landscapes and cultures that inspired it. The symphony’s first movement is grand and joyful, with a briskness and energy that seem true to Scotland. This effect is even more marked in the lively second movement, which evokes the tunes and rhythms of Scottish folk music without directly quoting from Scottish sources. The contemplative third movement gives way to an energetic finale that draws from the rhythms of Scottish folk dances. In an elevated, Germanstyle coda, Mendelssohn seems to conclude the symphony with a Scottish-German alliance of his own invention.
52 / deervalleymusicfestival.org
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summer symphony series
DEER VALLEY RESORT
JULY 10 | 7:30 PM
BIG BAD VOODOO DADDY WITH THE UTAH SYMPHONY
PRODUCTION SPONSOR:
JERRY STEICHEN Conductor BIG BAD VOODOO DADDY Guest Artist
CONCERT SPONSOR:
SELECTIONS TO BE ANNOUNCED FROM STAGE. VOLUNTEER SPONSOR:
DEER VALLEY速 MUSIC FESTIVAL / 55
artist’s profile
Big Bad Voodoo Daddy Guest Artist
See page 40 for Jerry Steichen’s profile.
In its first years, having secured a legendary residency at the Derby nightclub in Los Angeles, Big Bad Voodoo Daddy reminded the world—in the middle of the grunge era, no less—that it was still cool to swing, big band style. By now the world knows the essential story of Big Bad Voodoo Daddy—the band co-founded by Scotty Morris and drummer Kurt Sodergren made its debut in the members’ hometown of Ventura, California in April of 1993 helping to usher in the swing revival founded on a colorful fusion of classic American sounds including jazz, swing, and dixieland mixed with the energy and spirit of contemporary culture. They proved to be among the standout groups that launched the new swing era in the 1990s. The group, whose core lineup has been in place since 1995, includes Scotty Morris (lead vocals and guitar), Kurt Sodergren (drums and percussion), Dirk Shumaker (double bass and vocals), Andy Rowley (baritone saxophone and vocals), Glen “The Kid” Marhevka (trumpet), Karl Hunter (saxophones and clarinet) and Joshua Levy (piano and arranger.) Joining them on the road are Anthony Bonsera Jr. (lead trumpet) and Alex Henderson (trombone). As Big Bad Voodoo Daddy approaches its 20-year anniversary, their album Rattle Them Bones clearly demonstrates that the nine-piece band is very much like a fine wine or spirit that gets better with age. “We’re far from finished making music,” claims Morris. “The last 20 years went by so fast and we have even bigger plans for the next 20!”
56 / deervalleymusicfestival.org
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summer entertainment series
DEER VALLEY RESORT
JULY 11 | 7:30 PM
SMOKEY ROBINSON WITH THE UTAH SYMPHONY JERRY STEICHEN Conductor SMOKEY ROBINSON Guest Artist
GUEST ARTIST SPONSOR:
TONY & RENEE MARLON
CONCERT SPONSOR:
HOAGY CARMICHAEL ARR. NESTICO
Hoagy Carmichael: an American Treasure
EDMUND CIONEK
Suite on the 1960s The Twist The Huckleback Chantilly Lace Under the Boardwalk Happy Together INTERMISSION
CONDUCTOR SPONSOR:
SMOKEY ROBINSON
TEMPTATIONS SMOKEY ROBINSON BART HOWARD SMOKEY ROBINSON
Smokey Symphony Intro* Being With You* Second That Emotion* Really Got A Hold On Me A Quiet Storm* Ooh Baby Baby* Temptations Medley/My Girl* Tears Of A Clown* Fly Me To The Moon* Love Bath That Place Just To See Her The Tracks Of My Tears
*With the Utah Symphony
DEER VALLEY速 MUSIC FESTIVAL / 59
artist’s profile
See page 40 for Jerry Steichen’s profile.
Once pronounced by Bob Dylan as America’s “greatest living poet,” acclaimed singer-songwriter Smokey Robinson’s career spans over four decades of hits. He has received numerous awards including the Grammy Living Legend Award, NARAS Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors, and the National Medal of Arts Award from the President of the United States. He has also been inducted into the Rock ‘n’ Roll Hall of Fame and the Songwriters’ Hall of Fame.
Smokey Robinson Guest Artist
Born and raised in Detroit, Michigan, Mr. Robinson founded The Miracles while still in high school. The group was Berry Gordy’s first vocal group, and it was at Mr. Robinson’s suggestion that Gordy start the Motown Record dynasty. Their single of Mr. Robinson’s “Shop Around” became Motown’s first #1 hit on the R&B singles chart. In the years following, he continued to pen hits for the group including “You’ve Really Got a Hold on Me,” “Ooo Baby Baby,” “The Tracks of My Tears,” “Going to a Go-Go,” “More Love,” “Tears of a Clown” (co-written with Stevie Wonder), and “I Second That Emotion.” The Miracles dominated the R&B scene throughout the 1960s and early 1970s, and Mr. Robinson became Vice President of Motown Records serving as in-house producer, talent scout and songwriter. In addition to writing hits for the Miracles, he wrote and produced hits for other Motown greats including The Temptations, Mary Wells, Brenda Holloway, and Marvin Gaye. “The Way You Do the Things You Do,” “My Girl,” “Get Ready,” “You Beat Me to the Punch,” “Don’t Mess with Bill,” “Ain’t That Peculiar,” and “My Guy” are just a few of his songwriting triumphs during those years. He remained Vice President of Motown Records until the sale of the company, shaping the label’s success with friend and mentor Berry Gordy. Following his tenure at Motown, he continued his impressive touring career and released several successful solo albums. During the course of his 50-year career in music, Mr. Robinson has accumulated more than 4,000 songs to his credit and continues to thrill sold-out audiences around the world with his high tenor voice, impeccable timing, and profound sense of lyric. Never resting on his laurels, Smokey Robinson remains a beloved icon in our musical heritage.
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summer symphony series
DEER VALLEY RESORT
JULY 17 | 7:30 PM
DISNEY’S FANTASIA: LIVE IN CONCERT WITH THE UTAH SYMPHONY RICHARD KAUFMAN Conductor
PRODUCTION SPONSOR:
LUDWIG VAN BEETHOVEN
Symphony No. 6 in F major, op. 68 III. Allegro IV. Allegro V. Allegretto
GUEST ARTIST SPONSOR:
PIOTR I. TCHAIKOVSKY CONDUCTOR SPONSOR:
Symphony No. 5 in C minor, op. 67 I. Allegro con brio
The Nutcracker Suite
CLAUDE DEBUSSY
Clair de Lune
IGOR STRAVINSKY
The Firebird Suite (1919 Version) INTERMISSION
AMILCARE PONCHIELLI PLAZA SPONSOR:
PAUL DUKAS
Dance of the Hours The Sorcerer’s Apprentice
SIR EDWARD ELGAR
Pomp and Circumstance
OTTORINO RESPIGHI
Pines of Rome IV. Pines of the Appian Way
Pre-concert instrument petting zoo is made possible by Summerhays Music and the Utah Symphony Youth Guild.
DEER VALLEY® MUSIC FESTIVAL / 63
artist’s profile
Richard Kaufman Conductor
Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. He has conducted for performers including John Denver, Andy Williams, Amy Grant, Mary Martin, Nanette Fabray, Martin Short, Sandi Patty, Eileen Ivers, Juliet Prowse, Sir James Galway, Diana Krall, Chris Botti, Michael W. Smith, The Pointer Sisters, Arturo Sandoval, The Beach Boys, Monica Mancini, Peter Paul and Mary, Patti Austin, Robert Goulet, David Copperfield, Davis Gaines, The Righteous Brothers, Jim Brickman, America, and Art Garfunkel. As a violinist, Mr. Kaufman performed on numerous film and television scores including Jaws, Close Encounters of the Third Kind, Saturday Night Fever, and (in a moment of desperation) Animal House. He has recorded with artists including John Denver, Burt Bacharach, Neil Sedaka, The Carpenters, Neil Diamond, and Ray Charles. As a unique part of his career in film, Richard has coached various actors in musical roles, including Jack Nicholson, Dudley Moore, Tom Hanks, Armand Assante, David Ogden Stiers, and Susan Sarandon. Mr. Kaufman has served as Music Director and Conductor for numerous musicals. His first assignment (at age 23) was as conductor for the National Tour of Sweet Charity starring Juliet Prowse. He conducted the First National Tours of Company (for Hal Prince) and Two Gentlemen of Verona (for Joseph Papp and the New York Shakespeare Festival). For the Los Angeles and San Francisco Civic Light Operas, he was Music Director and Conductor for musicals including Wonderful Town (starring Nanette Fabray), Irma La Douce, The Sound of Music (for which he was nominated by the San Francisco Theater Critics for Outstanding Music Direction), and Guys and Dolls (starring Milton Berle). Born in Los Angeles, Mr. Kaufamn began violin studies at age 7, played in the Peter Meremblum California Junior Symphony, and was a member of the Young Musicians Foundation Debut Orchestra. He attended the Berkshire Music Festival at Tanglewood in the Fellowship program, and earned a B.A. in Music from California State University Northridge. Mr. Kaufman lives in Southern California with his wife, Gayle, a former dancer in film, television, and on Broadway. His daughter, Whitney, is a graduate (with honors) from Chapman University in Orange, California, and for 2 ½ years was a member of the cast of the National Tour of Mama Mia! Mr. Kaufman is proud to be represented by Opus 3 Artists.
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summer entertainment series
DEER VALLEY RESORT
JULY 18 | 7:30 PM
CLASSICAL MYSTERY TOUR WITH THE UTAH SYMPHONY JIM OWEN Rhythm Guitar, Piano,Vocals
CHRIS CAMILLERI Drums, Vocals
TONY KISHMAN Bass Guitar, Piano, Vocals
MARTIN HERMAN Conductor
PRODUCTION SPONSOR:
ALPINE GROUP DAVID JOHN Lead Guitar, Vocals GUEST ARTIST SPONSOR:
GIB & SUSAN MYERS
BEATLES ARR. MARTIN HERMAN
Medley Overture
CONCERT SPONSOR:
BEATLES’ SELECTIONS WILL BE ANNOUNCED FROM STAGE. All songs written by John Lennon, Paul McCartney, or George Harrison. ClassicalMysteryTour.com CONDUCTOR SPONSOR:
DEER VALLEY® MUSIC FESTIVAL / 67
artists’ profiles
Jim Owen (John Lennon) Rhythm Guitar/Piano/Vocals
Tony Kishman (Paul McCartney) Bass Guitar/Piano/Vocals
68 / deervalleymusicfestival.org
Jim Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father, who played music from the classics for him on the piano and from his extensive library of recordings by the great classical artists. Mr. Owen began studying the piano at age 6, and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard The Beatles, and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16. Then, at age 18, he began touring internationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Mr. Owen began working on his idea for a new show with orchestra. It has long been his dream to share with the public live performances of some of the greatest music ever written and recorded. Classical Mystery Tour was the result. Most recently, Mr. Owen became associate producer of the dance musical Shag With a Twist, which premiered in Los Angeles in 2005, and debuted in Las Vegas in July 2006.
Singer-songwriter Tony Kishman was born in Tucson, Arizona, where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Mr. Kishman started performing seriously. Mr. Kishman’s early influences included Wishbone Ash, Bad Company, and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 hits as well as originals. Starting in 1979, Mr. Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.
artists’ profiles
David John (George Harrison) Lead Guitar/Vocals
Chris Camilleri (Ringo Starr) Drums/Vocals
Originally from Nebraska but now living in Salt Lake City, Utah, David John has been performing in various musical acts since the age of 17. From rock, blues, country, progressive, and guitar orchestra pit, he’s covered it all, and has shared the stage with such notable names as The Beach Boys, Chicago, Peter Noone & Herman’s Hermits, Young Rascals, Glen Campbell, America, Kansas, Styx, Peter Frampton, Hall & Oates, Hootie & the Blowfish, John Waite, Big Bad Voodoo Daddy, and the Temptations. But Mr. John’s main musical love captured his attention when The Beatles performed in America for the first time on the Ed Sullivan show. Inspired by what he saw and heard, Mr. John focused on singing and playing guitar and feels privileged to portray the “quiet, spiritual” one in the group. Since 1993 he has taken the stage with a variety of Beatle tribute bands, but especially enjoys teaming up with a full orchestra to authentically reproduce the original recordings in a live concert setting. Mr. John loves to present George’s guitar arrangements in their articulate detail.
Born and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher: his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings. Gradually Mr. Camilleri gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Mr. Camilleri has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles). In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie. When not playing music, Mr. Camilleri has an active commercial and voice-over career.
DEER VALLEY® MUSIC FESTIVAL / 69
artists’ profiles
Martin Herman Conductor
70 / deervalleymusicfestival.org
A resident of Los Angeles, Martin Herman was educated at Duke University, University of Pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years in Paris on a Fulbright Grant, where he worked as a composer and conductor with the “New American Music in Europe” and “American Music Week” festivals. Aside from his conducting interests, Mr. Herman is an active composer and arranger. He has received fellowships and grants from the American Music Center, the Camargo Foundation, Meet the Composer, Trust for Mutual Understanding, and the National Endowment for the Arts. He has written chamber and orchestral works as well as three operas. He is recorded on the Albany Record label. As a long-time Beatles fan, Mr. Martin was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour show. Recent guest conducting engagements include the Detroit Symphony, Pittsburgh Symphony, Dallas Symphony, San Diego Symphony, New Jersey Symphony, Fort Worth Symphony, Louisville Symphony, the Virginia Symphony, Delaware Symphony, Alabama Symphony, the Omaha Symphony, the Buffalo Philharmonic, and the Philharmonia Chamber Orchestra in Prague, Czech Republic.
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chamber ensemble series
SAINT MARY’S CHURCH
JULY 22 | 8 PM
MUIR STRING QUARTET
GUEST ARTIST SPONSOR:
MUIR STRING QUARTET Peter Zazofsky, Violin Lucia Lin, Violin Steven Ansell, Viola Michael Reynolds, Cello
ANTONÍN DVOŘÁK JOAN TOWER
JOAN TOWER Guest Composer
Cypresses Bassoon Quintet INTERMISSION
CONCERT SPONSOR:
LUDWIG VAN BEETHOVEN ED ASHWOOD & CANDICE JOHNSON
KATHLEEN REYNOLDS Bassoon
String Quartet No. 14 in C-sharp, op.131 I. Adagio ma non troppo e molto espressivo II. Allegro molto vivace III. Allegro moderato – Adagio IV. Andante ma non troppo e molto cantabile – Più mosso – Andante moderato e lusinghiero – Adagio – Allegretto – Adagio, ma non troppo e semplice – Allegretto V. Presto VI. Adagio quasi un poco andante VII. Allegro
This marks the Muir Quartet’s final performance as Resident Chamber Ensemble of the Deer Valley® Music Festival. We express our sincere gratitude to the quartet for 12 years of concerts, salons, and the Emerging Quartets and Composers program. The EQ&C program final concert will take place July 28, 2015 at St. Mary’s Church.
DEER VALLEY® MUSIC FESTIVAL / 73
artists’ profiles Peter Zazofsky Violin
Lucia Lin Violin
74 / deervalleymusicfestival.org
Peter Zazofsky has enjoyed a career as soloist, chamber musician and educator that spans over twenty-five years and thirty countries on five continents. Mr. Zazofsky was born in Boston, where his father was Assistant Concertmaster of the Boston Symphony. Joseph Silverstein was his first teacher, and he later studied with Dorothy Delay, Jaime Laredo, and Ivan Galamian at the Curtis Institute. He has performed with many of the great orchestras in the US and Europe, including the Boston Symphony, the Berlin Philharmonic, the San Francisco Symphony, the Danish Radio Orchestra, and the Philadelphia Orchestra. Mr. Zazofsky holds the position of Associate Professor of Violin and Chamber Music at Boston University, and serves as a jury member for violin competitions in Montreal, Brussels, and Odense, Denmark.
Lucia Lin made her debut performing the Mendelssohn Concerto with the Chicago Symphony Orchestra at age eleven. Since then, she has been a prize winner of numerous competitions, including the 1990 International Tchaikovsky Competition in Moscow. A native of Champaign, Illinois, Lucia received her bachelor’s degree at the University of Illinois and her Master’s of Music at Rice University in Houston, Texas. Important musical influences include Sergiu Luca, Paul Rolland, Josef Gingold, Dorothy DeLay, and Louis Krasner. Lucia is also a founding member of the Boston Trio and the chamber group, Innuendo. Ms. Lin joined the Boston Symphony Orchestra in 1985 and served as Assistant Concertmaster from 1988-1991 and 1996-98. During the 1991-92 season, she was Acting Concertmaster of the Milwaukee Symphony Orchestra, and during the 199496 season, she served as joint Concertmaster of the London Symphony Orchestra.
artists’ profiles Steven Ansell Viola
Michael Reynolds Cello
Steven Ansell joined the Boston Symphony Orchestra as its principal violist in September 1996, having already appeared with the orchestra in Symphony Hall as guest principal viola. A native of Seattle and graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle, Mr. Ansell was named Professor of Viola at the University of Houston at 21 and became Assistant Principal Viola of the Pittsburgh Symphony Orchestra under André Previn at 23. Mr. Ansell currently teaches at the Boston University School for the Arts. As Principal Viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players.
Michael Reynolds tours the musical centers of North America and Europe annually, in addition to his activities as a professor at Boston University, where he has been in residence since 1983. A native of Montana, he received his professional training at the Curtis Institute of Music in Philadelphia, where he was a student of David Soyer and Martita Casals. Upon graduation, he continued his studies with Karen Tuttle and George Neikrug and attended Yale University. He received an honorary doctorate from Rhode Island College in 1995. He is the director of the Montana Chamber Music Festival and President of EcoClassic, Inc., a nonprofit CD company that produces classical recordings for the benefit of nature organizations. He is also Artistic Director of Classics for Kids Foundation, which gives quality student instruments to communities and schools around America.
DEER VALLEY® MUSIC FESTIVAL / 75
artists’ profiles
Kathleen Reynolds Bassoon
Joan Tower Composer
76 / deervalleymusicfestival.org
Kathleen Reynolds joined the College of Music at the University of North Texas as Professor of Bassoon and Woodwind Chamber Music Coordinator in the fall of 1995. She is Principal Bassoonist of the Dallas Opera Orchestra and performs regularly with the Dallas Symphony, Fort Worth Symphony, and Chamber Music International. She has performed at the Peter Britt Music Festival (OR), the Fredericksburg Festival of the Arts (VA), the New Hampshire Music Festival, and with members of the Muir String Quartet at the Montana Chamber Music Festival. Prior to her appointment at UNT, Professor Reynolds was a member of the Rochester Philharmonic for 22 years, and a faculty member at SUNY Geneseo, Nazareth College, Roberts Wesleyan College, and the Hochstein School of Music. Her solo performances include appearances with the Rochester Philharmonic, the Friends of Music Orchestra in Geneseo, New York, the New Hampshire Music Festival, and the University of North Texas’s Wind Symphony, Symphony Orchestra, and Concert Orchestra. She is a magna cum laude graduate of the Eastman School of Music, and studied with K. David Van Hoesen, Norman Herzberg, and Bernard Garfield.
Joan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets, soloists Evelyn Glennie, Carol Wincenc, David Shifrin, John Browning, and the orchestras of Chicago, New York, St. Louis, Pittsburgh, and Washington DC. In 1990, she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders. From 1969 to 1984, she was pianist and founding member of the Naumburg Award-winning Da Capo Chamber Players, which commissioned and premiered many of her most popular works. Tower’s tremendously popular five Fanfares for the Uncommon Woman have been played by over 500 different ensembles. She is currently Asher Edelman Professor of Music at Bard College, where she has taught since 1972. She recently concluded her ten-year tenure as composer-in-residence with the Orchestra of St. Luke’s. Her music is published by Associated Music Publishers.
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notes on the program
By Michael Clive
Cypresses INSTRUMENTATION: strings.
Duration: 36 minutes.
Antonin Dvořák (1841–1904)
Dvořák’s Symphony No. 9, “From the New World,” is one of the most popular in American concert halls, but critics hail the less-familiar eighth as an even more accomplished work, and the seventh is gaining ground as well. Chamber players consider his extensive output of chamber works to be a cornerstone of the repertory. Dvořák played a pivotal role—if not always a successful one—in the international movement to promote national identity in classical composition. During his fateful visit to America at the behest of Jeannette Thurber from 1892 to 1895 to serve as director of her nascent National Conservatory of Music, his success as a composer contrasted starkly with his failed attempts to foster this idea among American composers; ironically, his strong advocacy of finding musical sources in African American and American Indian helped create the enormous popularity of his “New World” Symphony as an audience-pleaser, but did not really take root among American musicians until decades after he left our shores. His lovely Cypresses, an unusual suite of brief, songlike movements for string quartet, harks back to an earlier time in Dvořák’s life. Like Haydn and Mozart, Dvořák fell in love with a young woman whose younger sister he would eventually marry. He was only 24 and explored the depths of his feelings in a series of 18 songs for voice and piano, settings of texts by the poet Gustav Pfleger-Moravsky. Dvořák chose not to publish these highly personal, heartfelt utterances, but he never forgot them. Their themes began cropping up later in unrelated works, and in 1882 he finally published 12 of the songs. In 1887 he arranged these 12 songs as Cypresses for string quartet, and it is in this form they are best known. Though Cypresses began its development in the throes of romantic ardor, it is now more often heard as a tender expression for Dvořák’s love of Bohemia; some listeners say that he went from heartsick to homesick. But the string arrangements closely follow the melodic and harmonic cues that he wrote when he was in love. In playing these lyrical movements, the challenges are more poetic than virtuosic: the music woos us.
78 / deervalleymusicfestival.org
notes on the program Bassoon Quintet INSTRUMENTATION: bassoon, strings.
Duration: approximately 16 minutes.
Joan Tower (b. 1938)
Vigorous and eclectic, Joan Tower’s distinctive musical style reflects both her talent and the remarkable circumstances of her life. Born in New Rochelle, New York, she moved to Bolivia with her family when she was nine years old. There the complex, dynamic rhythms of Bolivian music became part of her life—one reason why rhythm would later become such an important element in her work. Aware of his daughter’s early talent in music, Tower’s father insisted that she receive musical training, especially in piano studies. Her mastery of the keyboard enabled her to begin her career as a pianist including with the ensemble she co-founded, the Da Capo Chamber Players. Tower’s undergraduate studies were at Bennington College, and she earned a PhD in Columbia University’s composition program, a bastion of academic serialism and modernism. Mastering the rigors of this approach to composition gave Tower a strong foundation for developing a strongly personal style. In the 1970s and 1980s Tower wrote many pieces for the Da Capo Chamber Players. In their sound and even in their titles we can see a legacy from her father, who was a mineralogist, as Tower explores subjects inspired by all aspects of the natural world—the trees and forests, the skies and waters, and, yes, the earth and its minerals. She brings us close to their details and steps back to provide perspective on their vastnesses, capturing them in the contrasts of soft and hard textures, large and small scale, calmness and forcefulness. We hear their juxtapositions in the poetic tension Tower conveys between instrumental textures, loud and soft passages, and complex, energetic rhythms. In the 1990s and beyond, many listeners heard Tower’s style being pulled away from the strictness of serialism toward the more fluid expressiveness of George Crumb and Olivier Messiaen. Works such as the bassoon quintet demonstrate Tower’s development of a uniquely poetic style, but also her potent mastery of musical contrasts. Even her choice of instruments, combining the plangent, reedy resonance of the bassoon with the luster of strings, speaks to us in a special way.
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notes on the program String Quartet No. 14 in C-sharp minor INSTRUMENTATION: strings.
Duration: approximately 40 minutes.
Ludwig van Beethoven (1770–1827)
Have you wondered why serious fans of chamber music frown at the urge to applaud between movements? While the trend among American classical music audiences in recent decades has been for fewer interruptions by applause, chamber music enthusiasts have always been among the most austere and disciplined in their concert etiquette—a convention that may well be traceable to Beethoven’s late quartets and the 14th in particular. In the 14th we hear seven uninterrupted movements that take us on a unified musical journey. Beethoven identifies the quartet in its unusual opening key of C-sharp minor, challenging for players, but this is a key we do not hear through most of the quartet. While listeners and players alike accord the late quartets a certain reverence, the 14th may well be the most admired. As the first movement gives way to the second, there is no developmental modulation—simply a semi-tone move upward into the key of D-major, much warmer and more affirmative, played at a tempo that is quicker and more vigorous. We have left the shadowed world of C-sharp minor behind; the sense of a life journey has begun, and we will not encounter the key of C-sharp minor again until the final movement—by which time it will have acquired a very different meaning for us. Though the op. 131 is long for a string quartet, its development seems to unfold quickly. We will hear a theme and variations in the fourth movement (following a more conventional upward modulation), always marked by a beautiful, dramatic interplay that sometimes ventures into humor. A ticklish, complex dance rhythm abruptly announced by the cello in the fifth movement brings us up the key of E-major, until another abrupt shift in key and mood brings us to a key of G-sharp and to music of a much darker hue. We come upon it as we might an unexpected tragic circumstance in life. In the last movement, the quartet’s narrative arc is completed as Beethoven modulates back to the opening key of C-sharp; yet he somehow works through the Walpurgisnacht-feeling of its dance rhythm to take us to the triumphant heights of C-sharp major. For those willing to join Beethoven on this journey, the effect is one of transfiguration through art.
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Your
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MUSIC June 25 – Oct. 31, 2015 bard.org | #utahshakes | 800-PLAYTIX
CEDAR CIT Y
Photos, right to left: a scene from The Music Man, 2011; and Kailey Gilbert (left) and Samantha Allred in The Greenshow, 2014.
BY SHERRY ALLRED A musical that tells accurately and respectfully what The Book of Mormon is truly about.
WATCH AND BE INSPIRED. July 27th–August 8th
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The Deer Crest Club is Located in the Heart of The St. Regis Deer Valley We welcome locals, second home owners and regular visitors to delight in the best of mountain recreation, fine culinary experiences, social gatherings, culture and arts as a part of this extraordinary private club.
Come and preview the expansion and remodel of our private club amenities. Call to learn about Club benefits, amenities and our summer membership offer. Contact Cynthia Key, Director of Sales & Marketing 435.940.5810, x1 or ckey@deercrestclub.com DeerCrestClub.com
summer symphony series
DEER VALLEY RESORT
JULY 24 | 7:30 PM
COUNTRY LEGENDS RANDALL CRAIG FLEISCHER Conductor RACHEL POTTER Vocalist PATRICK THOMAS Vocalist
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Kenny Rogers Medley
DOLLY PARTON**
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Blown Away The Devil Went Down to Georgia Achy Breaky Heart Breathe 9 to 5
** Arranged by Randall Craig Fleischer
DEER VALLEY® MUSIC FESTIVAL / 83
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.
Randall Craig Fleischer Conductor
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. “…There was purpose and meaning in the performance, and Fleischer let the lyricism of the music flow in seamless lines.” Deseret News - Salt Lake City, Utah. A passionate educator, Mr. Fleischer has co-authored several instructional pieces for children in collaboration with his wife, comedian Heidi Joyce, which were premiered by the National Symphony Orchestra, including three rap pieces for orchestra. Currently their children’s programs, Cool Concerts for Kids, have been performed with great success by symphony orchestras around the country. In January of 1991, Ms. Joyce and Mr. Fleischer co-authored and premiered Martin Luther King, Jr.: A Spiritual Journey with the NSO, a piece by narrator and orchestra which explores the history of the civil rights movement with excerpts of Dr. King’s speeches, narrated for Dr. King’s daughter, Yolanda King. This piece was broadcast on PBS in February of 1995. Mr. Fleischer studied with Leonard Bernstein as a conducting fellow at Tanglewood in 1989. He served as the Assistant Conductor of the American Symphony Orchestra from 1986 to 1989. While working toward his Master of Music degree at the Indiana University School of Music, he served as Chorus Master of the I.U. Opera Theater program from 1983–85. Fleischer received his Bachelor of Music Education degree from the Oberlin Conservatory of Music and has studied conducting privately with Otto-Werner Mueller and in master class with Seiji Ozawa, Ricardo Muti, Gustav Meier, and others. Mr. Fleischer lives in Los Angeles with his wife Heidi, and daughter Michaela.
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education events In addition to the emerging Quartets & Composers Program, which offers professional development to two emerging string quartets and two promising composers (see pages 96–97), the USUO education Department offers events that provide access to professional musicians and music-making.
String Quartet Masterclass with Mike Reynolds (Muir Quartet)
STRING QUARTET MASTERCLASSES with the MUIR QUARTET Free. No Tickets Required. Thursday, July 16 | 4–6 PM Park City Public Library Auditorium – 1255 Park Ave. Thursday, July 23 | 3:30–5:30 PM Park City Public Library Auditorium – 1255 Park Ave. FAMILY INSTRUMENT PETTING ZOO Preceding Disney’s Fantasia: Live in Concert Instruments provided by Summerhays Music Friday, July 17 | 6–7 PM Behind Snow Park Lodge Ticket Office Available to all ticket holders. EMERGING QUARTETS & COMPOSERS PERFORMANCE Instrument Petting Zoo Tuesday, July 28 | 8 PM St. Mary’s Church 1505 White Pine Canyon Road, Park City Call 801-533-NOTE (6683) or visit deervalleymusicfestival.org. PLAZAFEST Young instrumentalists offer pre-performance music at St. Mary’s Church. Come early and enjoy! For more info about 2015 DeeR vALLeY® music festival education events, visit deervalleymusicfestival.org.
artists’ profiles Rachel Potter, a Nashville-based country music recording artist and songwriter, was a top 12 finalist on the hit television reality show The X Factor. Her debut recording, Live the Dream, is available on iTunes and she is currently working on her second solo CD entitled Not So Black and White, to be released in the fall. On Broadway, Rachel appeared as the Mistress in the recent revival of Evita, as Wednesday in The Addams Family, and as Glinda in the National Tour of the mega hit production of Wicked. Upcoming orchestral engagements include the Phoenix and Anchorage Symphonies, as the female soloist in Country Legends. Rachel Potter Vocalist
Patrick Thomas Vocalist
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Patrick Thomas, a native of Colleyville, Texas, is a Nashvillebased recording artist and was a finalist on Season 1 of NBC’s hit show The Voice. He recently made a guest appearance as a music city mentor on the first season of Lifetime Network’s Chasing Nashville. An accomplished pianist and guitarist, he was also a staff writer for Cornman Music/Warner Chappell from 2011–13, and signed with Brett James (“Jesus Take the Wheel” and “We Went Out Last Night”). Patrick also starred in the world premiere of The Hank Legacy produced by Studio Tenn out of Franklin, Tennessee, which enjoyed wide spread critical acclaim and he spent time in New York starring as Billy Crocker in Anything Goes. Currently, Patrick stays busy writing music, touring as a band leader for a number of recording artists, as well as performing multiple times a week at the Big Bang Dueling Piano Bar in Nashville, Tennessee. Patrick is a featured soloist for Country Legends, in which he will also perform with the Phoenix and Anchorage Symphonies. He is also a graduate of Vanderbilt University’s Blair School of Music.
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DEER VALLEY RESORT
JULY 25 | 7:30 PM
CURTIS STIGERS CELEBRATES SINATRA WITH THE UTAH SYMPHONY PRODUCTION SPONSOR:
CURTIS STIGERS Guest Artist MATTHEW FRIES Piano
CONCERT SPONSOR:
CLIFF SCHMITT Drum Set RANDALL CRAIG FLEISCHER Conductor
SELECTIONS TO BE ANNOUNCED FROM STAGE.
DEER VALLEY速 MUSIC FESTIVAL / 89
artist’s profile
See page 84 for Randall Craig Fleischer’s profile.
Given his string of hit singles, millions of records sold and a 23-year recording career that has touched every continent and nearly every genre, one might expect Curtis Stigers to be either very rich or very tired.
Curtis Stigers Guest Artist
But mostly, Mr. Stigers is busy. The energetic singer/ songwriter/saxophonist regularly barnstorms concert halls, festivals, and clubs everywhere from Moscow to Manhattan, accompanied one night by his quartet, another by big band or orchestra. He has released new work nearly every year since he started recording, frequently collaborating with his musical heroes. Along the way, this musician who began his career playing standards in a Boise hotel lobby while moonlighting as a drummer in a punk rock band has redefined the constitution of contemporary jazz. It is his rich singing voice—singular, balletic, at turns mournful and playful—that has landed him on records with the likes of Al Green and Shawn Colvin, in studios with venerated producers like Larry Klein, Danny Kortchmar, and Glen Ballard, and onstage with a plethora of legends, including pop and rock greats Eric Clapton, Elton John, Bonnie Raitt, Rod Stewart, and The Allman Brothers, and jazz giants Nancy Wilson, Al Jarreau, Gerry Mulligan, Randy and Michael Brecker, Chuck Mangione, Toots Thielmans, Wynton Marsalis, Diana Krall, and many more. The voice, of course, is the thing: hearing Mr. Stigers’ confident, nuanced delivery is akin to seeing a celebrated actor lose himself in a role. But Mr. Stigers seems to be the rare artist who has not allowed his success to influence his artistry, or his sense of self. Born in Hollywood, raised in Boise, and transplanted to Manhattan, he now resides, between gigs, in his hometown back in Idaho, a place where he says he can can raise his daughter and “live a real life.” Here, between blue mountains and green fields, Stigers is able to write and discover the songs he wants to sing.
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The Discovery Villa Package is available for first-time visits only. At least one guest must be 45 years old and no guests under 18 or pets are permitted to stay in the Villas.
Poldark
on Masterpiece
The dashing Captain Poldark rides again in a swashbuckling new 8-part adaptation of the hit 1970s Masterpiece series. Aidan Turner stars as a redcoat who returns to Cornwall after the American Revolution, winning the hearts of women wherever he goes.
Begins Sun. June 21, 8PM
Watch online at video.kued.org
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435.785.5000
Find Yourself at VictoryRanchUtah.com
chamber ensemble series
SAINT MARY’S CHURCH
JULY 28 | 8 PM
SEMIOSIS & DENOVO STRING QUARTETS DENOVO QUARTET Guest Artist SEMIOSIS QUARTET Guest Artist
CONCERT SPONSOR:
DANIEL CASTELLANOS Guest Composer DOUGLAS FRIEDMAN Guest Composer
ALBAN BERG
String Quartet No. 3 Langsam Mäßige viertel Semiosis Quartet
DOUGLAS FRIEDMAN
The Pilgrim Denovo Quartet
PHILIP GLASS
String Quartet No. 2, “Company” I. ♩ = 96 II. ♩ = 160 III. ♩ = 96 IV. ♩ = 160 Semiosis Quartet
INTERMISSION DANIEL CASTELLANOS
Propulsions Semiosis Quartet
Tonight’s concert is the culmination of the 2015 Emerging Quartets & Composers program, an integral part of the Deer Valley® Music Festival. It is managed by the Muir String Quartet, composer Joan Tower, and the
MAURICE RAVEL
String Quartet in F Major I. Allegro moderato. Très doux II. Assez vif. Très rythmé III. Très lent IV. Vif et agité Denovo Quartet
USUO Education Department.
DEER VALLEY® MUSIC FESTIVAL / 93
artists’ profiles
Semiosis Quartet Guest Artists
Denovo Quartet Guest Artists
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The Semiosis Quartet thrives on passionately presenting 20th and 21st century compositions. With new music as a focus, we commission and work closely with living composers. Improvisation is also an important part of our performance values. Members include violinists Natalie Calma and Nicole Parks, violist Oliver Chang, and cellist Bryan Hayslett. We have performed with Equilibrium Concert Series, Church of the Advent Library Concert Series, August Noise JP, and we have coached with composer Joan Tower. We have collaborated with the world music duo Terra Madre. Collectively, members of the Semiosis Quartet hold degrees from The Boston Conservatory, Eastman School of Music, Boston University School of Fine Arts, The Hartt School of Music, and St. Olaf College.
The Denovo String Quartet formed at Boston University’s College of Fine Arts in the Fall of 2014. The members hail from Ohio, Kentucky, South Carolina, and Washington and hold degrees from Boston University, University of Missouri St. Louis, and Bob Jones University. Individually they have performed around the globe on tours to China, Russia, Europe, South America, Canada, as well as at home around the States. The members of the Denovo, violinists MaeLynn Arnold and Michael Hustedde, violist Amberley Lamphere, and cellist Daniel Dickson, are thrilled to bring together the energy and experience from their past studies and travels in a fresh collaboration. They have performed in masterclass for the JACK String Quartet and currently study with members of the Muir String Quartet at Boson University. Their name comes from the Latin expression meaning “to create afresh.”
artists’ profiles
Douglas Friedman Guest Composer
Daniel Castellanos Guest Composer
Douglas Friedman (b. 1993) is a composer and percussionist currently residing in Annandale-on-Hudson, NY. His compositional endeavors have led him to write for a wide range of ensembles, but his focus is unceasingly to fuse the diverse styles that inspire his work. Recent performances have been given during the Atlantic Music Festival, the Dynamic Music Festival and Bard College’s Music Alive series. The second movement of his first composition for orchestra was read and recorded in March 2015 by James Blachly and the Boston Philharmonic Youth Orchestra and was performed in its entirety in May 2015 by Leon Botstein conducting the American Symphony Orchestra. As a percussionist and drummer, Douglas regularly performs with New York-based band The Sifters, as well as in his own project, Hemispheres. Douglas graduated in May 2015 from Bard College, where he was the recipient of the Margaret Creal Shafer Prize for Composition. While at Bard, Douglas worked closely with composers George Tsontakis, Joan Tower, and Kyle Gann. Daniel Castellanos (b. 1995) is an aspiring young composer. Born in Hoboken, New Jersey, he was introduced to music at the age of 7 via his church’s choir director. At 9, he wrote his first composition, two untitled preludes for piano. His first officially premiered work, a small motet for choir called Eternal Light (2008), was described by Allan Kozinn of the The New York Times as “straightforward, serene, and attractively harmonized; nothing about it marks it as the work of a child…” Since then, he has composed and had several works for choir, piano, and various chamber groups performed. In the summer of 2011, Castellanos studied composition at Interlochen Arts Camp with Edward Knight and Rob Deemer. In 2013, he began attending Bard College and Conservatory, where he has been studying with Joan Tower and George Tsontakis. He spent the summer of 2014 working as an unpaid assistant at Oktaven Audio, a recording studio just outside of New York that records a wide range of contemporary composers’ music, from John Luther Adams to John Zorn. Currently, he is working on his first piece for orchestra, Regenesis, along with another work for vocal quartet commissioned by Grammy-nominated New York Polyphony.
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DeeR vALLeY® music festival Summer Home of Utah Symphony | Utah Opera
emeRGinG QuaRtets & comPoseRs PRoGRam The emerging Quartets & Composers program, a project of the Muir String Quartet and composer Joan Tower, began in 1989 and has had various homes in Utah, including Snowbird and Park City. It became an integral part of DvMF’s education program when the festival was founded in 2004. During the seminar, two elite emerging string quartets join their established professional counterpart, the Muir Quartet, in the Deer valley area. • They rehearse and are coached by Muir Quartet members daily. • They work with Utah students attending summer music camps in the area. • They participate with their mentors in discussions about the string quartet business, including the commissioning of new works. The emerging quartets benefit from the opportunity to perform new string quartets by two up-and-coming composers, who participate in the program under the mentorship of Joan Tower. In a final concert, the two quartets perform pieces from the classical string quartet repertoire, and the world premieres of the new works by the program’s emerging composers.
Joan Tower
Muir String Quartet
emeRGinG QuaRtets & comPoseRs Summer 2015
Composer Daniel Castellanos
Semiosis Quartet
Denovo Quartet
STRING QUARTET MASTERCLASSES with the MUIR QUARTET Masterclasses are free and open to the public. No tickets required. Thursday, July 16 | 4–6 PM Park City Public Library Auditorium – 1255 Park Ave. Thursday, July 23 | 3:30–5:30 PM Park City Public Library Auditorium – 1255 Park Ave. FINAL CONCERT Tuesday, July 28 | 8 PM St. Mary’s Church 1505 White Pine Canyon Road, Park City For concert tickets, call 801-533-NOTe (6683) or visit deervalleymusicfestival.org. Tickets will also be available at the door.
Composer Douglas Friedman
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four’s a crowd
Ask cellist Mike Reynolds of the Muir Quartet what makes or breaks a quartet and he’ll give an unexpected answer: relationship management. Navigating the challenges of working with other musicians and managing the business side of an up-and-coming musical group prompted the Boston-based Muir Quartet to create the Emerging Quartets and Composers program in 1989. “It was a unique program that we wanted to design that was very intensive and had the composer relationship embedded in it as we did with Joan Tower,” said Reynolds. He explained that the challenge associated with managing relationships has even prompted a saying among musicians that “a string quartet is like a marriage with none of the benefits.” As the program draws to a close at the 2015 Deer Valley® Music Festival, he reflected upon the need for young composers and string quartets to learn tools to help them succeed in the real world. Reynolds said he and his fellow Muir Quartet members wanted to give emerging artists advice and mentorship that would encourage balance and result in professional partnerships that would stand the test of time. During the three-week program, the Muir Quartet members and composer Joan Tower workshop intensively with participants, and tackle tough topics revolving around all aspects of musician and composer interrelationships, Reynolds said.
They also wanted to include an essential component they felt was missing in other quartet mentorship programs – the opportunity to interact and collaborate with living composers as the Muir Quartet has done with Joan Tower. “The Joan Tower relationship has stood the test of time. We just hit it off from the start. We went out to dinner and didn’t waste time. Joan is very direct and has a wonderful sense of humor,” said Reynolds. “Over the years we’ve played pretty much all the pieces of music she’s ever written.” Reynolds points out that the advent of social media and modern marketing techniques have forced string quartets to approach success in a much different way than the Muir Quartet did nearly four decades ago when they were first embarking upon their professional career together. “We followed a more traditional path where we won competitions and got good management,” he said, whereas quartets today have to navigate a whole host of other challenges due to the advent of the digital media age. The Emerging Quartets and Composers program has laid the foundation for some longstanding working relationships. Over time, the program has created long term mentorship relationships that have seen several quartets continue to rise in success, says Reynolds, pointing to JACK, Friction and Arneis as several of the quartets that went through the program and are still thriving professionally today.
DEER VALLEY® MUSIC FESTIVAL / 99
notes on the program
By Michael Clive
String Quartet, op. 3 Alban Berg, who composed two works for string quartet, was a key member of the “Second Viennese School” of composers who questioned just about every existing tenet of music theory, including these characteristics of chamber music— characteristics that by then were so familiar as to be almost intuitive among listeners. (They still are.) More than a century after it was composed, Berg’s String Quartet challenges us to listen in a completely different way.
Alban Berg (1885–1935)
In 1909, Schoenberg had composed four landmark works including his Five Pieces for Orchestra and the opera Erwartung. Berg composed his String Quartet the following year. These works are not only constructed without traditional melody and harmony, but they are marked by an absence of the familiar sonic landmarks that allow us as listeners to orient ourselves to musical expression: a tonal center or scale with beginning and ending notes; a musical line that is stated, elaborated, developed and then resolved; harmonies of interlocking consonance and dissonance. How, then, are we to listen to Berg’s string quartet? The influential critic and philosopher Theodor Adorno emphasized the remarkable construction of the work, full of discipline and detail. “Berg followed the impulse of his own creative drive, which he himself felt to be architectonic,” Adorno noted. This intricate craft is both “horizontal” and “vertical”—that is, extended over time, in a process of counterpoint and of larger musical “events,” and in each instant of the music, in moments of harmony that make each interval a new invention. Though Adorno characterized both the horizontal and vertical structures as being equally far from a central point at any given moment, for us as listeners it may be best not to think of a center or a starting point at all, but rather to listen for the musical contours that define each musical moment and that build a larger structure over time. This approach strongly anticipates the advent of 12-tone music, which would use “rows” incorporating all 12 notes of the chromatic scale in prescribed sequences. But it is not there yet. If the methods sound clinical, their result is not. Instead, Berg’s music is full of beauty and even of emotion; it is often unmistakably poignant. Perhaps that’s why “the better part of Schoenberg is Berg,” according to an old saw. This is music that balances feeling and fascination. Its emotional resonance is there for the hearing if we suspend our preconceptions and listen.
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notes on the program
By Michael Clive
Douglas Friedman: “The Pilgrim” Note by Douglas Friedman
Douglas Friedman
Every year, Peregrine Falcons return to the Mid-Hudson Bridge, a suspension bridge spanning the Hudson River at Poughkeepsie, to lay chicks and hunt for the season. The juxtaposition of one of nature’s most effective hunters and the wrought iron mass of the bridge creates cognitive dissonance to those familiar with the falcon’s elusive ways. From above however, there isn’t much that stands between the urban habitat provided by the bridge’s towering, latticed walls and a natural habitat, say, a canyon. In the falcon’s wake, the cabled spans become an impenetrable stone fortress, the towers, arches, and the traffic a roiling river rushing downstream. The Pilgrim traces the transformative flight of one of these creatures. We’ve become so accustomed to being reminded of our irreversible impact on the lives of the creatures with whom we cohabit this planet, but the Peregrine Falcon forces us to rethink this paradigm. The bridge is no longer simply a bridge, but an abstract physical entity that incidentally invites nature back into our world.
String Quartet No. 2, Company
Philip Glass (b. 1937)
American composer Philip Glass, now 78, has earned acknowledgment in his own lifetime as one of the most important and influential composers of the 20th century. 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. 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’s documentary about former defense secretary Robert McNamara, The Fog
DEER VALLEY® MUSIC FESTIVAL / 101
notes on the program of War, and the Hollywood version of Michael Cunningham’s novel The Hours. Glass’s 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. Glass completed his String Quartet No. 2 in 1983. It was originally conceived as instrumental music for an adaptation of Samuel Becket’s 1979 novella, Company, from which the quartet takes its name. The production was by the New York troupe Mabou Mines, whose founder, the director and actor JoAnne Akalaitis, pioneered a style of presentation that appropriates and transforms an author’s original text in collaboration with production participants. (Married for 20 years, Glass and Akalaitis were co-pioneers whose revolutionary ideas inspired each other.) Glass eventually withdrew the music he had written for Company, and it became his String Quartet No. 2. Written with customary precision, the quartet consists of four closely related movements that are notated with metronome markings that bring its performance time to a neat nine minutes. As with many of Glass’s compositions, the main theme of the quartet remains firmly rooted throughout the work and is expressed through pulsing rhythms and arpeggios in minor keys.
Daniel Castellanos: “Propulsion” Note by Daniel Castellanos For many composers the string quartet traditionally has born both an opportunity to display compositional ability, as well as present a more personal, introspective aspect. It’s the strings themselves with their wide palette of textures and sounds that provide so much room for looking inwardly. This quartet serves as a reflection of my past few months of life experience.
Daniel Castellanos
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The musical ideas in this piece are like propulsions (hence the title), bursting with a driven energy, interspaced with quieter moments of anticipation. The first, more aggressive theme evolves over time, conflicting with the second, more ethereal one. Both depend on each other; both are each other’s propellant. Ultimately, only one will come out on top though, and that final imbalance is, to me, significant.
notes on the program
By Michael Clive
String Quartet in F Major The purity and discipline of chamber music often leads composers back to the quartet form later in their careers. But Maurice Ravel, one of the towering figures of French music, wrote only one string quartet, and because he was theoretically still a conservatory student when he composed it, the quartet is sometimes mischaracterized as a youthful work.
Maurice Ravel (1875–1937)
Hardly. It is a remarkable musical statement, daring and confident, with nothing formative about it. The Quartet dates from 1903, when Ravel was already 28 years old and his talent was gaining recognition outside the conservatory. It has become one of the most frequently programmed quartets in the repertory, popular with listeners and an enduring challenge for players. When he composed the Quartet, Ravel had already earned favorable comment from Claude Debussy, and his status at the Paris Conservatory was beyond that of a student, more like what we might call a post-doctoral fellow today. He was widely expected to win Prix de Rome, an annual arts prize that became France’s most prestigious award for rising composers. When the jurors failed to award him the prize four times in five years (from 1901 to 1905), their decision reflected the aesthetic conservatism of director Théodore Dubois, and before long, Ravel’s main influence and stylistic mentor at the Conservatory—Gabriel Fauré—became its director. Analysts unfailingly describe it as melodic, and it is—but rich in melodies that are more to be enjoyed through immersion and flow as they occur and develop, rather than singable phrases for the listener to hold in mind like song subjects. Propelling a sense of natural beauty is a first movement marked allegro moderato, developed in strict sonata form. In the second movement, marked in French—assez vif, indicating a brisk pace—we hear some of the most celebrated extended pizzicato passages in the chamber repertory, with opposing pairs of instruments plucking complex rhythms in counterpoint... a good example of what critics mean when they speak of Ravel’s “precision.” In the gentler, much slower third movement (with the French marking très lent), themes from the first movement are reprised with a richer, more sonorous sound. The agitated, energetic fourth movement is noteworthy in part for its inclusion of a true 5/8 time signature—another example of Ravelian precision.
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chamber ensemble series
SAINT MARY’S CHURCH
JULY 29 | 8 PM
BACH & VIVALDI AISSLINN NOSKY Violin / Director
CONCERT SPONSOR:
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 3 in G major, BWV 1048 I. Allegro II. Adagio III. Allegro Suite No. 1 in C major for Orchestra, BWV 1066 I. Overture II. Courante III. Gavotte I Gavotte II IV. Forlane V. Menuet I Menuet II VI. Bourrée I Bourrée II VII.Passepied I Passepied II
CONDUCTOR SPONSOR:
INTERMISSION ANTONIO VIVALDI
The Four Seasons for Violin and Orchestra, op. 8, Nos. 1–4 I. Concerto in E Major (La primavera) II. Concerto in G minor (L’estate) III. Concerto in F major (L’autunno) IV. Concerto in F minor (L’inverno)
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artist’s profile
Aisslinn Nosky has been a member of Tafelmusik Baroque Orchestra since 2005 and was appointed Concertmaster of the Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Ms. Nosky is in great demand internationally as a soloist, director, and concertmaster. Recent appearances include La Jolla SummerFest, Staunton Music Festival, Thunder Bay Symphony, the Calgary Philharmonic, and the Holland Baroque Society.
Aisslinn Nosky Violin / Director
Ms. Nosky is also a member of I FURIOSI Baroque Ensemble. For over a decade, this innovative Canadian ensemble has presented its own edgy and inventive concert series in Toronto and toured Europe and North America, turning new audiences on to Baroque music. With the Eybler Quartet, Nosky explores repertoire from the first century of the string quartet literature on period instruments. Ms. Nosky’s latest recording of Haydn’s Violin Concerto in C Major with the Handel and Haydn Society will be released in September 2015 on the CORO label. See more at: www.aisslinn.com
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notes on the program
By Michael Clive
Brandenburg Concerto No. 3 in G major INSTRUMENTATION: harpsichord; strings.
Duration: approximately 10 minutes.
Johann Sebastian Bach (1685–1750)
In classical music, genius and longevity come together all too rarely. When they coincide in a prolific composer of disciplined work habits, the musicologists rejoice in the abundance of brilliant works to study—so many that the achievements in one genre can obscure those in another. Such was the case with Bach, who lived until the modern-day retirement age of 65 and produced so much great music that even his admirers can lose sight of it all. To fanciers of the pipe organ, Bach is the wellspring—one of history’s greatest organists and composers of organ music, comprising perhaps a third of his total output. In oratorio he is the transcendent figure, composer of hundreds of sacred cantatas and three full-length oratorios that are acknowledged as high points of Western art. Which would be enough to establish Bach as one of the greatest composers of all time without even considering the secular compositions we hear most often in the concert hall—works such as his Brandenburg Concertos and orchestral suites. According to tradition, Bach composed the Brandenburg Concertos as an unsuccessful application, and as impossibly dramatic as that sounds, it is very close to the truth. We can trace their origins back to about 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, Christian Ludwig. Then, as now, making a living as a musician was not easy, and composers relied upon the patronage of noble families and the church; Bach’s call upon the margrave had the desired effect, who commissioned several works. What happened after that is less clear, but it seems certain that the compositions were submitted and remained unpaidfor. Based on the instrumentation Bach employed in the set, it is likely that he based at least some of them on concertos he had written while Kapellmeister at Köthen or perhaps earlier, while at Weimar; such recycling was standard practice for composers. Whatever the reason, we know from Bach’s dedication page that he hoped the score would
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notes on the program secure either a position in the margrave’s court or further commissions. In a tribute of suffocating formality, Bach’s tone in addressing his prospective patron contrasts ironically with the texts of his religious cantatas and oratorios, which are simple and sometimes startlingly blunt; it seems Bach was on closer terms with God than with the margrave. “Don’t judge the works too harshly,” he asks the margrave; “remember how deeply I respect you.” After this submission, which seems unduly modest to us now, the scores lay ignored for more than a century without being played. They were discovered in the Brandenburg archives in 1849 and published in 1850. As the most popular of the six concertos, Bach’s Brandenburg Concerto No. 3 may well be the most popular concerto grosso ever written. In form, these precursors of the solo concerto and the symphony have an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three movements of alternating tempi, most often fast-slow-fast. We can see the roots of the more familiar solo concerto here: The smaller group of players, or concertino, can range from two to five instrumentalists and corresponds to the modern concerto soloist, while the larger group, or ripieno—usually a dozen players or fewer—takes the ensemble role. Together they form what we might think of as an ideally sized chamber orchestra, with the concertino taking solo lines and the ripieno providing the benefits of a larger ensemble. But while their voices remain separate, their interplay is less oppositional than we hear in Romantic concertos. In the third Brandenburg concerto, stringed instruments are featured: three each of violins,
violas and cellos. Though it is technically a three-movement work, modern listeners are sometimes startled to encounter the central movement, which consists of just a single measure. Known as a “Phrygian halfcadence,” it consists of just two connected chords, often extensively ornamented, that have been described as a “musical semicolon” that conjoins the moderately quick opening movement with the faster, more energetic finale.
Suite No. 1 in C major for Orchestra INSTRUMENTATION: 2 oboes, bassoon;
harpsichord; strings. Duration: approximately 21 minutes.
Bach’s four orchestral suites are, in keeping with the conventions of his day, collections of movements written in popular dance rhythms with French names. The source of the Suite No. 1 has been identified as a set of parts dating from 1724 to 1725, indicating that they were composed about five years after the Brandenburg Concertos. In this case the seven movements comprise a courante, a gavotte, a forlane, a menuet, a bourrée, and a passepied, all preceded by an overture—not an introduction in the sense we know it today, but rather an initial movement in a stately, majestic style employing dotted rhythms. The movements in suites such as this one varied not only in rhythm but also in tempo, and the practice of arranging them in a pleasing sequence—duple-contrasting with triple-rhythms, and slow with fast—helped establish the conventions of symphonic and concerto composition in the Classical era. As in the Brandenburg Concertos, the rules exist for our sheer pleasure.
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notes on the program The Four Seasons for Violin and Orchestra INSTRUMENTATION: flute, 2 oboes, bassoons, 2 horns, 2 trumpets,
timpani, strings. Duration: approximately 39 minutes.
Antonio Vivaldi (1678–1740)
Vivaldi’s The Four Seasons, actually a series of four violin concertos, is among the most popular suites in the entire classical catalog, and no wonder: nowhere is Vivaldi’s gift for vibrant melody, vivid scene-painting, and rhythmic vigor more evident. The inspiration unfolds at a breakneck pace, with tone-painting that presents a graphically detailed picture of the natural world and the weather that modulates our lives and excites our sense of beauty. Rapid passagework in the solo violin and in all the strings reveals color and texture as it showcases the virtuosic capabilities of instrument and player. Vivaldi actually considered himself primarily a composer of operas and claimed to have written 90 of them (about 40 have been lost), but today his reputation rests on the hundreds of concertos he wrote. They embody his best qualities in seemingly endless abundance, and The Four Seasons remains by far his most popular work. With three movements in each concerto, the suite traverses a year of weather, behavior and seasonal moods in twelve natural divisions. They represent not so much individual months as the natural turns of events that the annual cycle brings us—sunshine, storms, celebrations, harvests, hibernation, renewal—depicted in tonal “paintings” of extraordinary vividness and beauty. Vivaldi’s remarkable productivity as a composer of concertos can be traced to the year 1703, when he was both ordained to the priesthood and appointed as Maestro di Violino (chief violin teacher) at the Ospedale della Pietà, a charitable school in Venice. It was one of four such institutions where he would remain with few interruptions for the better part of 40 years. His red hair was not the only reason he came to be known as The Red Priest (il Prete Rosso); he was a dazzling violinist with a fiery playing style, as well as a demanding teacher who got results. Under his tutelage, the students who lived at the Ospedale—young women from good families that, for reasons usually left unsaid, wanted
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notes on the program them raised elsewhere—became some of the best instrumental players in Europe. To hone and then showcase their skills, Vivaldi wrote literally hundreds of concertos. They heavily favored the violin, of course. But Vivaldi made sure that they could readily be transcribed for other solo instruments. The specificity of Vivaldi’s tone-painting ability allowed him to describe his musical intentions with annotations that have the character of stage directions—“the barking dog” in the second movement of Concerto No. 1; “languor caused by the heat” in the first movement of Concerto No. 2; “the drunkards have fallen asleep” in the second movement of Concerto No. 3; and so on. Other equally picturesque passages—note,
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for example, the gorgeous yet excruciatingly accurate evocation of wind-driven ice and snow in the winter concerto—need no verbal cues. We can only guess whether Vivaldi would have been surprised at the way in which they were later put to expressive use in countless films and television commercials. For further proof of the staying power of The Four Seasons, glance up at the listing of movements; the fast-slow-fast sequence of all four concertos later became almost universal in the form. Contrasting tempos and dynamics, exciting finales, sumptuous melodies…Vivaldi’s successors knew a good thing when they heard it, and they followed his lead. Today he is credited as a father of the modern concerto.
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summer symphony series
DEER VALLEY RESORT
JULY 31 | 7:30 PM
1812 OVERTURE! VLADIMIR KULENOVIC Conductor CHI HO HAN Piano CANNONEERS OF THE WASATCH
PRODUCTION SPONSOR:
CONCERT SPONSOR:
GIUSEPPE VERDI
Overture to La forza del destino
SERGEI RACHMANINOFF
Concerto No. 2 in C minor for Piano and Orchestra, op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando
HAL & DIANE BRIERLEY
INTERMISSION CONDUCTOR SPONSOR:
JOHN PHILIP SOUSA
The Thunderer
GEORGE GERSHWIN
An American in Paris
PIOTR I. TCHAIKOVSKY “1812,” Ouverture Solonnelle, op. 49
CANNON SPONSOR:
THE LAW OFFICES OF THOMAS JACOBSON
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artists’ profiles Vladimir Kulenovic was named Associate Conductor of Utah Symphony | Utah Opera in the U.S. and his performances this summer will complete his four-year appointment. He is also Music Director of the Lake Forest Symphony and Resident Conductor of the Belgrade Philharmonic. He was formerly the Principal Conductor of the Kyoto International Music Festival in Japan. Mr. Kulenovic is the winner of the 2015 Sir Georg Solti Conducting Award.
Vladimir Kulenovic Conductor
Recently he debuted with Chicago Symphony, Houston Symphony, Columbus Symphony, Knoxville Symphony, Lubbock Symphony, Macedonian National Opera (Aida) and returns to Belgrade, Macedonian Philharmonic, and Jacksonville Symphony, where Mr. Kulenovic was a featured conductor at the biennial League of American Orchestras Bruno Walter National Conducting Preview in March of 2013. Recent engagements also include performances with the Beethoven-Orchester Bonn at the Beethovenhalle, Deutsche Kammerakademie/Neuss am Rhein, Belgrade, Slovenian, Zagreb, and Macedonian Philharmonic orchestras, Lake Forest, Grand Rapids, and Evergreen Symphony orchestras, the Juilliard Orchestra at Lincoln Center’s Alice Tully Hall, and the National Arts Centre Orchestra in Ottawa. Festival appearances include Aspen, Cabrillo, Salzburg Mozarteum and Verbier. He has collaborated with celebrated soloists such as Leon Fleisher, Augustin Hadelich, Mischa Maisky, Akiko Suwanai, Philippe Quint, Joseph Silverstein and Ralph Votapek, and will perform with Emmanuel Pahud, José Feghali, Elena Bashkirova and Torleif Thedéen in 2014–15. In addition to studying with Kurt Masur from 2008–12, Vladimir Kulenovic is an alumnus of the Juilliard School and was awarded the Charles Schiff Conducting Prize for Excellence upon the completion of his post-graduate studies with James DePreist. He also earned graduate degrees from the Peabody Institute, where he studied with Gustav Meier, and the Boston Conservatory where he graduated summa cum laude, as valedictorian, and was awarded the Alfred B. Whitney Award for the highest scholastic achievement. Mr. Kulenovic is also the proud recipient of the 2012 and 2013 Solti Foundation U.S. Career Development Awards, and the Bruno Walter Memorial Scholarship. As a pianist, Vladimir Kulenovic has been a Second Prize winner of the Rubinstein International Piano Competition in Paris.
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artists’ profiles
Chi Ho Han Piano
Chi Ho Han was born in Seoul, Korea in 1992. In spite of his young age, he has won many prestigious international prizes, including 1st Prize in the Seoul International Music Competition (2014), 3rd Prize in the Beethoven International Piano Competition in Vienna (2009), 2nd Prize and the Special Prize in the Schubert International Piano Competition in Dortmund, Germany (2011), 2nd Prize and Audience Prize in the International Telekom Beethoven Piano Competition in Bonn, Germany (2011), Geza Anda Prize in the 12th Concours Geza Anda in Zurich, Switzerland (2012),1st Prize and Audience Prize in the 11th Kissinger Klavierolymp in Germany (2013), and 4th Prize in the 6th China International Piano Competition in Xiamen, China (2013). Since 2013, his career is supported by the Dr. Carl-Doerken Foundation. He has played with Austrian Radio Symphony Orchestra, Suwon Philharmonic Orchestra, Musikkollegium Winterthur Orchestra, Dortmund Philharmonic Orchestra, Beethoven Orchestra, and the Kurpfaelzisches Kammerorchester. His concerts have been broadcast by radio stations ORF (Austrian Broadcasting), WDR (West German Broadcasting), SWR (Southwest Broadcasting in Germany), and BRBayerischen Rundfunks (Bavarian Broadcast). He began learning piano at the age of five. He studied in Seoul Arts High School with Mrs. Jiae Kim and Prof. Kyeong Seun Pee. He went to Germany in 2008 when he was 16 years old and studied in the Folkwang University of Arts in Essen with Prof. Arnulf von Arnim. Since 2012, he has been studying with Prof. Arie Vardi at the University for Music, Theater and Media in Hannover, Germany.
Cannoneers of the Wasatch
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The Cannoneers of the Wasatch have traveled the Wasatch Front for 38 years blasting self-made cannons while orchestras perform. For more than three decades, the Cannoneers have more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds. The Cannoneers have also performed in Taylorsville, Layton, Deer Valley and Sun Valley, Idaho. The cannoneers 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. As the years went by, Cannoneers creatively fixed the timing problem by invented new devices. The cannons are now controlled by a sophisticated electronic keyboard powered by four batteries.
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summer entertainment series
DEER VALLEY RESORT
AUGUST 1 | 7:30 PM
OZOMATLI WITH THE UTAH SYMPHONY JERRY STEICHEN Conductor CONCERT SPONSOR:
OZOMATLI Guest Artist
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artists’ profiles
Ozomatli Guest Artist
See page 40 for Jerry Steichen’s profile.
Bursting onto the L.A. stage with their first eponymously titled album in June 1998, Ozomatli capitalized on being the talk of the live music scene, particularly their show-stopping gigs at venues such as Dragonfly, Opium Den, and The Viper Room. By 1999, they were touring with Carlos Santana and soon won the Grammy for “Best Latin Rock/Alternative Album” for 2001’s Embrace The Chaos. They repeated history in 2004 by winning again in the same category for their album Street Signs, which also picked up the Latin Grammy for “Mejor Album de Musica Alternativa” in 2005. Ozomatli also recently became the first band to be asked to speak at a TED Conference, sharing their ideas about music and identities in the global age. In the band’s nearly 20 years together, they have toured internationally, collaborated with the Boston and New York Pops orchestras, and served as Cultural Ambassadors for the U.S. State Department. Their most recent album, Place In The Sun, was released in March 2014. When the band was formed, Ozomatli symbolized an emerging, multicultural Los Angeles. Over the years Ozomatli has become the ultimate jam band, pulling together the strands of creativity into a unique rhythmic machine. And learning to live together, like the city they represent, has made their music even stronger. “We’ve worked hard to create a space for ourselves, our own place in the sun, so to speak,” said guitarist and composer Raúl Pacheco. “We’re coming out with this new record to remind people that we still care about making new music.”
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chamber ensemble series
SAINT MARY’S CHURCH
AUGUST 5 | 8 PM
MENDELSSOHN, BRUCH & HAYDN VLADIMIR KULENOVIC Conductor STEFAN MILENKOVICH Violin
FELIX MENDELSSOHN MAX BRUCH
The Hebrides Overture, op. 26 - “Fingal’s Cave” Concerto No. 1 in G minor for Violin and Orchestra, op. 26 I. Vorspiel: Allegro moderato II. Adagio III. Finale: Allegro energico INTERMISSION
JOSEPH HAYDN
Symphony No. 104 in D major, “London” I. Adagio - Allegro II. Andante III. Menuetto: Allegro IV. Finale: Spiritoso
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artist’s profile
See page 114 for Vladimir Kulenovic’s profile.
Stefan Milenkovich is a unique artist with an extraordinary and productive longevity, professionalism and creativity. His musical philosophy as well as lifestyle is a true definition of eclectic, exploring general human, musical heritage, and experience, in order to connect directly with audiences and provide fun, engaging, and energetic performances.
Stefan Milenkovich Violin
His numerous appearances with orchestra include Indianapolis Symphony Orchestra, Berlin Symphony Orchestra, Orpheus Chamber Orchestra, Aspen Chamber Symphony, Helsinki Philharmonic, NDR Radiophilharmonie Hannover Symphony Orchestra, Orchestra of Radio-France, Bolshoi Theatre Orchestra, National Orchestra of Belgium, Mexico State Symphony, Orquestra Sinfonica de Estado de Sao Paolo, and the Melbourne and Queensland Symphonies. Stefan has performed under the baton of such conductors as Sir Neville Marriner, Lorin Maazel, Vladimir Fedoseyev, Daniel Oren, and En Shao. Mr. Milenkovich started his career at a very young age. He performed for U.S. President Ronald Reagan at a Christmas concert in Washington, DC, at age 10. The following year, he played for Mikhail Gorbachev in Belgrade, Serbia. At age 14, he played for Pope John Paul II and at age 16, Milenkovich gave his 1000th concert in Monterrey, Mexico. By age 17, he was a winner of The Young Concert Artists International Competition (USA), as well as a prizewinner in the International Violin Competition of Indianapolis (USA), the Queen Elisabeth Competition (Belgium), Hannover Violin Competition (Germany), Tibor Varga Competition (Switzerland), Rodolfo Lipizer Competition (Italy), Paganini Competition (Italy), Ludwig Spohr Competition (Germany), and the Yehudi Menuhin Competition (England).
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notes on the program
By Michael Clive
The Hebrides Overture – “Fingal’s Cave” INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns,
2 trumpets; timpani; strings. Duration: 10 minutes.
Felix Mendelssohn (1809–1847)
Even Mendelssohn enthusiasts can be confused by the titles of his travel-inspired works. His third symphony, “The Scottish,” was not published until after the one catalogued as No. 4, “The Italian.” The Hebrides Overture, which was inspired by the same trip to Scotland as his Scottish symphony, was originally titled “The Lonely Island,” and is also known as “Fingal’s Cave”—an alternate title that sounds like it should identify an excerpt; the cave is, after all, just one of the geographic wonders of Scotland’s Hebrides Islands. But it is certainly one of the most striking, and it made a deep impression on Mendelssohn. Mendelssohn’s amazing musical precocity is the main reason why he is so often compared with Mozart, and his wealthy, highly cultured family had Mozart in mind when his early demonstrations of musical talent prompted them to groom him for a career in music. Like Mozart, Mendelssohn composed mature masterpieces in his teens and was a prolific correspondent. The composer toured Scotland with a close friend when he was 20 years old, and the country’s rugged landscape and culture deeply inspired him at that young age—particularly with its embodiment of the Romantic fascination with the dichotomy of the individual versus nature. Imagine a college sophomore of today brooding over such ideas. Psychologists tell us that Mozart’s letters to his father and sister reveal a brilliant mind, but Mendelssohn’s letters home
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notes on the program
from Scotland are even more impressive in their incisive descriptions and mature, philosophical observations; they simply do not seem like the writing of a 20-year-old. In a letter to his sister, Fanny, Felix casts a mature eye on the amazing basalt formations that rise out of the sea to create Fingal’s Cave. On one hand, he was thrilled by their beauty and by nature’s majesty. But on the other, he felt overwhelmed by their scale and by the harshness of their setting, which could give rise to feelings of the individual’s smallness and helplessness in a vast, indifferent universe. We hear all of these emotions in The Hebrides Overture, which is admired as one of the most evocative, and persuasive musical descriptions of nature ever composed. Located off the western coast of Scotland, the Hebrides Islands comprise a rugged archipelago of windswept, craggy hills and rocky coasts with swirling eddies and violent surf. The “overture” form that Mendelssohn chose to capture the intensity of this landscape did not suggest that it was intended as a prelude to a larger work, but denoted a tone poem that, like
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a rhapsody or fantasia, did not adhere to a highly structured development. In it we hear two primary themes: an opening motif introduced by the violas, cellos and bassoons that suggests the cave’s towering verticality and majestic, almost frightening beauty; a second theme conveys the ceaseless power of the surf that surrounds the cave. In his letter to Fanny, who was an accomplished musician, Felix sketched the first theme in musical notation to demonstrate the sheer awesomeness of the cave—just as today we might snap a photo with our smart phone and embed it in an email while on vacation. Mendelssohn identified the score with the early title “The Lonely Island” on December 16, 1830. At least one scholar has suggested that this was no random date, but rather, the one day when—at its high northern latitude—the mouth of Fingal’s Cave is briefly illuminated by the sun. After further revisions, it acquired the title The Hebrides Overture and was premiered in 1832 in a concert with another overture of note…A Midsummer Night’s Dream. Almost a surfeit of genius.
notes on the program Concerto No. 1 in G minor for Violin and Orchestra INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns,
2 trumpets; timpani; strings. Duration: 22 minutes.
“The G-minor concerto again! I could not bear to hear it even once more. My friends, play the second concerto or the Scottish Fantasy for once!”
Max Bruch (1838–1920)
We might not agree with this outburst—in fact, Bruch’s Concerto No. 1 in G minor continues to be Bruch’s most popular work, and one of the most popular violin concertos in the repertory. But according to his son Ewald, this was Bruch’s reaction after receiving yet another invitation to perform it. He had completed the concerto in 1866; its premiere, with Otto von Königslöw as soloist, was followed by intensive revision. Almost from the moment of the new version’s premiere with the esteemed Joseph Joachim as soloist, the concerto was hugely popular. Even in his lifetime Bruch was known as an entrenched Romanticist who resisted change, but the concerto is not without innovation. Its first movement is a Vorspiel that functions as a prelude to the second movement, and is directly linked to it. The concerto opens slowly, with the initial theme in the flutes; the solo violin’s entrance is subtle, becoming audible as a brief cadenza whose repetition launches the main section of the first movement, with its strong principal theme framing a slower, gentler second theme. The movement forms an arch, ending as it began, with two brief cadenzas. It slows without interruption into the second theme, a gorgeous adagio. The concerto’s final movement—following convention, an energetic allegro—opens gently, with a softly stated introduction that dramatically foils brilliant passages in double-stops for the soloist. This contrasts with the movement’s second theme, a lyrical melody of vintage Bruchian Romanticism. An exciting accelerando leads to an intensely climactic close.
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notes on the program Symphony No. 104 in D Major, “London” INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns,
2 trumpets; timpani; strings. Duration: 29 minutes.
Joseph Haydn (1732–1809)
The great Joseph Haydn, wrote twelve “London Symphonies,” one of which—No. 104—is called the “London.” It’s a taxonomical oddment that wasn’t intended to confuse, but it does. Your computer won’t let you name a folder and put something of the same name inside of it, but there is no stopping musicologists. Haydn had nothing to do with this naming system, but he was understandably fond of London, a city that was wild about him. He was living there in May 1795 during the successful premiere of the 104th, and noted in his diary, “The whole company was thoroughly pleased and so was I.” It was not only the last of his London Symphonies, but the last symphony he ever wrote. In fact, the number is remembered like few others in classical music, and though Haydn would live another 14 years after completing it, he would never compose another symphony. It is a figure that soon became unreachable by other composers. Enthusiasts can identify any of Beethoven’s symphonies after hearing just a few bars. But when it comes to his predecessors Haydn and Mozart, only the standouts are so highly recognizable—with Mozart, the great symphonies with numbers higher than 25; with Haydn, a handful of named symphonies such as “The Hen” (No. 83), “The Clock” (No. 101, another of the London Symphonies), and “The Surprise” (No. 94, also a London Symphony). Beautiful and grand, the 104th stands among these as one of Haydn’s most familiar and beautifully realized symphonies. It opens with a stately introduction that leads us from D minor into the symphony’s primary key, D major, and sticks with this theme in the first movement’s formal development— transposing it to the key of A major rather than introducing a second theme. The second movement opens in G major, opening with a lovely theme stated by the strings. As the movement develops, it demonstrates Haydn’s formal facility with extensive modulation to keys including G minor and B flat Major, eventually homing in on G Major, a key closely related to D Major. In the third movement, a minuet, Haydn returns us to the symphony’s primary key of D Major. A brisk, energetic finale marked spiritoso brings the symphony to a close.
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COM E F OR T H E MOU N TA I NS S TAY F OR T H E M U SIC J U LY 1-AUGU S T 1 5, 2 01 5
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P h o t o: H a r a l d H o f f m a n n n
GR A ND T E T ON MUSIC F E S T I VA L
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 the community where we work and live.’ For Ballard Spahr, our involvement isn’t necessarily about advertising—it’s about recognizing how the arts enhances our quality of life, complements community development, enriches our local amenities and attracts young professionals to our State.” Blake Wade Managing Partner at Ballard Spahr
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summer symphony series
DEER VALLEY RESORT
AUGUST 7 | 7:30 PM
HOLLYWOOD UNDER THE STARS RICHARD KAUFMAN Conductor
PRODUCTION SPONSOR:
ELIE MCLAREN & GEORGE KLOPFER
CONCERT SPONSOR:
LAW NIGHT AT THE SYMPHONY Please see page 130 for a full listing of participating firms.
JOHN MERCER & RICHARD WHITING ARR. WILLIAMS
Hooray for Hollywood
ALFRED NEWMAN “Conquest” from Captain from Castile JOHN BARRY “Flying Over Africa” from Out of Africa MAURICE JARRE
Overture to Lawrence of Arabia
DANNY ELFMAN
Batman Suite 1. The Batman Theme 6. Waltz to the Death 8. Finale
RANDY NEWMAN
Suite from The Natural
ALAN SILVESTRI “Feather Theme” from Forrest Gump BRUCE BROUGHTON
Themes from Silverado INTERMISSION
MAX STEINER “Tara’s Theme” ARR. CAMPBELL-WATSON from Gone With the Wind ENNIO MORRICONE “First Youth” ARR. MANCINI from Cinema Paradiso ROBERT B. & RICHARD M. SHERMAN ALEXANDER COURAGE ELMER BERNSTEIN ARR. KAUFMAN BILL CONTI GEORGE S. CLINTON See page 64 for Richard Kaufman’s profile
HOYT CURTIN ARR. WENDEL
Overture to Mary Poppins Star Trek Television Theme Suite from Airplane! Finale from The Right Stuff Shagadelic Suite: The Music of Austin Powers The Flintstones Meet The Jetsons
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Utah Symphony | Utah Opera 2014-15 Season Sponsor
George S. and Dolores Doré Eccles
Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles
The Tradition Continues
F
or more than 30 years, unwavering support from the George S. and
Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!
summer entertainment series
DEER VALLEY RESORT
AUGUST 8 | 7:30 PM
KRISTIN CHENOWETH WITH THE UTAH SYMPHONY MARY MITCHELL CAMPBELL Conductor
PRODUCTION SPONSOR:
KRISTIN CHENOWETH Vocalist
GUEST ARTIST SPONSOR:
MARTIN & JANE GREENBERG
SELECTIONS TO BE ANNOUNCED FROM STAGE.
CONCERT SPONSOR:
TED & LORI SAMUELS
ORCHESTRA SPONSOR:
JIM & ZIBBY TOZER
CONDUCTOR SPONSOR:
DEER VALLEY速 MUSIC FESTIVAL / 133
artists’ profiles
Kristin Chenoweth Vocalist
Kristin Chenoweth received an Emmy Award for Best Supporting Actress in a Comedy Series for her work on the ABC series Pushing Daisies (Pushing Daisies was also nominated for a Golden Globe Award and Emmy Award for “Best Television Series – Musical or Comedy.”) More recently, Chenoweth lit up the stage of McKinley High as a former student who returned to town with more than the baggage from her flight, on Fox’s hit comedy Glee. In her role as Glee’s quirky ex-songstress, April Rhodes, she was nominated for two Emmy Awards and a People’s Choice Award in the category of “Favorite TV Guest Star.” Though Kristin has often come into our livingrooms on hit shows such as The West Wing (where she starred as Annabeth Schott) and as a guest judge on both American Idol and Project Runway, she may be most remembered by Broadway lovers everywhere for her origination of the role of Glinda the Good Witch in Wicked, which earned her a Tony Award Nomination, and her Tonywinning performance in You’re A Good Man, Charlie Brown, for which she stole the show and many hearts in the process. Last spring, Chenoweth once again reinvented herself, starring as a poisonous frog named Gabi in the hit animated film Rio 2. She also appeared in a guest arc on the TV Land series Kirstie and reprised her nominated role in the 100th episode of Glee. Last May, she returned to famed Carnegie Hall for a sold-out concert. Kristin is also a passionate supporter of charities that dedicate their time and efforts to helping those in need, such as the Kristin Chenoweth Art & Education Fund, The Red Cross, Broadway Cares EFA, The Point Foundation, ASTEP, breast cancer awareness, adoption advocacy, and organizations supporting animal welfare. Chenoweth earned a Bachelor’s degree in Musical Theater and a Master’s degree in Opera Performance from Oklahoma City University. She was also presented with Honorary Doctorate degrees from both the University of North Carolina School of the Arts and her alma mater, Oklahoma City University. Kristin is an inductee into the Oklahoma Hall of Fame, as well as the Oklahoma Music Hall of Fame.
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Donna Smith President Carol Radinger Executive Vice President
Symphony
Carol Johnson Membership Vice President
Henriette Mohebbi Social Vice President Marlene Dazley Development Vice President Doyle Clayburn Education Vice President Elise Stanley Youth Guild Vice President Wendy Ajax Recording Secretary Reva Anderson Corresponding Secretary Mary Lynn Kinsel Treasurer Caprene Thompson Publicity Laurie Hallam Parliamentarian Conor Bentley Staff Liaison Roberta Zalkind Orchestra Liaison Ann Petersen Immediate Past President
U
T
A
H
G U I L D
Join the Utah Symphony Guild and continue 62 years of support for the Utah Symphony. Programs the Symphony Guild support are:
Utah Symphony Youth Guild Gift Shop Outreach Violin Program School Docent Program Finishing Touches
For more information go to: www.utahsymphonyguild.org
summer entertainment series
DEER VALLEY RESORT
AUGUST 14 | 7:30 PM
DIANA KRALL WITH THE UTAH SYMPHONY JERRY STEICHEN Conductor (First Half) GUEST ARTIST SPONSOR:
DIANA KRALL Guest Artist
CONCERT SPONSOR:
TED & CAROL NEWLIN SELECTIONS TO BE ANNOUNCED FROM STAGE. ORCHESTRA SPONSOR:
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tled-1 1
September 3–14, 2015 music in concert with the landscape featuring Chick Corea & Béla Fleck
moabmusicfest.org • 435.259.7003 Enjoy amazing chamber, jazz, and traditional music in gorgeous Moab red rock settings. Featuring Chick Corea & Béla Fleck sponsored by
6/23/15 3:29 PM THANK YOU TO OUR ADVERTISERS
Ad Council Archadeck BMW of Murray BMW of Pleasant Grove BTG Wine Bar Bureau of Land Management Cache Valley Visitor’s Bureau Caffè Molise Challenger School City Creek LivingRC Willey Classical 89 Daynes Music Deer Crest Club Deer Valley Resort Delta Durham Jones & Pinegar Eldridge Furniture Ethan Allen Excellence in the Community Goldener Hirsch Inn Grand America Grand Teton Music Festival Hamilton Park Interiors Helper Arts & Music Festival Hyatt Escala Lodge
Jack Fisher Homes Jeremy Ranch K&R Interiors Kirton McConkie KUED KUER Larry H. Miller Lexus Larry H. Miller Lincoln Little America Hotel Maserati of Salt Lake City Mercedes-Benz of Salt Lake City Moab Music Festival Montage New Yorker OC Tanner Park City Meadows Park City Restaurant Association Pioneer High School for the Performing Arts Pioneer Theatre Company Regency Royale Ruby’s Inn Sagewood at Daybreak
Salt Lake School for the Performing Arts Security National Mortgage Sherry Allred St. Regis Stein Eriken Lodge Summit | Sotheby’s SunRiver Thomas N. Jacobson Tim Dahle Infiniti Tuacahn Amphitheater University of Utah Health Care Utah Department of Public Safety Utah Food Services Utah Shakespeare Festival Utah Vein Specialists Victory Ranch Vivant. Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
artists’ profiles
Diana Krall Guest Artist
See page 40 for Jerry Steichen’s profile.
By any standard, this five-time Grammy®-winning jazz pianist and vocalist is one of the most accomplished and distinctive musicians in the world today. Respected far and wide as a wildly successful recording and performing artist, Diana Krall remains a true musical force. At any given moment she could be producing Barbra Streisand’s new album, serving as musical director and arranger for Paul McCartney, or hitting the road for a good cause with Neil Young. As the record shows, Ms. Krall has already done all that and much more. Along the way Ms. Krall has sold more albums than any other female jazz artist of the last 30 years, establishing herself as one of the best-selling and most beloved performers of her generation, one whose recordings thus far have earned her nine gold, three platinum and seven multiplatinum albums. On Wallflower, Ms. Krall’s stunning and surprising new album for Verve Records, this world-class player has consciously chosen to hand over a little control to sixteen-time Grammy® winning producer David Foster in order, once again, to do something unexpected. On the new album she has recorded a collection of songs from the Sixties to present day, showcasing her considerable gifts as a vocalist in a bold and beautiful way. Krall sings a set of songs that include familiar popular classics like The Mamas and the Papas’ “California Dreaming” and the Eagles’ “Desperado,” favorite vintage songs by Krall’s musical heroes Bob Dylan (he inspired the album’s title track “Wallflower”) and Elton John (“Sorry Seems To Be The Hardest Word”). Recorded in Los Angeles and New York, Wallflower is a tremendously refreshing and collaborative effort that reflects Krall in a gorgeous new light.
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
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perpetual motion
perpetual motion
CAMPAIGN LEADERSHIP
UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION
Campaign Co-Chairs Scott and Jesselie Anderson
We are grateful for the momentum of The Campaign for Perpetual Motion, a $20 million public campaign to celebrate Utah Symphony’s 75th Anniversary in 2015–16. We have exciting plans leading up to this anniversary—including recording, broadcasting, and touring at the state and national levels.
Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish
We launched these plans with our unprecedented tour to Southern Utah last August, providing a once-in-a-lifetime musical experience to visitors and citizens of those communities against the backdrop of Utah’s Mighty 5® National Parks. If you weren’t able to join us on this historic tour, we hope you observed with pride the national attention it received in the press and classical music world. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner recently committed an additional $500,000 to our Anniversary season efforts, bringing their total compaign giving to $5.1 million. Stay tuned for more—we know you will continue to be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond. Find out more at usuo.org/support.
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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 ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) 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 Thierry and Catherine Fischer Burton & Elaine Gordon Mr. & Mrs. Martin Greenberg Dell Loy & Lynette Hansen Roger & Susan Horn Frederick Q. Lawson Foundation 142 / deervalleymusicfestival.org
Anthony & Renee Marlon Carol & Anthony W. Middleton, Jr., M.D. Edward & Barbara Moreton William H. & Christine Nelson Carol & Ted Newlin Scott & Sydne Parker Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon John & Marcia Price Family Foundation Bert Roberts Theodore Schmidt The Sam & Diane Stewart Family Foundation Norman C.† & Barbara Tanner The Right Reverend Carolyn Tanner Irish Naoma Tate & the Family of Hal Tate M. Walker & Sue Wallace Wells Fargo
tanner & crescendo societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Leslie Peterson at lpeterson@usuo.org or 801.869.9012 for more information.
Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Flemming & Lana Jensen
James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall
Robert L.† & Joyce Rice Mr. & Mrs. Alvin Richer Patricia A. Richards Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman
Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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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 Continued on page 147.
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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 pretty intense nonharmonic tones to the lawn mowers. Reminder: You will always need your ticket stub or handstamp to re-enter the performance venue.
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classical 89 broadcasts June 6 | 9:30 AM MOZART SINFONIA CONCERTANTE, MVT. I Vladimir Kulenovic, Conductor Margaret Ivory, Violin Rebecca Epperson, Viola (recorded 9/30/14) June 13 | 9:30 AM SAINT-SAËNS INTRODUCTION AND RONDO CAPRICCIOSO Vladimir Kulenovic, Conductor Karen Ferry, Violin (recorded 9/30/14) June 20 | 9:30 AM CHOPIN PIANO CONCERTO NO. 2, MVT. III Vladimir Kulenovic, Conductor Sanne Christensen, Piano (recorded 9/30/14) June 27 | 9:30 AM BEETHOVEN VIOLIN CONCERTO, MVT. I Vladimir Kulenovic, Conductor Shenae Anderson, Violin (recorded 9/30/14) July 4 | 9:30 AM MOZART RONDO FOR PIANO & ORCHESTRA llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14) July 11 | 9:30 AM STRAUSS BURLESKE IN D MINOR llan Volkov, Conductor Marc-André Hamelin, Piano (recorded 11/7/14)
July 18 | 9:30 AM MAHLER SYMPHONY NO. 2, “RESURRECTION” Thierry Fischer, Conductor Celena Shafer, Soprano; Jennifer Johnson Cano, Mezzo-Soprano; Utah Symphony Chorus; Utah Chamber Artists; University of Utah A Cappella Choir; University of Utah Chamber Choir (recorded 11/14/14) July 25 | 9:30 AM BEETHOVEN SYMPHONY NO. 9, “CHORAL” Thierry Fischer, Conductor Celena Shafer, Soprano; Cynthia Hanna, Mezzo-Soprano; Chad Shelton, Tenor; Michael Dean, Bass-baritone; Utah Symphony Chorus (recorded 12/6/14) August 1 | 9:30 AM RIMSKY-KORSAKOV RUSSIAN EASTER OVERTURE Thierry Fischer, Conductor (recorded 4/26/14) August 8 | 9:30 AM NIELSEN SYMPHONY NO. 6, “SINFONIA SEMPLICE” Thierry Fischer, Conductor (recorded 5/23/2014) August 15 | 9:30 AM TCHAIKOVSKY VARIATIONS ON A ROCOCO THEME FOR CELLO & ORCHESTRA Thierry Fischer, Conductor Matthew Zalkind, Cello (recorded 5/23/2014) August 22 | 9:30 AM RACHMANINOFF SYMPHONIC DANCES Thierry Fischer, Conductor (recorded 5/23/2014) August 29 | 9:30 AM MAHLER SYMPHONY NO. 5, MVT. I TRAUERMARSCH Thierry Fischer, Conductor (recorded 4/19/2014)
classical89.org 89.1 & 89.5 fm
MUSIC IN THE K E Y O F G R E AT
PARK CITY SUMMER STAYCATION-ING This summer, escape into the mountains of Park City and make it an entire cultural weekend of fun revolving around the Deer Valley® Music Festival and these activities and events.
FLYING ACE ALL-STAR AERIAL SHOW: July 5 – Sept. 6
The Flying Aces are a group of Olympic-caliber athletes performing an exhilarating exhibition of high-flying aerial tricks that launch them up to 70 feet in the air before landing in the swimming pool at the Utah Olympic Park. Saturday mornings at 11 a.m. or Sundays at 1 pm. www.flyingaceproductions.com
PARK SILLY SUNDAY MARKET: July 5 – Sept. 20
www.parksillysundaymarket.com
PARK CITY FOOD AND WINE CLASSIC: July 8 – 12
Join in the 11th annual Park City Food & Wine Classic, the epicurean extravaganza that is the talk of the town. From wine lunches to group sporting events and evening soirees—all revolving around great food and wine—the events also pair wonderfully with:
July 8
Mozart & Mendelssohn
July 10
Big Bad Voodoo Daddy
July 11
Smokey Robinson
St. Mary’s Church / 8 pm
Snow Park Outdoor Amphitheatre / 7:30 pm
Snow Park Outdoor Amphitheatre / 7:30 pm www.parkcityfoodandwineclassic.com
PHOTO CREDIT: PARK CITY FOOD & WINE CLASSIC
The Park Silly Sunday Market is a family-friendly street festival and open air market on Park City’s Historic Main Street. Vendors, artisans, kids’ activities, gourmet food, music, performers and so much more! The Park Silly Sunday Market is unique every week and free for all. The event is held on Historic Main Street every Sunday from 10 am–5 pm, excluding August 2 and 9.
The 46th annual arts festival is a fundraising weekend devoted to visual art with activities and events for all ages and events, exhibitions and gallery strolls that takes place right on Park City’s Historic Main Street. When the sun sets, feast your eyes and ears on the following Utah Symphony performances:
July 29
Bach & Vivaldi
July 31
1812 Overture!
St. Mary’s Church / 8 pm
Snow Park Outdoor Amphitheatre / 7:30 pm
Aug. 1
Ozomatli with the Utah Symphony Snow Park Outdoor Amphitheatre / 7:30 pm www.parkcitykimballartsfestival.org
JUPITER PEAK STEEPLECHASE: Saturday, August 1
An endurance race for the trail warrior, featured as one of the top ten races in the country. This event is a long time Park City tradition featuring a 16-mile trail running loop on challenging single track trail with 3,000 of elevation gain. www.mountaintrails.org
TOUR OF UTAH – STAGE 7: Sunday, August 9
The best place to be for the final stage of the 2015 Tour of Utah will be in the cool, mountain air of Park City. Starting and ending on Park City’s Historic Main Street, Stage 7 moves through the rich farmlands and ends with riders blasting downhill at speeds of over 60 mph to cross the finish line on Main Street. Make it a full weekend with the following concerts:
Aug. 7
Hollywood Under the Stars
Snow Park Outdoor Amphitheatre / 7:30 pm
Aug. 8 Kristin Chenoweth with the Utah Symphony Snow Park Outdoor Amphitheatre / 7:30 pm PARK CITY HALF MARATHON: Saturday, August 15 The annual half marathon takes runners through iconic Park City trails, neighborhoods and open spaces providing spectacular scenery on beautiful trails with a combination of pavement and dirt. The night before, join the closing evening concert of the Deer Valley® Music Festival:
Aug. 14 Diana Krall with the Utah Symphony Snow Park Outdoor Amphitheatre / 7:30 pm www.r-u-nevents.com/
PHOTO CREDIT: MARK MAZIARZ
PARK CITY KIMBALL ARTS FESTIVAL: July 31 – August 2
DVMF FAMILIAR FACES Carolyn Chuatiuco, volunteer I think I first volunteered the summer of 2008 or 2009, and subsequently volunteered each year through 2013. Of course, I’m old, and have trouble remembering things... SOUND CHECK: Aside from listening to Chris Botti test the sound of his trumpet from various locations on the hill, and Earth Wind and Fire inspiring just about everyone attending to dance on the hill, all the great memories are about people. MY FAVORITE THINGS: My favorite is the great group in the ticket office. As you age there are fewer and fewer chances to interact with young people. I really enjoy working with the staff under the rather hectic circumstances. Then there is that crazy gang who check in the volunteers. I still have some photos of Cayman dancing in the locker room! It’s also thrilling when a top notch entertainer draws a packed crowd. RETURN APPEAL: I keep coming back to volunteer because I love the music, and I could not afford to attend every concert if I had to pay admission. My summer house guests also appreciate the free ticket perk. I also return because of the other volunteers and the staff. I think the volunteers feel that their efforts are appreciated and enjoy working with the staff and each other. SIMPLE TIPS: Relax, enjoy. Dress for the weather. Arrive early. Respect other concert goers by not talking during performances.
Stephen Thaeler, volunteer VOLUNTEERING VETERAN: I have missed one or two years since I started volunteering in 1998—it’s been around 14 years. GOLDEN YEARS: I was working on the hill when a call went out that an older gentleman had been separated from his wife. He said: “We have been married for over 50 years and this is the first time we have been separated. I turned around and she was gone. She was a tough one to get, but definitely a keeper!” I noticed a lady that matched her description perfectly a 100 yards up the hill. I told her that her husband had said, “It is unsafe to leave such a beautiful woman unattended.” She smiled, took my arm, and told me, “Take me to my love!” STAYING POWER: It is a pleasure to support such a class-act event and watch it grow every single year. Events like these will keep our symphony strong and provide for future generations something that many of us take for granted. The symphony has worked hard at putting together events that are appealing to today’s music lover and I want to support them. THREE TIPS: If you want to keep parking easy and enjoy a leisure-filled evening, arrive early. If you haven’t talked to the patron next to you or tried some of their delicious food, you are coming too late! It does cool down dramatically and so bring warm clothes. And lastly, please follow the rules. The rules are in place to respect the artists’ work, to provide for a safe event, and to make things enjoyable for all.
Anne Lee, cello SMALL SPACES: Playing the chamber orchestra concerts at St. Mary’s Church is always a nice experience. The setting is so beautiful and I love the intimacy of the venue. There is some great repertoire written for the smaller-sized orchestra we use for these concerts and it’s fun to perform full programs of these works. CROWD PLEASER: The view from the stage is wonderful as the sun sets! The energy of the audience is really what makes the Deer Valley® Music Festival so special. It’s great seeing people out on the lawn singing, dancing, and just having a good time. OUTSIDE VERSUS INSIDE: The two experiences of playing at Abravanel Hall and Deer Valley are worlds apart. The biggest difference for me is the repertoire. At Abravanel Hall we usually perform works by the great masters like Beethoven, Mozart, and Brahms. At the Deer Valley® Music Festival, we get to collaborate with some of the biggest performers alive today. Both venues have their unique energy. Abravanel Hall allows us to explore the whole dynamic range from the softest melody from a single instrument to a full blown brass chorale, all of which can be electrifying. Outdoors, this is less of a possibility but you can’t beat the atmosphere of playing for crowds of nearly 5,000 people! MY PARK CITY: I like to hike in the beautiful surrounding areas and explore new restaurants in Park City. The people watching and store browsing on Main Street are fun too!
Nick and Claudia Norton, trumpet and bass FAVORITE THINGS: One of our favorite things about the Deer Valley® Music Festival its the relaxed atmosphere which allows picnicking while listening to the concert. It is always fun to bring our own family and enjoy snacks with them before the concert and at intermission. SPOT THE DIFFERENCE: There is such a difference in playing at the hall and playing at Deer Valley’s Snow Park Outdoor Amphitheatre it is hard to even compare! Everything from the acoustics, to the stage set up, to the temperature, and adding amplification is different when playing out doors. The goal at the Deer Valley® Music Festival is different, and I think both venues achieve their respective goals admirably. FAN-DAMONIUM: The Béla Fleck and the Flecktones concert in 2004 was a highlight for us at the Deer Valley® Music Festival. We listen to their recordings and have seen them live previously. We usually do not take photos backstage, but with this group we were as bad as teenage fans. Béla Fleck is a rare musician. His ability on an unlikely instrument, the banjo, is mind blowing. He defies classification and is comfortable performing all musical idioms. He is similar to Yo-Yo Ma in this regard. His given full name at birth is Béla Anton Leoš Fleck. He was named after classical composers Hungarian Béla Bartók, and two Czech composers, Anton Dvorák and Leoš Janácek.
acknowledgements
UTAH SYMPHONY | UTAH OPERA DEER VALLEY速 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.
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Utah musicians on stage at the Gallivan Center
July 16: Pacific Groove July 30: Evening in Brazil August 13: Changing Lanes Experience August 27: Juana Ghani Gypsy Circus Big Band Swing Dances: Tuesday evenings Dance instruction from Ballroom Utah at 7:00 • Music starts at 7:30
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