Deer Valley® Music Festival by Mills Publishing Inc.

ESCAPE INTO THE MUSIC

DeerValleyMusicFestival.org

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL

Welcome to the 14th Annual Deer Valley® Music Festival, and thank you for joining us for tonight’s concert!

Paul Meecham President & CEO

The Wasatch Mountains are known for their unparalleled natural beauty and wide variety of recreational opportunities. Park City is known for its fine dining and world-class shopping. Deer Valley Resort is known for its luxurious accommodations and consummate customer service. And Utah Symphony | Utah Opera is known for providing great live musical performances that engage and inspire. All of these ingredients together make for a stunning festival experience that we’ve been privileged to share with you for many years. As you look through the program we think you’ll agree we have a varied and exciting group of guest artists joining our renowned Utah Symphony for this year’s Deer Valley® Music Festival. We hope to see you at many of our events in the cool mountain air of Park City! We also hope you will join us later this summer when the Utah Symphony with Music Director Thierry Fischer will embark on our Great American Road Trip! Similar to our 2014 tour of Utah’s Mighty 5™ National Parks, the tour will include a series of free outdoor concerts August 29–September 2, performing in smaller, rural communities set against the backdrop of Utah’s breathtaking landscapes. You can learn more about the tour at www.utahsymphony.org/tours/gart/. Our thanks go to the special donors who help to make the Deer Valley® Music Festival possible. We are truly appreciative and grateful for your support.

Dave Petersen Chair, Board of Trustees

[ DeerValleyMusicFestival.org ] 5

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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

ESCAPE INTO THE MUSIC

Jessika Huhnke Ken Magleby Patrick Witmer Graphic Designers Paula Bell Karen Malan Dan Miller Paul Nicholas Advertising Representatives Jessica Alder Office Assistant KellieAnn Halvorsen Administrative Assistant Melissa Robison Editor The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © Copyright 2017

Welcome to Deer Valley® Music Festival

Hill Rules

Festival Map

Snow Park Amphitheater Events

St. Mary’s Concerts

112 » Testimonials 114

Thank You

118 »

The Board of Trustees

119 »

Festival Council

120 »

VIP Experience

121 »

2017 Salon Series

123 »

Deer Valley® Music Festival Series Sponsors

124 »

Legacy Giving

127 »

Support USUO

129 »

Tanner & Crescendo Societies

130 »

Deer Valley® Music Festival Q & A

132 »

Insight from the Inside

134 »

Making Waves in Haiti

138 » Administration 139 »

Utah Symphony

140 »

Meet the Musicians

141

Festival Education Events

152 » Acknowledgments

[ DeerValleyMusicFestival.org ] 7

CONTENTS

15 23 27 31 39 43 47

JULY 1 | 7:30 PM | DEER VALLEY RESORT

PATRIOTIC CELEBRATION featuring LISA VROMAN

JULY 7 | 7:30 PM | DEER VALLEY RESORT

ELLA AT 100: PATTI AUSTIN SINGS ELLA FITZGERALD WITH THE UTAH SYMPHONY

JULY 8 | 7:30 PM | DEER VALLEY RESORT

THE BEACH BOYS WITH THE UTAH SYMPHONY

JULY 14 | 7:30 PM | DEER VALLEY RESORT

GERSHWIN’S GREATEST HITS FEATURING RHAPSODY IN BLUE

JULY 15 | 7:30 PM | DEER VALLEY RESORT

LESLIE ODOM, JR. WITH THE UTAH SYMPHONY

JULY 20 | 7:30 PM | DEER VALLEY RESORT

THE MUSIC OF PRINCE WITH THE UTAH SYMPHONY

JULY 21 | 7:30 PM | DEER VALLEY RESORT

DIANA KRALL

JULY 22 | 7 PM | DEER VALLEY RESORT

[ Deer Valley® Music Festival ]

HARRY POTTER AND THE SORCERER’S STONE™ IN CONCERT WITH THE UTAH SYMPHONY

CONTENTS

55 63 67 71 75 83 93 103

JULY 28 | 7:30 PM | DEER VALLEY RESORT

DISNEY IN CONCERT: A DREAM IS A WISH

JULY 29 | 7:30 PM | DEER VALLEY RESORT

BEN FOLDS WITH THE UTAH SYMPHONY

AUGUST 4 | 7:30 PM | DEER VALLEY RESORT

TCHAIKOVSKY’S 1812 OVERTURE & PIANO CONCERTO NO. 1

AUGUST 5 | 7:30 PM | DEER VALLEY RESORT

CLASSICAL MYSTERY TOUR : A TRIBUTE TO THE BEATLES WITH THE UTAH SYMPHONY

JULY 5 | 8 PM | ST. MARY’S CHURCH

VIVALDI’S FOUR SEASONS

JULY 12 | 8 PM | ST. MARY’S CHURCH

A NIGHT AT BACH’S COFFEEHOUSE

JULY 19 | 8 PM | ST. MARY’S CHURCH

HOTODA CONDUCTS BEETHOVEN, HAYDN & MORE

JULY 26 | 8 PM | ST. MARY’S CHURCH

CALCARA PLAYS COPLAND

[ DeerValleyMusicFestival.org ] 9

HILL 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. This 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 801-355-6683 at least 24 hours in advance of the performance.

[ Deer Valley® Music Festival ]

HILL RULES

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 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 Resort 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. If you plan to share any photos you take before or after the show on social networks, be sure to use 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 two hours before the performance. 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 intensely dissonant tones for the lawn mowers. Reminder: You will always need your ticket stub or handstamp to re-enter the performance venue.

[ DeerValleyMusicFestival.org ] 11

FESTIVAL MAP

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[ Deer ValleyÂŽ Music Festival ]

VICE PRESIDENT JOE BIDEN

CAPT. SCOTT KELLY

DR. SANJAY GUPTA

JANE PAULEY

DR. JANE GOODALL

PAUL NICKLEN

GEN. MARTIN DEMPSEY

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Patriotic Celebration

ON THE HILL

featuring Lisa Vroman

July 1

/ 2017 / 7:30PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JERRY STEICHEN, Conductor LISA VROMAN, Vocalist

COPLAND

An Outdoor Overture

COPLAND

Old American Songs “Simple Gifts” “The Little Horses” “The Dodger” LISA VROMAN, Vocalist

GOULD

Yankee Doodle

COPLAND

Lincoln Portrait

LOWDEN & EILERS

Armed Forces Salute I. The Caisson Song (Army) II. Semper paratus (Coast Guard) III. Marines’ Hymn IV. The U.S. Air Force Song (Wild Blue Yonder) V. Anchors Aweigh (Navy) / INTERMISSION /

JOHN WILLIAMS

Overture from The Cowboys

KANDER

“A Letter from Sullivan Ballou” LISA VROMAN, Vocalist

ROBERT WENDEL

BOCK

An Old Fashioned Summer School Days In the Good Old Summer Time Sidewalks of New York Bicycle Built for Two Take Me Out to the Ball Game By the Sea “When Did I Fall in Love” from Fiorello! LISA VROMAN, Vocalist

JAY UNGAR

“Ashokan Farewell” LISA VROMAN, Vocalist

BJÖRN ULVAEUS & BENNY ANDERSSEN

“Anthem” from Chess LISA VROMAN, Vocalist

BAGLEY

National Emblem March

STEFFE

“Battle Hymn of the Republic” LISA VROMAN, Vocalist

PRODUCTION SPONSOR:

CONCERT SPONSOR:

DOUG & CONNIE HAYES

BURTON & ELAINE GORDON

ORCHESTRA SPONSOR:

D EER VALLEY

[ DeerValleyMusicFestival.org ] 15

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. This is his debut season as Music Director of the Macon Symphony Orchestra (Georgia). He spent nine years as Music Director of the Ridgefield Symphony Orchestra (Connecticut), twelve seasons as Principal Pops Conductor of the Utah Symphony, and fifteen seasons as Principal Pops Conductor of the New Haven Symphony Orchestra.

Jerry Steichen Conductor CONDUCTOR SPONSOR:

Steichen is a frequent guest conductor for the Boston Pops and the New Jersey Symphony, and has appeared with the symphonies of Detroit; Indianapolis; 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, Tokyo City Symphony, the NDR Philharmonie Hannover at the Braunschweig Festival, and numerous appearances with the Norwegian Radio Symphony. Steichen toured nationally as the associate conductor of The Phantom of the Opera, The Secret Garden, and Peter Pan and conducted Cats in New York for two years. He has also appeared on Broadway, portraying Manny, the Accompanist in the Tony Award-winning Master Class. He will be leading the upcoming National tour of The King and I. Pursuing his passion for education, Steichen also spent eighteen years with the “Meet the Artist” series at Lincoln Center as conductor, clinician and pianist. A gifted chamber musician, he continues to play instrumental and vocal recitals internationally, including performances with the HIFA festival in Harare, Zimbabwe, and Bay Chamber Festival in Rockport, Maine. Originally from Tonkawa, Oklahoma, Maestro Steichen holds degrees from Northern Oklahoma College, Oklahoma City University and the University of Southern California. He currently resides in New York City.

[ Deer Valley® Music Festival ]

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ARTISTS’ PROFILES

Lisa Vroman Vocalist GUEST ARTIST SPONSOR:

JOANNE SHIEBLER GUEST ARTIST FUND

Lisa Vroman continues to prove her status as one of the country’s most sought-after vocalists, performing across genres from Broadway to classical and everything in between. She has been regarded as a “musical and theatrical marvel” by the San Francisco Chronicle, as well as “one of American Musical Theater’s most beautiful voices” by acclaimed Broadway producer Sir Cameron Mackintosh. Lisa starred for over eight years on Broadway, in San Francisco, and in Los Angeles as Christine Daaé in The Phantom of the Opera. Ms. Vroman also starred as Rosabella in The Most Happy Fella, making her New York City Opera debut with Paul Sorvino playing the title role. Additionally, she has starred as Lilli Vanessi in Kiss Me Kate with both Glimmerglass Opera and the MUNY Theater of St. Louis; Anna Leonowens in The King and I with Lyric Opera of Virginia; and Marian Paroo in The Music Man with Shirley Jones (Mrs. Paroo) and Patrick Cassidy (Harold Hill) at The Bushnell Theatre in Hartford, Connecticut. Lisa sang the role of Birdie in Regina with Utah Opera, conducted by Keith Lockhart; made her New Jersey Opera debut as Rosalinde in Die Fledermaus (directed by Ira Siff); and premiered and recorded two comic operas by composers John Musto (Bastianello) and William Bolcom (Lucrezia) with the New York Festival of Song. Recent performances have included An Evening of Rodgers & Hammerstein with the Hong Kong Philharmonic, concert performances of Cole Porter’s 1928 La revue des ambassadeurs with l’Opéra de Rennes in France, a multicity concert tour in China, and playing the role of Maria Callas in Terrence McNally’s award winning play, Master Class. Lisa lives in Pasadena, CA with husband Patrick O’Neil and their beautiful dog Barber.

[ Deer Valley® Music Festival ]

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ON THE HILL

Ella at 100

Patti Austin sings Ella Fitzgerald with the Utah Symphony

July 7

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER RANDALL CRAIG FLEISCHER, Conductor PATTI AUSTIN, Vocalist

Selections to be announced from the stage.

PRODUCTION SPONSOR:

[ DeerValleyMusicFestival.org ] 23

ARTISTS’ PROFILES

Randall Craig Fleischer Conductor ELLA AT 100 CONDUCTOR SPONSOR:

With three music director positions, arrangements and compositions played around the world, a demanding guest conducting schedule, major awards, and a career spanning four continents, Randall Craig Fleischer is making a substantial impact. Mr. Fleischer has appeared as a guest conductor with many major orchestras in the United States and internationally including engagements with the Boston Pops, China Philharmonic, Hong Kong Philharmonic, Israel Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Houston Symphony, Utah Symphony, San Diego Symphony, Philadelphia Chamber Orchestra, and Festival Český Krumov (Czech Republic). Mr. Fleischer is Music Director/Conductor of three symphony orchestras: Youngstown Symphony, Hudson Valley Philharmonic, and the Anchorage Symphony. Active as a composer and arranger, Mr. Fleischer is a national leader in the area of symphonic rock and world music fusion. His works and arrangements have been played by many major orchestras including the Boston Pops, San Francisco Symphony, Los Angeles Philharmonic, Hong Kong Philharmonic, San Diego Symphony, China Philharmonic, Atlanta Symphony, and National Symphony. Mr. Fleischer received his Bachelor of Music Education from the Oberlin Conservatory of Music and has studied conducting privately with Otto-Werner Mueller and in masterclass with Seiji Ozawa, Riccardo Muti, Gustav Meier and others. Mr. Fleischer lives in Los Angeles with his wife Heidi and daughter Michaela.

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[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Patti Austin Vocalist GUEST ARTIST SPONSOR:

DEBRA & ROBERT KASIRER

Patti Austin’s passion for becoming a total entertainer probably began when she first stepped onto the stage of world-famous Apollo Theater in Harlem at the urging of music legend Dinah Washington. Patti was four years old. The daughter of jazz trombonist Gordon Austin, Patti was a bona fide recording artist by the time she was in her teens. Her first chart success came in 1969 with “The Family Tree” (a Top 50 R&B single) after a string of 45s that would become treasured collector’s items among Britain’s Northern soul community. She went on to have pop and R&B success with Quincy Jones’ productions of “Baby Come to Me” and “How Do You Keep the Music Playing.” Determined to honor her jazz roots, in 2002 she released a tribute to her childhood favorite singer with the GRAMMY-nominated For Ella album. New doors opened for Patti as a performer, and and her standing in the jazz world was further cemented with her GRAMMY-winning classic CD Avant Gershwin. The acclaim that has accompanied Patti Austin’s interpretations of Ella’s songs is already creating new excitement with symphonies and performing arts centers. Offers are arriving for performances of Ella, Now And Then from all over the world. The legend of Ella Fitzgerald remains in good hands with Patti Austin.

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ON THE HILL

The Beach Boys July 8

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER RANDALL CRAIG FLEISCHER, Conductor MIKE LOVE, Lead Vocals BRUCE JOHNSTON, Keyboards/Vocals JEFFREY FOSKETT, Guitar/Vocals BRIAN EICHENBERGER, Bass/Vocals TIM BONHOMME, Keyboards/Vocals JOHN COWSILL, Percussion/Vocals SCOTT TOTTEN, Guitar/Vocals

Selections to be announced from the stage.

PRODUCTION SPONSOR:

CONCERT SPONSOR:

MARTY & JANE GREENBERG

CONDUCTOR SPONSOR:

ORCHESTRA SPONSOR:

VIP DINNER SPONSOR

REBECCA MARRIOTT CHAMPION

[ DeerValleyMusicFestival.org ] 27

ARTISTS’ PROFILES

See page 24 for Randall Craig Fleischer’s biography.

The Beach Boys Guest Artists GUEST ARTISTS’ SPONSOR:

The Beach Boys have birthed a torrent of hit singles and sold albums by the tens of millions. But its greater significance lies in the fact that it changed the musical landscape so profoundly that every pop act since has been in its debt. Happily for us all, The Beach Boys continue to create and perform with the same bold imagination and style that marked their explosive debut over 50 years ago. And in 2013, their Capitol Records release Sounds of Summer (RIAA certified triple platinum with over three million in sales) and its companion The Warmth of the Sun marked a resurgence of interest in the band, rocking the world yet again. Even more than The Beatles, The Beach Boys found the key to unfading youth through their music—and they made copies for everyone. To these guys, the beach isn’t just a place where the surf comes to play—it’s where life is renewed and made whole again. Captained by Mike Love, The Beach Boys play an astoundingly busy schedule of concerts, averaging 150 shows a year, ranging from sundrenched summer festivals to New Year’s gala celebrations and special events worldwide. On The Beach Boys’ near horizon is another national/world tour and continued charity activities through Mike Love’s Love Foundation, which supports national environmental and educational initiatives. In addition to founding Beach Boy Mike Love (lead vocals) and Beach Boy-vet Bruce Johnston (vocals/ keyboards)—Jeffrey Foskett (guitar/vocals), Brian Eichenburger (bass/vocals), Tim Bonhomme (keyboards/vocals), John Cowsill of The Cowsills (percussion /vocals) and Scott Totten (guitar/ vocals) round out the band.

[ Deer Valley® Music Festival ]

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ON THE HILL

Gershwin’s Greatest Hits featuring Rhapsody in Blue

July 14

/ 2017 / 7:30PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JOHN MORRIS RUSSELL, Conductor KEVIN COLE, Piano

GERSHWIN

Medley featuring “Swanee,” “The Man I Love,” and “Strike up the Band”

GERSHWIN

Variations on “I Got Rhythm” for Piano and Orchestra KEVIN COLE, Piano

GERSHWIN

Promenade: Walking the Dog

GERSHWIN

Rhapsody in Blue KEVIN COLE, Piano

/ INTERMISSION /

GERSHWIN

Cuban Overture

GERSHWIN

Porgy and Bess: A Symphonic Picture

GERSHWIN

An American in Paris

PRODUCTION SPONSOR:

CONCERT SPONSOR:

DIANE & HAL BRIERLEY

SCOTT & KATHIE AMANN

SUMMER DONOR PARTY SPONSOR:

VIP DINNER SPONSOR:

[ DeerValleyMusicFestival.org ] 31

ARTISTS’ PROFILES

John Morris Russell Conductor CONDUCTOR SPONSOR:

THE TUCKER FAMILY IN MEMORY OF TOM TUCKER

The 2016–17 season marked John Morris Russell’s sixth as Conductor of the Cincinnati Pops, one of Cincinnati’s most treasured assets and one of the world’s most respected pops orchestras. Consistently winning international praise for his extraordinary music-making and visionary leadership, he is also Music Director of the Hilton Head Symphony Orchestra in South Carolina, where he leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. Mr. Russell also serves as Principal Pops Conductor of the Buffalo Philharmonic Orchestra in New York, following in the footsteps of Marvin Hamlisch and Doc Severinsen. John Morris Russell completed his eleven-year tenure as Music Director of the Windsor Symphony Orchestra in Ontario, Canada in 2012, whereupon he was named that orchestra’s first Conductor Laureate. As a guest conductor, Mr. Russell has worked with many of North America’s most distinguished ensembles, including the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, the Boston Pops, and New York Pops. He frequently conducts Canadian orchestras including those of Toronto, Edmonton, Calgary, Vancouver, Victoria, Kitchener-Waterloo and Orchestra London, and in the US has led the orchestras of Detroit, Houston, Indianapolis, Dallas, Louisville, and Milwaukee, as well as Miami’s New World Symphony, the Minnesota Orchestra, Oregon Symphony, Colorado Symphony, New Jersey Symphony, and New York City Ballet. Abroad, he conducted at the famed Musikverein in Vienna in a concert that featured the Boys Choir of Harlem, the Vienna Choir Boys, and the actor Gregory Peck. The performance continues to be televised throughout Europe, Japan, and in the USA on PBS.

[ Deer Valley® Music Festival ]

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ARTISTSâ&#x20AC;&#x2122; PROFILES

Kevin Cole is an award-winning musical director, arranger, composer, vocalist, and archivist who garnered the praises of Irving Berlin, Harold Arlen, E.Y. Harburg, Hugh Martin, Burton Lane, Stephen Sondheim, Marvin Hamlisch, and members of the Jerome Kern and Gershwin families.

Kevin Cole Piano GUEST ARTIST SPONSOR:

LOIS A. ZAMBO

Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony Orchestra at the Kennedy Center; San Francisco Symphony; Chicago Symphony; Philadelphia Orchestra; Minnesota Orchestra; Pittsburgh Symphony; Philharmonia Orchestra (London); Hong Kong Philharmonic; Vietnam National Symphony Orchestra; New Zealand Symphony; Adelaide Symphony Orchestra (Australia); Ravinia Festival; Wolf Trap; Savannah Music Festival; Castleton Festival; Chautauqua Institution; and many others. Kevin was featured soloist for the PBS special Gershwin at One Symphony Place with the Nashville Symphony. He has shared the concert stage with William Warfield, Sylvia McNair, Lorin Maazel, Itzhak Perlman, Barbara Cook, Liza Minnelli, Aretha Franklin, Barbra Streisand, and friend and mentor Marvin Hamlisch.

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ON THE HILL

Leslie Odom, Jr.

with the Utah Symphony

July 15

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER JOHN MORRIS RUSSELL, Conductor LESLIE ODOM, JR., Vocalist

Selections to be announced from the stage.

PRODUCTION SPONSOR:

CONDUCTOR SPONSOR:

THE MARLON FAMILY FOUNDATION

TED & LORI SAMUELS

[ DeerValleyMusicFestival.org ] 39

ARTISTS’ PROFILES

See page 32 for John Morris Russell’s biography. Multifaceted performer Leslie Odom, Jr. completed his run on Broadway starring as Aaron Burr in the original cast of the blockbuster hit musical, Hamilton, a role that earned him the 2016 Tony Award for Lead Actor in a Musical. He is also a Grammy Award-winner as a principal soloist on Hamilton’s Original Broadway Cast Recording, which won the 2016 award for Best Musical Theater Album.

Leslie Odom, Jr. Vocalist GUEST ARTIST SPONSOR:

Odom, Jr. made his Broadway debut at the age of 17 in Rent, before heading to Carnegie Mellon University’s prestigious School of Drama, where he graduated with honors. He is the recipient of a 2002 Princess Grace Award for Acting, which is dedicated to identifying emerging talent in theater, dance and film. Additional theatre credits include Leap of Faith on Broadway, for which he won the 2012 Astaire Award for Outstanding Male Dancer on Broadway and was nominated for a Drama League Award; the 2014 musical Venice, which also played at The Public Theater; and the Encores! Off-Center production of Tick, Tick... Boom! which was his first time working with Hamilton creator, Lin-Manuel Miranda. On the small screen, Odom, Jr. is best-known for his portrayal of Sam Strickland in the NBC musical series Smash, and his recurring role as Reverend Curtis Scott on Law & Order: SVU. He’s also appeared in episodes of Gotham, Person of Interest, Grey’s Anatomy, House of Lies, Vanished and CSI: Miami. On the big screen he starred in the 2012 film, Red Tails opposite Terrence Howard, Cuba Gooding Jr. and David Oyelowo. Leslie’s debut solo album, Leslie Odom, Jr, was released in June 2016 on S-Curve Records and quickly rose to number one on the Billboard and iTunes Jazz charts. Look for him this fall in Kenneth Branagh’s reimaging of Agatha Christie’s Murder on the Orient Express featuring an all-star cast including Johnny Depp, Penelope Cruz, Dame Judi Dench and more. Odom, Jr. was raised in Philadelphia, and currently resides in New York City.

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ON THE HILL

The Music of Prince with the Utah Symphony

July 20

/ 2017 / 7:30PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, Conductor MARSHALL CHARLOFF, Lead Vocals & Guitar ANN MARIE CASTELLO, Background Vocals DAN CLEMENS, Bass / Background Vocals POWELL RANDOLPH, Drums / Background Vocals GEORGE CINTRON, Guitar / Background Vocals JUSTIN AVERY, Keyboards / Background Vocals

PRINCE

The Music of Prince Let’s Go Crazy Little Red Corvette I Wanna Be Your Lover Kiss Delirious Cream I Feel for You Diamonds and Pearls Raspberry Beret / INTERMISSION / Take Me With U Pop Life When Doves Cry The Most Beautiful Girl Nothing Compares 2 U 1999 I Would Die 4 U Baby I’m a Star

ORCHESTRA SPONSOR:

[ DeerValleyMusicFestival.org ] 43

ARTISTS’ PROFILES

Brent Havens Conductor

Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes: movies for networks such as ABC, CBS, and ABC Family Channel Network; commercials; sports music for networks such as ESPN; and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley-Davidson’s 100th Anniversary, a performance which was attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras, including the Cincinnati, Pittsburgh, Indianapolis, Houston, Atlanta, Baltimore, Dallas, Fort Worth, and Nashville Symphonies, as well as the Royal and Buffalo Philharmonics, among countless others. Havens has conducted the Malaysian Philharmonic in the past four years with the Music of Michael Jackson, Led Zeppelin, Queen, and U2 shows. Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. Havens is arranger/guest conductor for fourteen symphonic rock programs and also premiered a full orchestral show for Lou Gramm, the lead vocalist of Foreigner, with Lou singing out front.

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ARTISTS’ PROFILES

Marshall Charloff Lead Vocals & Guitar

Marshall Charloff, front man for The Purple Xperience, imaginatively styles the magic of Prince’s talent in an uncanny and unmatched fashion with his appearance, vocal imitation, and multi-instrumental capacity on guitar, piano, bass, and drums. He is a celebrated producer and recording artist, skills that paved the way for Marshmallow Fields, a 1990s production team consisting of Marshall, GRAMMY Award-winner John Fields (The Jonas Brothers, Miley Cyrus, and Switchfoot), and Steven “Funkytown” Greenberg. Their single charted on the Billboard Top 100 dance charts and is still in rotation for many DJs across the country. Marshmallow Fields’ credits include production and writing credits for GRAMMY Award-winners The Commodores, Rock and Roll Hall of Fame inductees Little Anthony and the Imperials, and multi-platinum-selling Lipps Inc., just to name a few. Marshall also wrote the song “Don’t Rock It,” which is on the Commodores’ album XX No Tricks released in 1993, and for which he also appears as a producer and arranger. Charloff’s latest two recordings are on the album 94 East featuring Prince, on which he appears on keyboards and bass guitar, and on his 2009 self-produced single “Cougars,” which has had notable success on iTunes and was on the soundtrack of the feature film Thieves Like Us. On the national platform, he has played rooms all over the U.S., including in Las Vegas and Los Angeles. In 2009, Marshall teamed up with Doctor Fink from the band Prince and the Revolution as well as Pepe Willie from the band 94 East to perform at the Rock and Roll Hall of Fame benefit concert. On the same bill were Cheap Trick, Atlanta Rhythm Section, and the Georgia Satellites. Most recently, Marshall performed for seven years as one of the country’s most sought-after dueling piano players as one half of The Funkeys, in which he garnered a strong following as one of the nation’s best Prince impersonators, and demonstrated his ability to wow audiences and leave them wanting more. Marshall’s latest album release, entitled Marsha11 Eleven, is available now on iTunes and at marshallcharloff.com.

[ DeerValleyMusicFestival.org ] 45

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HARRY POTTER characters, names and related indicia are © & TM Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLDTM J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

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

ON THE HILL

Diana Krall July 21

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER DIANA KRALL, Vocalist & Piano

Selections to be announced from the stage.

PRODUCTION SPONSOR:

CONCERT SPONSOR:

JIM & MARILYN PARKE

ALICE & FRANK PULEO

VIP DINNER SPONSOR:

[ DeerValleyMusicFestival.org ] 47

ARTIST’S PROFILE

You only need to hear a few bars of Diana Krall’s new album Turn Up the Quiet to sense the joy the artist took in making this recording. “Lately, I find myself out gazing at stars” are the first words that are heard. The singer’s voice is confidential but her eyes are not bedazzled, only open to wonder. Minutes later, the same voice asks, “Isn’t it romantic?” with such tenderness that it is hard to disagree.

Diana Krall Vocalist & Piano GUEST ARTIST SPONSOR:

Among the finest interpretative vocalists of the day, Diana Krall is first and always a jazz pianist. Her touch is discreet but also full of swinging, playful humor, never more so than during her solo on “L-O-V-E” and the carefree introduction to “I’m Confessin’.” This time out Diana is most determinedly a bandleader rather than a featured singer. She has chosen the repertoire, conceived the ensemble arrangements and gathered three distinct bands for the sessions. Turn Up the Quiet is a co-production with Tommy Lipuma, producer of many of Krall’s most acclaimed albums, All For You, When I Look in Your Eyes, The Look of Love, and Quiet Nights, and was recorded and peerlessly engineered and mixed by Al Schmitt at Capitol Studios in Hollywood, California. Diana Krall has always reached back into the riches of the past to animate and inhabit songs in the present moment, but here on Turn Up the Quiet, she takes a big deep breath with which to blow any remaining dust from some of the finest leaves from that greatest of songbooks. Themes of love and hope are to be found in her choices but this is no mere escapism. Turn Up the Quiet is the work and play of a woman in the best days and nights of her life.

[ Deer Valley® Music Festival ]

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ON THE HILL

Harry Potter and the Sorcerer’s Stone™ in Concert with the Utah Symphony

July 22

/ 2017 / 7PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER

JUSTIN FREER, President/Founder/Producer BRADY BEAUBIEN, Co-Founder/Producer JENNIFER WOOTTON, Production Associate DAVID HOFFIS, Sound Engineer/Production Supervisor ED KALNINS, Playback Operator and Synthesizer Production Marketing Director: Kory Kelly Press Director: Costa Communications Creative Services: Meltdown Productions Worldwide Representation: WME Entertainment Music Preparation: JoAnn Kane Music Service Music Editing: Ramiro Belgardt and Ed Kalnins Sound Remixing: Justin Moshkevich, Igloo Music Studios A Very Special Thanks to: Warner Bros. Consumer Products, The Blair Partnership, Mark Graham, Amos Newman, Jamie Richardson, Alex Rabens, and John Williams.

CONCERT SPONSOR:

VIP DINNER SPONSOR:

[ DeerValleyMusicFestival.org ] 51

ARTISTS’ PROFILES

In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all seven Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The John Williams Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters Composer of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, and Lincoln. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, as well as the 2002 Winter Olympic Games. He has received five Academy Awards and fifty Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-three Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. government. In 2016, he received the 44th Life Achievement Award from the American Film Institute—the first time in their history that this honor was bestowed upon a composer. In January 1980, Mr. Williams was named 19th music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor, which he assumed following his retirement in December 1993, after 14 highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches.”

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

American composer/conductor Justin Freer was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at 11 and giving his professional conducting debut at 16.

Justin Freer Producer

Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinsen and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world. He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, and Aliens in the Attic. As a conductor, Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, London Philharmonic, New York Philharmonic, and San Francisco Symphony. In upcoming seasons he will guest conduct the Minnesota Orchestra as well as the orchestras of Dublin, Paris, Philadelphia, Sydney, Toronto, and others. Renowned wind conductor and Oxford Round Table Scholar Dr. Richard Hansen has noted that, “In totality, Freer’s exploration in musical sound evokes moments of highly charged drama, alarming strife and serene reflection.” Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting full-length music score performances live with film for such wide ranging titles as Gladiator, The Godfather, Breakfast at Tiffany’s, It’s a Wonderful Life, and most recently Harry Potter and the Sorcerer’s Stone. Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

[ DeerValleyMusicFestival.org ] 53

DISNEY IN CONCERT SPONSORS

PRODUCTION SPONSOR:

ORCHESTRA SPONSOR:

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ON THE HILL

Disney in Concert A Dream is a Wish July 28

ANDY EINHORN, Conductor STEPHANIE GERSON, Vocalist LISA LIVESAY, Vocalist ANDREW JOHNSON, Vocalist AARON PHILLIPS, Vocalist Produced by Symphony Pops Music SHERILYN DRAPER, Director & Writer TED RICKETTS, Musical Director

“Part of Your World” “Under the Sea” “Poor Unfortunate Souls” “Kiss the Girl” Disney’s Aladdin Orchestral Suite Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Arranged by Danny Troob and Bruce Healey © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

“Down in New Orleans” “Friends on the Other Side” “Almost There” Continued on the next page. [ DeerValleyMusicFestival.org ] 55

ON THE HILL

Cars Suite

“Go the Distance”

Music by Alan Menken Lyrics by David Zippel Arranged by Brad Kelley

Walt Disney Music Company

Disney’s The Lion King Orchestral Song Suite

Selections from Disney’s Tangled

Music by Elton John Lyrics by Tim Rice and Lebo M. Score by Hans Zimmer Arranged by Brad Kelley and Ted Ricketts

Music by Alan Menken Lyrics by Glenn Slater Arranged by Michael Starobin and Ted Ricketts

and Wonderland Music Company, Inc.

“Nants Ingonyama” “Circle of Life” “I Just Can’t Wait to Be King” “Can You Feel the Love Tonight”

“Kingdom Dance” “When Will My Life Begin” “I’ve Got a Dream” “I See the Light”

/ INTERMISSION /

Frozen Medley

Disney’s Beauty and the Beast Orchestral Suite Music by Alan Menken Lyrics by Howard Ashman Arranged by Danny Troob and Franck van der Heijden Edited by Ted Ricketts © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

“Belle” “Be Our Guest” “Beauty and the Beast” Disney’s Cinderella Medley Music and Lyrics by Mack David, Al Hoffman, and Jerry Livingston Arranged by Ted Ricketts © 1948 Walt Disney Music Company (ASCAP)

“Cinderella” “A Dream Is a Wish Your Heart Makes” “Bibbidi-Bobbidi-Boo” (The Magic Song) “So This Is Love” (The Cinderella Waltz)

[ Deer Valley® Music Festival ]

“The Great Thaw” “Elsa and Anna” “Do You Want to Build a Snowman” “For the First Time in Forever” “In Summer” “Let it Go”

ARTISTS’ PROFILES

Andy Einhorn Conductor CONDUCTOR SPONSOR:

Leading Broadway music director and conductor Andy Einhorn will be directing concerts in the 2017–2018 season with the Utah Symphony, Detroit Symphony Orchestra, Calgary Philharmonic Orchestra, National Arts Centre Orchestra, and the New Jersey Symphony. In April 2017 he conducted Bette Midler in the new Broadway production of Hello Dolly! Einhorn’s Broadway credits include Holiday Inn; Woody Allen’s Bullets Over Broadway; Rodgers & Hammerstein’s Cinderella; Evita; Brief Encounter; The Light in the Piazza; and Sondheim on Sondheim. He recently served as music director and conductor for the Châtelet Theatre’s production of Sondheim’s Passion in Paris, and in April 2016 Einhorn made his New York Philharmonic debut with world-renowned trumpeter Chris Botti. Since 2011 Einhorn has served as music director and pianist for six-time Tony Award-winner Audra McDonald and also music directed for Barbara Cook at Feinstein’s and Toronto’s Royal Conservatory of Music. His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia! and The Lion King. Einhorn’s work can be heard on the current touring production of Rodgers & Hammerstein’s The Sound of Music. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival, and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera’s “An Evening with Audra McDonald,” a double-bill of Poulenc’s La voix humaine and LaChiusa’s Send. Recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (GRAMMY-nominated), Stage Door Canteen and McDonald’s newest release, Go Back Home. He served as the music director for HBO’s Peabody Award-winning documentary Six by Sondheim and music supervisor for Great Performances Peabody Award-winning special “Broadway Musicals: A Jewish Legacy” on PBS. Andy Einhorn is an honors graduate of Rice University in Houston, Texas.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

Stephanie Burkett Gerson Vocalist

Lisa Livesay Vocalist

Stephanie Burkett Gerson has a wide range of credits to her name, from theater and theme parks to cruise ships and is a favorite National Anthem vocalist. As a proud member of Actor’s Equity, Stephanie has been seen as a lead vocalist and Mrs. Claus in the Rockettes’ Radio City Christmas Spectacular national tour, and has appeared in I Love a Piano as Ginger at Moonlight Stage Productions in Vista, California. Regional theater credits include: Joseph and the Amazing Technicolor Dreamcoat (Narrator), Smokey Joe’s Café (DeLee), Nine (Carla), Cats (Jellylorum), Disney’s Beauty and the Beast (Babette), The Full Monty (Estelle), The Buddy Holly Story (Vi, Mary Lou), Meet Me in St. Louis (Lucille), Sweeney Todd: The Demon Barber of Fleet Street, and Richard Sherman’s Pazzazz. Other theater credits include: You’re a Good Man Charlie Brown (Lucy), Grease (Sandy), and The Wizard of Oz (Dorothy). Stephanie is an active member of New York City’s most well-known gospel choir, Michael McElroy’s Broadway Inspirational Voices. She also regularly lifts the spirits of America’s troops and their families with the USO Show Troupe. Lisa Livesay is thrilled to be a part of Disney in Concert. Lisa recently lit up the stage in a headliner performance at the Kennedy Center Millennium Stage entitled Laughs, Love & Light. She has been seen in the role of Glinda in the national tour of Wicked. Other theatre credits include Jason Robert Brown’s Parade (Monteen), The 25th Annual Putnam County Spelling Bee (Olive), Peter Pan (Peter Pan), The Last 5 Years (Cathy), and Disney’s Beauty and the Beast (Belle). Lisa recently starred in the feature film Monday Nights at 7 with Edward James Olmos. Lisa has also performed with the San Francisco Symphony, Houston Symphony, Dallas Symphony, and Oregon Symphony, among many others. You can spot Lisa with Bigfoot on a Toyota commercial, and occasionally, you’ll hear her voice on select films and TV shows. She resides in New York City.

[ DeerValleyMusicFestival.org ] 59

ARTISTS’ PROFILES

Andrew Johnson Vocalist

Aaron Philips Vocalist

Andrew Johnson is a Disney kid at heart and is humbled to share the music and magic from the stage! He has toured all over the United States, Europe, and Asia as a lead vocalist and dancer, and his performances have been broadcast on national and international television. Andrew has performed on FOX’s The X-Factor, The Conan O’Brien Show, and the MTV Video Music Awards. He has sung background for artists such as Demi Lovato, Fifth Harmony, LeAnn Rimes, and Florence and the Machine. His theatrical credits include Rent (Benny), Five Guys Named Moe (Four-Eyed Moe), and Joseph and the Amazing Technicolor Dreamcoat (Joseph, Asher). Andrew has shared the stage with singers/actresses Shirley Jones and Bernadette Peters, and has performed live duets with recording artists Patti LaBelle and Erykah Badu, as well as singer/actress Jodi Benson (the voice of Ariel in The Little Mermaid). He is a singer/songwriter and recording artist, and his music is available worldwide on iTunes under his artist name Drew Michael.

Aaron Philips is very excited to be part of this wonderful production. Aaron is an Ovation Award-nominated actor and singer, proud member of Actor’s Equity, and can frequently be seen on film and TV. Past theater credits include: Jekyll and Hyde (John Utterson), Batboy: The Musical (Batboy/ Edgar), Songs for a New World, and Les Misérables (Foreman/Combeferre). Opera credits include: La bohème with the Greensboro Opera Company, conducted by Valery Ryvkin; The Pirates of Penzance (Pirate King); and Lakmé (Frédéric). Aaron recently appeared in a staged reading of The Bone Wars (O’Conner) with the prestigious New York playwright group Youngbloods. You may have seen Aaron as Carl, half of the duo that is the face of Lipton Iced Tea. He is also an accomplished voice-over talent and can be heard in video games such as World of Warcraft, Grand Theft Auto V, Red Dead Redemption, and Lord of the Rings. He is a man of many voices for commercials, cartoons, and music sessions everywhere. Aaron has been a Disney fan his entire life, and is happy to help bring this music to fans of all ages.

[ Deer Valley® Music Festival ]

jazzSLC the GAM Foundation presents

2017-2018

CON C ERT SEASON

Bill Charlap and renee rosnes—09/23/17—Capitol Theatre The Cookers—10/23/17—Capitol Theatre CeCile MClorin salvanT—11/13/17—Capitol Theatre arTuro sandoval sexTeT—01/18/18—Capitol Theatre TurTle island QuarTeT—02/26/18—Rose Wagner Theatre Joey alexander Trio—03/31/18—Capitol Theatre Benny Green Trio—04/28/18—Capitol Theatre The John ClayTon Jazz varieTy show—05/21/18—Capitol Theatre An eight-show season subscription is $300.00, a three-show season subscription is $110.00. For season subscriptions contact Amanda at aalufkin@yahoo.com or 801.550.9052. Individual concert tickets go on sale July 15 through Arttix 801-355-ARTS

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ON THE HILL

Ben Folds

with the Utah Symphony

July 29

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER ANDY EINHORN, Conductor BEN FOLDS, Vocalist & Piano

Selections to be announced from the stage.

PRODUCTION SPONSOR:

ORCHESTRA SPONSOR:

VIP DINNER SPONSOR:

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ARTISTS’ PROFILES

See page 56 for Andy Einhorn’s biography.

Ben Folds is widely regarded as one of the major music influencers of our generation. He’s spent over a decade sharing the stage with some of the world’s greatest symphony orchestras from Sydney, Australia to the Kennedy Center, performing his pop hits and his critically acclaimed Concerto for Piano and Orchestra. For five seasons he was a judge on the popular NBC series The Sing Off, which catapulted the art of a cappella into the national spotlight, and helped launch the careers of numerous a cappella groups.

Ben Folds Vocalist & Piano GUEST ARTIST SPONSOR:

Throughout his career, Folds has created an enormous body of genre-bending musical art that includes pop albums as the front man for Ben Folds Five, multiple solo rock albums, as well as unique collaborative records with artists from Sara Bareilles and Regina Spektor to “Weird Al” and William Shatner. His most recent album is a blend of pop and classical original works, recorded in part with the revered classical sextet yMusic, which soared to number one on both the Billboard Classical and Classical Crossover charts. Throughout 2017, Folds will continue to pound pianos with cross-country solo touring reminiscent of his earliest solo tour, where he defied skeptics by delivering a high energy rock performance using the intimacy of just a piano. His tour schedule will also include a series of orchestral performances where he will showcase his Piano Concerto as well as his pop hits. In addition to his self-described love of performing and making music “for humans,” Folds is an avid photographer, and is a member of the distinguished Sony Artisans of Imagery. Folds is an advocate for music education and music therapy as a member of the Artists Committee of the Americans for the Arts, and he serves as a member of the Board of Directors of the Nashville Symphony.

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ON THE HILL

Tchaikovsky’s 1812 Overture & Piano Concerto No. 1 August 4

/ 2017 / 7:30PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER REI HOTODA, Conductor ANDREW STAUPE, Piano Cannoneers of the Wasatch

DVOŘÁK TCHAIKOVSKY

Carnival Overture, Op. 92 Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23 I Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco ANDREW STAUPE, Piano

/ INTERMISSION /

SOUSA

The Washington Post March

TCHAIKOVSKY

Suite from Swan Lake, Op. 20a I. Scène II. Valse III. Dance of the Swans V. Hungarian Dance, Czardas VI. Spanish Dance VII. Neapolitan Dance VIII. Mazurka

TCHAIKOVSKY

“1812,” Ouverture solennelle, Op. 49

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CANNON SPONSOR:

DIANE & HAL BRIERLEY

THE LAW OFFICES OF THOMAS N. JACOBSON

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ARTISTS’ PROFILES

Rei Hotoda, the newly appointed Music Director of the Fresno Philharmonic, is considered one of America’s most soughtafter and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Chicago, Dallas, Edmonton, Fort Worth, Jacksonville, Toronto and Winnipeg, as well as the Colorado, Utah, and St. Louis Symphonies, the Las Vegas Philharmonic, and the Civic Orchestra of Chicago, among others. Her repertoire spans the classical canon to works by the leading composers of today, and she is equally at home leading the orchestra from the piano as well as from the podium. Rei Hotoda

In the 2017–18 season, Rei begins her tenure as the newly appointed Music Director of the Fresno Philharmonic. In this position she will provide overall artistic leadership conducting CONDUCTOR SPONSOR: the orchestra throughout the season; develop and broaden programing that will enliven current audiences and engage JIM & ZIBBY TOZER those new to the organization; work with the board of directors, musicians and administration on developing and articulating a compelling artistic vision for the Fresno Philharmonic as a 21st century orchestra; and cultivate and create partnerships with other cultural institutions that will celebrate and embrace the diverse community in Fresno. Conductor

Community engagement, inspiring the next generation of musicians, a deep commitment to family and education outreach, artistic diversity, and collaborating with a wide array of artists outlined Rei’s tenure as Associate Conductor for the Utah Symphony, a position she has held since 2015. Since making her debut in Utah, leading the Utah Symphony from the piano, Rei has conducted the orchestra in a variety of programs…and has also assisted in recordings. Upcoming highlights of Rei’s 2017 summer season include her debut with the Nashville Symphony Orchestra; a new opera composed by Gene Coleman, entitled Dreamlives of Debris, in Chicago; and a performance of Mahler’s Symphony No. 4 arranged by Erwin Stein for Chamber Orchestra on the Intermezzo Chamber Music Series in Utah. Additionally, she will embark on a week-long tour with the Utah Symphony, under the direction of its Music Director, Thierry Fischer, that features free outdoor concerts in the state parks and national monuments of Utah, entitled the “Great American Road Trip.” Rei is the proud recipient of several prestigious awards, including the 2006 Taki Concordia Conducting Fellowship created by Marin Alsop to mentor female conductors. Additionally, she has received a Peabody Career Development Grant, the Women’s Philharmonic Scholarship, and an Illinois Arts Council International Arts Exchange Grant. Rei studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a Doctorate of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music degree in piano performance from the Eastman School of Music.

[ Deer Valley® Music Festival ]

ARTISTS’ PROFILES

American pianist Andrew Staupe is emerging as one of the distinctive voices of a new generation of pianists. He has appeared with the Minnestota Orchestra on five subscription series since 2006, and has since performed with the Baltimore, San Diego, Fort Worth, Houston, Indianapolis, Arkansas, and Tallahassee Symphonies, among many other orchestras throughout the United States.

Andrew Staupe Piano GUEST ARTIST SPONSOR:

TED & CAROL NEWLIN

An avid chamber musician, Andrew has jammed with legendary vocalist Bobby McFerrin, played tangos with The Assad Brothers, and has performed with Chee-Yun, Sharon Robinson, Martin Chalifour, Jessica Rivera, Desmond Hoebig, Jane Peters, and Joseph Swensen. Andrew has a keen interest in performing new music and has premiered a number of works for solo piano and chamber ensemble by composers Howard Shore, Sarah Kirkland Snider, Christopher Walczak, Christopher Goddard, Karl Blench, and Anthony Brandt. Other notable performances include concerts at The John F. Kennedy Center for the Performing Arts” and the Library of Congress in Washington DC, and Steinway Hall and Trinity Wall Street in New York City. His live performances have been broadcast nationally on WQXR in New York City, KSJN in Minneapolis, and KUHF in Houston. He has performed twice on American Public Media’s Performance Today, and on Garrison Keillor’s A Prairie Home Companion in 2004. Deeply committed to teaching, Andrew is Assistant Professor of Piano at the University of Utah in Salt Lake City. He also gives frequent masterclasses and presentations around the country. Andrew Staupe is represented by John Gingrich Management, Inc. in New York City. For more, visit: www.gingarts.com The Cannoneers of the Wasatch have traveled the Wasatch Front for 45 years blasting self-made cannons while orchestras perform. They formed in 1971 when the University of Utah—Snowbird Summer Arts Institute wanted to perform Tchaikovsky’s “1812” Overture with cannon fire, but lacked cannons. For more than four decades, the Cannoneers have performed in Taylorsville, Layton, Deer Valley and Sun Valley with more than 18 historical replica cannons, ranging in size from 25 to 1,000 pounds in their arsenal.

Cannoneers of the Wasatch

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ON THE HILL

JAMES OWEN PRESENTS

Classical Mystery Tour A Tribute to The Beatles with the Utah Symphony

August 5

/ 2017 / 7:30PM / DEER VALLEYÂ® SNOW PARK OUTDOOR AMPHITHEATER MARTIN HERMAN, Conductor JIM OWEN, Rhythm Guitar/Piano/Vocals TONY KISHMAN, Bass Guitar/Piano/Vocals TOM TEELEY, Rhythm Guitar/Piano/Vocals DOUG COX, Drums/Vocals

Selections to be announced from the stage.

PRODUCTION SPONSOR:

ORCHESTRA SPONSOR:

VIP DINNER SPONSOR:

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ARTISTS’ PROFILES

Since its initial performance at the Orange County Performing Arts Center (now renamed Segerstrom Center for the Arts) in 1996, Classical Mystery Tour has become the #1 symphony pops attraction over the last decade. The group has been performing consistently for nearly 20 years with more than 100 orchestras in the US, Canada, Europe, Asia, and Australia. The group played to packed houses at the Sydney Opera House, and has performed with America’s most prestigious orchestras: the Cleveland Orchestra, the Boston Pops, the Philadelphia Orchestra, and the San Francisco Symphony, among many others. Classical Mystery Tour

GUEST ARTIST SPONSOR:

The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The show presents over two dozen Beatles tunes transcribed note-for-note and performed exactly as they were originally recorded. Hear “Penny Lane” with a live trumpet section, experience the beauty of “Yesterday” with an acoustic guitar and string quartet, enjoy the classical/rock blend on “I Am the Walrus,” and relish the cascading orchestral crescendo on “A Day in the Life.” Classical Mystery Tour is the best of The Beatles—from early Beatles music on through the solo years—like you’ve never heard them before. Many have called it “the best show The Beatles never did!” The Los Angeles Times called Classical Mystery Tour “more than just an incredible simulation...the swelling strings and soaring French horn lines gave the live performance a high goose-bump quotient...the crowd stood and bellowed for more.” Classical Mystery Tour CDs and T-shirts are available for purchase on their website: classicalmysterytour.com.

[ Deer Valley® Music Festival ]

ARTISTSâ&#x20AC;&#x2122; PROFILES

Martin Herman Conductor CONDUCTOR SPONSOR:

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, 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, 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, Virginia Symphony, Delaware Symphony, Alabama Symphony, Omaha Symphony, Buffalo Philharmonic, and the Philharmonia Chamber Orchestra in Prague, Czech Republic.

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

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

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

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

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

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

Rachmaninoff’s Rhapsody on a Theme of Paganini

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

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

SEASON SPONSOR

ST. MARY’S CHAMBER CONCERTS

Vivaldi’s Four Seasons July 5

/ 2017 / 8PM / ST. MARY’S CHURCH MADELINE ADKINS, Leader & Violin Soloist

RESPIGHI

MOZART

Ancient Airs and Dances: Suite III I. Italiana III. Siciliana IV. Passacaglia Symphony No. 29 in A Major, K. 186a [201] I. Allegro moderato II. Andante III. Menuetto IV. Allegro con spirito

/ INTERMISSION /

VIVALDI

The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1–4 I. Concerto in E Major (Spring) II. Concerto in G minor (Summer) III. Concerto in F Major (Autumn) IV. Concerto in F minor (Winter) MADELINE ADKINS, Leader & Violin Soloist

ORCHESTRA SPONSOR:

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ARTIST’S PROFILE

In September 2016, Madeline Adkins assumed her new post as concertmaster of the Utah Symphony under Maestro Thierry Fischer. She made her concerto debut with the Utah Symphony in November 2016, performing Prokofiev’s Violin Concerto No. 2. Prior to this, Adkins was the Associate Concertmaster of the Baltimore Symphony Orchestra. She was appointed by Maestro Yuri Temirkanov in 2005, after joining the orchestra as Assistant Concertmaster in 2000. During her time at the BSO, Adkins appeared semi-annually as soloist, and performed over 25 works with the orchestra. She has also been the concertmaster of the Baltimore Chamber Orchestra since 2008. Madeline Adkins Leader & Violin Soloist

Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory where she studied with James Buswell. While a student, she served as concertmaster of the Tanglewood Music Center Orchestra under Seiji Ozawa and won first prize in a number of competitions, including the Stulberg International String Competition, the ASTA National Solo Competition, and the New England Conservatory Concerto Competition. She was also a second prize winner in the Irving Klein International String Competition. Adkins performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster Jacques Israelievitch (1948–2015).

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July 3 -August 20

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NOTES ON THE PROGRAM

Ottorino Respighi (1879–1936) Ancient Airs and Dances: Suite III Instrumentation: Strings Performance time: 10 minutes BACKGROUND Born in 1879, the Bolognese master Ottorino Respighi lived most of his life in the 20th century (he died in 1936). He began his career as a violinist and violist, studying first with his father and then at the Liceo Musicale in Bologna, but historical and composition studies were also included in his curriculum. After graduating in 1899, he became principal violist in the orchestra of the Russian Imperial Theatre in St. Petersburg. There he studied composition with Rimsky-Korsakov, one of the great masters of orchestral color, whose influence can be heard in all of Respighi’s most popular works. Returning to Italy, he became first violinist in the Mugellini Quintet, but devoted himself mainly to composing from 1909 onward. During the years from 1917 through 1932, Respighi composed three orchestral suites of ancient airs and dances, based on Italian music originally composed for lute in the 16th, 17th and 18th centuries. The third suite dates from 1932; unlike the first and second, it is scored solely for strings. For its four movements, Respighi turned to lute pieces by Santino Garsi da Parma (1542–1604), a guitar piece by Ludovico Roncalli (1654–1713), and songs by the prolific lutenist-composer Jean-Baptiste Besard (1567–1625). WHAT TO LISTEN FOR In the charm and tonal elegance of Respighi’s music we can hear 19th- and 20thcentury aesthetics colored by his infatuation

[ Deer Valley® Music Festival ]

with earlier days. All of the melodies we hear in this suite are drawn from music of the late Renaissance and early Baroque periods. Respighi’s music is graceful, courtly and opulent; it often seems to iridesce with shifting colors. The rhythms are whirling or stately. The sound beguiles us like an antique music box. The past is always present in Respighi’s music, but in this suite the sense of time past—and of time lost—is especially rich, glinting with the opulence of silken Florentine brocade, which originated around the time of Respighi’s sources. The effect is beautiful, but some listeners hear a melancholia that is not present in the first two suites of Ancient Airs and Dances. With its modern use of strings and 20th-century harmonies, the suite never lets us forget that we are visitors in its antique realm. We view its sensual world, in the biblical phrase, through a glass darkly. Wolfgang Amadeus Mozart (1756–1791) Symphony No. 29 in A Major, K. 186a [201] Instrumentation: 2 oboes; 2 horns; strings Performance time: 23 minutes BACKGROUND Mozart crammed so much composition into his very brief life that we often consider his work in phases to get a perspective on his creativity. That doesn’t always work, but in the case of the symphonies it helps. For example: Of his 41 symphonies, those bearing numbers greater than 24 are often called his “great” symphonies to differentiate them from those that are merely precocious expressions of Classical style. Mozart composed his

NOTES ON THE PROGRAM

Symphony No. 29 when he was 18 years old—a time we might consider “middle” Mozart, when he was beginning to show both consistency and innovation in writing fully mature works, many of them masterpieces. It came five months after his Symphony No. 25, a stormy G-minor work that marked a radical departure for the form. Nothing like these symphonies had ever been heard before. Another mile marker in Mozart’s career is his city of residence—either his hometown of Salzburg or his beloved Vienna, where he moved in 1781. Mozart considered Salzburg a musical backwater, and before setting up shop in the Austrian capital, he viewed Vienna as a kind of promised land where the fullness of his genius would be appreciated and rewarded. Regrettably, his adopted city did not quite live up to his expectation in this regard, but its indisputable status as a center of European art and culture greatly elevated his career. Though he composed the Symphony No. 29 six years before his move to Vienna, he had spent the previous summer and early fall there, and sought out the latest and most interesting music, as he did whenever he traveled. In this case, that music included recent quartets by Joseph Haydn, whose classical elegance is thought to have influenced the Symphony No. 29. After moving to Vienna, Mozart sent word back to Salzburg requesting the score so he could present it at his Viennese Akademie concerts—a sign of his continuing pleasure in this work. WHAT TO LISTEN FOR A quick glance at the instrumentation for his symphony tells us much about it. Even for 1774, its orchestra is relatively small. The galvanic No. 25 draws on more extensive resources and seems to burn with a bigger flame. But No. 29 does not represent a retrenchment;

rather, it shows a confident composer in full control of his orchestra, drawing a full measure of beauty and expressiveness with remarkable economy of means. The result is a scintillating balance of elegance and energy. Rather than reaching for typical symphonic grandeur in its opening bars, the symphony begins with a gentle, descending octave in the violins that opens onto a simple ascent through the A major scale. Mozart’s handling of these motifs grips us with its freshness and sophistication—so much so that the development of his themes seems far more important than the themes themselves. The entire symphony proceeds in this manner, like a study in how to do more with less. Its second movement will challenge you to believe that only horns, oboes, and strings are projecting such varied orchestral colors; the energy of the third movement’s dotted rhythms, and of the invigorating gallop in the finale, will leave the impression of a larger symphony. Some commentators have called this Mozart’s first symphonic masterpiece. Whether or not that’s true, his confident handling of his materials suggests that it is the first symphony he wrote for his own delight, without regard to impressing eventual patrons or winning future commissions. Antonio Vivaldi (1678–1741) The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1 through 4 Instrumentation: Strings; harpsichord Performance time: 39 minutes

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NOTES ON THE PROGRAM

BACKGROUND 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 why 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 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.

[ Deer Valley® Music Festival ]

WHAT TO LISTEN FOR 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 tonepainting 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. 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, 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, consider the tempos in the order 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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EVERY VOICE TELLS A STORY

2017/18 UTAH OPERA SEASON

Puccini’s

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2017

JANET QUINNEY LAWSON CAPITOL THEATRE

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PAGLIACCI / GIANNI SCHICCHI March 10, 12, 14, 16, 18 (matinee)

2018

JANET QUINNEY LAWSON CAPITOL THEATRE

UTAHOPERA.ORG 801-533-NOTE (6683)

Johann Strauss Jr.'s

DIE FLEDERMAUS May 12, 14, 16, 18, 20 (matinee)

2018

JANET QUINNEY LAWSON CAPITOL THEATRE

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Utah Opera’s 40 Anniversary Season Gala AN EVENING WITH RENÉE FLEMING

September 13 ABRAVANEL HALL

40TH ANNIVERSARY SEASON SPONSOR

2017

ST. MARY’S CHAMBER CONCERTS

A Night at Bach’s Coffeehouse July 12

/ 2017 / 8PM / ST. MARY’S CHURCH JEANNETTE SORRELL, Conductor & Harpsichord

TELEMANN J. S. BACH

TELEMANN

Don Quixote Suite Brandenburg Concerto No. 3 in G Major, BWV 1048 I. Allegro II. Adagio III. Allegro Grillen-Symphonie (Crickets Symphony)

/ INTERMISSION /

J. S. BACH

VIVALDI ARR. SORRELL

Suite No. 1 in C Major for Orchestra, BWV 1066 I. Ouverture II. Courante III. Gavotte I Gavotte II IV. Forlane V. Menuet I Menuet II VI. Bourrée I Bourrée II VII. Passepied I Passepied II La Folia (Madness)

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ARTIST’S PROFILE

Jeannette Sorrell is recognized internationally as a leading creative voice among early-music conductors.

Jeannette Sorrell Conductor & Harpsichord

Upcoming conducting engagements include returns to the New World and Utah Symphonies as well as debuts with the St. Paul Chamber Orchestra and the Grand Teton Music Festival. She has previously guest conducted the Pittsburgh Symphony, New World Symphony, Los Angeles Chamber Orchestra, Utah Symphony, Seattle Symphony, Opera Theatre of St. Louis with the St. Louis Symphony, Handel & Haydn Society (Boston), Jacksonville Symphony, Omaha Symphony, North Carolina Symphony, and Grand Rapids Symphony. Founder and conductor of Apollo’s Fire, she has built one of the largest audiences of any North American baroque orchestra. She has led the world-class period ensemble at BBC Proms, Wigmore Hall, Madrid’s Royal Theatre (Teatro Real), Grand Théâtre de l’Opéra in Bordeaux, Aldeburgh Festival (UK), Tanglewood Festival, Boston’s Early Music Festival, Aspen Music Festival, the Library of Congress, and the Metropolitan Museum of Art (New York). Sorrell has developed creative crossover projects fueled by her aptitude for the dramaturgy of early music. Attracting national attention and awards, her innovative programming often brings together different regional folk genres and early music. While these programs normally tour with Apollo’s Fire, she has taught and performed “A Night at Bach’s Coffeehouse” with forces from the Pittsburgh and New World Symphonies. She holds an honorary doctorate from Case Western University, two special awards from the National Endowment for the Arts for her work on early American music, and an award from the American Musicological Society. Passionate about guiding the next generation of performers, Ms. Sorrell has led many baroque projects for students at Oberlin Conservatory.

[ Deer Valley® Music Festival ]

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NOTES ON THE PROGRAM

Georg Philipp Telemann (1681–1767) Don Quixote Instrumentation: strings; harpsichord Performance time: 16 minutes Grillen-Symphonie Instrumentation: flute, oboe, clarinet; strings; harpsichord Performance time: 8 minutes BACKGROUND Music historians have been known to cite the strange life and career of Georg Philipp Telemann. But to those of us who are simply listeners and enthusiasts, neither the life nor career of this long-lived, prolific composer seems strange; rather, it’s the wild swings in his reputation, which are almost unaccountable. For generations, Telemann’s stature ranked with Bach’s and Handel’s, while at other times his music went virtually unplayed. In fact, Telemann’s amazing versatility and tremendous musical output—exceeding even Bach’s—made him a target of musical conspiracy theorists over the years: how could one composer be so consistently prolific for so long across so broad a range of forms? Fortunately for them and for all lovers of great music, Vivaldi, Telemann, Bach, and Handel were men of unusual longevity for their time. They were born within seven years of each other; Bach and Handel were both born in 1685, and the year of Bach’s death—1750—is often marked as the semester break in college music surveys, with students leaving campus in the Baroque era and returning to the emergence of Classicism. But Telemann was the longest-

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lived of all four: Born four years earlier than his two great colleagues (he was a good friend of Bach’s), he lived to the ripe old age of 86, remaining productive through every phase of adulthood. He was born in the town of Magdeburg, seat of a duchy in what was then Brandenburg-Prussia. His father died when Georg was only four, but the family was secure enough to send the boy to the local organist for music lessons, whetting a musical appetite that became insatiable. When his family pressured him to turn away from music and prepare for the study of law, Georg studied and composed in secret, composing an original opera at age 12. In secondary schools in Magdeburg and nearby Zellerfeld, and at the rigorous Gymnasium Andreanum in Hildesheim, Telemann’s musical abilities burgeoned with the encouragement of his educators; he composed and performed on instruments including flute, oboe, violin, recorder, and double-bass, many of which he taught himself. Upon graduation from the gymnasium in 1710 he enrolled as a law student at Leipzig University. But early success as a professional composer and instrumentalist ended any pretense of pursuing a law career, and began one of the most prolific composing careers in the history of music. There are important parallels between the careers of Bach and Telemann, both industrious composers and men of genius who greatly esteemed each other. (Telemann, who was four years senior to Johann Sebastian Bach, was godfather to the younger composer’s son Carl Philipp Emanuel.) But there are striking differences as well, and perhaps foremost among these is the role of religion in their music. No career composer of the Baroque era in Europe could survive without cultivating a professional position with an important

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Christian church. Both composers held important religious posts, and Bach’s principal career position, as Kapellmeister at the Thomaskirche in Leipzig, was one that Telemann had strategically declined. But to modern ears, the depth of religious belief in Bach’s music is far greater than in Telemann’s. Even in Bach’s secular music, we can hear his creativity as an act of praising God. Telemann’s phenomenal fecundity was motivated by something different: an unending fascination with the craft of music for its own sake and in all its possibilities, including sheer entertainment. This is why narrative entertainments such as the forwardlooking Don Quixote and the witty GrillenSymphonie are characteristic of Telemann and not of Bach. WHAT TO LISTEN FOR The very classification of Telemann’s Don Quixote as a burlesque—a dramatically exaggerated musical entertainment— establishes it as a worldly amusement outside Bach’s sphere of interest. With its slow, dotted rhythms, the overture begins in French style, gathering momentum and contrapuntal complexity as it draws us into the drama. At length we hear the awakening Quixote and musical expressions of his dreams of chivalry. Some of the errant knight’s most beloved and grotesque adventures are here. First among these is his gallant attack upon the windmills he mistakes for giants, with musical depictions of his rickety armor, helmet, and lance. This slapstick humor gives way to his romantic, idealized yearning for the peasant girl he imagines to be a princess, and whom he names Dulcinea. Telemann also provides us with musical sketches of the delusional don’s supporting cast: his sidekick and squire Sancho Panza, his horse Rosinante and Sancho’s donkey, with its rollicking, galloping gait. The suite ends with the

exhausted knight in a deep sleep, soon to awaken to new adventures. In listening to Telemann’s brief and lovely Grillen-Symphonie, we encounter a riddle that only the listener can answer: What did Telemann mean by “Grillen”? This is the German word for crickets, and in the Baroque tradition of imitative scene-painting in music, crickets are an ideal subject—music-makers in their own right whose rhythmic chirping enlivens the countryside every summer. They are also a welcome symbol of rural life in German music—for example, in Schubert’s song “Der Einsame,” in which a country squire sings happily of his solitary evenings by the hearth with crickets singing in the fields outside his window. Are these the “Grillen” Telemann had in mind? Or did he intend another common meaning of the word—a flight of whimsy? Both meanings seem to converge in the symphony’s finale, which strikes some listeners as an amusing cacophony of chirping insects. Johann Sebastian Bach (1685–1750) Brandenburg Concerto No. 3 in G Major, BWV 1048 Instrumentation: strings; harpsichord Performance time: 10 minutes Suite No. 1 in C Major for Orchestra, BWV 1066 Instrumentation: 2 oboes; strings; harpsichord Performance time: 21 minutes BACKGROUND Bach lived until the modern-day retirement age of 65 and produced so much great music that even his admirers can lose sight of it

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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. This 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 unpaid-for. 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 secure either a position in the margrave’s court or further commissions. In a tribute of suffocating formality, Bach’s

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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. WHAT TO LISTEN FOR 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

NOTES ON THE PROGRAM

consists of just a single measure. Known as a “Phrygian half-cadence,” 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. 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. Antonio Vivaldi (1678–1741) La Folia (Madness) Instrumentation: strings Performance time: 10 minutes BACKGROUND Bach, Handel, Telemann, and Vivaldi are sometimes called the “big four” of Baroque music. We Americans can appreciate the

remarkable productivity of these career composers. If you look at the statistics on working hours and vacation days, Americans are among the hardest-working people in the world. But Antonio Vivaldi is one of those composers whose sheer productivity can inspire a mixture of bewilderment and despair in us. Though he considered himself mainly a composer of operas and claimed to have written over 90 of them (40 or so are missing), we know him mainly for his concertos. Numbering more than 500, they established many of the qualities that inform concertos composed later and through the present day, both in structure and in sound: the familiar sequence of three movements in fastslow-fast order, a conversational interplay between soloist and ensemble, and the showcasing of musical virtuosity by both soloist and composer. Not surprisingly, Vivaldi relied on certain compositional tricks in his orchestral compositions, most notably the ritornello, or “little return,” that forms so many of his fast movements—return of the ensemble to the main melody of the movement, while the soloist’s expression is more varied. In this work, he employs a similar device by providing variations on a familiar theme: the “follia,” or folly, which listeners already knew. Ritornello form later gave way to the more complex, sustained structure of sonata allegro form, which develops a theme through variation and modulation. WHAT TO LISTEN FOR Vivaldi brought forth a seemingly limitless flow of melodies into the world. But in La Follia he gives us something very different, immersing us in a single melody that he had not written and that his contemporary listeners already knew. In an age when recorded sound was still centuries away

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and few households could afford musical instruments, we can hardly imagine the impact of the few popular tunes like this one. They floated around Europe, communicated from listener to listener like an artistic virus. The power of the “follia” melody lay not only in its boldness and infectious beauty, but in the myth it embodied: it supposedly represented the folly of young girls as they were seized by desire and abandoned themselves to everwilder, whirling dance as the music grew louder and faster. Melodies of similar dark power, such as “L’homme armé”—the tune of a mysterious “armed man” that also grew faster and louder—made their way through Europe in

Renaissance and Baroque days. Vivaldi’s treatment breaks the accustomed pattern. Rather than just pouring on the speed and volume, he varies the pace and color, demonstrating his creative imagination without building toward frenzy. The result has many of the characteristics of a concerto grosso or a theme and variations, although it is really a form unto itself. Your annotator believes that Vivaldi’s choice to showcase the fascinating versatility of the “follia” tune— rather than the prurient drama of a young girl seemingly possessed—reflects his respect for the skilled young ladies he instructed at the Ospedale della Pietà in Venice, where his pupils included some of the most accomplished instrumentalists in Europe.

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ST. MARY’S CHAMBER CONCERTS

Hotoda Conducts Beethoven, Haydn & More July 19

/ 2017 / 8PM / ST. MARY’S CHURCH REI HOTODA, Conductor HANA CHANG, Violin

MOZART BEETHOVEN

Overture to Der Schauspieldirektor, K. 486 Romance No. 1 in G Major for Violin and Orchestra, Op. 40 HANA CHANG, Violin

HAYDN

Symphony No. 94 in G Major, “Surprise” I. Adagio cantabile - Vivace assai II. Andante III. Menuetto: Allegro molto IV. Allegro di molto

/ INTERMISSION /

FAURÉ SARASATE

Pavane, Op. 50 Zigeunerweisen for Violin and Orchestra, Op. 20, “Gypsy Airs” HANA CHANG, Violin

BEETHOVEN

The Creatures of Prometheus, Op. 43 Overture Introduction No. 3 Allegro vivace No. 15 Andantino No. 16 Finale. Allegretto

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See page 68 for Rei Hotoda’s biography.

Hana Chang Violin GUEST ARTIST SPONSOR:

14-year-old Hana Chang began playing the violin at the age of four with Klaudia Szlachta and currently studies with Professor Ivan Zenaty at the Cleveland Institute of Music in the Junior Young Artist Program. Her past teachers also include Professor Yuri Mazurkevich of Boston University and Miguel Pérez-Espejo Cárdenas. Hana gave her first solo performance at the age of seven with the New England Conservatory Baroque Chamber Orchestra. She recently performed as a soloist with the Lexington Symphony, the Concord Orchestra, the Wellesley Symphony Orchestra and the Orchestra der Hochschule für Music Franz Liszt Weimar in Germany. Hana has won numerous competitions, including First Prize in the Stradivarius International Violin Competition (2016) and Second Prize in the International Louis Spohr Competition in Germany (2016). Hana has also performed in masterclasses with James Ehnes (2015) and Zakhar Bron (2016). During past summers, she has attended the Meadowmount School of Music (2014–2016), and the Musica Mundi chamber music courses and festival in Belgium (2013). Hana has recently performed on the NPR show From the Top with host Christopher O’Riley at Carnegie Hall. She currently plays on a 1647 Amati violin, kindly on loan by the Rin Collection in Singapore.

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Wolfgang Amadeus Mozart (1756–1791) Overture to Der Schauspieldirektor, K. 486 Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; strings; timpani Performance time: 3 minutes BACKGROUND The particular circumstances of Der Schauspieldirektor’s (or The Impresario) development date back to the fall of 1785, shortly after Mozart had begun composing The Marriage of Figaro. In the midst of his work he received an unexpected commission from Joseph’s court for the brief musical portions of what would become a substantial entertainment, and—despite his contempt for political venalities—he was delighted to accept it. The requested work would be the equivalent of a oneact Singspiel to entertain guests at the magnificent Schönbrunn Palace, and Mozart immediately suspended his work on Figaro to complete it. He composed the score from January 18 to February 3, 1786. The libretto for The Impresario came to Mozart from the writer Gottlieb Stephanie, who reportedly received the idea from the Emperor himself. Already a standard comic subject in Mozart’s day, it is what we now know as a backstage farce: a theatrical producer is forming a new troupe (in Mozart’s hometown of Salzburg, of all places) and is holding auditions for its first production. Competing actors and singers display their best talents and worst behavior as they compete for plum roles, driving the hapless impresario to the brink of nervous collapse. Mozart’s commission called for just an overture, two

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arias and two ensembles (and in this case he complied with precision)—about 20 or 25 minutes’ worth of music. But the interpolation of scenes from then-familiar playwrights including August Meissner and John Vanbrugh lengthened the proceedings and filled them with contemporary in-jokes that would be meaningless to us today. At the Emperor’s private performance on February 7, 1786, and at the three public performances that followed at the Kärntnertor Theater, knowing audiences nodded and winked at what amounted to entertainment industry gossip. WHAT TO LISTEN FOR As originally presented, The Impresario would strike today’s audiences as three hours of unendurable, anachronistic dialogue interrupted by a few bits of music. Still, the premise is funny, the music is Mozart, and the delightful overture flies by in a flash. Why don’t we get to hear music from The Impresario more often? Producing the entire opera without adding musically and dramatically relevant material is not a practical option, and without an occasional stage presence, the overture has become a rarity as well. Thirty years ago the influential musicologist and critic Charles Osborne, in a comprehensive study of Mozart operas, advised against interpolating additional materials into The Impresario. Since then, the experience of real-life opera impresarios has pushed the pendulum the other way; Mozart did, after all, produce this score to be part of a longer entertainment, and today the original dialogue simply won’t play. The overture, too is gaining a foothold. It tells us much of what comes when the curtain goes up: humor, gaiety, energy and bright spirits, along with some raucous show-business infighting.

NOTES ON THE PROGRAM

Ludwig van Beethoven (1770–1827) Romance No. 1 in G Major for Violin and Orchestra, Op. 40 Instrumentation: flute, 2 oboes, 2 bassoons; strings Performance time: 16 minutes The Creatures of Prometheus, Op. 43 Instrumentation: 2 flutes, 2 oboes, 3 clarinets, 2 bassoons; 2 horns, 2 trumpets; strings; timpani Performance time: 21 minutes BACKGROUND If you think of Beethoven as the everserious composer who often made things difficult for himself, challenging his players and his listeners, you’re in good company. But his two lustrous romances for violin and his ballet score for The Creatures of Prometheus will defy your expectations. While Beethoven sometimes wrote “against” the instrument, pushing the conventions of technique, his two violin romances are sometimes called “violinistic”—written to fit the traditions that violin soloists love. That sense of comfortably fitting the instrument was not easily achieved, then or now. Like Mozart, Beethoven was himself a virtuoso instrumentalist (on the piano) who gravitated to Vienna for its culture of musical appreciation. In the late 1790s he was probably the city’s most eminent musical celebrity (Mozart had died in 1791). This time in Beethoven’s life is often called his “middle period,” and its compositions

engage large-scale ideas in the symphonies and concertos. The romances reveal him in a more relaxed vein. The Romance No. 2 was composed in 1798, four years earlier than the Romance No. 1, but was published four years later, in 1805, and bears a later opus number (50) than the G Major’s number 40. His violin concerto would come later—in 1806. The Creatures of Prometheus, too, shows us a different Beethoven than we usually encounter in concert. If we think of him as a composer who shunned narrative and stagecraft, this lilting ballet score proves us wrong—as does his opera Fidelio, which preoccupied him for a decade. The Creatures of Prometheus dates from the same period as the romances, in 1801, and rarely has a commission seemed so apt: No other composer is so often compared to Prometheus, the titan of Greek mythology who was sentenced to eternal torment for stealing fire from the gods and bringing it to humanity, and it’s irresistible to consider the possibility that the ballet Creatures of Prometheus resonated deeply with him. The ballet was choreographed by Salvatore Vigano, a sensationally charismatic dancer often compared to the 20th century’s Vaslav Nijinsky, who had dedicated it to Maria Theresa, the Archduchess of Austria. Since Beethoven had recently dedicated the score of his Op. 20 Septet to Maria Theresa, he was deemed an appropriate choice. WHAT TO LISTEN FOR Sometimes the magnificence of Beethoven’s ideas and craftsmanship can make the beauty of his music a bit exhausting for listeners. This is not so in the case of his Romance No. 1 for Violin

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and Orchestra. The lovely, singing lines of the Romance showcase the instrument’s singing qualities with songful, cantabile lines. Though it does not invoke the heroic struggles of his larger works, it reflects a confidence that reaches beyond the influence of Haydn and Mozart, who were Beethoven’s teachers. Though Beethoven was coming to grips with his deafness and social isolation in these years, we cannot hear this in the luminous, sylvan qualities of Prometheus. “I must confess that I am living a miserable life,” he wrote to a friend. “For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf.” Yet Prometheus conjures an idealized realm of classical grace and refinement that drew allegorical connections between the Hellenic past and the Viennese present. The title references Prometheus as the hero who freed mortals from ignorance through knowledge of science and the arts. Astute Beethoven fans will note that a quieter version of the overture’s opening chord progression is heard in the opening of his first symphony. Joseph Haydn (1732–1809) Symphony No. 94 in G Major, “Surprise” Instrumentation: 2 flutes, 2 oboes, 2 bassoons; strings; timpani Performance time: 20 minutes BACKGROUND Haydn enjoyed and studied the craft of musical composition right up to the end of his long life, and his skills were well suited to the symphony. Small wonder he

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wrote 104 of them, applying his mastery of form with the imagination and courage to innovate. With those strengths we might expect that he would have continued to write symphonies through the end of his life, but for the last decade of his life he put the symphony aside in favor of other forms. His last dozen symphonies are his “London Symphonies,” of which No. 94, the “Surprise,” is perhaps the best known. London was very, very good to Haydn. It was a city where music of quality was appreciated and commanded high prices; Haydn was known by reputation there long before he set foot in England, and his correspondence glows with pleasure at both the recognition and remuneration he received there. He composed the Symphony No. 94, the second of his London set, in 1791 and conducted the premiere in London’s Hanover Square Rooms in March 1793, seated at the fortepiano. WHAT TO LISTEN FOR As we listen to this symphony, we hear not only the origin of its nickname—for once, it is justified—but also Haydn’s special gift for working a joke into a serious work without disrupting its elegance. The opening movement, an adagio that opens onto a vibrant vivace, sounds conventional enough. In the second movement, we hear the surprise: the hushed, reticent statement similar to the melody we know as “twinkle, twinkle little star” is interrupted by an unexpected fortissimo chord accented by a kettle-drum strike. Tradition holds that Haydn inserted this joke to jolt snoozers in the audience—like an answer to Bach’s cantata “Sleepers Awake.” The humor comes from the total isolation of Haydn’s lightning bolt: just one blast, after which the orchestra reverts to softer volume.

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One of Haydn’s first biographers, G.A. Griesinger, asked Haydn whether he had cranked up the symphony’s volume for this purpose. His response: No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London and whose concerts had opened a week before mine, should not outdo me. [Pleyel later emerged as a successful composer, impresario and manufacturer of pianos.] Haydn certainly succeeded in this stated goal. His musical novelty created a sensation and remains popular to this day, combining beauty with a sense of mischief that can’t help but make us smile every time we hear it. Gabriel Fauré (1845–1924) Pavane, Op. 50 Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns; strings

stately, conjuring a sense of elegance perhaps tinged with melancholy as it ebbs and flows. WHAT TO LISTEN FOR Sometimes a piece takes on a life of its own, even if that means contradicting the composer’s original intentions. Friends of Fauré, including the conductor Sir Adrian Boult, noted that the composer’s own renditions of the piece were faster and lighter than were heard in the concert hall—almost sprightly, rather than stately, with a pace that never dropped below 100 quarter-notes per minute. Fauré himself is quoted as describing the Pavane as “elegant, but not important.” But from the very beginning, listeners not only loved the Pavane and clamored to hear it, but savored stately interpretations that emphasized the haunting beauty of the work. To us it does seem “important,” echoing with a sense of history and lit from within like a painting by an Old Master. The slower pace is now almost universally accepted, and as with Ravel’s Pavane, some listeners envision the Velázquez painting Las Meninas as they hear this work.

Performance time: 6 minutes Pablo de Sarasate (1844–1908) BACKGROUND The French composer Gabriel Fauré wrote limpid, supple music at a time when the French style was finding its way into modernism. He composed the Pavane originally as a work for piano and chorus, but later revised and orchestrated it, making the chorus optional. Interestingly, his pavane preceded Ravel’s better known Pavane for a Dead Princess by more than a decade, but both composers were fascinated by the same distinctive qualities of the pavane—a Spanish court dance that is moody and

Zigeunerweisen for Violin and Orchestra, Op. 20, “Gypsy Airs” Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; strings; percussion Performance time: 9 minutes BACKGROUND Public fascination and adulation for musical celebrities began with a handful

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of 19th-century violinists including Pablo de Sarasate, the Spanish violinist who played his first solo concert at age 8 and whose remarkable talents caught the attention of Queen Isabella II when he was 12. Sarasate was born four years after the death of the Italian violinist Niccolò Paganini, whose combination of virtuosity and theatricality gave rise to our modern idea of stardom. Riots were not uncommon at their performances, which—even more than those by their pianist counterparts, who included Chopin and Liszt—seemed magical and almost sinister in their spectacular effects. Could they really play like that without some supernatural aid, perhaps from a deal with the devil himself? Sarasate was one of many violin stars (including Paganini and, more recently, Fritz Kreisler) who were also composers. Their compositions were mainly showpieces that displayed their skills in especially engaging and impressive ways, and their intimate knowledge of the instrument added to their star power. In praising Sarasate, George Bernard Shaw noted, although there were many composers of music for the violin, there were few composers of violin music. In addition to their original compositions, violinists such as Sarasate proved indispensable when the greatest composers of the day were writing violin concertos.

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Composers as diverse as Brahms and Ravel turned to the Hungarian-Romani tradition of violin playing as a means of showcasing both hair-tossing emotionalism and virtuosic playing. Zigeunerweisen, translated from the German as “Gypsy Airs,” is Sarasate’s Opus 20, composed in 1878. He premiered it that year in Leipzig, and it has remained one of his most popular works. WHAT TO LISTEN FOR Melodic and zesty, Zigeunerweisen is built around a theme also used in Liszt’s Hungarian Rhapsody No. 13 (composed about 30 years earlier). More than just a “creampuff”—the term affectionately applied to Fritz Kreisler’s delicious concert confections—Zigeunerweisen spans four movements that are written and arranged for maximum dramatic impact as well as beauty. The first three movements are on the slow side and drenched with emotionalism. They require virtuosic playing but also a spontaneous quality, with the soloist alternately “digging” into the strings with a heavy bow or negotiating rapid, improvisational passages that embroider the main theme. But through all three movements Sarasate builds our anticipation of the blistering finale we know is coming: a bracingly fast allegro laced with doublestops, stratospheric harmonics and spiccato runs (with the bow bouncing dangerously on the strings). If you have a view of the violin soloist while listening, watch for pizzicato passages plucked with the left hand rather than the right.

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ST. MARY’S CHAMBER CONCERTS

Calcara plays Copland July 26

/ 2017 / 8PM / ST. MARY’S CHURCH CONNER GRAY COVINGTON, Conductor TAD CALCARA, Clarinet

DEBUSSY ORCH. BÜSSER

COPLAND

Petite suite I. En bateau II. Cortège III. Menuet IV. Ballet Concerto for Clarinet and Orchestra TAD CALCARA, Clarinet

GOODMAN ARR. TAD CALCARA

Avalon

/ INTERMISSION /

ROSSINI MENDELSSOHN

Overture to L’italiana in Algeri Symphony No. 4 in A Major, Op. 90, “Italian” I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto

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ARTISTS’ PROFILES

At 29 years of age, Conner Gray Covington was recently appointed Assistant Conductor of the Utah Symphony, a position he begins in the 2017–18 season. He is currently completing his tenure as the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he works closely with the Curtis Symphony Orchestra and the Curtis Opera Theater, while also being mentored by Philadelphia Orchestra Music Director Yannick NézetSéguin. He recently made his Carnegie Hall debut with the Curtis Symphony Orchestra sharing the podium with Ludovic Morlot. Conner Gray Covington Conductor

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Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. A recipient of a Career Assistance Award from the Solti Foundation U.S., in May 2016 he worked with the Nashville Symphony as a featured conductor in the Bruno Walter National Conductor Preview presented by the League of American Orchestras. Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He then went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington, where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music degree in orchestral conducting and was awarded the Walter Hagen Conducting Prize.

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ARTISTSâ&#x20AC;&#x2122; PROFILES

Tad Calcara Clarinet

Tad Calcara has been Principal Clarinet of the Utah Symphony since 1999. He began studying piano at age five and clarinet at twelve. Mr. Calcara studied clarinet at the Manhattan School of Music, San Francisco Conservatory of Music, and the Cleveland Institute of Music. In addition, he attended summer music festivals at Tanglewood, Aspen, and Music Academy of the West. Prior to his appointment with the Utah Symphony, he performed with the New World Symphony, Cleveland Orchestra, and the Grand Teton Music Festival Orchestra. When not performing with the Utah Symphony, he can be heard playing chamber music in and around Salt Lake City, or leading his 16-piece New Deal Swing Big Band, which specializes in classic jazz and swing music from the 1930s and 1940s. His performances with New Deal Swing have included concerts with the Utah Symphony, Salt Lake Jazz Festival, and centennial tributes to Benny Goodman and Artie Shaw. He has also performed with big band legends Franz Jackson (former member of the Fletcher Henderson and Fats Waller bands) and the sole surviving member of the Duke Ellington Orchestra, vocalist Herb Jeffries.

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NOTES ON THE PROGRAM

Claude Debussy (1862–1918), orch. Henri Büsser (1872–1973)

popular of these, and has become a staple of the concert repertory.

Petite Suite

WHAT TO LISTEN FOR Cheer, energy, and romantic chivalry are evoked in the brief movements of Debussy’s Petite Suite. And, as always with Debussy, there is the presence of water, a lifelong obsession. The suite’s first movement, “En bateau,” is celebrated for its evocation of a boat’s movement on the water. (“Motility” is a word musicologists frequently use in describing this section.) The succeeding three movements evoke gentlemen and ladies of the 18th century elegantly entertaining themselves and each other on dry land, presumably in opulently decorated rooms, often in stately dance steps.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; strings; percussion Performance time: 14 minutes BACKGROUND What is Impressionism in music? In compositions such as his Petite suite, Debussy shows us how evocations of mood and atmosphere could function as light does in Impressionist paintings. His instrumental color, texture, and meandering harmonies ignore traditional combinations. Where Impressionist paintings leave the world of objects behind, Impressionist music goes beyond earlier conventions of harmonic and rhythmic development, moving from one bar to the next in a spontaneous, organic flow. Debussy was fascinated by the writers of his day—particularly the revolutionary poets Stéphane Mallarmé and Paul Verlaine, and the Belgian Symbolist playwright Maurice Maeterlinck—as well as by the chromaticism of Wagner’s Tristan und Isolde. In this case, the first two of the four movements in Debussy’s suite are settings of poems from Verlaine’s Fêtes galantes, and the orchestral color is thanks to the deft orchestration by Debussy’s friend and colleague Henri Büsser. Debussy composed the suite from 1886 to 1889, originally scoring it for piano four hands, but it has spawned dozens of chamber and orchestral arrangements. Büsser’s is by far the most

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There’s nothing much wrong with these scenes except for their incompleteness… in particular, their lack of outright physical passion. Verlaine’s poems are pointedly anachronistic; the age of chivalry, which exalted chaste love without physical expression, was medieval and out of place by the 18th century, when his poems were set. Some listeners to Debussy’s settings of Verlaine’s restrained courtly lovers hear an inchoate wistfulness in the notes. But charm and simplicity are the qualities that have made this music enduringly popular. In fact, the suite may have been written to fulfill a request from the Parisian pianist and music publisher Jacques Durand for a piano suite suitable for private performance by skilled amateur musicians. If so, Debussy’s original setting—like Ravel’s similarly intended setting for his Ma mère l’Oye suite—only served to prove that nothing is more difficult than simplicity.

NOTES ON THE PROGRAM

Aaron Copland (1900–1990)

York, Boston, Philadelphia, Cleveland, Los Angeles, Chicago, and others.

Concerto for Clarinet and Orchestra Instrumentation: harp; piano; strings Performance time: 16 minutes Special note written by Tad Calcara BACKGROUND During the mid-1930s as the United States recovered from the Great Depression, a feeling of national optimism took hold which was complemented by a new era in popular music. When Benny Goodman (1909–1986) and his Orchestra hit it big in the summer of 1935, the Swing Era was born. Swing music, a form of jazz, was played by Big Bands made up of 16 to 20 musicians. For the next 20 years the top bands were household names and the musicians who played swing music were celebrities. Benny Goodman, who was crowned “King of Swing,” was heard everywhere, including the radio, records, and movies. His band was the first to present a concert of swing music at Carnegie Hall in 1938. Swing music required musicians who had the skills of a classically trained musician and a jazz improviser. Benny Goodman is an excellent example of such a musician. To show this versatility, Benny Goodman invited the Budapest String Quartet to perform Mozart’s Clarinet Quintet on his popular weekly radio show that was tuned into by more than 10 million listeners in the 1930s. This performance caught the attention of several of the great maestros of American orchestras and extended invitations for Benny Goodman to appear as soloist with the orchestras of New

With more engagements lined up for future performances, Benny Goodman began looking for more repertoire to play. He began commissioning new works for clarinet. Many composers were approached and the result was a major expansion of clarinet repertoire. Béla Bartók, Paul Hindemith, Darius Milhaud, Malcolm Arnold, Morton Gould, and many others contributed new works thanks to Benny Goodman. In 1947 Mr. Goodman commissioned Aaron Copland (1900–1990) to write a clarinet concerto. Copland completed the new work in 1948 for a fee of $2000. Although not a “jazz” piece there are numerous hints and subtle references that remind the listener that this was written for the King of Swing. The premiere took place in 1950 with Benny Goodman as soloist and Fritz Reiner conducting the NBC Orchestra. WHAT TO LISTEN FOR The work is divided into two large sections bridged by an extended cadenza for the soloist. The slow movement features a soaring melody that stretches from the sweet tones of the altissimo to the warm sonorities of the middle and low registers of the clarinet. With punctuation from the harp and piano, the strings create an ethereal bed of sound for the clarinet to weave the melody. The large open intervals favored by the composer creates an impression of expansiveness. All too soon the slow movement leaves with a trickle of sound—as the different orchestra sections melt away—leaving the clarinet alone. The clarinet cadenza has an improvisatory feel—creating the illusion of a jazz solo.

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A succession of arpeggios that explore different tonal centers brings the listener to a climactic end with a giant sweep from the clarinet’s lowest register to the highest— inviting the strings back upon entering the second movement.

Benny Goodman (1909–1986)

A jaunty melody is introduced by the clarinet which is echoed in the strings. This playful dialogue continues with the tune passed from the clarinet to the strings and piano. Copland requested some of Benny Goodman’s recordings while composing the Concerto. Some of the playful dialogue heard here in the Concerto is reminiscent of the Goodman trio and quartet recordings of the early 1940s. The jaunty nature is disrupted by a more urgent tone as the music tenses up. However, the buildup reveals a relaxed and humorous episode in which the basses employ a “slap” technique (Bartók pizzicato). This section escalates into a sparkling melody that dances between the clarinet and strings. The strings take over with a wild mixed meter section that rumbles along. Eventually the clarinet joins in for the ride, at which point the music once again intensifies toward a new relentless, forward beat. This new tempo charges along with the clarinet and strings engaging in a serious exchange similar to a “shout chorus” in a Big Band arrangement. Although the music begins to slow, the composer keeps the tension as if to hold a great weight from freewheeling. With a couple of crashing chords from the orchestra the clarinet reaches high into the range of the instrument and down low— before giving way to a sparkling upward glissando (“smear”)—with full orchestra joining in for one final shout.

Avalon was a popular song written in the 1920s by Al Jolson, Buddy DeSylva, and Vincent Rose. It is named after the famous town on Santa Catalina Island off the coast of Southern California. The tune had a rocky start as its main theme sounds similar to a work by Italian opera composer Giacomo Puccini. Puccini’s estate sued and won a lawsuit of copyright infringement! Regardless of this incident the song remained popular for years.

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Avalon Instrumentation: piano, percussion, upright bass, strings

In 1937 the Benny Goodman Orchestra’s “band within a band” known as the Benny Goodman Quartet made a recording of Avalon. Featuring the then unusual combination of clarinet, vibraphone (Lionel Hampton), piano (Teddy Wilson), and drums (Gene Krupa), the recording became a huge hit. Audiences cheered for Avalon at live performances, and it was featured at the band’s legendary Carnegie Hall Concert in 1938. Tonight’s version is based on the Benny Goodman rendition from 80 years ago. After the short introduction the clarinet states the main melody with a lush string accompaniment. With sustained harmonic support from the strings, the clarinet is free to improvise and “swing” along. The juxtaposition of the slow moving harmonies over the rapid swing beat dance tempo creates a fetching soundscape. A dialogue begins the third chorus as the clarinet “trades four” between

NOTES ON THE PROGRAM

different sections of the orchestra: violins, violas, celli, bass, etc. After this episode of playful call and response, a signal is heard which initiates the “shout chorus,” which features a tightly harmonized counter-rhythm that goes against the relentless walking bass line. This counter-rhythm brings the tune to an exciting conclusion that closes our swinging excursion across the sea to Catalina. Giaochino Rossini (1792–1868)

18 days, when he was 21; it proved so successful that he added Il Turco in Italia (“The Turk in Italy”) the following year. These operas are influenced not so much by Mozart’s German-language Entführung as by his prank-based romantic comedy Così fan tutte (“Women Are Like That”). Mixing opera seria and opera buffa styles, L’italiana follows the 19th-century convention of placing European characters in grossly caricatured Middle Eastern settings for comic effect.

Overture to L’italiana in Algeri Instrumentation: flute, 2 oboes, 2 clarinets, bassoon; 2 horns, 2 trumpets; strings; percussion Performance time: 8 minutes BACKGROUND In the late 18th and early 19th centuries, when foreign travel was a luxury reserved for the wealthy, the cultures of the Middle and Far East captured the European imagination. In the visual arts and in operas and ballets, these cultures—or wildly, cartoonishly distorted versions of them— were enthusiastically represented. Mozart offered his share in the familiar Rondo alla Turca (his “Turkish Rondo”) and in his comic opera Die Entführung aus dem Serail (“The Abduction from the Seraglio”). Rossini, who admired Mozart and tossed off sparkling comic operas with astonishing ease, contributed L’italiana in Algeri (“The Italian Girl in Algiers”) to the genre in 1813. Rossini composed the boisterous, farcical L’italiana in less than a month, and possibly (depending on the source) as little as

WHAT TO LISTEN FOR No one brings up a curtain like Rossini. In overtures by other composers, major musical themes that will return later as full-blown arias are previewed, giving a sense of the action as well as the music. But the L’italiana overture is typical of Rossini’s overtures, which were often composed in haste just before the premiere of a given opera, borrowing frequently from past compositions and employing a formula that was (and remains) a sure-fire crowd-pleaser: memorable tunes stated in paired repeats, with the musical stakes raised in each iteration; gradual, extended accelerandos and crescendos leading to brilliant climaxes that give us goose bumps; rapid ornamental passagework that delights with its decorative sparkle. If you think of this as “light music,” remember that Rossini’s demands on the players are heavy. Those long passages of ramped-up volume and speed require superb control, and the conductor needs a micrometer to pace them—along with superb baton technique to communicate minute changes in tempo and dynamic

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NOTES ON THE PROGRAM

level. As for those fleet, lacy ornaments, they must be played in perfect unison or else collapse into a mess of notes. Felix Mendelssohn (1809–1847) Symphony No. 4 in A major, Op. 90, “Italian” Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; strings; percussion

is Italy! And now has begun what I have always thought…to be the supreme joy in life…Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness.” Critics regard Mendelssohn’s musical renderings of the Italian landscape in his Symphony No. 4 and of the rugged Scottish coast in his Symphony No. 3 (from the same trip) as some of the most remarkable evocations of nature in all of music.

Performance time: 26 minutes BACKGROUND Felix Mendelssohn chose his parents well. He was born in 1809, when musical Classicism was giving way to Romanticism; his family, wealthy intellectuals, recognized young Felix’s musical talent early and ensured its development through the best instruction obtainable. Music historians are quick to note that his parents “were haunted by the ghost of Mozart,” but they were interested solely in fulfilling their son’s promise—unlike Leopold Mozart, who was always at pains to maximize young Wolfgang’s earning potential. As an adult, Felix Mendelssohn could well have chosen to enjoy his gifts at leisure. Instead, he worked doggedly and productively throughout his life, as if he knew he would die tragically young. Even Mendelssohn’s vacations were purpose-driven and extraordinarily fruitful. He was an avid traveler, and when his parents treated him to a grand tour of Europe from 1829 to 1831, he used it as a chance to hear musical styles on the continent and to use unfamiliar landscapes as musical inspiration. Mendelssohn was grateful to his parents for making this travel possible, and as listeners, so are we. In a letter to them while on tour, he wrote, “This 110

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WHAT TO LISTEN FOR If you’ve had a chance to travel in Italy, you’ll immediately recognize its beauties in Mendelssohn’s tone-painting. This symphony is uncannily accurate in evoking the Italian countryside and culture. Mendelssohn created his initial sketches for the symphony in Italy, but had long since returned home by the time he finished it in 1833. When he conducted the first performance in London at the invitation of the London Philharmonic Society, the symphony’s enormous success there made Mendelssohn one of the most important musicians in Great Britain. But he was never entirely satisfied with it, and continued to revise the work for the rest of his life. The first notes we hear, with devilishly rapid tonguing in the horns, capture the thrill of arrival and the opening of Italy before us in all its beauty. After the dramatic second movement, which depicts a Neapolitan religious procession, the horns once again take a crucial and demanding role (the dilemma of the horns?) in a minuet with distinctive ornamental touches drawn from Italian dance. In the breathless final presto movement these dances come to the fore with whirling saltarello and tarantella rhythms.

TESTIMONIALS

Summit Sotheby’s is proud to be a supporter of Utah Symphony | Utah Opera. The Deer Valley® Music Festival enhances our local cultural landscape and tourist economy through 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 attracts thousands of visitors from outside the county and state, building Summit County’s economic diversity and supporting a healthy, prosperous, and culturally-diverse citizenry. Thank you for your support, and enjoy tonight’s performance. Thomas Wright | President & Principal Broker

USUO Board of Trustees Member

Vivint is proud of our continued partnership with Utah Symphony | Utah Opera’s Deer Valley® Music Festival! These wonderful concerts, set against the world-class backdrop of Deer Valley Resort, provide both locals and visitors a unique experience to savor exceptional music while surrounded by pristine landscape. By providing this perfect natural balance of elegance, nature, and classical music, friends and families can create summer traditions providing lifelong memories of Park City. We truly look forward to this annual festival to kick off another remarkable summer! Alex Dunn | President

USUO Board of Trustees Member

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

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TESTIMONIALS

One of the reasons I enjoy spending summers in Park City is because of the treasure we have in our community with the Utah Symphony | Utah Opera. World-class performances are one of the privileges of living in Park City with opportunities throughout the year to attend performances in the fabulous venues offered in our vibrant community. Our family favorite is the Deer Valley® Music Festival because of the combination of a spectacular setting and some of the best concerts one can experience in any location. Performances at the Deer Valley® Snow Park Outdoor Amphitheater are events we look forward to every summer. We enjoy the music with family and friends in one of the most beautiful venues in the world. We always look forward to receiving the schedule of upcoming performances and have always been rewarded and entertained. Having been involved with the Utah Symphony | Utah Opera has provided a terrific opportunity to meet and greet a truly dedicated group of people involved in all aspects of the organization. Tony Marlon | Deer Valley® Music Festival Council Member

Deer Valley® Music Festival is one of the most important elements that contribute to Park City and Deer Valley’s special appeal. Visitors and residents know about our great ski slopes, miles of mountain bike trails, plentiful golf courses, and fabulous restaurants, but they are astonished to learn that Utah Symphony | Utah Opera calls Park City its summer home. One of my greatest pleasures is introducing friends to the events of the music festival. Whether enjoying a casual picnic on the Deer Valley® Snow Park Outdoor Amphitheater lawn or being pampered at the VIP dinners and special salon events, a memorable experience is assured. I find that folks often plan their summers around festival performances and develop a circle of friends who they look forward to seeing at festival events. Performances at Abravanel Hall in Salt Lake City and special events around the State of Utah provide entertainment of the highest caliber throughout the year. Bill Ligety | Deer Valley® Music Festival Council Member

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THANK YOU Utah Symphony | Utah Opera is grateful to our generous donors, who through annual cash gifts and multiyear commitments at the following levels make our programs possible.

DE E R VA LLE Y ® MUSIC FE STIVAL FOU N DE RS

Mark & Dianne Prothro

Bill & Joanne Shiebler

Jim & Susan Swartz

Bellecorp Perkins - Prothro Foundation

Shiebler Family Foundation

Swartz Foundation

M I LLE N N I U M LE V E L ($250,0 0 0 +)

Diane & Hal Brierley• Estate of Edith C. Brinn The Church of Jesus Christ of Latter-day Saints George S. & Dolores Doré Eccles Foundation Kem & Carolyn Gardner Mr. & Mrs. Martin Greenberg• Anthony & Renee Marlon•

Larry H. & Gail Miller Family Foundation Carol & Ted Newlin• O.C. Tanner Company• James A. & Marilyn Parke• John & Marcia Price Family Foundation Patricia A. Richards & William Nichols• Salt Lake County Theodore Schmidt

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E NCO RE LE V E L ($1 0 0,0 0 0 +)

Scott & Kathie Amann• Doyle Arnold & Anne Glarner• Dr. J. R. Baringer & Dr. Jeannette J. Townsend Dominion Energy

Emma Eccles Jones Foundation Roger & Susan Horn Janet Q. Lawson Foundation Ronald & Janet Jibson Edward & Barbara Moreton

William H. & Christine Nelson Dr. Dinesh & Kalpana Patel• Summit County Restaurant Tax/RAP Tax Utah Division of Arts & Museums/NEA

Gifts as of 5/15/2017

** In-kind & Cash Gift

*In-kind Gift

+Deceased

• Designates DVMF sponsor and/or VIP package supporter

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THANK YOU

B R AVO LE V E L ($50,0 0 0 +)

A. Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings• Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels*

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Cyd & Stephen Quinn• Albert J. Roberts IV Sinclair Oil Corporation Mr. & Mrs. G.B. Stringfellow Lois A. Zambo•

OV E RTU RE LE V E L ($25,0 0 0 +)

Anonymous Intuitive Funding• Arnold Machinery BMW of Murray | BMW of Pleasant Grove• Barbara Burnett R. Harold Burton Foundation Michael & Vickie Callen Rebecca Marriott Champion• Chevron Corporation• C. Comstock Clayton Foundation Deer Valley Resort**• Nora Eccles Treadwell Foundation

Dean E. Eggertsen Sue Ellis John H. & Joan B. Firmage• Kristen Fletcher & Dan McPhun• Elaine & Burton L. Gordon• Richard K. & Shirley S. Hemingway Foundation Carol Holding Tom & Lorie Jacobson• Love Communications* Charles Maxfield & Gloria F. Parrish Foundation Microsoft Corporation* Harold W. & Lois Milner•

Gifts as of 5/15/2017

** In-kind & Cash Gift

*In-kind Gift

+Deceased

Montage Deer Valley**• Moreton Family Foundation Alice & Frank Puleo• S. J. & Jessie E. Quinney Foundation Lori & Theodore Samuels• Harris H. & Amanda Simmons Stein Eriksen Lodge**• Summit Sotheby’s• Zibby & Jim Tozer• Vivint• Jack & Mary Lois Wheatley Edward & Marelynn Zipser

• Designates DVMF sponsor and/or VIP package supporter

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THANK YOU M A ESTRO ($1 0,0 0 0 +) Adobe Foundation• American Express Charitable Fund Haven J. Barlow Family B. W. Bastian Foundation Caffé Molise* Lois & Chris Canale• Howard & Betty Clark The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Pat & Sherry Duncan• Dr. & Mrs. Ralph Earle• Marie Eccles Caine Foundation Russell Family Chip & Gayle Everest• Thierry & Catherine Fischer

Gastronomy* Ann & Gordon Getty Foundation Leslie Peterson & Kevin Higgins Susan & Tom Hodgson• Hyatt Centric Park City**• Robert & Debra Kasirer• McCarthey Family Foundaton Mr. & Mrs. Charles McEvoy• Terrell & Leah Nagata• Opera America Ogden Opera Guild Promontory Foundation• Brad & Sara Rencher The Joseph & Evelyn Rosenblatt Charitable Fund

St. Regis/Deer Crest Club**• Simmons Family Foundation George & Tamie† Speciale Jennifer Speers Thomas & Marilyn Sutton• Jonathan & Anne Symonds• Norman C. & Barbara L. Tanner Charitable Trust The Tucker Family in memory of Tom Tucker• Union Pacific Foundation Utah Symphony Guild Wells Fargo Advisors, LLC Workers Compensation Fund•

Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2017 Deer Valley® Music Festival. B RO NZE ($8 ,0 0 0 +) Joseph Cleary

Robert & Elisha Finney

Mr. Joseph F. Furlong III

Holland & Hart** Jones Waldo James & Penny Keras Mr. & Mrs. Christopher J. Lansing Harrison & Elaine Levy Elizabeth & Michael Liess Wayne & Barbara Lyski Hallie & Ted McFetridge Jim & Ann Neal

Jim & Marianne Nelson Charles & Amy Newhall Brooks & Lenna Quinn Raymond James & Associates James & Gail Riepe Ben & Peggy Schapiro Tim & Judy Terrell Victory Ranch & Conservancy

Annie Lewis & Bob Garda Susan Glasmann & Richard Dudley David & Judi Harris Don & Lisanne Hendricks Sunny & Wes Howell Jerry & Mary Huffman Sherry & Jim Hulse Susan Keyes & Jim Sulat Jeanne Kimball Allison Kitching Merele & Howard Kosowsky Laura & Hanko Kiessner (Packsize International, LLC) Victoria Le Vine Bill Ligety & Cyndi Sharp Milt & Carol Lynnes

Keith & Vicki Maio Zelda Marzec Mr. & Mrs. Richard Mithoff Barbara & Tom O’Byrne Ray Pickup Joyce Rice Thomas Safran Shirley & Eric Schoenholz Tom & Gayle Sherry Mitch & Dawn Taubin Janet Thompson Mr. & Mrs. Glen R. Traylor Karen Urankar Gayle & Sam Youngblood

Snell & Wilmer Christine St. Andre & Cliff Hardesty

Stay Park City** Erik & Linda Watts

A M BA SSA DO R ($5,0 0 0 +) Edward Ashwood & Candice Johnson Dr. & Mrs. Clisto Beaty Larry & Judy Brownstein Mr. & Mrs. Neill Brownstein Deluxe Corporation Foundation Jack & Marianne Ferraro Lisa & David Genecov Ray & Howard Grossman Julie & Dave Hirz

PATRO N V I P ($3,0 0 0 +) Mr. & Mrs. Alan P. Agle Bob & Cherry Anderson Rob & Sandy Baker E. Wayne & Barbara Baumgardner David Brown Mr. & Mrs. John Brubaker Kelly Burt Mark & Marcy Casp Gary & Debbi Cook Sandra & David Cope Ruth & Phil Davidson Graeme Dayton Mike & Sheila Deputy Margarita Donnelly Carol & Greg Easton Blake & Linda Fisher

G R A SS PA SS ($2 ,0 0 0 +) Caroline & David Hundley Linda & George Mendelson

Gifts as of 5/15/2017

** In-kind & Cash Gift

*In-kind Gift

+Deceased

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• Designates DVMF sponsor and/or VIP package supporter

PHOTO: DECCA/ANDREW ECCLES

An evening with

RENÉE FLEMING IN CELEBRATION OF UTAH OPERA’S 40 TH ANNIVERSARY SEASON A FUNDRAISING GALA TO HELP SUPPORT UTAH OPERA’S EDUCATION PROGRAMS

September 13 (7:30 PM / ABRAVANEL HALL) kick off our 40th anniversary season with international opera sensation Renée Fleming. If you’ve already seen this world’s beloved opera singer on television, this is your chance to see her in person on the stage. Experience Ms. Fleming’s trademark lyricism as we celebrate Utah Opera’s past and support its future.

for vip package information, please contact 801-869-9011 or vipevents@usuo.org

4 0 T H A N N I V ER S A RY S E A SO N S P O N SO R

THE BOARD OF TRUSTEES

ELECTED BOARD David A. Petersen* Chair

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

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

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

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

E. Jeffrey Smith Barbara Tanner

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

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

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

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MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Carol Radinger Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

FESTIVAL COUNCIL

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

Welcome to our fourteenth season here in beautiful Deer Valley. As we look forward to another rewarding season of great entertainment, I can’t but comment on how fortunate we are to have the Utah Symphony Orchestra spend their summer with us. Not only do they share their many talents with us here in Deer Valley and Salt Lake City, they also continually reach out to share their expertise with the less fortunate. A prime example of their artistic generosity occurred just several months ago when a large contingent from the orchestra including Maestro Thierry Fischer travelled to Haiti at their own expense to work with musicians from throughout the island. For many this was the first formal instruction in over nine years. For all it was a most rewarding experience. While we’re handing out thank you’s, we would be remiss not to extend a most sincere thank you to you our audience. Without your presence and financial support, there would be no Festival. From our inception some fourteen years ago right up to this present year, our success has been enabled by such founding donors as the Prothros, Shieblers, and Swartzes and ongoing annual donors such as the Marlons, Parkes, and Brierleys. Having thanked one and all, I now invite you to enjoy to the fullest our 2017 Deer Valley® Music Festival. We look forward to welcoming you to each performance of your choice. TED NEWLIN, Chair Deer Valley® Music Festival Executive Council

DEER VALLEY® MUSIC FESTIVAL ADVISORY COUNCIL Lynn Fey Joseph F. Furlong Michael Liess Elinor McLaren Hal Milner Lois Milner

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EXPERIENCE DEER VALLEY® MUSIC FESTIVAL AS A VIP Fully experience Deer Valley® Music Festival with one of our VIP packages. You can make a meaningful difference in providing music education to every school district in Utah while also receiving Festival VIP benefits. Become a Patron, Ambassador, Bronze, Silver, Gold, or Platinum VIP Today! Benefits include premium VIP reserved seating, VIP parking, access to the VIP dinner, discounted tickets, donor recognition, personalized ticketing assistance, Festival gift, and more.

for more info about deer valley® music festival vip packages:

DeerValleyMusicFestival.org/VIP

vipevents@usuo.org | (801) 869-9011

2017 DEER VALLEY® MUSIC FESTIVAL SALON SERIES Experience the distinctive flair of artists, gracious hosts, and delicious food. Presented in intimate settings in luxurious area homes, the Salon Series offers guests close-range virtuoso performances by amazing artists.

ULTIMI 3 TENORS

KEVIN COLE

Featuring / Isaac Hurtado, Nathan Northrup, and Brian Stucki Hosted by / Kathie and Scott Amann at the home of Erik and Linda Watts

Featuring / Kevin Cole, piano and vocals, Guest Artist for “Gershwin’s Greatest Hits” Hosted by / Eric and Nancy Garen

HUSH & JOSLYN POOLE

REI HOTODA

Thursday, July 6 (7 pm)

Thursday, July 27 (7 pm) Featuring / HUSH and Joslyn Poole, vocals Hosted by / Howard and Barbara Wallack

Thursday, July 13 (7 pm)

Thursday, August 3 (7 pm) Featuring / Rei Hotoda, piano Erin Svoboda, clarinet Whittney Thomas, viola

for more info about deer valley® music festival salon events:

DeerValleyMusicFestival.org/Salon vipevents@usuo.org | (801) 869-9009

KUED

Celebrates the Arts

From drama to opera, dance and art, no other channel brings more arts and cultural programming to Utah than KUED.

kued.org/value

DEER VALLEYÂ® MUSIC FESTIVAL SERIES SPONSORS

SUMMER SYMPHONY SPONSOR

SUMMER ENTERTAINMENT SPONSOR

CHAMBER SERIES SPONSOR

BMW OF MURRAY BMW OF PLEASANT GROVE

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

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LEGACY GIVING

There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrowâ&#x20AC;&#x2122;s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

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GEORGE S. AND DOLORES Dort EcGLES SORENSON LEGACY

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SUPPORT USUO

The heart of the Deer Valley® Music Festival lies in our community. We are dedicated to bringing excellent music to all through extensive education initiatives and diverse programming, and we do so with support from patrons like you. Not only do we perform with a variety of beloved acts on the hill during the summer, but we tour K–12 schools all year, reaching over 140,000 children across the state of Utah annually. Please make your gift now by visiting usuo.org/give or by calling 801.869.9015. “Our experience with the Utah Symphony has been lifechanging. Park City (and Utah in general) is blessed to have such an outstanding professional orchestra as part of our musical scene. Our communities are richer in the arts and as a result our lives are enriched.” – High school orchestra director in Summit County

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435-333-CLUB • 888-370-CLUB • P R O M O N T O RYC L U B . C O M Obtain the property report, required by federal or state law, and read it before signing anything. No federal or state agency has judged the merits or value, if any, of this property. Plans subject to change without notice. © 2017 Promontory Development, LLC. Each individual office is Independently Owned and Operated.

TANNER & CRESCENDO SOCIETIES

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Shelly Coburn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

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

Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace

Turid V. Lipman Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dianne May 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 Barbara Burnett† Estate Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Dorothy Freed† Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Shelly Coburn Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers

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

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased [ DeerValleyMusicFestival.org ] 129

DEER VALLEY® MUSIC FESTIVAL Q & A

DVMF Q&A Violinist Claude Halter shares a lighthearted view on what makes playing at the Deer Valley® Music Festival so enjoyable as a professional musician.

Claude Halter and Mark Davidson backstage.

DEER VALLEY VERSUS ABRAVANEL HALL: The most impactful difference to me about playing outside at the Deer Valley® Music Festival as opposed to inside Abravanel Hall is that while we perform at Deer Valley, I am in the direct path of the smell of the hamburger patties getting charred at the food stand. The only way for me to stay focused is to arrive a bit early and devour at least one hamburger before the show starts! FAVORITE PARK CITY ACTIVITIES: My favorite thing to do in the summertime is a long mountain bike ride. A favorite ride of mine is doing a big loop starting from the PCMR parking lot and making my way to the Wasatch Crest Trail, and then back. The trails are a blast and the scenery is breathtaking. After the ride is over, I am obliged to enjoy a cold beer in town (unless I have a show that night obviously). MUSICAL MEMORY: Playing with Earth Wind and Fire [in 2012]. The energy on stage and in the audience was incredible. TIPS FOR CONCERT-GOERS: I haven’t been in the audience at an outdoor concert in many years but when I did, a careful selection of cheese and cold white wine was definitely a must for a successful night.

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456 Trolley Square Salt Lake City, Utah 84102 801.359.2020 www.thespectacle.com

INSIGHT FROM THE INSIDE

Principal Trombone Mark Davidson loves the experience of playing on a stage under the stars at the Utah Symphony’s summer home in Deer Valley. He shares his top picks on how to enjoy Park City like a local—eating, drinking and recreating! ON PLAYING OUTSIDE VERSUS INSIDE Deer Valley is simply one of the most desirable and attractive settings in the country. I have had the great fortune to perform at many of the nation’s leading orchestra summer venues, and am proud to report that we have it pretty good here. Positioned at the base of the mountain, the stage faces the slopes, providing a perfect backdrop for the sound to travel and a great seating angle for the audience members to have a picturesque background view while listening to a performance. The orchestra has a dedicated team of sound engineers and stage set up crews that can adjust the orchestra’s seating to reach just the right balance of sound production to the backdrop, and this varies slightly for

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each performance. Heating lamps are often needed on stage to keep us warm, but more importantly for our instruments’ high pitch discrepancies that fluctuate wildly with temperature differences. Many of the attributes that make up a suitable outdoor venue are quite contrary to the orchestra’s home at Abravanel Hall in Salt Lake City where we perform during the winter season. With a resonant ring to each chord, Abravanel Hall is simply a sought-after environment to enjoy a live music performance. Complex works such as Mozart’s Requiem and Hallelujah Chorus from Handel’s Messiah are pieces that would rarely be heard in an outdoor setting, but thrive in the concert hall. Sound production and the ability to achieve maximum resonance on every note with minimal effort is more attainable in Abravanel Hall, though both spaces are enjoyable. EATING, DRINKING AND RECREATING Park City is one of my favorite destinations in Utah, and an attraction to many around

INSIGHT FROM THE INSIDE

the country. From the outdoor activities to wine and film festivals, this area has enough options appealing to just about everyone. Some of my top go-to spots these days include Pink Elephant Coffee Roasters (small batch artisan coffee with excellent lattes), Five5eeds (farm to table brunch spot with amazing Shakshouka), and Red Bicycle Breadmakers in the Market at Park City (must try the mocha toast!). Red Bicycle is extra special because they ship their breads to a few select stores in Salt Lake such as Publik Coffee and Publik Kitchen. Last but not least has to be the No Name Saloon for beverages and character (be sure to sit out on the rooftop and watch the sunset). Beyond the foodie and coffee spots, Park City offers an award winning gold-level mountain biking trail system with over 450 miles of trails! Aside from the vastness of trails, nice weather, optimal dirt, and varied terrain, mountain biking has become a part of the culture in PC and consists of the friendliest riders of all levels who seem to share the vision of enjoying and protecting the trails. As someone who also has aspirations of an avid road cyclist, I also enjoy riding up the canyons in the summertime and even taking Guardsman Pass via Big Cottonwood Canyon into Deer Valley and Park City, as well as riding Wolf Creek Pass. These all share some of the most scenic views imaginable, which can be enjoyed while riding along the long winding roads. FESTIVAL HIGHLIGHTS There are many memories I have cherished over the past few years at the Deer Valley® Music Festival. The Utah Symphony’s

management does an excellent job choosing artists who are high in demand, character, and artistry. When this is combined with sold-out audiences, the effect is quite electric and intense. The B52s, Ben Folds, and the John Williams Spectacular performances are just a few of our well planned programs presented that highlighted the aura of the Deer Valley® Music Festival. All of these performances produced an energy that was synergetic with the audience. This is never to be taken for granted, for I believe there is somewhat of a mystical element that is truly special and unique between the patrons, the artists and our orchestra. For the 2017 summer season at Deer Valley, I’m most looking forward to The Beach Boys, The Music of Prince, Harry Potter and the Sorcerer’s Stone™ in Concert, Gershwin’s Greatest Hits, and Ben Folds. All of these performances are sure to attract the most enthusiastic of audience members. HOW TO FEST LIKE A LOCAL The Utah Symphony’s concerts stand alone and are great by themselves, but a little extra planning and style can greatly add to one’s experience. Plan to arrive early and enjoy food and drinks with friends and family in Park City or at Deer Valley before the concert. Be sure to bring a couple of thick blankets to relax on, a cooler of beverages, and then just enjoy the audience camaraderie whilst listening to the illustrious orchestra and artists perform great music. After the performance, try relaxing on the lawn for a bit while allowing the traffic to calm, and make a visit to Main Street for a post-concert snack at No Name Saloon or one of the many other fine establishments.

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MAKING WAVES IN HAITI

Principal Flute, Mercedes Smith, reflects upon a life-changing service mission she went on with 16 Utah Symphony colleagues, including Music Director Thierry Fischer, to teach classical music students in Haiti.

Last March I was among 16 musicians from the Utah Symphony who, along with Maestro Thierry Fischer, traveled to Haiti to create the first-ever Haitian National Orchestral Institute. We traveled at our own expense during our spring break week and raised $30,000 to cover the cost of travel, room and board for the students. Over the course of one extraordinary week, we worked with 113 students from 19 different music programs throughout Haiti. Since most of the institute’s students are also teachers themselves, it is estimated that at least 1,000 Haitian musicians have already benefited directly and indirectly from this program. Many of the students described the institute as “life-changing.” They may not realize that it was as much a life-changing learning experience for me as it was for them. While parts of Haiti rival the beautiful beaches of our own West Coast, in many areas people endure abject poverty—living in make-shift shacks alongside garbage, open sewers, and unfathomable filth, with no running water and very unreliable electricity. Because of Haiti’s political and economic challenges, education is not

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accessible for every child, making upward mobility for those in the poorest, lowest class extremely difficult. My colleagues and I worked in conjunction with the organization BLUME (Building Leaders Using Music Education) which supports music programs across Haiti. Through this connection we were able to access a (surprisingly) growing network of music schools in order to work with Haiti’s most dedicated student/teachers in this groundbreaking initiative. Like most symphony players, I’ve spent considerable time teaching music to children. Even if those children don’t go on to pursue music as a career, they will have learned crucial skills (teamwork, focus, work-ethic, leadership, etc.) that will help them no matter their path in life. More than sports or other art forms, music, especially in an orchestral structure, teaches kids about leadership and working together toward a common goal in which everyone is a winner. When we teach a child that anyone can be a leader—no matter how disadvantaged—that child then has a tool to rise up from their current station in life.

MAKING WAVES IN HAITI The impact we were able to make in Haiti has inspired me to become more involved in my own community through organizations like El Sistema that provide free afterschool orchestra programs to underserved communities. While the problems in our own community pale by comparison to the vast challenges most Haitians face, my short time in Haiti taught me that as citizens of a wealthy country, we mustn’t squander our good fortune.

Each one of us can find a way to help others. I have the hard-working, generous people of Haiti to thank for teaching me that the most important thing we can do with our talents is to share them with those who need it most… to empower them to be agents of change to lead their own communities and countries toward a better future.

THANK YOU TO OUR ADVERTISERS Ad Council Berkshire Hathaway BMW of Murray/Pleasant Grove BTG Wine Bar Caffé Molise Challenger School City Creek | Living Classical 89 David Dee Fine Arts Deer Valley Resort Dominion Energy Eldredge Furniture The Equine Pavilion Ethan Allen Excellence in the Community Explorer Logan Foothill Oriental Rugs Grand America Grand Teton Music Festival Hamilton Park Interiors Holland & Hart Hyatt Centric JazzSLC Kirton | McConkie

KUED KUER Larry H. Miller Lexus Little America Hotel Live! at the Eccles Mercedes-Benz of Salt Lake City Minky Couture Moab Music Festival Montage Mountain America Credit Union New World Distillery New Yorker Park City Restaurant Association Pioneer Theatre Company Promontory Park City RC Willey Regency Royale Reliable Tree Care Ruby’s Inn San Juan County The Spectacle St. Regis

Stein Eriken Lodge Summit | Sotheby’s International Realty Thomas N. Jacobson Tim Dahle Infiniti Tuacahn Amphitheatre University of Utah Healthcare Utah Food Services Utah Shakespeare Festival vivant.SmartHome Wasatch Speaker Series Windermere Real Estate Zions Bank

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

UTAH SYMPHONY MUSICIANS BY THE NUMBERS

Average age musicians were when they won their audition for the Utah Symphony

Average number of auditions musicians took before winning their position in the Utah Symphony

LANGUAGES SPOKEN English French German Japanese Korean Mandarin Norwegian Spanish Klingon

Average age musicians started music lessons

200+

11 20 23 Number of states/territories musicians have performed in

Number of countries musicians have performed in

Students taught privately in the SALT LAKE CITY area

Average number of hours per week spent practicing, making reeds, studying scores, and preparing outside of rehearsals and performances

Average age musicians started training on the instrument they play now

UFS_SymponyAd_1116sized.indd 1

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ADMINISTRATION

ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Ali Snow Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts

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Natalie Cope Director of Major Gifts Kate Throneburg Director of Individual Giving Heather Weinstock Manager of Special Events & DVMF Donor Relations Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Chelsea Kauffman Annual Fund Coordinator Steven Finkelstein Development Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Communications & Digital Media Chad Call Marketing Manager Mike Call Website Manager Aaron Sain Graphic Design & Branding Manager Kathleen Sykes Digital Content Producer Tyler Bloomquist Junior Graphic Designer PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Risa Bean Joshua Figueroa Jackie Seethaler Powell Smith Elliott Wood Sales Associates Nick Barker Mara Lefler Rhea Miller Nava Payandeh Anthony Roberts Ry’lee Scott Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO

Mike Lund Director of Information Technologies 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 Kyleene Johnson Symphony Education Assistant Paul Hill Opera Education Assistant OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter Travis Stevens Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Daniel Hill Michelle Laino Wigs/Make-up Crew

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

UTAH SYMPHONY

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

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

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda

BASS* David Yavornitzky Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

Jennifer Rhodes

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

TIMPANI George Brown Principal

CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal ††

Alexander Love Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot Associate Principal

Lissa Stolz

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MEET THE MUSICIANS

Meet the musicians of the Utah Symphony! Our musicians audition from all over the world and we are honored they have brought their talents to our community. Enjoy getting to know them and follow their adventures on Facebook or Instagram @musiciansutsym or at www.musiciansutahsymphony.com Each musician was asked the following questions: How long have you been playing your instrument? What is your favorite outdoor activity? What is your favorite piece of music to perform? Who is your favorite composer?

Madeline Adkins, violin Since I was 5 Hiking Prokofiev & Mendelssohn

Tad Calcara, clarinet Since 1983 Anything at the beach, especially in the water Swing music of the 1930s/40s Mozart and Duke Ellington

George Brown, timpani 48 years Hiking Stravinsky’s The Rite of Spring Depends upon my many moods. Sometimes, it’s simply silence.

Keith Carrick, percussion 25 years Hiking Mahler Stravinsky

Lisa Byrnes, flute 40 years Hiking Debussy’s La Mer Debussy

Jerry Chiu, violin 24 years and counting Skiing Mahler’s Symphony No. 9 Mahler, Nas, Biggy

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2017 / DEER VALLEY ® MUSIC FESTIVAL

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

PRO-AM CLINICS July 8 (strings); July 15 (woodwinds); July 29 (brass) Amateur musicians can hone their musical skills under the mentorship of Utah Symphony musicians. Clinics will be held at Park City High School (1750 Kearns Blvd), from 3–5 pm on select Saturdays in July. • Cost is $25 per musician • Registration will begin online May 22 at DeerValleyMusicFestival.org

FAMILY INSTRUMENT PETTING ZOO Friday, July 28 (6–7 pm) • • • •

Preceding the DISNEY IN CONCERT: A DREAM IS A WISH concert Instruments provided by Summerhays Music Behind Snow Park Lodge Ticket Office Available to all ticket holders

PLAZAFEST • July 1: Utah Conservatory Patriotic Kids Camp will sing patriotic tunes on the plaza before the Patriotic Celebration concert. • Wednesdays: Young instrumentalists offer pre-performance music at St. Mary’s Church concerts. • August 5: The Park City Rockers @ Utah Conservatory will perform on the plaza preceding the Classical Mystery Tour concert.

MUSICAL THEATRE AUDITION MASTERCLASS Saturday, July 1 (2–3:30 pm) Guest conductor Jerry Steichen will conduct a musical theatre audition masterclass for students of Utah Conservatory and Egyptian YouTheatre. The class will be held next door to the conservatory at St. Luke's Episcopal Church (4595 Silver Springs Drive). Audience attendance is free and open to the public.

for more info about deer valley® music festival education events:

DeerValleyMusicFestival.org

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VOLUNTEERING WITH UTAH SYMPHONY | UTAH OPERA

MEET THE MUSICIANS

ahler Leon Chodos, bassoon 30 years Softball Brahms’ German Requiem Brahms

Kathryn Eberle, violin My first violin lesson was on my third birthday Hiking in our beautiful state! Any chamber music by Beethoven, Mozart, or Brahms; I also really love playing the Strauss tone poems Beethoven

Julie Edwards, viola A very long time! Being outside with my husband and dogs! The one I’m playing! Mozart, Mahler or anything for viola!

Samuel Elliot, trombone Since 8th grade, so about 14 years For outside, I like to grill, meat mostly The Miraculous Mandarin by Bartók

Rainer Eudeikis, cello 20 years, since 6 years old Walking the dogs, occasional snowboarding So hard to pick one, but Mahler 2nd Symphony is definitely up there Probably Dvořák

Joel Gibbs, viola 25 years Camping in southern Utah Stravinsky’s The Rite of Spring Prokofiev

Wen Yuan Gu, violin I have studied the violin for 40 years I love to walk and hike Mahler symphonies J.S. Bach

James Hall, oboe 40 + years Hiking with my dog Bartók’s Concerto for Orchestra Ravel

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MEET THE MUSICIANS

Walter Haman, cello 30 years Walking with my dog, Rufus Beethoven Symphony No 9. The end is the greatest celebration of spirit ever J.S. Bach. His music is so pure, brilliant, masterful, and perfect

Eric Hopkins, timpani Playing percussion for 14 years I love all the outdoor activities, and canyoneering is my current favorite Barber’s Knoxville: Summer of 1915 Queen

Llew Humphreys, horn 51 years Biking, Trail Running Anything Mahler Vaughan Williams

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Corbin Johnston, bass 35 years Backpacking in the Sierra Nevadas Anything by Franz Schubert or Anton Bruckner Ornette Coleman

Carl Johansen, cello I’ve been playing the viola as my main instrument since finishing my master’s degree in violin at Manhattan School of Music. I started violin at age 9 Paragliding Transfigured Night by Arnold Schoenberg or Tchaikovsky’s 6th Symphony I think if I had to choose I’d say Brahms. Of course we don’t like to choose. Which kid do you love most?

Matthew Johnson, cello 30 years Vegetable gardening Stravinsky’s Petrouchka Beethoven

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Veronica Kulig, violin 52 years Cycling Mahler’s Symphony No. 2 Beethoven, Bach, Brahms, Mahler, Verdi, Berlioz…and many, many more.

Andrew Larson, cello 25 years Walking (sometimes hiking) The Rite of Spring, La Mer or Mahler’s Symphony No. 7 Brahms, Prokofiev, Bruckner, or Françaix

David Langr, violin 49 years Collecting minerals and hiking Mendelssohn’s Octet Mahler

Anne Lee, cello I started playing the cello at age 5, so for 30 years now! Skiing in the winter and mountain biking in the summer Mahler symphonies or the Bach Solo Suites Bach, Mahler, Beethoven, Debussy, Prokofiev, Brahms... I can’t stop!

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Scott Lewis, viola 54 years Paragliding Bartók’s Viola Concerto Depends on the mood I’m in

Edward Merritt, bass 18 years Going fast down mountains Mahler’s Symphony No. 2 J.S. Bach

Lee Livengood, bass clarinet 43 years Hiking or Grilling Any chamber music with friends Shostakovich for Orchestra, Mozart for everything else

Caitlyn Valovick Moore, flute/piccolo 25 years on the flute and about 20 years on the piccolo Biking Any Shostakovich symphony is going to be at the top of my list Shostakovich, because he wrote so well for the piccolo

Alex Martin, violin 24 years Baseball Schoenberg’s Transfigured Night Mahler

Ralph Matson, violin Since early childhood Hiking Anything Dvořák Tchaikovsky

Jeff Luke, trumpet 40 years Baseball Handel’s Music for the Royal Fireworks Stravinsky

Peter Margulies, trumpet 46 years Commuting on my bicycle Artistry in Boogie with the Stan Kenton Orchestra J.S. Bach [ DeerValleyMusicFestival.org ] 147

MEET THE MUSICIANS

Nick Norton, trumpet 53 years Hiking Often the one I am working on (but not always) Also, the answer changes with time, but J.S. Bach is always there

Gary Ofenloch, tuba 56 years Hiking Mahler Symphony No. 2 J.S. Bach

Hugh Palmer, violin 25 years Basketball Mahler Symphony No. 5 J.S. Bach

David Porter, violin 40 years Skiing, Biking, Hiking Any Chamber music Mozart

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Jennifer Rhodes, bassoon 28 years Running Brahms’ German Requiem Debussy

Louis-Philippe Robillard, cello 30 years I love camping and hiking Mahler’s Symphony No. 1, 2, 5 or 6, Strauss Rosenkavalier Suite, Shostakovich Symphony No. 5 or 11... It’s hard to pick one! I would say J.S. Bach, but only for certain works! I never get tired of Bach’s Cello Suites, Violin Partitas or Goldberg Variations

Lynn Maxine Rosen violin Since I was 7 years old Hiking, tennis, skiing and swimming Mendelssohn’s “Italian” Symphony Mozart or Mendelssohn, or J.S. Bach

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or call 801-355-ARTS (2787) or visit the Eccles Theater Box Ofﬁce George S. and Dolores Doré Eccles Theater • 131 Main Street • Salt Lake City

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THINK YOU KNOW THE DIFFERENCE BETWEEN A VIOLIN AND A VIOLA? A TENOR AND A BARITONE? A CLARINET AND AN OBOE?

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VISIT OUR YOUTUBE CHANNEL AT:

Hear their personal stories and their instruments’ role in the orchestra

HEAR THEM PLAY

Listen to a solo and an excerpt of Beethoven’s Ode to Joy

youtube.com/user/usuovids/playlists

LEARN ABOUT OPERA

Gain insights into opera performance and voice types

Discover the colors and timbres of each operatic voice type and each instrument of the orchestra with the UTAH SYMPHONY | UTAH OPERA Online Video Libraries.

WWW.USUOEDUCATION.ORG

MEET THE MUSICIANS

Kevin Shumway, cello 38 years Beachcombing The Violin Concerto of Kurt Weill. No, just kidding, that doesn’t have any cellos. I guess Rachmaninoff’s Variations on a Theme of Paganini tops my list A tie: J.S. Bach and Brahms

Mercedes Smith, flute 24 years Walking my dog—he charms everyone in the neighborhood with his scrappy style and positive attitude! Stravinsky’s Petrouchka Brahms

Lissa Stolz, oboe and English horn 25 years Picnicking Dvořák’s New World Symphony Bach

Erin Svoboda, clarinet/e-flat clarinet 25 years Hiking with my dogs Stravinsky’s The Rite of Spring Shostakovich

Whittney Thomas, viola 12 years Running Mahler’s Symphony No. 2 Mahler

Lori Wike, bassoon 28 years Kayaking in the Great Salt Lake Hopefully whatever I’m playing on a given week I love the way Shostakovich wrote for the bassoon

Julie Wunderle, violin 27 years Hiking Shostakovich’s Symphony No. 2 Anything Russian

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ACKNOWLEDGMENTS

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

Utah Symphony | Utah Opera is an equal opportunity employer. Utah Symphony | Utah Opera policy prohibits unlawful discrimination based on race, color, creed, sex, marital status, sexual orientation, age, national origin, ancestry, handicap, disability, medical condition, or any other consideration made unlawful by federal, state, or local laws. Abravanel Hall and Janet Quinney Lawson Capitol Theatre are owned and operated by Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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