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Proud Sponsor of The Deer ValleyÂŽ Music Festival We know what it takes to complete a successful performance. There is no substitute for working hard, staying on top of your game and accepting only perfection. We are proud of our participation in the Utah community working to bring new and vibrant businesses to our state. We understand business and we are equipped through our various affiliations to undertake any assignment, large or small. Assisting our community in the following areas: Real Estate related issues Environmental matters Employment Business organization and transactions, both international and domestic.
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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL
Welcome to the 16th Annual Deer Valley® Music Festival and thank you for joining us for tonight’s concert. We are truly appreciative and grateful for your support, and we are proud to call Park City and Summit County the Utah Symphony’s summer home!
Paul Meecham President & CEO
As you look through this program we think you’ll agree we have a varied and exciting group of guest artists joining the renowned Utah Symphony for this year’s Deer Valley® Music Festival. Whether you are lounging under the stars with a picnic with friends and family, or enjoying a glorious evening of chamber music in the stunning acoustics of St. Mary’s Church, we know these are performances you will remember and treasure for years to come. Beginning this fall, we hope you will join us for USUO’s 2019–20 Season, which includes a wide variety of performances in Abravanel Hall and the Janet Quinney Lawson Capitol Theatre in Salt Lake City as well as at USUO’s new Utah County venue at the UVU Noorda Center for the Performing Arts in Orem! We also hope to see you on August 31st when the Utah Symphony with Music Director Thierry Fischer will share the stage with Sting at the USANA Amphitheater as we help celebrate 100 Years of Zion National Park! Sincerely,
Kem Gardner Chair, Board of Trustees
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Deer ValleyÂŽ Music Festival
DeerValleyMusicFestival.org 7
T H E R E D R O C K WA S C A L L I N G T H E R E D R O C K WA S C A L L I N G
Kirton McConkie is excited to announce the opening Kirton McConkie is excited to announce the opening of our official fourth location, in St. George. of our official fourth location, in St. George. We welcome seven new attorneys and their clients. We welcome seven new attorneys and their clients. Legal Insight. Business Judg ment. P rof essional Integ r it y. Legal Insight. Business Judg ment. P rof essional Integ r it y. T Y, U T S AS A L LTT LL A AKKE EC I C I T Y , U| T T Y, U T S AS A L LTT LL A AKKE EC I C I T Y , U| T
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K M C L AW. C O M KM C L AW. C O M K M C L AW. C O M KM C L AW. C O M
CONTENTS Mills Publishing, Inc. Publisher Dan Miller President Cynthia Bell Snow Office Administrator Jackie Medina Art Director/ Production Manager Patrick Witmer Program Designer Ken Magleby Patrick Witmer Katie Steckler Graphic Designers
ESCAPE INTO THE MUSIC
Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders Advertising Representatives
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Utah Symphony
Caleb Deane Administrative Assistant
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The Board of Trustees
Melissa Robison Editor
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Deer Valley® Music Festival Council
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Principal Conductor
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Deer Valley® Music Festival Series Sponsors
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.
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Community Pop-ups
© Copyright 2019
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Experience DVMF as a VIP
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Thank You
142
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Legacy Giving
143
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Tanner & Crescendo Societies
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Welcome to Deer Valley® Music Festival
6 » Testimonials 15 » Administration
29 » Deer Valley® Music Festival Concerts 130
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Q&A with Volunteer Sue Stowe
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Festival Map
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Park City “Staycationing”
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Hill Rules
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Upbeat Society of Emerging Leaders
144 » Acknowledgments 145
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Support USUO
DeerValleyMusicFestival.org 9
CONTENTS
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CHRIS BOTTI with the Utah Symphony
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MARIE OSMOND with the Utah Symphony
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PATRIOTIC CELEBRATION with Broadway’s Hugh Panaro
Deer Valley® Music Festival
JUNE 29 | 7:30 PM | DEER VALLEY RESORT
JULY 5 | 7:30 PM | DEER VALLEY RESORT
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BRAVO BROADWAY! Life is a Cabaret
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MENDELSSOHN’S VIOLIN CONCERTO
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JUNE 28 | 7:30 PM | DEER VALLEY RESORT
JULY 6 | 7:30 PM | DEER VALLEY RESORT
JULY 10 | 8 PM | ST. MARY’S CHURCH
ARETHA A Tribute to the Queen of Soul JULY 12 | 7:30 PM | DEER VALLEY RESORT
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E.T. THE EXTRA TERRESTRIAL Film in Concert with the Utah Symphony
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SCHUMANN’S CELLO CONCERTO
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DISNEY IN CONCERT A Magical Celebration
JULY 13 | 7:30 PM | DEER VALLEY RESORT
JULY 17 | 8 PM | ST. MARY’S CHURCH
JULY 19 | 7:30 PM | DEER VALLEY RESORT
CONTENTS
85
RENÉE ELISE GOLDSBERRY with the Utah Symphony
89
BEETHOVEN & DVOŘÁK The Romantic Violin
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A SYMPHONIC SPACE CELEBRATION
JULY 20 | 7:30 PM | DEER VALLEY RESORT
JULY 24 | 8 PM | ST. MARY’S CHURCH
JULY 26 | 7:30 PM | DEER VALLEY RESORT
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RODRIGO Y GABRIELA Mettavolution Tour
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MOZART’S PIANO CONCERTO NO. 23
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JULY 27 | 7:30 PM | DEER VALLEY RESORT
JULY 31 | 8 PM | ST. MARY’S CHURCH
TCHAIKOVSKY’S 1812 OVERTURE & PIANO CONCERTO NO. 1 AUGUST 2 | 7:30 PM | DEER VALLEY RESORT
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AN INTIMATE EVENING WITH KRISTIN CHENOWETH AND THE UTAH SYMPHONY
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SCHUBERT’S SYMPHONY NO. 3
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THE MUSIC OF THE ROLLING STONES Circa 1969
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INDIGO GIRLS with the Utah Symphony
AUGUST 3 | 7:30 PM | DEER VALLEY RESORT
AUGUST 7 | 8 PM | ST. MARY’S CHURCH
AUGUST 9 | 7:30 PM | DEER VALLEY RESORT
AUGUST 10 | 7:30 PM | DEER VALLEY RESORT
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ADMINISTRATION ADMINISTRATION Paul Meecham
DEVELOPMENT Leslie Peterson
David Green
Jessica Proctor
President & CEO
Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Collette Cook
Executive Assistant to the Senior VP & COO and Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Anthony Tolokan
Vice President of Symphony Artistic Planning
Vice President of Development
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Director of Institutional Giving
Mike Lund
Director of Individual Giving
Karyn Cunliffe
Director of Special Events & DVMF Donor Relations
Alison Mockli
Grants Manager
Patron Information Systems Manager
Vice President of Finance & CFO Director of Information Technologies
Olivia Custodio
Controller
Heather Weinstock
Payroll & Benefits Manager
Lisa Poppleton
Jared Mollenkopf
Nikki Orlando
Development Operations Manager
Ellesse Hargreaves
Conner Gray Covington Associate Conductor
Annual Fund Coordinator
Barlow Bradford
Symphony Chorus Director
MARKETING & COMMUNICATIONS Jon Miles
Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Accounts Payable Accountant
EDUCATION Paula Fowler
Development Assistant
Ali Snow
Walt Zeschin
Bobbie Williams
Director of Education & Community Outreach
Vice President of Marketing & Public Relations
Kyleene Johnson
Symphony Education Manager
Annie Farnbach
Symphony Education Assistant
RenĂŠe Huang
OPERA TECHNICAL Jared Porter
Director of Communications & Digital Media
Senior Technical Director
Executive Assistant to the Music Director Symphony Chorus Manager
Chad Call
SYMPHONY OPERATIONS Cassandra Dozet
Kathleen Sykes
JR Orr
Nina Starling
Travis Stevens
Kelly Nickle
Marketing Manager - Audience Development
Properties Master
Digital Content Producer
Assistant Props
Website Content Coordinator
Head Carpenter
Chip Dance
PATRON SERVICES Faith Myers
Scenic Charge Artist
Kate Henry
Merry Magee
COSTUMES Verona Green
Andrew J. Wilson
Jessica Cetrone
Genevieve Gannon
Kierstin Gibbs LisaAnn DeLapp
Director of Orchestra Operations
Melissa Robison
Program Publication & Front of House Director Production & Stage Manager Operations Manager
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Lyndsay Keith
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Brooke Yadon
Dusty Terrell
Director of Patron Engagement Marketing Manager - Patron Loyalty
Costume Director
Patron Services Manager
Costume Rentals Supervisor
Group Sales Associate
Rentals Assistants
Sarah Pehrson Jackie Seethaler Powell Smith
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan
Sales Associates
Tailor
Nicholas Barker Lorraine Fry Jodie Gressman Mara Lefler Ellen Lewis Ananda Spike Hallie Wilmes
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Connie Warner Stitchers
Ticket Agents
Opera Production Coordinator 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.
DeerValleyMusicFestival.org 15
UTAH SYMPHONY Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor Deer Valley® Music Festival Principal 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 Porter
Acting Associate Concertmaster
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
Associate Principal Second
Evgenia Zharzhavskaya Assistant Principal Second
Karen Wyatt•• Joseph Evans# LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft•† M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle • First Violin •• Second Violin
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VIOLA* Brant Bayless
Principal The Sue & Walker Wallace Chair
Elizabeth Beilman
Acting Associate Principal
PICCOLO Caitlyn Valovick Moore
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Principal
Associate Principal
Peter Margulies Gabriel Slesinger††
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Amy Pickler Leslie Richards†† Whittney Thomas
Robert Stephenson
ENGLISH HORN Lissa Stolz
Sam Elliot
CELLO* Rainer Eudeikis
CLARINET Tad Calcara
BASS TROMBONE Graeme Mutchler
Principal The J. Ryan Selberg Memorial Chair
Matthew Johnson Associate Principal
Associate Principal
Lissa Stolz
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TROMBONE Mark Davidson Principal
Associate Principal
TUBA Gary Ofenloch Principal
TIMPANI George Brown#
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
Erin Svoboda-Scott
BASS CLARINET Lee Livengood
Michael Pape
BASS* David Yavornitzky
E-FLAT CLARINET Erin Svoboda-Scott
PERCUSSION Keith Carrick
Corbin Johnston
BASSOON Lori Wike
James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera
Leon Chodos
Principal
Associate Principal
Associate Principal
Lee Livengood
Principal The Edward & Barbara Moreton Chair Associate Principal
Principal
Eric Hopkins
Acting Principal Acting Associate Principal
Principal
Michael Pape Stephen Kehner†† KEYBOARD Jason Hardink Principal
Jennifer Rhodes
LIBRARIANS Clovis Lark
Principal
CONTRABASSOON Leon Chodos
Katie Klich
FLUTE Mercedes Smith
HORN Edmund Rollett
ORCHESTRA PERSONNEL Walt Zeschin
Lisa Byrnes
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Andrew Williams
HARP Louise Vickerman
Principal The Val A. Browning Chair Associate Principal
Caitlyn Valovick Moore * String Seating Rotates † On Leave
Deer Valley® Music Festival
Acting Principal
# Sabbatical †† Substitute Member
Principal
Director of Orchestra Personnel Orchestra Personnel Manager
THE BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler* Naoma Tate
Thomas Thatcher W. James Tozer, Jr. David Utrilla Kim R. Wilson Thomas Wright Henry C. Wurts
Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner
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
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 Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Andrew Larson* EX OFFICIO
Henriette Mohebbi Utah Symphony Guild Mark Stratford Onstage Ogden *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
DeerValleyMusicFestival.org 17
JIM TOZER, CHAIR
EXECUTIVE COUNCIL Jim Tozer CHAIR Scott Amann Beth Armstrong Judy Billings Hal Brierley Larry Brownstein Judy Brownstein Kristen Fletcher Greg Graham Martin Greenberg Tom Jacobson Debra Kasirer Bill Ligety Tony Marlon Renee Marlon Pat McEvoy Charles McEvoy Dan McPhun Robin Milne Mark Prothro Alice Puleo Frank Puleo Ted Samuels Ben Schapiro Joanne Shiebler Jim Swartz Susan Swartz Zibby Tozer Howard Wallack ADVISORY COUNCIL Lynn Fey Hal Milner Lois Milner Michael Liess EX-OFFICIO COUNCIL Ben Castro Jeff Jones Jodie Rogers Jocelyn Scudder 18
DEER VALLEY® MUSIC FESTIVAL EXECUTIVE COUNCIL
Music in the mountains with the Utah Symphony and exceptional guest artists. Truly, this is Life Elevated. This, the 16th year of the Deer Valley® Music Festival, will be another great one. The diversity of both events and talents is impressive. The extraordinary musicians of the Utah Symphony, one of only 15 full-time orchestras in the country, will be performing their wide range of talents for audiences on the lawn at Deer Valley often in concert with internationally acclaimed guest artists, including Chris Botti, Marie Osmond and Kristin Chenoweth. The ever-popular classical chamber music concerts will be back on Wednesday nights at St. Mary's Church where the marvelous music of selected members of the symphony is enhanced by great acoustics and a glorious setting. We are looking forward to another record year of attendance and support from our audiences who come from throughout Utah, across America and increasingly from overseas. It is this broad support of our audiences that makes it possible to present the festival and also to underwrite the outreach to the youth and rural communities of the State. This outreach enhances the music education of young Utahns in every corner of the State and develops tomorrow's appreciative and sophisticated audiences. Without your own presence and the financial support of a growing number of donors, there would be no festival. The founding of the festival in 2004 was made possible by the vision and generosity of the Prothro Family, Bill and Joanne Shiebler, and Jim and Susan Swartz as well as Deer Valley itself. It has been their continuing generosity and that of our other major donors led by Tony and Renee Marlon, Hal and Diane Brierley, and Jim and Marilyn Parke that has made each year more successful than the last. Finally, I want to extend a big thank you to Ted Newlin, my predecessor as Chair of the Council, who has relocated back to New York, for his many years of faithful leadership to the festival and USUO. Welcome to this evening's performance, which we hope is but one of the many 2019 festival events that you will enjoy.
Deer Valley® Music Festival
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PRINCIPAL CONDUCTOR Conner Gray Covington is currently in his second season with the Utah Symphony as Associate Conductor and was recently named Principal Conductor of the Deer Valley® Music Festival. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick Nézet-Séguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Principal Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and made debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He 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 in orchestral conducting and was awarded the Walter Hagen Conducting Prize. He was recently named as one of the 2019 Solti Foundation Carrier Assistance Award Winners.
DeerValleyMusicFestival.org 23
DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS SUMMER SYMPHONY SPONSOR
SUMMER ENTERTAINMENT SPONSOR
CHAMBER SERIES SPONSOR
FESTIVAL PRINCIPAL CONDUCTOR SPONSOR
SHIEBLER FAMILY FOUNDATION
OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL
BMW OF MURRAY BMW OF PLEASANT GROVE
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Deer Valley® Music Festival
make it
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INTRODUCING NEW REL A XED MODERN ST YLES SPECIAL SAVINGS GOING ON NOW
SANDY 10390 SOUTH STATE STREET 801.571.1015 Sale going on for a limited time. Exclusions apply. Ask a designer or visit ethanallen.com for details. ©2019 Ethan Allen Global, Inc.
COMMUNITY POP-UPS
For more than 16 years, the Utah Symphony has called Park City its summer home away from home. Last summer, the orchestra introduced “pop-up concerts” in collaboration with other local festivals and stages as a way of extending thanks to the community for hosting the Utah Symphony in its summer residency. They were a hit! This year, we’re expanding the experience with partners, including Park City Summit County Arts Council, Park Silly Sunday Market, and Mountain Town Music to provide unexpected musical experiences that bring the essence of the Utah Symphony into other community events and spaces. The goal is to give a heartfelt thank you to Park City and Summit County residents for welcoming the orchestra with such warmth and enthusiasm each summer. These “pop-up”
events provide access for community members to professional musicians and music-making— and are a rewarding way for Utah Symphony musicians to be highlighted as soloists and smaller ensembles. Utah Symphony ensembles will perform around town in partnership with Art Pianos for All, at Miner’s Park on Main Street, and even at the Park Silly Sunday Market. Utah Symphony’s Deer Valley Music Festival also offers a new Gallery Series with small ensembles of Utah Symphony musicians performing one hour-long programs at Gallery MAR (July 15) and Swartz Gallery (July 22) on Main Street in Park City. Tickets are $30 and can be purchased online at deervalleymusicfestival.org. Ticket buyers are invited to come early for light refreshments and view the art on display.
For more information visit deervalleymusicfestival.org/schedule/community-events/
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Deer Valley® Music Festival
Utah musicians in concert at the
Gallivan Center
Hayley Kirkland & Company B
7:30 Wednesday Evenings, year round Big Band Swing Dances Tuesday Evenings Late May through September
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One piece to define it all
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331 South Rio Grande, Suite 105 • Salt Lake City, Utah P. 801-575-6525 • regencyroyale.com
ON THE HILL
CHRIS BOTTI
with the Utah Symphony June 28 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor CHRIS BOTTI, trumpet LEE PEARSON, drums REGGIE HAMILTON, bass LEONARDO AMUEDO, guitar ELDAR DJANGIROV, piano ANDY SNITZER, saxophone SANDY CAMERON, violin SY SMITH, vocals RAFAEL MORAS, vocals
Selections to be announced from the stage.
PRESENTING SPONSOR
ORCHESTRA SPONSOR
DeerValleyMusicFestival.org 29
ARTISTS’ PROFILES Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest-selling American instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and Grammy Awards. Most recently, his latest album Impressions won the Grammy for Best Pop Instrumental Album. Performing worldwide and selling more than four million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre.
Chris Botti Trumpet
GUEST ARTIST SPONSOR
SCOTT & KATHIE AMANN
Over the past three decades, Botti has recorded and performed with the best in music, including Sting, Barbara Streisand, Tony Bennett, Lady Gaga, Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, Aerosmith’s Steven Tyler and even Frank Sinatra. Hitting the road for as many as 300 days per year, the trumpeter has also performed with many of the finest symphonies and at some of the world’s most prestigious venues, from Carnegie Hall and the Hollywood Bowl to the Sydney Opera House and the Real Teatro di San Carlo in Italy. *See page 23 for Conner Gray Covington’s Artist Profile.
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THE EARTH HAS MUSIC FOR THOSE WHO LISTEN. — WILLIAM SHAKESPEARE —
ON THE HILL
MARIE OSMOND with the Utah Symphony
June 29 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER JERRY WILLIAMS, conductor MARIE OSMOND, vocalist DAVID OSMOND, guest artist DANIEL EMMET, guest artist
Selections to be announced from the stage.
PRESENTING SPONSOR
DeerValleyMusicFestival.org 33
PROGRAM
Marie Osmond Vocalist
GUEST ARTIST SPONSOR
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Deer Valley® Music Festival
Marie Osmond has spent 5 iconic decades in the entertainment business performing as a successful singer, television performer and talk show host, dancer, actor, author, entrepreneur and public speaker. She has continued to maintain relevance, remaining an instantly recognizable figure across the globe. Her debut single “Paper Roses” reached the #1 spot on two Billboard charts, a feat that not only placed her among an elite class of musical royalty, but instantly catapulted her into international superstardom. She is a multiple gold and platinum selling artist and CMA winner, garnering numerous Billboard chart-topping singles and albums, and three New York Times Bestselling books. She has entertained millions throughout the world through television, radio, film, literature, live concerts and Broadway performances. As a philanthropist, she cofounded Children’s Miracle Network Hospitals, which has raised over 5.5 billion dollars for children to date. Marie was recently awarded “The Secretary of Defense Medal for Outstanding Public Service” by 4-Star General Bob Brown, U.S. Army Pacific (representing Secretary of Defense James Mattis), during her birthday concert in Hawaii. She continues to tour the world, perform with her brother Donny at the Flamingo Hotel’s Donny & Marie Showroom in Las Vegas, and raise money for children’s hospitals, research and awareness. Her celebrity has influenced countless audiences and benefited an innumerable amount of lives worldwide. Music is Medicine marks her latest and perhaps most important studio release, encompassing a lifetime of experience, music, love, loss, hope and joy as a representation of her remarkable life. It reached the top 10 on both Billboard Country Charts and iTunes Country charts.
ARTISTS’ PROFILES David Osmond has show business in his genes. As part of the world famous Osmond Family, David has carried on this iconic entertainment legacy with some incredible successes while overcoming great challenges.
David Osmond Guest Artist
David began performing at age 4, and was discovered by Bob Hope as the Lead Singer of The Osmond’s 2nd Generation; a group comprised of Alan Osmond’s sons. David’s career has included tours to sold-out arenas in the U.S., Europe, and Asia, contracts with both Curb Records and Epic/Sony, and 4 songs in the top 40 in the U.K. As a Broadway theatrical artist, he took over for famous uncle Donny, starring in the lead role of JOSEPH in Andrew Lloyd Webber’s, Joseph and the Amazing Technicolor Dreamcoat with five separate companies. David was featured on FOX’s hit TV show AMERICAN IDOL. He has recently performed alongside artists such as Stevie Wonder, The Eagles, and Steven Tyler, and performed onstage at venues ranging from London’s Wembley Arena to Harpo Studios for Oprah. A shocking Multiple Sclerosis diagnosis forced David to put his musical career on hold for a time, but his inspiring physical battle to return to the stage has made him an awardwinning symbol of hope to the MS Community. He continues to inspire as a music artist and motivational speaker. A recent single of David’s, I Can Do This, debuted on FUSE’s Top 20 Countdown, and has touched the lives of millions. Now, as the EMMY-nominated new host of the legendary TV program Wonderama, David is excited to introduce and explore a world filled with wonder for a future generation of kids and their families. On the music front, he has just launched an exciting new big band project called, The Osmond Chapman Orchestra (OCO), with a debut album coming in 2019. Joining forces with award-winning bandleader Caleb Chapman, and the region’s hottest musicians, he puts on an electrifying performance spanning the crooner classics to the music of today. They are defining the NEW American Songbook! David is grateful for his fan’s support and loves to interact with them via Instagram @DavidOsmond, Twitter @ DavidOsmond1, and Facebook @DavidOsmondFans. David considers his GREATEST treasure to be his sweet wife, Valerie, their two beautiful daughters, Saffron and Azalea, and son, Everest!
DeerValleyMusicFestival.org 35
ARTISTS’ PROFILES A Finalist in 2018 on NBC’s America’s Got Talent, Daniel Emmet won the hearts of America and the world with his soaring signature powerhouse vocals, boyish charm, good looks and sense of humor! Emmet, a rising sensation, is receiving high accolades from many: “He is the future….a great entertainer” - Plácido Domingo, “Mark my words… this guy is the real deal” - Donny Osmond, “Fans just can’t get enough of his soaring renditions of Timeless Classics” Society of Rock.
Daniel Emmet Guest Artist
As a multilingual artist (who sings in SEVEN languages), Daniel has a vocal gift that transcends any language barrier. He will take you on a spellbinding and mesmerizing emotional journey, complete with upbeat and entertaining classics, as well as breathtaking and stunning showstoppers, leaving you simply wowed! Fondly referred to as “The Gateway Drug to Classical Music”, Daniel’s goal is to make classical music accessible to people who wouldn’t normally gravitate to the genre, often by taking well loved songs such as Aerosmith’s “Don’t Want To Miss A Thing” or Whitney Houston’s “I Will Always Love You” and performing them with his signature spin. Daniel’s wide range of musical expression spans far across the spectrum of genres, from pop to rock to opera! Performing in venues such as The Dolby Theatre, Caesars Palace, and the Salon of the Palais Todesco in Vienna, Austria, Daniel is no stranger to commanding stages large and small, across the United States and around the globe. Just recently, Daniel released his first single “Passerà” which on the iTunes classical chart! When he’s not performing, he can also be found in the recording studio finishing his debut album, set to be released in late 2019. Born in Rochester, NY, Daniel began his musical journey at age 16 after his family relocated to Las Vegas. He went on to earn an undergraduate degree in vocal performance, studying under the late, world-renowned operatic soprano, Carol Neblett, at Chapman University in Southern California. Since then, this powerhouse classical-crossover singer has been connecting with audiences around the nation and the world, sharing his deep love affair with music.
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ON THE HILL
PATRIOTIC CELEBRATION with Broadway’s Hugh Panaro
July 5 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER MICHAEL KRAJEWSKI, conductor HUGH PANARO, vocalist
PRESENTING SPONSOR
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ORCHESTRA SPONSOR
DeerValleyMusicFestival.org 41
PROGRAM & ARTISTS’ PROFILES SMITH/KEY BAGLEY
Star Spangled Banner National Emblem March
GOULD
American Salute
BECKEL
Liberty for All
WARD
“America the Beautiful”
VARIOUS
The Armed Forces Salute
COHAN
George M. Cohan Medley INTERMISSION
WILLIAMS
Midway March
RODGERS
Victory At Sea
SCHONBERG TYZIK
The Great Westerns Suite
WENDEL
From Sea to Shining Sea
MEEROPOL, ABEL & ROBINSON BERLIN
Michael Krajewski Conductor
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“Bring Him Home” from Les Misérables
Deer Valley® Music Festival
“The House I Live in” from The House I Live in “God Bless America” Known for his entertaining programs and clever humor, Michael Krajewski is a much sought-after conductor of symphonic pops. He is Principal Pops Conductor of the Jacksonville Symphony Orchestra, and previously served as Music Director of The Philly Pops as well as Principal Pops Conductor of the Houston Symphony and Atlanta Symphony Orchestra. As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh, and National Symphonies, and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg, and KitchenerWaterloo Symphonies. With degrees from Wayne State University in Detroit and the University of Cincinnati CollegeConservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography, and solving crossword puzzles.
ARTISTS’ PROFILES
Hugh Panaro Vocalist
Hugh Panaro is perhaps best known for having played the coveted role of The Phantom in Broadway’s The Phantom of the Opera over 2,000 times, including the 25th Anniversary production. An active concert artist, Panaro has performed with numerous symphony orchestras including the New York Pops at Carnegie Hall, Philly Pops, Dallas, Detroit, San Francisco, Seattle, Utah Symphonies, and the London Sinfonietta, among many others. Mr. Panaro’s upcoming engagements include the Philly Pops, Charlotte Symphony, Cleveland Pops, Tucson Symphony, Maui Pops, Hawaii Symphony, among others. He also had the privilege of performing in the world premiere of Penderecki’s Te Deum at Carnegie Hall and was a guest soloist with the Buffalo Philharmonic, conducted by Marvin Hamlisch. His recordings include Jerome Kern Treasury, the original cast recording of Side Show, Tap Your Troubles Away (Herman), The Centennial (Weill), and Life Upon the Wicked S.T.A.G.E. (Kern). His first solo CD, recorded with Sony/BMG, was released in the summer of 2007. In addition, he toured throughout Europe with the legendary Barbra Streisand. A native of Philadelphia, Panaro graduated from Temple University and was awarded the Boyer College of Music Certificate of Honor.
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ON THE HILL
BRAVO BROADWAY! LIFE IS A CABARET July 6 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER RANDALL CRAIG FLEISCHER, conductor MORGAN JAMES, vocalist DEBBIE GRAVITTE, vocalist HUGH PANARO, vocalist
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DeerValleyMusicFestival.org 45
PROGRAM
KANDER/EBB
“All That Jazz” from Chicago (Debbie/Morgan) “All I Care About is Love” from Chicago (Debbie/Morgan/Hugh) “Mr. Cellophane” from Chicago (Hugh) “When You’re Good to Mama” from Chicago (Debbie) “Roxie” from Chicago (Morgan) “Razzle Dazzle” from Chicago (Hugh) “Maybe This Time” from Cabaret (Morgan) “Willkommen” from Cabaret (Hugh) “Cabaret” from Cabaret (Debbie) “New York, NY” (Debbie/Morgan/Hugh)
INTERMISSION
WEBBER/RICE SHAIMAN/WITTMAN GAUDIO/CREWE LOPEZ ANDERSSON/ULVAEUS WILLSON WEBBER
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Jesus Christ Superstar Overture “You Can’t Stop the Beat” from Hairspray (Debbie/Morgan/Hugh) “Can’t Take My Eyes Off Of You” from Jersey Boys (Hugh) “Let It Go” from Frozen (Morgan) “Mamma Mia” from Mamma Mia! (Debbie/Morgan/Hugh) “76 Trombones” from The Music Man “Memory” from Cats (Debbie)
WEBBER/HART
“Phantom of the Opera” from The Phantom of the Opera (Morgan/Hugh)
WEBBER/HART
“Music of the Night” from The Phantom of the Opera (Hugh)
Deer Valley® Music Festival
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ARTISTS’ PROFILES
Randall Craig Fleischer Conductor
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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, International Music Festival Český Krumlov (Czech Republic) and many others. As Music Director/Conductor of three symphony orchestras (Youngstown Symphony, Hudson Valley Philharmonic and the Anchorage Symphony), Mr. Fleischer has led each orchestra through a dramatic period of artistic growth and exploration, demonstrating his abilities as a proven orchestra builder and innovator. Mr. Fleischer studied with Leonard Bernstein as a conducting fellow at Tanglewood in 1989. He served as the Assistant Conductor of the American Symphony Orchestra from 1986 to 1989. While working toward his Master of Music degree at the Indiana University School of Music, he served as chorus master of the I.U. Opera Theater program from 1983–1985. Fleischer received his Bachelor of Music Education from the Oberlin Conservatory of Music and has studied conducting privately with Otto-Werner Mueller and in master class with Seiji Ozawa, Riccardo Muti, Gustav Meier and others. Mr. Fleischer lives in Los Angeles with his wife Heidi and daughter Michaela.
ARTISTS’ PROFILES
Morgan James Vocalist
Morgan James is a classically trained vocalist, Broadway veteran, and recording and touring artist. In concert, she recently appeared with multiple symphony orchestras across the United States, performing her solo Bernstein show, conducted by Teddy Abrams. Morgan has had the honor of being in the Bernstein Mass three times: with the Louisville Orchestra (conducted by Teddy Abrams), the Philadelphia Orchestra (conducted by Yannick NézetSéguin), as well as with Baltimore Symphony at Carnegie Hall and the Kennedy Center, (conducted by Marin Alsop). Ms. James’ other symphony orchestra appearances include Utah Symphony, San Diego Symphony, Detroit Symphony, Harrisburg Symphony, Louisville Orchestra, Youngstown Symphony, Sinfonia Gulf Coast, Ocean City Pops, Gulf Coast Symphony, Greensboro Symphony, and Long Bay Symphony. Morgan’s Broadway credits include four original casts: Motown: the musical, the Broadway revival of Godspell, Frank Wildhorn’s Wonderland, and The Addams Family, starring Nathan Lane and Bebe Neuwirth. She recently toured Europe, Australia and the U.S. with Scott Bradlee’s Postmodern Jukebox, and is featured in many of their videos. Her videos on YouTube have garnered 75 million views (and counting). As a recording artist, Ms. James recently released her newest album of original soul music, Reckless Abandon, as well as her debut studio album entitled Hunter, and a live album dedicated to the music of Nina Simone (Epic Records). Morgan is also featured on more than a dozen original Broadway cast and concept recordings. She received her voice training at The Juilliard School. For more information and tour dates, please visit her website: morganjamesonline.com
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ARTISTS’ PROFILES
Debbie Gravitte Vocalist
One of Broadway’s biggest personalities, Debbie Gravitte received the Tony Award for her critically acclaimed performance in Jerome Robbins’ Broadway, along with the New York Showstopper Award and a Drama Desk Award nomination. She made her Broadway debut in the original cast of They’re Playing Our Song, and went on to appear in: Blues In The Night, Perfectly Frank (Drama Desk Award Nomination), Zorba, Ain’t Broadway Grand?, Chicago and Les Misérables. Debbie appeared in London in Jerry Herman’s Mack and Mabel at the Drury Lane Theatre. She’s also been seen in the New York City Encores! productions of The Boys From Syracuse, Tenderloin, and Carnival at New York City Center. Debbie has performed her nightclub act worldwide, from New York’s Rainbow and Stars to London’s Pizza On The Park. In Atlantic City, she’s had the honor to open for George Burns and Jay Leno. Debbie has sung with over 100 orchestras worldwide, including National Symphony with Marvin Hamlisch, Cleveland Orchestra, Boston Pops, Cleveland Pops, Peter Nero and the Philly Pops, Pittsburgh Symphony, Atlanta Symphony, San Diego Symphony, St. Louis Symphony, and Houston Symphony. Overseas, she’s appeared with the London Symphony, Aalborg Symphony, Birmingham Symphony, Stockholm Philharmonic, Gothenburg Symphony, Jerusalem Symphony, The Royal Scottish National Orchestra, Orquestra Sinfônica Brasileira, Munich Philharmonic, along with a special performance in Beijing with Lang Lang and the Chinese Philharmonic.
*See page 43 for Hugh Panaro’s artist profile.
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Deer Valley® Music Festival
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ST. MARY’S CHAMBER CONCERTS
MENDELSSOHN’S VIOLIN CONCERTO July 10
/ 2019 / 8 PM / ST. MARY’S CHURCH
CONNER GRAY COVINGTON, conductor MARIA IOUDENITCH, violin
STRAVINSKY
MENDELSSOHN
Danses concertantes I. Marche-introduction II. Pas d’action III. Thème varié IV. Pas de deux V. Marche-conclusion Concerto in E minor for Violin and Orchestra, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace MARIA IOUDENITCH, violin
INTERMISSION
FAURÉ
DEBUSSY
Suite from Pelléas et Mélisande, Op. 80 I. Prélude II. Fileuse III. Sicilienne IV. La Mort de Mélisande Suite Bergamasque Prélude Menuet Clair de lune Passepied
DeerValleyMusicFestival.org 53
ARTISTS’ PROFILES Maria Ioudenitch was born in Balashov, Russia, and moved with her family to Kansas City when she was 3 years old. An American with a Russian heart and soul, Maria began her violin studies surrounded by the sounds of the piano, played by both of her parents Tatiana and Stanislav Ioudenitch. Her teachers have included Gregory Sandomirsky, Ben Sayevich in Kansas City, MO, and then Pamela Frank and Shmuel Ashkenasi at the Curtis Institute of Music. Currently, Maria is pursuing her master’s degree at the New England Conservatory with Miriam Fried.
Maria Ioudenitch Violin
Maria has taken part in multiple summer festivals and academies such as Ravinia’s Steans Music Institute, the Mozarteum International Summer Academy in Salzburg, Austria, and the International Music Academy in the Principality of Liechtenstein. She will be attending the Marlboro Music Festival in the summer of 2020. Recent solo engagements include performances with the Mariinsky Symphony Orchestra, the Kansas City Symphony, the Signature Symphony at TCC, the National Orchestra of Uzbekistan, and the Mississippi Symphony Orchestra, working with conductors such as Andrey Boreyko, Andrés Franco, Michael Stern, Pavel Smelkov, among others. Recent chamber music engagements include performances in Mexico, Argentina, Uruguay, and Chile with Roberto Díaz, acclaimed violist and President of Curtis Institute, and performances in Chicago, New York, Connecticut, and Boston with renowned violinist and pedagogue Miriam Fried. Maria was appointed Concertmaster of the Curtis Symphony Orchestra for 2016–2017, ending the season with a tour through Finland, Germany, Austria, the UK, and Poland, featuring Strauss’s Ein Heldenleben. Apart from classical music, Maria adores Jazz and visual art. Her favorite composers and artists change with her mood—currently, Robert Schumann (Classical), Oscar Peterson (Jazz), and Maria de los Remedios Varo Uranga (Surrealist art) have captured her heart!
*See page 23 for Conner Gray Covington’s Artist Profile.
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Deer Valley® Music Festival
By Michael Clive
NOTES ON THE PROGRAM
Igor Stravinsky (1882–1971) Danses concertantes PERFORMANCE TIME: 20 MINUTES
In 1940, when Igor Stravinsky composed Danses concertantes, he had emigrated to the U.S. and was living in California. But he was very much a citizen of the world, and had ascended to a kind of empyrean status that very few composers—even great ones—achieve in their own lifetimes. Informed listeners could and did divide his work into “periods” and ascribed this or that stylistic characteristic to each, but always with the understanding that Stravinsky’s oeuvre stood outside the vicissitudes of style that buffeted other contemporary composers. Stravinsky himself rejected such stylistic designations outright. Danses concertantes enjoys an offstage life in the concert hall, and for years musicologists thought it was conceived on that basis, with its link to dance more theoretical than real. For one thing, Stravinsky included the designation “Concerto for Small Orchestra” in his autograph score; for another, it was composed on commission from conductor Walter Janssen for the Janssen Symphony Orchestra, which premiered the suite as a concert work in 1942 under Stravinsky’s direction. It was the first major work he composed in the United States. A suite of dance movements presented in this way, as an abstract concert work, such as a concerto grosso, was a form that Stravinsky knew and revered.
But more recent research into sources including Stravinsky’s correspondence indicates that the choreographer George Balanchine participated in conceiving Danses concertantes. Now regarded as the greatest choreographer of the 20th century, Balanchine pioneered abstraction in classical dance. His collaboration with Stravinsky, which began in the 1920s, extended throughout their lives. The ballet he created on Danses concertantes was first performed in 1944 by the Ballet Russe de Monte Carlo. Now, as we listen, we can be sure that this is music composed to be danced—not just composed to dance rhythms. In describing the ballet’s scenario, Balanchine wrote that “The plot of the ballet Danses concertantes is the plot of the score.” This plot takes us from an affirmative introduction with a summary, ensemble quality, into a ballerina’s solo—a pas d’action—followed by five dance variations. A virtuosic pas de deux leads us to the suite’s conclusion, a march reprising elements from the introduction. Felix Mendelssohn (1809–1847) Concerto in E minor for Violin and Orchestra, Op. 64 PERFORMANCE TIME: 27 MINUTES
Today, a decade after the Mendelssohn bicentennial in 2009, we are still reassessing the life and career of this remarkable composer, whose works have sometimes been more cherished by the public than by critics. Upon reconsideration,
DeerValleyMusicFestival.org 55
NOTES ON THE PROGRAM we find Mendelssohn to be one of those geniuses who proves that beauty and accessibility do not equate with shallowness. Behind the sunny disposition of his music lies the seriousness of one of history’s great musical intellects, whose impossible precocity in childhood was on par with Mozart’s. In his tragically short life (he died at age 38 in 1847), Mendelssohn achieved a statesmanlike position in European culture, directing one of the continent’s most important orchestras (the Leipzig Gewandhaus) and spurring revivals of interest in the music of Mozart and J.S. Bach. Most of all, Mendelssohn composed more than his share of indestructible all-time hits of the classical repertoire, including his Violin Concerto in E minor. Mendelssohn’s gorgeous violin concerto is one of the three or four most beloved staples of the violin repertory, and is universally regarded as one of the greatest of all violin concertos. Its singing melodies traverse an arc from poetic sadness to sheer joy. Once we hear these tunes, they are ours forever. Or do they possess us, as they seem to have possessed Mendelssohn himself? “I would like to write a violin concerto for you next winter,” he famously told his longtime friend the violinist Ferdinand David, concertmaster of the Leipzig Gewandhaus, in 1838. “One in E minor runs through my head, the beginning of which gives me no peace.” That beginning is the concerto’s dazzling opening, which plunges into a sweetly melancholy statement in the solo violin without the drama-building introduction that precedes the soloist’s entrance in most romantic concertos. This songlike opening statement quickly gives way to a bravura display of notes
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that swirl downward until the opening theme is restated in the orchestra. From then on, the concerto packs in abundantly virtuosic writing. The movement contains an adventurous, complex development through highly chromatic modulations, introducing a second melody that answers the concerto’s initially melancholy E minor statement with an answer in tranquil, glowing G Major. On the way back to the opening E minor theme, Mendelssohn leads the soloist through an innovative cadenza that is fully notated (no improvising allowed). Of this movement’s beautiful features that were modern for their day, note especially the “ricocheting” bow, which oscillates over the strings to voice arpeggios at bullet-speed while the E minor melody is played by the full orchestra. In passages such as this one, the soloist serves as accompanist—but the playing is spectacular. As the excitement of the opening allegro movement subsides, the bassoon continues to sustain its note—a B—as the rest of the orchestra is silent. Moving up a tone to middle C, the bassoon leads us without pause into the concerto’s middle movement, a serene andante in C Major. The movement’s lyrical beauty, which opens from E minor into C Major before incorporating a darker middle section in A minor, incorporates fleet passagework for the soloist. But for many listeners, it serves mainly as a transitional movement between the concertos sweetly melancholy opening and its joyful closing movement, an effervescent vivace in E Major that sounds like a merry chase through sunny fields. A boisterous coda concludes the concerto. Speaking on the occasion of his 75th birthday in 1906, the great violinist
NOTES ON THE PROGRAM Joseph Joachim aptly described the world’s affection for the Mendelssohn violin concerto: “The Germans have four violin concertos. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.”
characters who seem helplessly caught up in the forces of love and jealousy that bind them—especially the character of Mélisande, the fragile creature who loses her past and her future. The greatest actresses of the day were drawn to this role, including Mme. Sarah Bernhardt and— luckily for Fauré, and for us—Mrs. Patrick Campbell, aka Mrs. Pat-a-Cat.
Gabriel Fauré (1845—1924)
The celebrated Mrs. Campbell was cast as Mélisande in the first English-language production of Maeterlinck’s play, and wished to commission incidental music for it. Claude Debussy, her first choice for the assignment, was already at work on his operatic adaptation of the material, and declined. By the time she met Gabriel Fauré, in April, 1898—he happened to be on an extended trip to London at the time—opening night was less than two months away, but she knew she had found the right composer for the job, and was not to be denied. “I will have to grind away hard for Mélisande when I get back,” he wrote to his wife. “I hardly have a month and a half to write all that music. True, some of it is already thick in my head!” Some of it was also already on paper, recycled from previously unpublished or unsuccessful compositions.
Suite from Pelléas et Mélisande, Op. 80 PERFORMANCE TIME: 19 MINUTES
What in the world is going on in Maurice Maeterlinck’s symbolist play Pelléas et Mélisande? And as we listen to the orchestral suite that Gabriel Fauré drew from his incidental music for the play, do we really need to know? Shrouded in mystery and ineffable sadness, the story of the fragile Mélisande and the men who are drawn to her seems to take place in another world—an enchanted forest beyond time, place and human understanding. Its dense moodiness was perfectly suited to the composing style of the French composer Gabriel Fauré, who wrote limpid, supple music at the turn of the 20th century—a time when French classical music was finding its way into modernism. The complex, highly symbolic world-view embedded in Maeterlinck’s play is based largely on Pythagorean metaphysics. But the play’s popularity had little to do its foundations in classical philosophy. Instead, its audiences were compelled by the melancholy fascination of
Faure eventually produced some nineteen sections of incidental music for the play, of which seventeen survive, and he conducted the highly successful premiere on June 21, 1898. Mrs. Campbell was delighted, and continued to use it in later productions, as did Mme. Bernhardt. For the orchestral suite, Fauré recast and concentrated the music into four movements. The result, his Op. 80, is one of his most enduringly popular works.
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NOTES ON THE PROGRAM Claude Debussy (1862—1918) (arr. H. Mouton) Suite Bergamasque PERFORMANCE TIME: 16 MINUTES
Originally composed for the piano, Debussy’s Suite Bergamasque contains some of his most popular music, including the famous “Clair de Lune.” But don’t be fooled by the effortless grace of its four movements; he began this composition in 1890, when he was 28, and did not finish it until fifteen years later. Debussy was influenced in his explorations by writers of his day—particularly the revolutionary poet Stéphane Mallarmé and the Belgian symbolist playwright Maurice Maeterlinck—as well as by the chromaticism of Wagner’s Tristan und Isolde. Mallarmé’s extraordinarily moody, dense poems hover in the netherworld between conscious thought and the unconscious mind. Rich in allusions and symbols that reveal the hidden world of human eroticism, they were crafted at a time when Freud’s study of the unconscious was changing the way we view erotic impulse. Debussy composed a musical setting for one of Mallarmé’s poems
when he was just 22. Another inspiration was the poet Paul Verlaine, who wrote the poem “Clair de Lune” that informs the Suite Bergamasque. In it, Verlaine writes of “your souls…like landscapes, charming masks and bergamasks, playing the lute and dancing, almost sad in their fantastic disguises.” In this suite and in compositions of similarly small scale, Debussy shows us a side of Impressionism in music that is very different from, say, his monumental opera based on Maeterlinck’s Pelléas et Mélisande. While the long, dreamlike phrases of Pelléas seem to flow without origin, resolution or melody, the movements in the Suite Bergamasque are lapidary and tuneful, like songs; they are, in fact, dances. Debussy’s bergamasque was named for the bergamask, a rustic dance named for the town of Bergamo in the Lombard region of northern Italy, though the dance’s characteristic galumphing rhythm—after years of revision—is transformed into something graceful and fleet. Similarly, the brisk passepied movement was originally a stately pavane and the exquisite “Clair de Lune” was formerly a promenade sentimentale. Providing a frame for these three beautiful movements is a lively prélude that needs no translation.
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A Tribute to the Queen of Soul July 12 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER LUCAS WALDIN, conductor CAPATHIA JENKINS, vocalist RYAN SHAW, vocalist CALLI GRAVER, backup vocals DESHANA WOODEN, backup vocals NICK TRAWICK, backup vocals
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PROGRAM
VARIOUS DON COVEY BURT BACHARACH / DAVID DESYLVA / BROWN / HENDERSON PAUL SIMON SAGER/HAMLISCH TRADITIONAL JIMMY WEBB BATES / WARD REDDING
Aretha Overture (ARR WILLIAM HOLCOMBE, JR.) “Chain of Fools” (ARR SAM SHOUP) “I Say a Little Prayer” (ARR LUCAS WALDIN) “Birth of the Blues” (ARR RHODES; ORCH STEVENS) “Bridge Over Troubled Water” (ARR BILL HOLCOMBE) “Nobody Does it Better” (ARR NIC RAINE) “What a Friend We Have in Jesus / Climbing Higher Mountains” (ARR MATT PODD) “MacArthur Park” (ARR. BILL HOLCOMBE) “America the Beautiful” (ARR SAM SHOUP) “Respect” (ARR KERRY MAULE)
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VARIOUS BROWN ASHFORD / SIMPSON GOFFIN / KING / WEXLER
“I Got You” / “I Feel Good” (ARR LUCAS WALDIN) “Ain’t No Mountain High Enough” (ARR RANDALL FLEISCHER) “(You Make Me Feel Like) A Natural Woman” (ARR CHRIS WALDEN)
STEVIE WONDER
“Sir Duke” (ARR MATT PODD)
STEVIE WONDER
“Isn’t She Lovely” (ARR BILL HOLMAN)
DINO FEKARIS / PERREN WOODS / CAMPBELL / CONNELLY TRADITIONAL
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Salute to Ray Charles (ARR LEE NORRIS)
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“I Will Survive” (ARR RANDALL FLEISCHER) “Try a Little Tenderness” (ARR SAM SHOUP) “Amazing Grace” (ARR MATT PODD)
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ARTISTS’ PROFILES Lucas Waldin is a dynamic and versatile conductor whose performances have delighted audiences across North America. He has collaborated with some of today’s most exciting artists including Carly Rae Jepsen, Ben Folds, the Canadian Brass and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live, Cirque de la Symphonie, and the groundbreaking symphonic debut of R&B duo Dvsn as part of the global Red Bull Music Festival.
Lucas Waldin Conductor
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Waldin has been a guest conductor for numerous orchestras in the U.S. and Canada, including the Houston Symphony, the Dallas Symphony, the Grant Park Festival Orchestra, the Modesto Symphony, the Louisiana Philharmonic, the Vancouver Symphony, the Calgary Philharmonic and the Toronto Symphony. Having joined the Edmonton Symphony Orchestra as Resident Conductor in 2009, Waldin was subsequently appointed Artist-in-Residence and Community Ambassador—the first position of its kind in North America. He appeared with the ESO over 150 times and conducted in Carnegie Hall during the orchestra’s participation in the 2012 Spring for Music Festival. In recognition of his accomplishments, he was awarded the Jean-Marie Beaudet Award in Orchestral Conducting and received a Citation Award from the City of Edmonton for outstanding achievements in arts and culture. A native of Toronto, Canada, Waldin holds degrees in flute and conducting from the Cleveland Institute of Music.
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ARTISTS’ PROFILES
Capathia Jenkins Vocalist
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Capathia Jenkins can definitely act but all those who know her also know that this diva can blow and blow and blow you right off this planet. This Brooklyn-born and raised actress most recently starred as ‘Medda’ in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the OffBroadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of “Turn Back, O Man” which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. Ms. Jenkins then created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short-Fame Becomes Me where she sang “Stop the Show” and brought the house down every night. An active concert artist, Ms. Jenkins has appeared with orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, San Antonio Symphony, Minnesota Orchestra, Memphis Symphony, Nashville Symphony, Toledo Symphony, Colorado Symphony, Toronto Symphony, Edmonton Symphony, Calgary Philharmonic, Kansas City Symphony, San Diego Symphony and the Hong Kong Philharmonic. She was a soloist with the International Music Festival Český Krumlov in the Czech Republic. In 2011 Capathia had the great honor of performing in the ‘Broadway Ambassadors to Cuba’ concert as part of the Festival de Teatro de La Habana. Ms. Jenkins was a guest soloist with Peter Nero and the Philly Pops and with the Cincinnati Pops.
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ARTISTS’ PROFILES Ryan Shaw is a three time Grammy-nominated artist. He most recently appeared as Judas in Lyric Opera of Chicago’s US debut of the critically acclaimed London’s Regents Park production of Jesus Christ Superstar, which won the Olivier for “Best Musical Revival”. He also starred as the original Stevie Wonder in Motown the Musical on Broadway. He has also starred on London’s West End as the Soul of Michael Jackson in Thriller Live. As a recording artist Ryan has toured the world and shared the stage with such artists as Van Halen, Bonnie Rait, Joss Stone, John Legend, B.B. King, Bruce Hornsby, and Jill Scott, to name a few.
Ryan Shaw Vocalist
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As a concert soloist, Ryan Shaw made his Radio City Music Hall debut at the Dream Concert benefit to build the Martin Luther King Jr. National Memorial in Washington, D.C. His Carnegie Hall appearances include an Elton John and Bernie Taupin Tribute and A Celebration of The African American Cultural Legacy, curated by Jessye Norman. Ryan has also been honored to be the second artist in history to be asked to perform a return engagement at the Central Park SummerStage Gala (second to Stevie Wonder). He has also been a featured artist with the Houston Symphony for their R&B Mixtape concert as well as the soloist for the Houston Symphony’s 4th of July Celebration. Ryan then returned to Carnegie Hall to headline the Nat King Cole Centennial Concert. Upcoming concert engagements include The Cleveland Orchestra, Philly Pops, Houston Symphony, Colorado Symphony, Arkansas Symphony, Colorado Springs Philharmonic, Tucson Symphony, Harrisburg Symphony, Springfield (OH) Symphony, and Calgary Philharmonic, among many others.
2019 Season June 27 - October 12
HAMLET MACBETH JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT TWELFTH NIGHT THE BOOK OF WILL EVERY BRILLIANT THING THE PRICE THE CONCLUSION OF HENRY VI: PARTS TWO AND THREE
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Joseph and the Amazing Technicolor Dreamcoat
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E.T. THE EXTRA-TERRESTRIAL July 13 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor
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PROGRAM
A STEVEN SPIELBERG Film
DEE WALLACE PETER COYOTE HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE
Tonight’s program is a presentation of the complete film E.T. The Extra-Terrestrial with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Entertainment. Director Steven Spielberg’s heartwarming masterpiece is one of the brightest stars in motion picture history. Filled with unparalleled magic and imagination, E.T. The Extra-Terrestrial follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott. Experience all the mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences around the world.
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PRODUCTION CREDITS E.T. The Extra-Terrestrial in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Kristin Stark, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mark Graham and the musicians and staff of the Utah Symphony.
FROM THE COMPOSER Steven Spielberg’s film E.T. the ExtraTerrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes… but the performances, particularly by the children and by E.T. himself, are so honest, timeless and true, that the film absolutely qualifies to be ranked as a classic.
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What’s particularly special about tonight’s concert is that we’ll hear one of our great symphony orchestras, the Utah Symphony, performing the entire score live, along with the complete picture, sound effects and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event…and I hope that tonight’s audience will find great joy in experiencing this magical film.
ARTISTS’ PROFILES
John Williams Composer
In a career spanning more than 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 for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 45-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 Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Lincoln, The BFG and The Post. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 51 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, twenty-four Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009 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 a composer was honored with this award.
*See page 23 for Conner Gray Covington’s profile.
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# #DVMF @UtahSymphony
ST. MARY’S CHAMBER CONCERTS
SCHUMANN’S CELLO CONCERTO July 17
/ 2019 / 8 PM / ST. MARY’S CHURCH
CHRISTIAN REIF, conductor RAINER EUDEIKIS, cello
BEETHOVEN
Coriolan Overture, Op. 62
HONEGGER
Pastorale d’éte
SCHUMANN
Concerto in A minor for Cello, Op. 129 I. Nicht zu schnell II. Langsam III. Sehr lebhaft RAINER EUDEIKIS, cello
INTERMISSION
BEETHOVEN
Symphony No. 2 in D Major, Op. 36 I. Adagio Molto - Allegro con brio II. Larghetto III. Scherzo: Allegro IV. Allegro Molto
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ARTISTS’ PROFILES
Christian Reif Conductor
A conductor of “technical assurance and forceful interpretive prowess” (San Francisco Chronicle), Germanborn Christian Reif is Resident Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. He started in San Francisco in the 2016–17 season following two seasons in Miami as Conducting Fellow with the New World Symphony, working closely with Michael Tilson Thomas. In the 2018–19 season, Reif led a subscription program with the San Francisco Symphony and made debuts with the St. Paul Chamber Orchestra and Omaha Symphony. He conducts the Hong Kong Philharmonic in a family program and returns to the Nürnberger Symphoniker and San Francisco Conservatory of Music. He led a production of Leoncavallo’s Pagliacci at Opera San José and conducted the premiere of a new chamber version of John Adams’s El Niño featuring soprano Julia Bullock, mezzo-soprano J’nai Bridges, countertenor Anthony Roth Costanzo and bass-baritone Davóne Tines with the American Modern Opera Company as part the Metropolitain Museum of Art’s MetLiveArts series in New York. Christian Reif studied with Alan Gilbert at The Juilliard School, where he completed his Master of Music in Conducting in 2014 and received the Charles Schiff Conducting Award. Prior to that, he studied with Dennis Russell Davies at the Mozarteum Salzburg, where he received a diploma in 2012. He is winner of the 2015 German Operetta Prize, awarded by the German Music Council, and two Kulturförderpreise awards given to promising artists of the region who promote cultural advancement in their communities. Reif is a member of Germany’s Conductor’s Forum (Dirigentenforum) and is one of the forum’s 2017–18 and 2018–19 featured “Maestros of Tomorrow”.
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ARTISTS’ PROFILES Rainer Eudeikis joined the Utah Symphony as principal cellist in 2014, following completion of his studies at the Curtis Institute of Music. He has also been principal cellist of the Mainly Mozart Festival, Cabrillo Festival of Contemporary Music, and Central City Opera, and has performed with the National Arts Centre Orchestra of Canada as guest principal cellist. Rainer also performs with fellow Utah Symphony string principals as a member of the Fremont String Quartet.
Rainer Eudeikis Cello
Recent performance highlights include Strauss’ Don Quixote with the Utah Symphony and Thierry Fischer, C.P.E. Bach’s Cello Concerto in A Major for NOVA, and Tchaikovsky’s Variations on a Rococo Theme with the Salt Lake Symphony. He has participated in numerous international festivals, including the Schleswig-Holstein Musik Festival (Germany), Britten-Pears Programme at Aldeburgh (UK), and the Académie Musicale Internationale de Vaison-la-Romaine (France). Rainer was a two-year fellowship recipient at the Aspen Music Festival, and was a member of the New York String Orchestra at Carnegie Hall, where he was Principal Cellist in 2011. Born in Texas in 1990, Rainer began cello studies at the age of six. Following studies in Colorado with Jurgen de Lemos, he attended the University of Michigan as a student of Richard Aaron, completing his B.M. in 3 years with highest honors. He received his M.M. from Indiana University, where he studied with Eric Kim. In May 2014, Rainer completed his Artist Diploma at the Curtis Institute of Music, studying with Carter Brey and Peter Wiley.
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NOTES ON THE PROGRAM By Michael Clive
Ludwig van Beethoven (1770–1827) Coriolan Overture, Op. 62 PERFORMANCE TIME: 8 MINUTES
Beethoven composed his Coriolan Overture to introduce a play by that name sourced from Plutarch’s Parallel Lives—the same material upon which Shakespeare based one of his bloodiest dramas, Coriolanus, more than a century earlier. Coriolan dates from 1807, by which time Beethoven, at age 37, was one of the most revered composers in Europe. Composing this overture was more than just an act of generosity toward his friend Heinrich von Collin, who wrote the now-forgotten Coriolan; it was also a way for Beethoven to demonstrate his dramatic flair to the management of the prestigious Theater an der Wien with an eye toward securing a permanent position there as house composer. In this case, his pains were sufficient to win praise from Collin and his play’s producers, but not enough to win a job composing music for the stage. Indeed, Beethoven’s music for the stage is rare, and its staged productions are few. Typically, we know his Creatures of Prometheus as an orchestral suite, but not as staged ballet. His sole opera, the magnificent Fidelio, took a decade of agonized rewrites to complete. Musicologists like to compare these efforts to those of the opera-mad Mozart, who began serious operatic writing in his teens. Mozart created complex musical architecture to fit any plot and any subject
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as quickly as he could write it all down. For Beethoven, by contrast, narrative music—like all his compositions—was a way to engage the great ideas of politics and philosophy that mattered to him. To suit Beethoven’s musical temperament, the aptest dramatic subjects had to be epic in scope, intense in emotion, and politically charged, as in Coriolan. It was a struggle for him to make even these plots fit his musical forms; when scenarios could be summarized in simple, stark musical architecture, such as a highly concentrated overture in sonata allegro form, so much the better. This is what we hear in the Coriolan Overture, as well as in the Egmont Overture and in the three overtures Beethoven wrote for Fidelio (including those designated as “Leonore” overtures). The stage action of Coriolan depicts the profound tensions facing an ancient Roman general who chooses to fight alongside his country’s enemies, the Volscians. His wife, his mother, and his sense of patriotic duty are all arrayed against him—giving Beethoven ample opportunity to convey both inner turmoil and martial themes, as we hear in the fortissimo chords of the opening. Throughout the overture, the alternation between loud and soft, between Major and minor, give us a vivid sense of Coriolan’s dilemma: the conflict between public duty and private interest. After the contrasting musical materials are developed and recapitulated, a coda repeats the overture’s first theme and then ebbs away. Spoiler alert: Collin’s version of Plutarch’s story ends with Coriolan’s suicide.
NOTES ON THE PROGRAM Arthur Honegger (1892–1955) Pastorale d’éte PERFORMANCE TIME: 8 MINUTES
Listening to Arthur Honegger’s gentle, painterly Pastorale d’éte, it may seem odd to think of him as a composer of great precision who delighted in things mechanical. Beguiling and brief, this tone poem is lush in its evocation of the natural world; it seems to gather and then disperse like morning mist, almost without a defined beginning or end. Yet it conveys its sensuality through exacting craftsmanship that—if we may be permitted a bit of cultural stereotyping—seems consistent with this French composer’s Swiss ancestry. Born to Swiss parents who had settled in the French city of Le Havre, Honegger studied harmony and violin there before returning to his Swiss roots for study at the Zurich Conservatory. He then completed his musical studies in seven years at the Paris Conservatoire, where his instructors included the noted composers CharlesMarie Widor and Vincent d’Indy. Honegger was one of the iconoclastic young French composers that critic Henri Collet dubbed “Les Six;” today, Honegger and two others, Francis Poulenc and Darius Milhaud, are best remembered. Of the group, Honegger was alone in manifesting a concern for formal compositional architecture and Bachian counterpoint. If more proof of his mechanical bent (and his particular love of trains!) is needed, consider his amazing Pacific 231, a mouvement symphonique that is a vivid evocation of a
ride on a steam locomotive. He composed it in 1922, just a year after the Pastorale d’éte. Though they are worlds apart in character, these tone poems are equally vivid in their scene-painting. Today they remain among Honegger’s most popular works. Robert Schumann (1810–1856) Concerto in A minor for Cello, Op. 129 PERFORMANCE TIME: 26 MINUTES
Imagine relocating from the Rocky Mountains to the East Coast; in 1850, the forty-year-old Robert Schumann faced a similarly daunting prospect. Only six years earlier, Schumann had moved with his wife and family from Leipzig to Dresden, the capital of his native Saxony. But his time there was professionally disappointing, and when he was invited to serve as music director in the Rhineland city of Düsseldorf, his appointment came like a clarion call of rescue from an unfamiliar place 400 miles away. Schumann’s professional renaissance in Düsseldorf was tragically short-lived; his mental illness, which would be far more treatable today, drove him to attempt suicide in 1854, and he spent the remaining two years of his life in an asylum. But his remarkable cello concerto, now a cornerstone of the cello literature, was a sign of the renewed creative vigor and the high hopes he must have felt in assuming his new position. Within three months he had produced both this concerto and his Symphony No. 3, the “Rhenish.” We customarily credit Dvořák for the renewal of interest in the cello, but Schumann’s marvelous concerto came first—and, unlike
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NOTES ON THE PROGRAM Dvořák, he actually played the instrument well, though exactly how well is not known. He had taken up cello studies when a hand injury forced him to abandon his hopes for a career as a pianist. His cello compositions, including this concerto and five romances from the previous year, show his depth of feeling for the instrument. They are not only inspired; they also mark the end of a ninety-year drought in major cello works by great classical composers. Before Schumann, we have to look back to Bach’s suites for unaccompanied cello and Haydn’s cello concerto to hear the instrument deployed as a solo voice of such importance and wine-dark expressiveness. Ironically, despite the success of his Rhenish symphony, Schumann’s cello concerto was not publicly performed in his lifetime. The concerto’s three movements are played without interruption, linked by musical “bridges.” Its prevailing quality is the cello’s ability to sing in flowing, songlike phrases; the sense of virtuosity comes not from the flash of rapid passagework, but from the soloist’s ability to convey the poetry of a long, evenly sustained line. The overall effect is not that of a lone heroic voice or of a romantic struggle between an individual and massed forces, but rather of a deeply felt conversation between friends. Even the concerto’s sole cadenza, which occurs in the third movement, is collaborative, with the orchestra accompanying the cello soloist. Ludwig van Beethoven (1770–1827) Symphony No. 2 in D Major, Op. 36 PERFORMANCE TIME: 34 MINUTES
Beethoven approached the symphony form with some deference. When he completed his
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Symphony No. 1 in 1800, he was almost 30, but was still strongly showing the influence of his teachers Haydn and Mozart—the period musicologists call “early Beethoven.” While working on the Symphony No. 2 the following year, he was living in the town of Heiligenstadt, outside Vienna. And though he imbued the music with cheer and buoyant energy, his hearing loss was very much on his mind; in fact, he had moved out of the city in the hope that the country life might slow or reverse the course of his deafness. Continuing deterioration confirmed his worst fears. It was then that Beethoven wrote his famous “Heiligenstadt Testament”—a letter to his brothers that harrowingly described the bleakness he felt. “…What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing,” he wrote. “Such incidents drove me almost to despair; a little more of that and I would have ended my life—it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.” Beethoven never sent the letter. He returned to Vienna after completing the Symphony No. 2 and led its premiere performance at the Theater an der Wien. Also on the program were the premiere of his oratorio Christ on the Mount of Olives, his Symphony No. 1, and his Piano Concerto No. 3 (with the composer as soloist). And in 25 additional years of life, his art proved stronger than his despair. As the distinguished music historian Piero Weiss pointed out when Hollywood came knocking at his door for advice on a
NOTES ON THE PROGRAM Beethoven biopic, we can’t hear Beethoven’s life in his music. When the producers asked Weiss what Beethoven was composing when he learned he was going deaf, he told them it was the golden-hued Symphony No. 2, and then turned them away. Beethoven enthusiasts sometimes challenge listeners by choosing a passage from his early period: Is it Haydn, Mozart or Beethoven? The strongest aspects of resemblance lie in the pleasing euphony of the melodies in such works as the first two symphonies and piano concertos. Of these, the Symphony No. 2 is deemed a high point of the master’s early Classical style. But in it we can hear some of the boldness of orchestration that would become even stronger in Beethoven’s later works. For example, the first movement begins with an emphatic introduction that is rhythmically complex and surprising. For those listeners
expecting the kind of tranquil predictability they might hear in Haydn, blasts from the horn section come as a jolt—strong dynamic contrasts that are a departure from Haydn’s elegant restraint. Here’s a similar challenge for oldtime movie buffs: Can you identify the classic Hollywood feature that confirms musicologist Piero Weiss’s contention about this symphony’s lyrical beauty? It’s Born Yesterday, the romantic comedy with Judy Holliday, William Holden and Broderick Crawford. We know that Holliday’s and Holden’s characters will fall in love when they listen to an outdoor concert on the Potomac River, near where the infamous Watergate Hotel was later built. The music they hear—the symphony’s second movement, marked larghetto—is deeply and radiantly happy, as full of joyful optimism as anything Beethoven ever wrote.
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ON THE HILL
DISNEY IN CONCERT A Magical Celebration
July 19 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor ANDREA ROSS, vocalist WHITNEY CLAIRE KAUFMAN, vocalist AARON PHILLIPS, vocalist ANDREW JOHNSON, vocalist
VARIOUS ALAN MENKEN AULIʻI CRAVALHO
Disney Memories Overture Songs from Disney’s The Little Mermaid “How Far I’ll Go” from Moana
ALAN MENKEN
Aladdin Medley
ALAN MENKEN
“When Will My Life Begin” from Tangled
ALAN MENKEN
“Out There” from Hunchback of Notre Dame
ALAN MENKEN
“Go the Distance” from Hercules
KRISTEN ANDERSON-LOPEZ, ROBERT LOPEZ
“Let it Go” from Frozen
INTERMISSION
ALAN MENKEN WALLACE/SMITH BRUNS MICHAEL GIACCHINO ALAN MENKEN
Orchestral Suite from Beauty and the Beast A Dream is a Wish Medley Battle with the Forces of Evil from Sleeping Beauty “Remember Me” from Coco The Lion King Song Suite
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ARTISTS’ PROFILES
Andrea Ross Vocalist
Whitney Claire Kaufman Vocalist
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Andrea Ross is an international recording artist and musical theatre performer, having caught the attention of Andrew Lloyd Webber at the age of 13. Her solo album, Moon River, is produced by Andrew Lloyd Webber and Universal Classics and Jazz. Andrea grew up in Boston, Massachusetts where she began her stage career and was the youngest recipient of the prestigious Elliot Norton Award for Outstanding Actress. She has performed in venues in the UK including Royal Albert Hall and Wembley Stadium, where she was a guest artist for Concert for Diana, honoring Diana, Princess of Wales. Andrea originated the lead role of Swallow in Andrew Lloyd Webber’s US National Tour of Whistle Down the Wind, and she understudied Maria in the National Tour of The Sound of Music, directed by three-time Tony award winner Jack O’Brien. Andrea has performed Pops Concerts with the Baltimore Symphony Orchestra and the Boston Symphony Orchestra. She is a graduate of Pace University in New York City with a BFA in Musical Theatre. Andrea is delighted to sing her favorite Disney music in this concert and hopes that you enjoy the show! Whitney Claire Kaufman recently completed two years with the North American Tour of the Broadway smash-hit Mamma Mia! (Ensemble, Understudy for Sophie and Lisa). Her performance as Sophie garnered rave reviews from the Boston Globe. Whitney has performed as guest soloist with the Malaysian Philharmonic Orchestra and the Pacific Symphony Orchestra, and with the Florida Orchestra, and has appeared in Cabaret (Sally Bowles), A Midsummer Night’s Dream, (Peaseblossom), Marisol (June), The Los Angeles Theatre Ensembles’ production of Wounded, as well as many other theatrical productions. TV credits include General Hospital and the hit ABC series Modern Family. As both a singer and voice-over performer in film and television, Whitney has been heard in productions including That Championship Season, The Secret of NiMH 2, and two MGM animated series: All Dogs Go to Heaven and Noddy. She recently recorded songs written by Oscar-winning composer Dimitri Tiomkin. Whitney graduated with honors from Chapman University with a BFA in Theater Performance. Her favorite Disney movie is The Little Mermaid, with Cinderella as a close second.
ARTISTS’ PROFILES
Aaron Phillips Vocalist
Andrew Johnson Vocalist
Aaron Phillips is very excited to be part of this wonderful production. Aaron is an Ovation Award nominated actor/ singer, proud member of Actor’s Equity, and can frequently be seen on film and TV. Past theatre 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. 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 Frozen-Live at the Hyperion (Prince Hans), Rent (Benny), Five Guys Named Moe (Four-Eyed Moe), and Joseph and the Amazing Technicolor Dreamcoat (Joseph). 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 and singer/ actress Jodi Benson (the original 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 DRWMCHL. He would like to thank his family for their love and support and Ted Ricketts for the opportunity of being part of this show. *See page 23 for Conner Gray Covington’s profile.
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ON THE HILL
RENÉE ELISE GOLDSBERRY with the Utah Symphony
July 20 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER ENRICO LOPEZ-YAÑEZ, conductor RENÉE ELISE GOLDSBERRY, vocalist
Selections to be announced from the stage.
PRESENTING SPONSOR
JIM & ZIBBY TOZER
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ARTISTS’ PROFILES Enrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony. Appointed in 2019, he leads the Symphony’s Pops Series and Family Series. Since working with the Nashville Symphony, Lopez-Yañez has conducted concerts with a broad spectrum of artists including: Toby Keith, Jennifer Nettles, Richard Marx, Megan Hilty, The Marcus Roberts Trio, Hanson, Kenny Loggins and more.
Enrico Lopez-Yañez Conductor
CONDUCTOR SPONSOR
During the 2019–20 season, Lopez-Yañez will make appearances with the San Diego Symphony, Indianapolis Symphony, Utah Symphony, Edmonton Symphony, and return performances with the Sarasota Orchestra and Omaha Symphony among others. Lopez-Yañez has appeared with orchestras throughout the United States including the Detroit Symphony, Rochester Philharmonic, and Oklahoma City Philharmonic. As Artistic Director and Co-Founder of Symphonica Productions, LLC, Lopez-Yañez curates and leads programs designed to cultivate new audiences. An enthusiastic proponent of innovating the concert experience, he has created exciting education, classical and pops concerts that have been performed by orchestras across the United States. Lopez-Yañez previously held the position of Assistant Conductor with the Nashville Symphony and Omaha Symphonies. He holds a Masters in Music from the University of Maryland and received a Masters in Music and his Baccalaureate from UCLA, where he graduated summa cum laude. For more information visit: www.enricolopezyanez.com
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ON THE HILL
Renée Elise Goldsberry Vocalist
GUEST ARTIST SPONSOR
Renée Elise Goldsberry received the Tony Award, Grammy Award, Drama Desk Award and Lucille Lortel Award for her performance off and on Broadway in the musical phenomenon Hamilton. Since winning the Tony Award, she has appeared in Baz Luhrmann’s The Get Down for Netflix and shot the title role for HBO’s The Immortal Life of Henrietta Lacks opposite Oprah Winfrey. She is currently starring in the Netflix series Altered Carbon. Prior to Hamilton, Renée’s appearances on stage include her Outer Critics Circle Award nominated performance opposite Frances McDormand in the play Good People, as well as the original stage version of The Color Purple. She made her Broadway debut in The Lion King and was the last Mimi in Rent. Her off-Broadway appearances have included several Shakespeare productions for the Public Theater’s New York Shakespeare Festival, where Hamilton originated. Her television appearances include her recurring roles on The Good Wife, Law & Order: SVU and The Following. She was nominated twice for a Daytime Emmy Award for her performance on One Life to Live. On film, she appeared most recently in Sisters with Tina Fey and Amy Poehler, and in Every Secret Thing with Diane Lane and Elizabeth Banks.
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ST. MARY’S CHAMBER CONCERTS
BEETHOVEN & DVOŘÁK THE ROMANTIC VIOLIN July 24
/ 2019 / 8 PM / ST. MARY’S CHURCH
CONNER GRAY COVINGTON, conductor KATHRYN EBERLE, violin
CONCERT SPONSOR
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS BEETHOVEN (ARR. MAHLER)
BEETHOVEN
String Quartet, Op. 95, “Serioso” I. Allegro con brio II. Allegretto ma nontroppo III. Allegro asai vivace ma serioso IV. Larghetto espressivo Romance No. 2 in F Major for Violin and Orchestra, Op. 50 KATHRYN EBERLE, violin
DVOŘÁK
Romance in F minor for Violin and Orchestra, Op. 11 KATHRYN EBERLE, violin
INTERMISSION
RAVEL MOZART
Pavane pour une infante défunte Symphony No. 36 in C Major, K. 425, “Linz” I. Adagio - Allegro spiritoso II. Poco adagio III. Menuetto IV. Presto
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ARTISTS’ PROFILES Acclaimed by The Salt Lake Tribune as, “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony. Ms. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies in addition to performing frequently with the St. Louis Symphony.
Kathryn Eberle Violin
Eberle performs annually as soloist with the Utah Symphony. She made her solo subscription series debut with the Utah Symphony in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Louisville Orchestra, the Nashville Symphony, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil. An avid chamber musician, Ms. Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, Ricardo Morales, and members of the New York Philharmonic. Her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac, Sewanee, Laguna Beach, Fairbanks Summer Arts, Innsbrook and Festival Mozaic. She is a frequent performer on the NOVA Chamber Music Series in Salt Lake City and recently presented a complete cycle of the Beethoven Violin Sonatas with pianist Jason Hardink on NOVA’s inaugural Gallery Series. Hardink and Eberle were also featured in a critically acclaimed production of The Kreutzer Sonata, a unique collaboration with Plan B Theater Company. A committed pedagogue, Ms. Eberle is on the faculty of Utah State University teaching the Orchestra Excerpts Seminar. She has given numerous master classes including guest appearances at Vanderbilt University, University of Alaska Fairbanks, Dixie State University, Brigham Young University and the Sewanee Summer Music Festival. Ms. Eberle received a Master’s Degree from The Juilliard School studying with Sylvia Rosenberg. She previously studied with Robert Lipsett both at the Colburn School and the University of Southern California where she received the String Department and Symphony awards upon graduation. Ms. Eberle performs on a J.B. Vuillaume violin made in 1870.
*See page 23 for Conner Gray Covington’s profile.
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The Gala Concerto Concert Part of the 47th Annual National Flute Association Convention
August 3rd at 8 P.M. in Abravanel Hall Home of the Utah Symphony
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An unforgettable evening of flute music, the Gala Concerto Concert offers a rare opportunity to experience four virtuoso flute soloists, performing with a symphony orchestra. This year’s artists are Chelsea Knox, Jonathan Keeble, Hélène Boulègue, and Christina Smith. The concert will be conducted by Richard Prior.
For tickets visit:
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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. © 2019 Promontory Development, LLC. Each individual office is Independently Owned and Operated.
NOTES ON THE PROGRAM By Michael Clive
Ludwig van Beethoven (1770–1827) arr. Gustav Mahler (1860—1911)
Mahler revered Beethoven. Our understanding of Mahler the symphonist— and, after all, that is how we know him best—starts with the later composer’s respectful dedication to continue his predecessor’s expansion of the symphonic form as a musical expression of humanity’s deepest questions and highest ideals. But for Mahler’s contemporaries, his reverence for Beethoven was understood differently.
Thus it is not surprising that Mahler would want to bring an expanded arrangement of a Beethoven string quartet before the public. Musicologists tell us that Beethoven composed his String Quartet No. 11 around 1810, when he was in transition between his “middle” and “late” period—a time when he departed from some of his long-held musical norms, including exhaustive development sections. That made this quartet unusually compact, and an excellent subject for Mahler’s arrangement for string orchestra. It is a musical expression of unusual intensity, even for Beethoven—a fact that must have appealed greatly to Mahler in selecting it for arrangement.
In 1898, when Gustav Mahler arranged Beethoven’s String Quartet No. 11 for string orchestra, Vienna’s demanding, discerning listeners knew him mainly as a conductor and musical director of opera. These were the professional responsibilities for which Mahler was most celebrated by his countrymen in his own lifetime; in musicloving, opera-mad Vienna, they were more than enough to establish him as Beethoven’s most ardent advocate at a time when other musicians were arguing about Brahms, Wagner, Strauss, and the emerging Second Viennese School. Mahler was an esteemed interpreter of Beethoven’s symphonies, and as musical director of Vienna’s most prestigious opera company, he threw himself into every aspect of staging Beethoven’s sole opera, Fidelio. It was a landmark achievement for Mahler. He called it the greatest of all operas and supervised every aspect of the production, establishing standards for performing it that are still followed more than a century later.
The quartet spans a dramatic opening allegro, a second movement that takes an allegretto pace—brisker than the usual languid second movement--a brilliantly intricate scherzo, and a finale that progresses from slow lyricism to outright gaiety. Mahler’s arrangement, which refits the quartet’s intimate scale for the concert hall while preserving its musical ideas, was premiered in Vienna in January 1899. Today, the openingnight popular and critical reception— overwhelmingly negative—seems baffling. Some audience members booed; among the experts, only the eminent critic and tastemaker Eduard Hanslick praised Mahler’s work, and he never conducted it again. Did listeners suspect they heard a downscaled restatement of Beethoven’s beloved Symphony No. 5? Whatever the reason, Mahler’s arrangement disappeared for the better part of a century. It was finally revived in 1986 by composer David Matthews.
String Quartet Op. 95, “Serioso” PERFORMANCE TIME: 20 MINUTES
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NOTES ON THE PROGRAM Ludwig van Beethoven (1770–1827) Romance No. 2 in F Major for Violin and Orchestra, Op. 50 PERFORMANCE TIME: 10 MINUTES
Beethoven’s two romances for violin are the closest of siblings: No. 2 is in F Major, while No. 1 is in G Major. Both were dedicated to the same violin virtuoso, Ignaz Schuppanzigh. No. 2 was published in 1805, two years after No. 1 (although it had been composed in 1798). Musically, No. 2 shares the stately pace and singing quality of No. 1, as well as its rondo structure, which allows Beethoven to repeat the theme with additional material at each iteration. Some listeners hear the melancholy of lost love in this romance’s languorous melody, while others hear a more philosophical musing, poetic and contemplative. Sure, they sound romantic. But why are they called romances? Toward the end of the Classical period, the term “romance” emerged as a catch-all term for certain works, but especially works like Beethoven’s two romances for violin: relatively short, but long enough to make a serious statement— longer than the typical art song or concert aria. They also usually share a cantabile quality we associate with romance—a smooth, flowing line (cantabile means singable). In addition, a bit of virtuosic display on a solo instrument can’t hurt. In fact, Beethoven’s designation of “adagio cantabile” is as close as he comes to a specific indication of tempo for this work. Composed for violin and orchestra, Beethoven’s Romance No. 2 combines stateliness and sentiment in equal measure,
though this balance can be affected by the tempo chosen for performance. Historically, violinists and conductors have exercised more freedom of choice than with the concerto or the sonatas in choosing tempos for the romances— anywhere from an andante, or walking pace, to something much slower and more ardent. Both romances are built around melodies that return, taking the rondo form that Beethoven also chose for the third movement of his piano concertos. And as in the concertos, each repetition of the theme adds meaning. Antonin Dvořák (1841–1904) Romance in F minor for Violin and Orchestra, Op. 11 PERFORMANCE TIME: 12 MINUTES
Music history can sometimes venture into undiscovered territory. That’s what happened with Dvořák’s ravishing Romance in F minor. Musicologists have long known that the Romance in F minor for Violin and orchestra was based upon the second movement of Dvořák’s String Quartet No. 5 in F minor, which he composed in 1873. But a newly discovered performing edition of the Romance, for violin and piano accompaniment, turned up as recently as 2015. With notations in the composer’s hand, this discovery shed light on the orchestral version as well. Dvořák composed the Romance for a benefit concert by the Pension Association of the Provisional Theatre Orchestra in Prague. The Romance combines material from the quartet with new themes that Dvořák incorporates in traditional sonata-allegro
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NOTES ON THE PROGRAM form. The result is one of the most appealing embodiments of Dvořák’s gift for swaying melodies and deft construction. It has earned a place as one of the most popular romances in the orchestral repertory. Maurice Ravel (1875–1937) Pavane pour une infant défunte (“Pavane for a Dead Princess”) PERFORMANCE TIME: 6 MINUTES
If you know the paintings of the great Spanish artist Diego Velázquez, picture his magnificent oil “Las Meninas,” considered one of the greatest artworks ever created. Dating from 1656, this enigmatic composition shows the interior of a large room in the Royal Alcazar palace in Madrid during the reign of King Philip IV. After hearing Ravel’s shimmering Pavane, ask yourself: was it inspired by Velázquez? As Ravel himself noted, “[It] is not a funeral lament for a dead child, but rather an evocation of a pavane that might have been danced by such a little princess as painted by Velázquez.” But for generations of spellbound listeners, it is much more. Melancholy and magical and ethereally beautiful, it transports us into a royal court of the past. The title of Velázquez’s work refers to ladies-in-waiting, but the composition includes various figures in a dark room. As in Ravel’s Pavane, it seems to echo with beauty and history, and we discern royal splendor, melancholy, and the light of art as consolation. There is even an infanta in both: in the painting, she is King Philip’s daughter Margaret Theresa, who gazes provocatively from the canvas. Does she
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know, as we can see in her depiction, that her growth is stunted and she will probably never reach adult stature? The Pavane is a relatively early work, originally composed for solo piano in 1899, when Ravel was studying with Gabriel Fauré at the Paris Conservatoire. Though Ravel’s antique-style miniature does not memorialize a specific princess, he loved Spanish culture and almost surely knew this painting, and intended his Pavane in 1899 as a slow dance. Young Margaret Theresa, in Velázquez’s depiction, is gowned as if for a ball. Tempo is always an issue with Ravel; here, the Pavane’s slow pace fosters a sense of gradual recollection. Wolfgang Amadeus Mozart (1756–1791) Symphony No. 36 in C Major, K. 425, “Linz” PERFORMANCE TIME: 26 MINUTES
Mozart composed many of his greatest works with a speed that confounded many of his contemporaries and continues to amaze us to this day. His Symphony No. 36 is an example: all indications are that its four fully elaborated movements took shape within four or five days in 1783, when Mozart was living in Vienna and was passing through the Austrian town of Linz on his way back to Vienna after visiting his hometown of Salzburg. It was on that trip that he introduced his wife, Constanze, to his father. Once in Linz, a deadline loomed, as Mozart had promised a symphony for performance there on November 4. On October 31 he wrote to his father, “On Tuesday…I am giving a concert in the theater here, and as I have
NOTES ON THE PROGRAM not a single symphony with me, I am writing a new one at breakneck speed, which must be finished by that time. Well, I must close, because I really must set to work.”
first use of these instruments in a slow movement. (The marking is andante.) The final movement, marked presto, sparkles with melody, energy and speed.
Any stress in the encounter between Constanza and the skeptical Leopold Mozart, and any haste that Wolfgang might have felt in composing the Linz symphony, are entirely belied by the music itself. From its confident opening bars, which comprise Mozart’s first slow introduction in a symphony, the sound is confident and persuasive. (This introduction is said to have fascinated Beethoven.) The allegro that follows this introduction is cited as an exemplar of symphonic construction. Then, in the stately third movement, Mozart introduces trumpets and drums—his
In this symphony’s combination of freshness and classical tradition, the eminent musicologist Phillip Huscher detects a tip of the hat to Haydn, the great progenitor of symphonic form. Especially in the dazzle of the finale, Huscher notes, the music “suggests that Mozart knew his Haydn well and that he was inspired and challenged by this great man whom he would publicly salute, within the year, as his ‘most dear friend.’” The feeling was mutual: Haydn, for his part, called Mozart the greatest composer he knew.
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ON THE HILL
A SYMPHONIC SPACE CELEBRATION July 26 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor MELISSA HEATH, soprano
PRESENTING SPONSOR
JOHN & JEAN YABLONSKI
CONCERT SPONSOR
SUMMER DONOR PARTY SPONSOR
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PROGRAM & ARTISTS’ PROFILES PHILIPS, LARSON J. STRAUSS HOLST HARRY GREGSON-WILLIAMS BILL CONTI MANUEL PONCE CALVIN CUSTE
Main title from Battlestar Galatica Music of the Spheres “Mars, the Bringer of War” from The Planets Video provided by Clark Planetarium
“Fly Like Iron Man” from The Martian Music from The Right Stuff Estrellita, Star of Love MELISSA HEATH, soprano
Star Trek Through The Years INTERMISSION
R. STRAUSS JAMES HORNER, ARR. JOHN MOSS GUS EDWARDS, ARR. WM. RYDEN ZHOU TIAN DVOŘÁK DEBUSSY/CAPLET HOLST
Melissa Heath Soprano
Opening fanfare from Also Sprach Zarathustra
Video provided by Clark Planetarium
Music from Apollo 13 By the Light of the Silvery Moon MELISSA HEATH, soprano
D.O.N.E. from Transcend “Song to the Moon” from Rusalka MELISSA HEATH, soprano
Clair de lune “Jupiter, the Bringer of Jollity” from The Planets Video provided by Clark Planetarium
Soprano Melissa Heath enjoys a varied career of opera, concert and recital work. Recent operas include Le Nozze di Figaro and Carmen, both with the Concerts at the Presidio series and Utah Lyric Opera. With Utah Symphony, Ms. Heath has performed both Nielsen’s Symphony No. 3 and Handel’s Messiah. Last fall she was the soprano soloist with Ballet West in choreographer Nicolo Fonte’s world premiere of Carl Orff’s Carmina Burana. This Spring Ms. Heath will have the pleasure of singing Schubert lieder on NOVA Chamber Music Series’ season finale concert. In September she will again join Sinfonia Salt Lake for Samuel Barber’s Knoxville: Summer of 1915. Ms. Heath is an Assistant Professor of Music and Vocal Area Coordinator in the Department of Music at Utah Valley University. She holds a Bachelor’s Degree in voice from Brigham Young University, and her Master of Music and Doctorate of Musical Arts degrees in voice from the University of Utah. *See page 23 for Conner Gray Covington’s profile.
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CRAFT BEER, FOOD TASTING & FREE CONCERT Every Tuesday July 9th – August 27th, 2019 Reservations (435) 645-6455 $20 Beer Tasting & $20 Food Pairing | 6pm - 7:30pm Free Concert | 6pm - 9pm Outdoor a la Carte Grill | 6pm
7700 Stein Way, Park City, Utah 84060 www.hopsonthehill.com A portion of the proceeds are donated to the Youth Sports Alliance
ON THE HILL
RODRIGO Y GABRIELA Mettavolution Tour
July 27 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER RODRIGO Y GABRIELA, guest artists
Selections to be announced from the stage.
Utah Symphony will not be performing at this concert.
CONCERT SPONSOR
MEDIA SPONSOR
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ARTISTS’ PROFILE
Rodrigo y Gabriela Guest Artists
Five years since their last album, Mexican acoustic rock guitar duo Rodrigo y Gabriela are ready to embark on the next chapter of their remarkable story, with the release of the most ambitious music of their twenty-year career together. Through relentless touring and terrific word-of-mouth support, Rodrigo y Gabriela have established themselves as an in-demand live act, particularly in America, where they sold out the Hollywood Bowl (two nights) and the Red Rocks Amphitheatre as recently as summer 2018. They have also sold out multiple nights at the Royal Albert Hall in London, Le Zenith in Paris, and Radio City Music Hall in New York, not to mention venues in Australia, Japan, and Europe. They are recognized by their fans and critics alike as being one of the top live touring acts in the world. In 2010, Rodrigo and Gabriela were invited by President Obama to perform at a reception he hosted for the President and First Lady of Mexico. Rod and Gab have also contributed to the musical soundtracks of Puss in Boots (2011) and Pirates of the Caribbean: On Stranger Tides (with Hans Zimmer) in the same year. With career album sales well in excess of 1.5 million worldwide, Rodrigo y Gabriela have established themselves as globally successful artists who are eager to write new chapters in their already illustrious story.
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Masterclass with Guest Artist Hugh Panaro
Friday, July 5, 2:00-3:30 PM Students who perform in the masterclass will be drawn from Utah Conservatory and Egyptian YouTheathre summer programs. This event is free and open to the public. St. Luke's Episcopal Church 4595 Silver Springs Drive, Park City, Utah 84098
ST. MARY’S CHAMBER CONCERTS
MOZART’S PIANO CONCERTO NO. 23 July 31
/ 2019 / 8 PM / ST. MARY’S CHURCH
CONNER GRAY COVINGTON, conductor ARISTO SHAM, piano
MOZART
Concerto No. 23 in A Major for Piano and Orchestra, K. 488 I. Allegro II. Adagio III. Allegro assai ARISTO SHAM, piano
INTERMISSION
ARVO PÄRT BRAHMS
Wenn Bach Bienen gezüchtet hätte ... Serenade No. 2 in A Major, Op. 16 I. Allegro moderato II. Scherzo: Vivace III. Adagio non troppo IV. Quasi menuetto V. Rondo: Allegro
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ARTISTS’ PROFILES
Aristo Sham Piano
Pianist Aristo Sham has already dazzled audiences on five continents, in countries ranging from Singapore and Argentina, to Slovenia and Morocco, to China and Iceland. Mr. Sham’s upcoming appearances include the Rachmaninoff Concerto No. 3 with the London Symphony Orchestra conducted by Sir Simon Rattle in Hong Kong and the Mozart Concerto No. 23 with the Utah Symphony. He has previously performed as soloist with the Hong Kong Philharmonic Orchestra conducted by Edo de Waart, English Chamber Orchestra under Raymond Leppard, Orchestre de Chambre de Lausanne, and the Minnesota Orchestra. In addition, he has given recitals for the Dame Myra Hess Memorial Concerts in Chicago and the Salle Cortot in Paris, and performed for royalty and dignitaries such as Prince Charles, the Queen of Belgium, and ex-President Hu of China. He also won the Silver Medal at the Gina Bachauer International Artists Piano Competition and First Prize at the Charles Wadsworth International Piano Competition in 2018, First Prize and the Barenreiter Urtext Special Prize at Germany’s Ettlingen International Piano Competition, First Prize at the 2016 New York International Piano Competition, and top prizes at the Viseu (Portugal), Wideman, PianoArts, Clara Haskil, Saint-Priest and Viotti Piano Competitions as well as the Verbier Festival in Switzerland. A native of Hong Kong, Mr. Sham began playing the piano at three, and entered the Hong Kong Academy for Performing Arts at six. He attended the Harrow School in London, and at the age of twelve was featured in the documentary “The World’s Greatest Musical Prodigies,” broadcast by Channel 4 in the UK. Aristo Sham is currently in a joint program of Harvard University and the New England Conservatory, pursuing a BA in Economics and French and an MA in Piano Performance. He also travels to Sweden for studies at the Ingesund School of Music. In his free time, Mr. Sham enjoys travelling, languages, gastronomy and oenology.
*See page 23 for Conner Gray Covington’s profile.
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By Michael Clive
NOTES ON THE PROGRAM
Wolfgang Amadeus Mozart (1756–1791) Concerto No. 23 in A Major for Piano and Orchestra, K. 488 PERFORMANCE TIME: 26 MINUTES
Mozart moved to Vienna when he was 25. He arrived there on March 16, 1781, and wrote some of his greatest piano concertos there—some fifteen in all, including No. 23. In 1784 alone, he produced three; he completed No. 23 in 1786, the same year as his opera The Marriage of Figaro. The concertos were a means to showcase his talent as both a composer and a piano virtuoso. In modern times, especially after Peter Shaffer’s all-too-influential play Amadeus became a feature film, our shared notion of Mozart’s character and his motivation for moving to Vienna has been shaped by Shaffer’s brilliant characterization of the composer as an unfathomably gifted genius in matters musical, but immature and naïve in all other respects. Shaffer, of course, never aimed for historical accuracy in modeling a fascinating but wholly fictional rivalry between Mozart and his contemporary Antonio Salieri, whom Shaffer presents to us as canny, worldly, cynical, manipulative and—most of all—envious of Mozart to the point of homicide. The contrast between them sizzles on stage as it never did in life. Shaffer’s funny, dark drama is not only great fun; it is also fascinatingly speculative, conjuring emotions and contradictions that Mozart’s genius could well have provoked both in himself and in those around him. But we pay a price for our enjoyment, among them a somewhat distorted view of Mozart’s
move to Vienna. His motivations and expectations for this move were probably not those of an unrealistic, impulsive brat. With his career stalled in Salzburg, it was natural for Amadeus to want to live in the most important cultural capital in central Europe; Salzburg was a backwater by comparison. True, the vituperation in Mozart’s letters to his father fit Shaffer’s depiction of him as a childish savant, but both father Leopold and his son felt that Amadeus was far more talented than any of his rivals. Besides, neither one dreamed that we would be reading their very personal correspondence more than two centuries after it was written. Of course, the very paternal Leopold looked upon his son’s relocation with some trepidation. There were musical commissions to be secured and lessons to be taught, but to get such work required contending with the petty politics of the Viennese court and aristocracy—something resembling a viper’s nest. Leopold knew all too well his son’s impatience with such matters. So, for that matter, did Amadeus himself. His letters to Leopold often dwelled on Mozart’s resentment of those who underestimated him. It should have been a time for him to cultivate and consolidate favor in court and line up business elsewhere in Vienna, but professional obligations held over from Salzburg stood in his way, and the archbishop refused to release him from these requirements. His festering irritation made things worse. On one occasion, an evening of entertainment hosted by the archbishop, Mozart supplied a violin rondo, and an aria and a sonata for himself. His compensation was a modest as the program. Had the archbishop released
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NOTES ON THE PROGRAM Mozart to perform for the emperor that same evening, he could have earned the equivalent of half his salary in Salzburg. In a meeting with the archbishop, matters reached a climax that unleashed a torrent of abuse from the archbishop and a request from Mozart that he be discharged. At first the request was refused, but the archbishop eventually released Mozart with what he described to Leopold as “a kick on my arse.” This concerto is one of two that Mozart composed in the key of A Major, and both share a glowing, sun-dappled mood. In this relatively late work, Mozart feels free to begin with gentle introspection rather than high drama, and the alternation between soloist and ensemble is more complex than in his earlier concertos. The second movement is a breathtaking adagio in the tempo of an Italian siciliano, and is exceptionally poetic in expressiveness—even for Mozart. In the final movement, a rambunctious allegro assai, he braids a profusion of melodies in “sonatarondo” form, combining a recurrent primary theme with a series of other tunes that are resolved in sonata-style resolution. This bit of compositional bravura, combining both melodic abundance and structural deftness, may be one reason why Mozart included it among the works he sent to the Austrian town of Donaueschingen in hopes of winning a commission from Prince Fürstenburg. Arvo Pärt (b. 1935) Wenn Bach Bienen gezüchtet hätte… PERFORMANCE TIME: 7 MINUTES
Brilliant, beautiful, speculative—with a little imagination, we can discern many of
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the qualities of Arvo Pärt’s music just in the title of this witty work. Its translation: “If Bach had been a beekeeper…” But in listening to its complex textures, we can also hear traces of Pärt’s original proposed title: Portrait of a Musicologist Against the Background of a Wasp Nest. A native of Estonia who is deeply committed to his Orthodox Christian faith, Pärt has developed a unique and distinctively expressive style of composition that uses slow, gradual modulation and cosmicsounding textures. His works seems to bring the infinite reaches of the universe into the concert hall. Pärt studied composition with Heino Eller in Tallinn, Estonia. After working as a sound engineer with Estonian Radio, he emigrated with his family to Vienna in 1980. As a composer, he is one of the most popular voices associated with the “Soviet Avant-Garde.” Completed in 1976, Pärt’s Wenn Bach Bienen gezüchtet hätte… marks the beginning of his “tintinnabuli” style, named for its sidereal effects, often bell-like, that seem to bend time and space as we listen. He combines a futuristic sound with traditional techniques—in this case, structuring his composition around a musical cipher that pays tribute to Johann Sebastian Bach by building on the letters B-A-C-H. With string tremolos imitating the buzzing of bees, the violas play B-flat, A, C and B natural; the cellos play A, G-sharp, D-flat and C; the first violins C, B natural, D and C-sharp; and the second violins B natural, A-sharp, D-flat, and C. What we hear is a buzzing cloud of insects that spell out Bach’s name.
NOTES ON THE PROGRAM Johannes Brahms (1833–1897) Serenade No. 2 in A Major, Op. 16 PERFORMANCE TIME: 29 MINUTES
The relatively low opus numbers of Brahms’s two serenades—this one is Op. 16 and No. 1 is Op. 11—tell us that they are early works. With the benefit of time, we also know that Brahms already had symphonic form on his mind. And some of Brahms’s contemporaries knew this as well—notably his friends and mentors, Robert and Clara Schumann. Brahms completed his serenades in 1856, two decades before he would complete his first symphony. They were his first serious orchestral works. But Robert Schumann heard “veiled symphonies” in Brahms’s early compositions, even those for the piano. Today we understand that Brahms’s two serenades, composed when he was 23, are pre-symphonic studies in orchestral craft. In fact, we can consider the Serenade No. 2 as Brahms’s first true orchestral work. While the Serenade No. 1 was originally conceived as a nonet for winds and strings— essentially a chamber work—the Serenade No. 2 was scored for orchestra from the outset. For Brahms, this step forward was bold, yet measured: He adopted the loosely structured serenade form, in this case with five movements, to make sure it bore no resemblance to a symphony. Further stressing the dissimilarities, he omitted violins
from his instrumentation and added a scherzo before the serenade’s slow movement. But the biggest factor differentiating Brahms’s serenades from his symphonies could be termed “mood.” When it came to symphonies, Brahms felt that he owed his predecessors and the public something of high purpose and artistic merit. Musicloving Vienna impatiently dubbed his first symphony “Beethoven’s tenth” long before he composed it, and Brahms himself said that “After Haydn, writing a symphony was no longer a joke but a matter of life and death.” We can hear how seriously he took the form in all four of his symphonies; whether in Major or minor mode, there’s not a moment of a Brahms symphony that doesn’t sound “important.” In Brahms’s serenades, by contrast, relaxation and warmth prevail. The second opens confidently; its melodies meander from A Major to D-flat with seamless Brahmsian craft. The dance movements contrast a rustic scherzo with a refined tempo marked quasi menuetto. At the heart of the serenade is a sumptuously beautiful adagio, hushed and poetic, constructed from a set of variations over a repeated bass line. Clara Schumann singled out this movement for particular praise after her husband died. Though Robert Schumann never lived to hear a performance of this or any of Brahms’s orchestral works, his belief in their potential proved correct.
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ON THE HILL
TCHAIKOVSKY’S 1812 OVERTURE & PIANO CONCERTO NO. 1 August 2 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor ANNA FEDOROVA, piano CANNONEERS OF THE WASATCH
ORCHESTRA SPONSOR
CONDUCTOR SPONSOR
DOUG & CONNIE HAYES
CANNON SPONSOR
LAW OFFICES OF THOMAS N. JACOBSON
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PROGRAM & ARTISTS’ PROFILES SAINT-SAËNS TCHAIKOVSKY
“Bacchanale” from Samson et Dalila Piano Concerto No. 1 in B-flat minor, Op. 23
I.
Allegro non troppo e molto maestoso
II.
Andantino semplice
III. Allegro con fuoco
ANNA FEDOROVA, piano
INTERMISSION COPLAND TCHAIKOVSKY
Anna Fedorova Piano
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Suite from Appalachian Spring 1812 Overture, Op. 49
Anna Fedorova is one of the world’s premier young pianists. Anna has performed in some of the most prestigious concert halls of Europe, North and South America, and Asia, including the Amsterdam Concertgebouw, Carnegie Hall, Royal Festival Hall, Théâtre des Champs-Élysées in Paris, the Zürich Tonhalle, the Palacio de Bellas Artes in Mexico, the Teatro Colón in Buenos Aires, London’s Cadogan Hall, the Vancouver Playhouse, Paris’ Louis Vuitton Series, the National Philharmonic in Warsaw, the Baltic Symphony Hall in Gdańsk”, the Tel Aviv Museum of Art, Tokyo’s Bunka Kaikan, the Hamburg Laeiszhalle, Lisbon’s Belem Cultural Center, and many others. She has also appeared at numerous music festivals such as the Verbier Festival, Menuhin Festival Gstaad, Orpheum Music Festival and Musikdorf Ernen (Switzerland), Annecy Classic Festival and Violon sur le sable (France), Ravinia Festival and IKIF (USA), Absolute Classics festival in Scotland, the Rubinstein Piano Festival and Chopin Festival (Poland), the International Piano Festival in Trieste (Italy), The Corfu Festival of Arts (Greece), International Chamber Music Festival Koblenz (Germany) and others. Having mastered a formidable concerto repertoire, she has been performing with orchestras around the world. Highlights of 2019 include engagements with the Philharmonia Orchestra and Utah Symphony, Tangos with Marelo Nisinman in the Concertgebouw Amsterdam, tours of Japan with the State Symphony Capella of Russia and Brazil with the Boston Philharmonic Youth Orchestra, the Sintra Festival in Portugal, and three CD releases with Channel Classics.
ARTISTS’ PROFILES The Cannoneers of the Wasatch have traveled the Wasatch Front for over 40 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
*See page 23 for Conner Gray Covington’s profile.
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Reservations: (435) 645-6455 www.steinlodge.com/dining Valid 4/8/19 through 6/30/19 and 9/30/19 through 11/30/19 at Troll Hallen and Glitretind Restaurant. Valid Sunday through Thursday from 7/1/19 through 9/29/19 at Glitretind Restaurant for dinner only. Cash not accepted. For dine-in only. Buy one entrée, get the second of equal or lesser value for free. 20% gratuity will be added to original amount. Excludes Sunday brunch. Must present coupon. Not valid in conjunction with any other offer, nightly special, or special event.
ON THE HILL
AN INTIMATE EVENING WITH KRISTIN CHENOWETH and the Utah Symphony
August 3 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER MARY-MITCHELL CAMPBELL, conductor KRISTIN CHENOWETH, vocalist DAMIEN BASSMAN, drums
Selections to be announced from the stage.
PRESENTING SPONSOR
MARLON FAMILY FOUNDATION
CONCERT SPONSOR
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ARTIST’S PROFILE
Kristin Chenoweth Vocalist
Emmy and Tony Award-winning actress and singer Kristin Chenoweth’s career spans film, television, voiceover and stage. She received an Emmy Award for Best Supporting Actress in a Comedy Series for her role in Pushing Daisies, won a Tony Award for You’re A Good Man, Charlie Brown and was also nominated for her original role of Glinda the Good Witch in the Broadway smash-hit Wicked. Chenoweth recently starred in the second season of NBC’s hit comedy series Trial & Error, receiving critical acclaim for her performance as Heiress Lavinia Peck-Foster. Chenoweth has released multiple albums, most recently including The Art of Elegance, and has performed to soldout audiences across the world. Outside of her work in the arts, Kristin remains a passionate supporter of charities which dedicate their time and efforts to helping those in need, including the Broken Arrow Performing Arts Center Foundation in her home state of Oklahoma. In a labor of love, Kristin partnered with the Broken Arrow Performing Arts Center Foundation to launch an annual Broadway Bootcamp, providing young Broadway hopefuls with the opportunity to take classes, hold performances and learn from mentors in the field.
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ST. MARY’S CHAMBER CONCERTS
SCHUBERT’S SYMPHONY NO. 3 August 7
/ 2019 / 8 PM / ST. MARY’S CHURCH
DAVID DANZMAYR, conductor BOKYUNG BYUN, guitar
MOZART
RODRIGO
Divertimento for Strings in D Major, K. 136 Allegro Andante Presto Fantasía para un gentilhombre Villano y ricercar Españoleta y fanfarria de la caballería de Nápoles Danza de las hachas Canario BOKYUNG BYUN, guitar
INTERMISSION
TAUSKÝ
Coventry: A Meditation for String Orchestra
SCHUBERT
Symphony No. 3 in D Major, D. 200 I. Adagio maestoso - Allegro con brio II. Allegretto III. Menuetto IV. Presto vivace
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ARTISTS’ PROFILES
David Danzmayr Conductor
Bokyung Byun Guitar
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David Danzmayr is Chief Conductor of the Zagreb Philharmonic Orchestra, the first to hold this title in seven years. Performing regularly to sold out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra already toured to the Salzburger Festspielhaus. David frequently appears in the world´s major concert halls, and has served as Assistant Conductor of the Royal Scottish National Orchestra, which he conducted in more than 70 concerts so far. David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. He finished his studies with the highest honors. Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. Subsequently he gained significant experience as assistant to Neeme Järvi, Stéphane Denève, Carlos Kalmar, Sir Andrew Davis and Pierre Boulez, who entrusted Danzmayr with the preparatory rehearsals for his own music. A performer, educator, and doctoral candidate, Korean guitarist Bokyung Byun enjoys a reputation as one of the most soughtafter artists in the world, sparked by her staggering number of first-place finishes in international competitions and proven by her numerous performances across Asia and North America. Ms. Byun holds the distinction of being the first female winner of the prestigious JoAnn Falletta International Guitar Concerto Competition. Born in Seoul, Korea, Bokyung Byun began playing guitar at the age of six. At eleven, she took the stage for her first full-length solo recital, leading to an early start in her teen years performing numerous concert tours. By her teen years, she had gained national attention for first-prize finishes in three renowned competitions. Byun soon moved to the United States, where she briefly studied in Los Angeles before moving to New York City, where she entered The Juilliard School at the age of sixteen. She is now pursuing a fully-funded doctoral degree at the University of Southern California as the recipient of the prestigious International Artist Fellowship, and holds Bachelor of Music and Master of Music degrees from The Juilliard School. She is grateful to the masterful instruction of her pedagogues, who include Scott Tennant, William Kanengiser, Chen Zhi, Tae-soo Kim, and Sharon Isbin.
By Michael Clive
NOTES ON THE PROGRAM
Wolfgang Amadeus Mozart (1756–1791) Divertimento for Strings in D Major, K. 136 PERFORMANCE TIME: 13 MINUTES
Notturno? Divertimento? Serenade? Sinfonia concertante? All of these designations refer to loosely structured instrumental works composed purely to entertain, and if Mozart had some means of distinguishing one classification from another, we don’t know what it was. The titles notturno and serenade suggest pieces associated with the nighttime hours, as in Eine kleine Nachtmusik. But even in Mozart’s day, that work, labeled a serenata notturno, was not reserved for evening-only performance. For Mozart, incidental pieces such as these were perhaps the most reliable way to earn a quick fee; with his gift for pleasing melody and masterly orchestration, he could produce them with ease while working on more demanding projects. Generally, they were scored for a chamber orchestra or an ensemble of strings or woodwinds. As a teenager living with his parents in Salzburg, Mozart had already composed a number of these entertainments that surpassed the best examples by composers who were far older. He composed this divertimento along with two other similar works in early 1772, before his sixteenth birthday. By that date he was composing fully mature works, and had already been awarded the papal Order of the Golden Spur (1770) and had been received with honors by the most prestigious musical circles in Milan (1771). But he was hankering to prove himself with a major opera, and his hugely elaborate rom-com La finta giardiniera (1774) was just over the horizon.
The D Major divertimento stands on its own as a musical entertainment, and it has remained popular almost without interruption since Mozart wrote it. The work amply demonstrates why Mozart’s divertimentos were so admired even in his own lifetime. It is delightful, but hardly trivial. In fact, in its sound and structure, some chamber enthusiasts hear more than just a loosely structured divertimento: they hear a scaledup string quartet, with all of that form’s tightness and elegance of utterance. Over the years, it has been played as a quartet, with two violins, viola and cello, as per the norm, with the first violin dispatching the runs of sixteenth-notes as a solo voice in the first movement. Just knowing of this convention makes us more appreciative of the virtuoso demands that Mozart’s string writing places upon orchestral players here. (He was a superb violinist in his own right.) It’s not your usual divertimento, if there is such a thing. In structure, the divertimento retains elements of sonata-allegro form. A vibrant opening allegro movement is traditional in the development of its themes, even modulating briefly into a minor key, but always with a light touch. The second movement, a stately andante, is our gateway to a finale that returns to traditional sonata form. This movement offers counterpoint that is skillfully rendered, but as always, with Mozart, the result is effortlessly pleasurable. Joaquín Rodrigo (1901–1999) Fantasía para un gentilhombre PERFORMANCE TIME: 22 MINUTES
Look at those dates! So many of classical music’s great geniuses led tragically short
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NOTES ON THE PROGRAM lives—Mozart, Schubert, Mendelssohn and Bizet all died in their thirties—that when we encounter those blessed with longevity, we rejoice. The Spanish composer Joaquín Rodrigo, though blinded by diphtheria at age 3, lived to be 98. He credited the apparent calamity of his illness for his lifelong involvement in music. Rodrigo made rapid progress at the conservatory in València, graduating early and going on to Paris, where he studied with Paul Dukas at the École Normale de Musique. But while he absorbed the elements of French style and refinement, his music remains Spanish to its very core. With Manuel de Falla (b. 1876) and Enrique Granados (b. 1867), Rodrigo was central to the flowering of musical creativity that raised the prominence of Spanish music in the 20th century. These composers burst upon the music world like a new discovery, though their cultural lineage extended back centuries. Musicians and audiences greeted them like long-lost brothers, but their distinctively Iberian sound, drenched in folk melodies and in the traditions of Spanish church music of the Baroque period, was like nothing to be heard in the rest of Europe. While Manuel de Falla gained renown for ballet scores that traveled with Serge Diaghilev’s Ballets Russes, and Granados’ orchestral and piano compositions earned their standing as repertory staples (and his opera Goyescas in opera houses including the Metropolitan), Rodrigo became known for his remarkable concertos. They reflect the Spanish affinity for the guitar; the two best-known examples, his Fantasía para un gentilhombre and the Concierto de Aranjuez, are both for that instrument. But there are other notable examples, including
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a spectacularly original concerto for harp. Rodrigo composed the Fantasia para un Gentilhombre, or Fantasy for a Nobleman, in 1954 for Andrés Segovia. Though it is often mistakenly associated with Molière’s Le Bourgeois gentilhomme, the nobleman of the title is actually Segovia himself. The musicologist and commentator George Jellinek, who was not inclined to exaggerate, called Rodrigo’s concertos revolutionary and said that their freshness resulted from Rodrigo’s use of the second interval. Even listeners with no musical background are likely to have heard about other harmonic intervals—thirds, fourths, fifths, and so on—but seconds, comprised of two notes that lie next to each other on the piano keyboard, are rarely mentioned. And we do hear them frequently in the Fantasy for a Nobleman. But are they so fully responsible for the concerto’s distinctive sound? Or do they function more like the rainfall on a Paris streetscape, adding a poetic dimension to a scene that is already beautiful? The concerto is comprised of three movements developed from traditional Spanish dance forms, starting with the 17thcentury villano introduced in the violins. This opens onto the ricercare, a fugal section. In the second movement we hear the stately dance rhythm of the españoleta composed, according to the movement’s title, as a fanfarria de la caballería de Nápoles (Fanfare for the cavalry of Naples), which was formerly under Spanish rule. This is followed by Danza de las hachas, a “hatchet dance,” traditionally performed with torches (as in the Ritual Fire Dance from de Falla’s El Amor Brujo). The concerto ends with a brilliant canario, a folk dance from the Canary Islands that builds in dramatic intensity, culminating in a dazzling cadenza for the guitar.
NOTES ON THE PROGRAM Vilém Tauský (1910–2004) Coventry: A Meditation for String Orchestra PERFORMANCE TIME: 8 MINUTES
Though not as well known in the U.S., the composer Vilém Tauský was a household name in Great Britain and in the Czech Republic when he died in 2004 at the age of 93. He was a fighter for the Czech resistance in World War II, a major figure in British music, and a favorite personality on BBC Radio’s popular Friday Night Is Music Night. Tauský was born in London in 1910 to a highly musical Czech family of Jewish ancestry; his mother sang at the Vienna State Opera under Gustav Mahler, and Tauský himself studied with the important Czech composer Leoš Janáček. When the Nazis came to power, Tauský fled to France and volunteered for the Free Czech Army; with the fall of France, he emigrated to Britain, where he became musical director of the Carl Rosa Opera Company and the then the Welsh National Opera after World War II. From 1956 to 1966 he was principal conductor of the BBC Concert Orchestra, and it was during this period that his appearances with Friday Night Is Music Night made him famous. But his longest tenure was as director of opera and head of conducting at the Guildhall School of Music and Drama from 1966 to 1991, positions he held until age 80. Tauský’s moving work Coventry is a meditation on the horrors of war. It was originally composed for string quartet, and was later arranged for string orchestra. Coventry took rise from Tauský’s service with the Free Czech Army in exile, which was called into the English town of Coventry
after the famous cathedral there was destroyed by German bombs. Searching the ruins for survivors, Tauský was inspired by the courage that the townspeople of Coventry showed during the blitz. Among many honors Tauský received from both British and Czech governments for his contributions to music, one stands out: In 2003, the year before his death, he was appointed Ambassador for the City of Coventry. Franz Schubert (1797–1828) Symphony No. 3 in D Major, D. 200 PERFORMANCE TIME: 25 MINUTES
There’s a moment in the first act of La bohème that can strike anguish into the heart of any would-be writer or composer, when the poet Rodolfo’s friends burn his manuscript in a stove to keep warm. But that could never really happen, right? Wrong. It happened to an opera composed by Franz Schubert when he was 18, in 1815—a year of astonishing productivity for this young composer who was already composing masterworks in a mature style across a broad range of forms. Schubert idolized Beethoven, but in his precocity and speed he more closely resembled Mozart, whose output in the year 1791 baffles the experts, like Schubert’s in 1815. “There can have been scarcely a day when his pen was idle,” says the authoritative Grove’s Dictionary of Music and Musicians, “and no other year in his life approached this one for sheer volume of work.” At least Schubert had been dead for a couple of decades by the time servants at a friend’s house used the second and third
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ARTISTS’ PROFILES acts of the autograph score of his 1815 opera Claudine von Villa Bella as fuel for heat. He had composed three other operas that same year, along with two masses and masses of choral music; well over a hundred songs, including some of his greatest; two of his celebrated piano sonatas; and his Symphony No. 3 in D Major, D. 200, which he turned out in the space between May 24 and July 19. And this compositional output was produced “on the side,” while he met the demands of his day job as a schoolmaster. Grove’s Dictionary describes the conflict Schubert felt between classroom duties and his urge to compose as “intolerable,” but according to modern studies of human creativity and athletic performance, this tension might have been an impetus as well as a hindrance. It certainly added urgency to his work, and supports musicologists’ observation that Schubert often produced his greatest music in haste.
Great composers learn from—and freely borrow from—their predecessors, and Schubert felt he owed more to Beethoven than to anyone else. But in listening to this symphony we hear more of the influence of Haydn and Mozart, along with early Beethoven, and—according to some critics—a nod to Rossini, who was the most celebrated composer of the day. In the symphony’s opening, with its stately introduction leading into an effervescent brio, he seems to take Haydn as his model. The thoroughgoing development of the opening movement traverses bright and dark moods, then leads onto a goodhumored allegretto and a buoyant minuet in the second and third movements. The finale brings us to a lively tarantella, and it is here—in the boldness of its inventive harmonic progressions and shifting dynamics—that we can hear Schubert taking cues from his idol, Beethoven.
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ON THE HILL
THE MUSIC OF THE ROLLING STONES Circa 1969
August 9 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER BRENT HAVENS, conductor TONY VINCENT, vocalist
Selections to be announced from the stage.
PRESENTING SPONSOR
CONCERT SPONSOR
ORCHESTRA SPONSOR
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ARTISTS’ PROFILES
Brent Havens Conductor
CONDUCTOR SPONSOR
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 Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London, the CBSO in Birmingham, England, the Malaysian Philharmonic, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others.
Thank You to Our Advertisers… Aladdin Skylights BMW of Murray | BMW of Pleasant Grove BYU Museum of Art Cache Valley Visitors Bureau Caffè Molise Challenger School Chevron City Creek Living Classical 89 Deer Valley Resort Dixie State University College of the Arts Dominion Energy Ethan Allen Excellence Concert Series The Grand America Hotel Hamilton Park Holland & Hart 124
Hyatt Centric Jaguar Land Rover Downtown Salt Lake Jerry Seiner Cadillac Jones Waldo KUER Ken Garff Volvo Kirton | McConkie Larry H. Miller Lexus Little America Hotel Mercedes-Benz of Salt Lake City Moab Music Festival Montage Deer Valley Mountain America Credit Union National Flute Association The Nature Conservancy New World Distillery
OC Tanner Pendry Residences Pioneer Theatre Company Promontory Park City RC Willey Regency Royal Ruby’s Inn St. Regis Deer Valley Stein Eriksen Lodge Summit | Sotheby’s International Realty Thomas N. Jacobson Tuacahn Amphitheatre University Federal Credit Union University of Utah Health Utah Food Services Utah Shakespeare Festival Zions Bank
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
Deer Valley® Music Festival
ARTISTS’ PROFILES Tony Vincent grew up in the small town of Albuquerque, NM, where from a young age he was exposed to the music of The Beatles and The Rolling Stones. In his early teens Vincent began writing songs heavily influenced by Depeche Mode, New Order and Tears for Fears.
Tony Vincent Vocalist
GUEST ARTIST SPONSOR
Shortly after moving to NYC in 1997 to continue his recording career, Vincent took an unexpected detour into the world of rock-based theater, joining the cast of Rent, initially as part of the first national tour, then making his Broadway debut in the New York production in 1999. He was featured as Simon Zealotes in Andrew Lloyd Webber’s remake of the film Jesus Christ Superstar (2000), and when the production was revived on Broadway that same year Vincent earned critical acclaim starring as Judas Iscariot. In 2002 Vincent originated the role of Galileo Figaro in the rock band Queen’s smash hit We Will Rock You in London’s West End. He also fronted the band itself on several occasions, including a performance of “Bohemian Rhapsody” at Queen Elizabeth’s Golden Jubilee concert for a live audience of over 1 million people surrounding Buckingham Palace and over 200 million television viewers world-wide. Two years later he was invited to Las Vegas to open the North American premiere of We Will Rock You (2004–05). During this time Vincent continued to write, and in 2008 independently released the EP A Better Way, produced by Adam Anders. In the fall of 2009, he returned to Broadway, originating the role of St. Jimmy in Green Day’s American Idiot. Vincent is best known for his appearance on the second season of NBC’s reality singing competition, The Voice. While on the show, Vincent was selected to be on “Team Cee Lo,” and made a lasting impression on fans worldwide with his final performance of The Eurythmics’ “Sweet Dreams.” After 10 long months of writing, recording and producing, Vincent released his highly anticipated studio project, In My Head, through iTunes and cdbaby on July 10, 2012. Tony Vincent continues to write and produce for future projects, both as a solo artist, as a producer for other artists and under the band moniker Mercer.
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Enjoy a Little Fun in the Sun SALTLAKE.LITTLEAMERICA.COM
ON THE HILL
INDIGO GIRLS
with the Utah Symphony August 10 / 2019 / 7:30 PM / DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor INDIGO GIRLS. guest artists
Selections to be announced from the stage.
PRESENTING SPONSOR
CONCERT SPONSOR
ALICE & FRANK PULEO
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ARTISTS’ PROFILES
Indigo Girls
GUEST ARTISTS SPONSOR
“When I hear the symphony come in, it’s a convergence of a lot of feelings,” says Emily Saliers, one-half of the iconic Indigo Girls. “First, you can’t believe your good fortune that it’s really happening, and then you’re hit with the power of this enormous, full orchestra coming from behind you. Even when we play by ourselves now, I can’t perform these songs without hearing the orchestra in my head.” In 2012, Saliers and her Indigo Girls partner Amy Ray embarked on a bold new chapter, collaborating with a pair of orchestrators to prepare larger-thanlife arrangements of their songs to perform with symphonies around the country. It was a challenging endeavor, to say the least, but the Grammy-winning duo managed to find that elusive sonic sweet spot with the project, creating a seamless blend of folk, rock, pop, and classical that elevated their songs to new emotional heights without sacrificing any of the emotional intimacy and honesty that have defined their music for decades. Now, after more than 50 performances with symphonies across America, the experience has finally been captured in all its grandeur on the band’s stunning new album, ‘Indigo Girls Live With The University of Colorado Symphony Orchestra.’ *See page 23 for Conner Gray Covington’s Artist Profile.
MAKING A
DIFFERENCE Holland & Hart is proud to support the Deer Valley Music Festival. We congratulate the UTAH SYMPHONY for more than 75 years of MAKING A DIFFERENCE in the performing arts in Utah. Carl Barton 801.799.5831 cbarton@hollandhart.com 222 South Main Street, Suite 2200 Salt Lake City, UT 84101 hollandhart.com
Proud Supporter of the Arts
Q&A WITH VOLUNTEER SUE STOWE What do you love most about volunteering at the Deer Valley® Music Festival? I’m a skier & have skied every run at Deer Valley and volunteered yearly for the World Cup Aerials. Summer is my favorite time of year so the opportunity to volunteer at the Deer Valley® Music Festival rocked my world. Prior to becoming a volunteer, I had no idea the orchestra was made up of professional musicians where this was their full time employment. So you see if someone like me is sooooooo pumped up for this program there’s something very “SPECIAL” about it that draws me to volunteer each summer. I love talking with people and the festival is a great place with tons of people from all over the world. One season I had another surgery so I got the position of security backstage with two seasoned volunteers who would share with me the beauty and truth of the Utah Symphony. I couldn’t wait until the next time I volunteered to find out what else I was going to learn, and listen to live music outside in such a beautiful venue. What is your favorite Deer Valley® Music Festival memory? The icing on the cake was when I realized that some of the artists I listened to throughout the years were invited to play as guests with the Utah Symphony!!! That was mind blowing for me. The concert that set my soul on fire was when the Indigo Girls played as guests with the Symphony. Band member and lead singer Amy Ray went around
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to various symphony players and rocked their world and, as musical gifted talented individuals do, made the usual music have a million times more depth! I almost exploded out of my skin with PURE DELIGHT. From that moment on I was convinced in my heart that rock ‘n roll artists and symphony artists had a “marriage” beyond comprehending... total enjoyment and elevating one another in pure love of music. I thought who’d ever think this concept was possible? I’m a true 100% sold out believer! Each band at least once in their lifetime should get such a rewarding experience in playing with the Utah Symphony. I’m so proud of how wonderful Utah Symphony actually is! They are brilliant geniuses in making their instruments come ALIVE! Another time by absolute fluke, Melissa (the Front of House manager) was shorthanded and I volunteered to help out at the Ben Folds concert. I had never heard of him before but the magic happened. Right there on stage, he composed a piece with audience and symphony participation that was so unbelievably fantastic I thought, “Wow, had I not volunteered tonight, I might never have experienced that and how sad if I hadn’t.” What role does the Utah Symphony play in the community? It’s always something new that deposits in your soul as a human being that really in every way enriches your life. And that’s not just acting the part of ...”I attend the Utah Symphony”...it’s far better and takes you places within yourself in such a rich and cultural phenomenon if you let it. I will forever feel thanks and appreciation to the Utah Symphony for enriching my life in such a beautiful way.
FESTIVAL MAP
St. Regis Bar & Lounge
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PARK CITY “STAYCATIONING”
Park City is considered a four-seasons destination with visitors flocking to the mountains in the summer months. In fact, in surveys showed 70 percent of respondents were influenced to visit Summit County because of the Deer Valley® Music Festival, and more than half had gone shopping, hiked or biked. The area is filled with activities, outdoor pursuits, events for the whole family that get you acquainted with the vibrant mountain community. Take in the summer days by exploring Park City and enjoy culture, dining, art, and entertaining family-fun as you plan your weekends around the Deer Valley® Music Festival. Here are some summer highlights. PARK SILLY SUNDAY MARKET Every Sunday from June 2–September 22 parksillysundaymarket.com The Park Silly Sunday Market is a familyfriendly street festival and open air market on Park City’s Historic Main Street. Each
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week the Park Silly Sunday Market is filled with gourmet food, music, performers, vendors, artisans, kid’s activities and more. Perfect for an easy-going Sunday with friends and family, and it’s free for all. The event is held on Historic Main Street every Sunday from 10 am–5 pm. Check out our own Utah Symphony musician ensembles in front of the main stage on July 7 and July 28! FLYING ACE ALL-STARS FREESTYLE SHOW Weekends from June 21–September 1 utaholympiclegacy.org/event/first-freestyleshow-season/ Catch the high-flying action every summer weekend at the Flying Ace All-Stars Freestyle Show. See Olympians and National Team skiers and snowboarders perform acrobatic feats as they soar up to 60 feet in the air before landing in the park’s Spence Eccles Olympic Freestyle Pool. The show takes place every Saturday and Sunday at 1 pm. Tickets are $15 for adults and $10 for seniors and kids.
PARK CITY “STAYCATIONING” JUPTER PEAK STEEPLECHASE Saturday, July 13 mountaintrails.org/event-race-mtf/jupiterpeak-steeplechase/ An event that draws athletes from all over the country, the Jupiter Peak Steeplechase is a 24 year old Park City tradition, and one of the top ten races in the United States. The event features a 16-mile trail running loop on challenging single track trail with 3,000’ elevation gain. After watching these epic trail warriors take on the challenge, give yourself a rest and relax to some tunes:
SUMMIT COUNTY FAIR July 23–28 summitcountyfair.org Head to the annual Summit County Fair for a traditional small town fair experience filled with cowboys and bucking broncos, clowns, a carnival midway, home canned goods, flowers, vegetables, and more! Enjoy various activities at the fair and head on over to the Deer Valley® Music Festival for a music-filled evening:
∙∙ July 12: Aretha: A Tribute to the Queen of Soul with the Utah Symphony—Snow Park Outdoor Ampitheater @ 7:30 pm
∙∙ July 26: A Symphonic Space Celebration—Snow Park Outdoor Ampitheater @ 7:30 pm
∙∙ July 13: E.T the Extra Terrestrial—Film in Concert with the Utah Symphony—Snow Park Outdoor Amphitheater @ 7:30 pm
∙∙ July 27: Rodrigo y Gabriela: Mettavolution Tour—Snow Park Outdoor Ampitheater @ 7:30 pm
LAST FRIDAY GALLERY STROLL Friday, June 28 and Friday, July 26 parkcitygalleryassociation.com/gallery-strolls/ Join Park City for a free community event in appreciating its exciting art scene. Locals and visitors alike are invited to enjoy light refreshments while perusing the various art galleries located on Park City’s historic Main Street. From 6–9 pm on the last Friday of each month, members of the Park City Gallery Association offer a unique monthly showcase highlighting artists, special exhibits and art events. Pair it with these Deer Valley® Music Festival concerts:
PARK CITY KIMBALL ARTS FESTIVAL August 2–4 parkcitykimballartsfestival.org/ Come participate in the 50th Annual Park City Kimball Arts Festival. The arts festival is an entire weekend devoted to fundraising for visual arts, filled with various activities and events for all ages. Enjoy exhibitions and gallery strolls, and meet artists from around the world right on Park City’s Historic Main Street. Paint these Deer Valley® Music Festival concerts into your Arts Fest weekend:
∙∙ June 27: Marie Osmond with the Utah Symphony—Snow Park Outdoor Amphitheater @ 7:30 pm ∙∙ July 27: Rodrigo y Gabriela—Snow Park Outdoor Amphitheater @ 7:30 pm
∙∙ July 24: Beethoven & Dvořák: The Romantic Violin—St. Mary’s Church @ 8 pm
∙∙ Aug. 2: Tchaikovsky’s 1812 Overture and Piano Concerto No. 1 with the Utah Symphony—Snow Park Outdoor Ampitheater @ 7:30 pm ∙∙ Aug. 3: An Intimate Evening with Kristin Chenoweth and the Utah Symphony—Snow Park Outdoor Amphitheater @ 7:30 pm
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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
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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. 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
HILL RULES
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.
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UPBEAT
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VIP PROGRAM
THANK YOU TO OUR VIP DINNER SPONSORS
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THANK YOU Utah Symphony | Utah Opera is grateful to our generous donors, who through annual cash gifts and multiyear commitments make our programs possible. Gifts as of 5/15/2019 * In-kind Gift ** In-kind & Cash Gift
† Deceased ~ Designates DVMF sponsor and/or VIP package supporter
D E E R VA LLE Y® M US I C FESTI VA L FOU N D E RS
Mark & Dianne Prothro
Bellecorp Perkins - Prothro Foundation
Bill & Joanne Shiebler
Shiebler Family Foundation
Jim & Susan Swartz Swartz Foundation
D E E R VA LLE Y® M US I C FESTI VA L LE A D S PO N SO RS ($50 0,0 0 0 +)
We wish to recognize the extraordinary and generous donors whose contributions over many years have sustained the success and growth of the Deer Valley® Music Festival.
Hal & Diane Brierley~ Dominion Energy~ George S. & Dolores Doré Eccles Foundation~ Marty & Jane† Greenberg~
Anthony & Renee Marlon~ Jim† & Marilyn Parke~ Patricia A. Richards & William K. Nichols~ Sorenson Legacy Foundation~ Zions Bank~
M I LLE N N I U M LE V E L ($250,0 0 0 +)
The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation
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Estate of Marilyn Lindsay O.C. Tanner Company Salt Lake County Salt Lake County Zoo, Arts & Parks
State of Utah Jacquelyn Wentz Utah State Legislature / Utah State Board of Education
THANK YOU E N CO R E LE V E L ($1 0 0,0 0 0 +)
Anonymous Marriner S. Eccles Foundation~ Kem & Carolyn Gardner The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation John & Marcia Price Foundation La Gran D
Summit County Restaurant Tax / RAP Tax~ Utah Division of Arts & Museums / National Endowment for the Arts
The Grand America Hotel & Little America Hotel*
Jack Wheatley
B R AVO LE V E L ($50,0 0 0 +)
John & Flora D’Arcy
OV E RTU R E LE V E L ($25,0 0 0 +)
Scott & Kathie Amann~ Anonymous Arnold Machinery Doyle Arnold & Anne Glarner~ BMW of Murray | BMW of Pleasant Grove~ Judy Brady & Drew W. Browning Cache Valley Electric Michael & Vickie Callen Chevron Corporation~ C. Comstock Clayton Foundation Deer Valley Resort*~ Joan and Tim Fenton Foundation John & Joan Firmage~
Kristen Fletcher & Dan McPhun~ Tom & Lorie Jacobson~ Intuitive Funding~ Frederick Q. Lawson Foundation LOVE Communications**~ McCarthey Family Foundation Montage Deer Valley**~ Edward & Barbara Moreton Fred & Lucy Moreton Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo~ Simmons Family Foundation George & Tamie† Speciale Stein Eriksen Lodge**~
STRUCK* Summit Sotheby’s~ Jonathan & Anne Symonds~ Norman C.† & Barbara L. Tanner Second Charitable Trust Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer~ Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint.SmartHome WCF Mutual Insurance Company John & Jean Yablonski~ Edward & Marelynn Zipser
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THANK YOU M A ESTRO ($1 0,0 0 0 +)
Adobe~ A. Scott & Jesselie Anderson Dr. J.R. Baringer & Dr. Jeannette J. Townsend HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation Big-D Construction Thomas Billings & Judge Judith Billings~ Berenice J. Bradshaw Trust Judy & Larry Brownstein~ Linda & Neill Brownstein**~ R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine FoundationRussell Family Po & Beatrice Chang & Family Howard & Betty Clark Larry Clemmensen~ Tom Coleman~ Cultural Vision Fund Daynes Music Company* Kathleen Digre & Michael Varner Discover Financial Services The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Pat & Sherry Duncan~ Glenda & Ralph Earle~ Matthew B. Ellis Foundation Robert & Elisha Finney~ Thierry & Catherine Fischer** Greg Graham~ The Val A. Green & Edith D. Green Foundation Doug & Connie Hayes~ Richard K. & Shirley S. Hemingway Foundation Susan & Tom Hodgson~ Mary P.† & Jerald H. Jacobs Family Johnson Foundation of the Rockies G. Frank & Pamela Joklik Debra & Robert Kasirer~ The John C. Kish Foundation~ Chris & Erlynn Lansing~ Janet Q. Lawson Foundation Rebecca Marriott-Champion~ Charles & Pat McEvoy~ Richard & Robin Milne~ Hal & Lois Milner~ Terrell & Leah Nagata~ Ann & Jim Neal~ William H. & Christine Nelson Park City Chamber / Visitors Bureau Leslie Peterson & Kevin Higgins
Frank R. Pignanelli & D’Arcy Dixon Promontory Foundation~ Stephen & Cydney Quinn~ S.J. & Jessie E. Quinney Foundation David & Shari Quinney Regence BlueCross BlueShield of Utah Dr. Wallace Ring Albert J. Roberts IV Richard & Carmen Rogers~ The Joseph & Evelyn Rosenblatt Charitable Fund Ted & Lori Samuels~ Schmidt Family Foundation St. Regis Deer Valley / Deer Crest Club**~ Steve & Betty Suellentrop~ Thomas & Marilyn Sutton~ Barbara L. Tanner University of Utah Health Howard & Barbara Wallack**~ W. Mack & Julie S. Watkins Foundation Wells Fargo Christian V. & Lisa D. Young Family Foundation Kathie & Hugh Zumbro
Stream Classical KUER 24/7 on your desktop. Read the latest from NPR Classical. See and search the full playlist.
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THANK YOU Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2019 Deer Valley® Music Festival. B RO NZE ($8 ,0 0 0 +) Howard & Ray Grossman Jim & Penny Keras Hallie & Ted McFetridge
Brooks & Lenna Quinn Barbara & Paul Schwartz Tom & Gayle Sherry
Thomas† & Caroline Tucker
Hyatt Centric Park City Jones Waldo Kulynych Family Foundation II Elaine & Harrison Levy Michael Liess Dinesh & Kalpana Patel Raymond James Financial
Joyce Rice Ben & Peggy Schapiro Stay Park City* Nancy & Larry Tallman Glen & Nancy Traylor
Annie Lewis & Bob Garda Amy & Ken Goodman David & Connie Harris Don & Lisanne Hendricks Wes & Sunny Howell Michael Huerta Inwest Title Services, Inc. Margo & Ken Jacobs Susan Keyes & Jim Sulat In memory of Dr. Gary B. Kitching M.D. George Klopfer & Joy Simeonova Merele & Howard Kosowsky Les Kratter Bill Ligety & Cyndi Sharp Dan & Deena Lofgren Carolyn & Kit Lokey Thomas M. & Jamie Love Karen & Gregg Lund
Milt & Carol† Lynnes Keith & Vicki Maio Jennifer & Gideon Malherbe Tom & Janet McDougal Michael & Julie McFadden Mike & Maureen Mekjian Glenn & Dav Mosby Barbara & Tom O’Byrne Bob Petkun Ray Pickup Eric & Shirley Schoenholz Howard & Audrey Seares Mary & Doug Sinclair Spitzberg-Rothman Foundation Tim & Judy Terrell Richard & Janet Thompson Gayle & Sam Youngblood
Caroline & David Hundley Jayne Roth
Christine St. Andre & Cliff Hardesty Ellen & Chuck Wells
Mary & Thomas McCarthey Lisa & Tim O’Brien Renee & Russell Plumb Isaac & Maddy Stein Karen & Richard Urankar
Gerard & Sheila Walsh Brad & Linda Walton Renee Waters Cindy Williams Doug & Becky Wood
A M BA SSA DO R ($5,0 0 0 +) Suzanne & Clisto Beaty David & Deborah Brown Jack & Marianne Ferraro Lynn & Tom Fey Goldman Sachs Grandeur Peak Global Advisors Holland & Hart
PATRO N V I P ($3 ,0 0 0 +) Robert & Cherry Anderson PJ Aniello Robert & Melisse Barrett Charlotte & Hal Browning John & Caryl Brubaker Vincent Canella Charlene Carter Mark & Marcy Casp Hannalorre Chahine George & Katie Coleman Debbi & Gary Cook Ken & Marcie Davis John Doppelheuer & Kirsten Hanson Carol & Greg Easton Kate Fauntleroy Blake & Linda Fisher James & Adele Forman Joe & Dixie Furlong
G R A SS PA SS ($2 ,0 0 0 +) Judy & Larry Cohen Tom Fuller
V I P FO R A N I G HT ($1 ,0 0 0 +) Barbara & Wayne† Baumgardner Katie & Frank Dougherty Camille Huchton Jerry & Marry Huffman Jeanne Kimball
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LEGACY GIVING
DIANNE MAY, USUO DONOR AND VOLUNTEER
FOR MORE INFORMATION:
USUO.GIFTPLANS.ORG
LESLIE PETERSON 1801-869-9012 142 Deer ValleyÂŽ Music Festival
In a favorite plot of a book or movie, someone discovers that a painting or a necklace that they'd always taken for granted, left to them by a grandparent, is really a treasure. Here in Salt Lake, we have a treasure that is easy to take for granted - the Utah Symphony I Utah Opera. They've always been there, so we assume they always will be. But I want to do what I can to make sure they will be there for my grandchildren and great-grandchildren to discover. Right now I volunteer at concerts several times a year as part of the USUO community. But I want to do more, so I've named the USUO as a beneficiary in my qualified retirement plan. The USUO has added so much to my life, it's the least I can do.
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 Leslie Peterson at lpeterson@usuo.org or 801-869-9012 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 Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers
Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan
Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Turid V. Lipman Herbert C. & Wilma Livsey
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson
Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA DEER VALLEY® MUSIC FESTIVAL 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison PROGRAM NOTES ANNOTATOR
Michael Clive
Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of The Santa Fe Opera.
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Provided by Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY I UTAH OPERA
As a 501(c)(3) non-profit organization, Utah Symphony | Utah Opera provides not only outstanding musical experiences in our performance venues, but education and community outreach programs to every part of Utah as well. Proceeds from ticket sales help fund our artistic and education programs, but cover only 1/3 of the costs. We rely on patrons like you to help fill the gap as we strive to inspire every individual in our state through music. For a limited time, if you are able to increase your donation or become a USUO donor for the first time, the George S. and Dolores Dore Eccles Foundation has graciously offered to triple the amount! Thank you for your support!
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LEG ROOM, HEADROOM, LEG ROOM, HEADROOM, FAMILY ROOM. FAMILY ROOM.
The all new XT6 happily The all new XT6 happily accommodates 7 passengers and accommodates 7 makes everyday passengers moments and makes everyday moments luxurious. luxurious.
JERRY SEINER JERRY SEINER CADILLAC CADILLAC seinercadillac.com
LOCATION 1530 S. 500 W. LOCATION Salt Lake City, UT 1530 S. 500 W. 84115 Salt Lake City, UT 84115
SALES SERVICE 801.952.5700 801.952.5730 SALES SERVICE Mon-Fri Mon-Fri 801.952.5700 801.952.5730 9am-9pm 8am-Midnight Mon-Fri Mon-Fri Sat 9am-8pm Sat 9am-5pm 9am-9pm 8am-Midnight Sat 9am-8pm Sat 9am-5pm ©2019 General Motors. All Rights Reserved. Cadillac®
Beautifully designed. Definitely deserved.
hamiltonparkinteriors.com | 174 E Winchester SLC, UT 84107