Deer Valley® Music Festival 2021 by Mills Publishing Inc.

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WELCOME TO THE DEER VALLEY® MUSIC FESTIVAL Welcome to the 2021 Deer Valley® Music Festival and thank you for joining us for tonight’s concert—it is so great to be back!

Steven Brosvik President & CEO

Alchemy can define the transformation of matter or an elevation of consciousness. Alchemy may also be the combination of factors that make this festival special. The Wasatch Mountains are known for their natural beauty and wide variety of recreational opportunities. Park City is known for its incredible ambience, arts, dining, and shopping. Deer Valley Resort is known for its luxurious accommodations and consummate customer service. Utah Symphony | Utah Opera is known for providing great performances that engage and inspire. Together, these elements create the stunning experiences that we have been privileged to share with you for many years. As you look through the festival programming, we hope you will agree we have assembled a varied and exciting group of guest artists to join our renowned Utah Symphony for this year’s Deer Valley® Music Festival. We hope to see you and your friends and family at many of our events in the cool mountain air of Park City. We also invite you to join us later this summer when the Utah Symphony embarks on our Forever Mighty® Tour with Music Director Thierry Fischer that includes free outdoor concerts August 10–14 in celebration of Utah’s 125th Anniversary. The tour builds on the success of the Utah Symphony’s prior state tours in 2014 and 2017, both of which also featured the orchestra performing at our National Parks and beautiful outdoor settings across the state of Utah. (Learn more at https://utahsymphony.org/ forever-mighty-tour/.) Thank you for your support of the Deer Valley® Music Festival. Our work continues year-round through performances and state-wide education activity and we hope that enjoying exceptional music tonight in this outstanding setting demonstrates why a thriving performing arts community is an integral part of what makes Utah great. We are delighted you are spending your evening with us.

DeerValleyMusicFestival.org 5

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CONTENTS Mills Publishing, Inc. Publisher

ESCAPE INTO THE MUSIC

Dan Miller President Cynthia Bell Snow Office Administrator Jackie Medina Art Director/ Production Manager Patrick Witmer Program Designer Ken Magleby Patrick Witmer Graphic Designers Paula Bell Dan Miller Paul Nicholas Advertising Representatives Melissa Robison Editor 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.

Welcome to Deer Valley® Music Festival

11 » Administration

The Board of Trustees

Utah Symphony

Deer Valley® Music Festival Council

Music Director

Principal Conductor

Deer Valley® Music Festival Series Sponsors

25 » Deer Valley® Music Festival Concerts 91

Festival Map

Hill Rules

Thank You

Legacy Giving

Tanner & Crescendo Societies

100 » Acknowledgments

Please use the QR code if you’d like to view a digital version of the publication.

DeerValleyMusicFestival.org 7

CONTENTS

25 29 33 37 45 49 53 62 67 8

Deer Valley® Music Festival

UTAH SYMPHONY’S PATRIOTIC POPS featuring Capathia Jenkins JULY 2 | 7:30 PM | DEER VALLEY RESORT

KOOL & THE GANG with the Utah Symphony JULY 9 | 7:30 PM | DEER VALLEY RESORT

KRISTIN CHENOWETH with the Utah Symphony JULY 10 | 7:30 PM | DEER VALLEY RESORT

HAYDN’S CELLO CONCERTO NO. 1 with Vivian Fung & Anna Clyne JULY 14 | 8 PM | ST. MARY’S CHURCH

SUPER DIAMOND with the Utah Symphony JULY 16 | 7:30 PM | DEER VALLEY RESORT

THE TEMPTATIONS with the Utah Symphony JULY 17 | 7:30 PM | DEER VALLEY RESORT

MOZART’S FLUTE CONCERTO NO. 2 with Still, Wirén & Stravinsky JULY 21 | 8 PM | ST. MARY’S CHURCH

THE MAGICAL MUSIC OF HARRY POTTER JULY 23 | 7:30 PM | DEER VALLEY RESORT

TAKE ME HOME: THE MUSIC OF JOHN DENVER STARRING JIM CURRY with the Utah Symphony JULY 24 | 7:30 PM | DEER VALLEY RESORT

CONTENTS

71 79 83 87

CHEVALIER DE SAINT-GEORGES’ VIOLIN CONCERTO NO. 2 with Dvořák & Caroline Shaw JULY 28 | 8 PM | ST. MARY’S CHURCH

LITTLE RIVER BAND with the Utah Symphony JULY 30 | 7:30 PM | DEER VALLEY RESORT

1812 OVERTURE WITH RACHMANINOFF’S PIANO CONCERTO NO. 2 JULY 31 | 7:30 PM | DEER VALLEY RESORT

THE BEACH BOYS AUGUST 6–7 | 7:30 PM | DEER VALLEY RESORT

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Up to $150 will be deposited in $50 increments over 3 consecutive months after setting up, and maintaining, a direct deposit of at least $500 in 3 consecutive months. Up to $150 will be deposited in $50 increments over 3 consecutive months when the minimum requirement of 15 transactions per month with a University Federal Credit Union Visa debit or credit card are made in consecutive months. Minimum eligible transactions amount is $2.00. $100 will be deposited after an auto loan refinanced from another institution, of at least $10,000, is transferred to University Federal Credit Union. $10 primary savings minimum. New members only; those who have received a promotion payout from UFCU in the last 5 years are not eligible. Must have valid SSN/ITIN/FTIN to join. For more information, and full terms and conditions, see www.ucreditu.com/services-benefits/400-new-member-promo.html or contact University Federal Credit Union at 801-481-8800. Offer begins February 1st, 2021. Offer valid through July 31st, 2021. To be eligible for payouts, participants must activate promo before July 31st, 2021 and remain in good standing during eligibility. Eligibility for payout is limited to 6 months from account open date. Participants may need to visit a branch to complete or sign documents. Federally insured by NCUA.

ADMINISTRATION ADMINISTRATION Steven Brosvik President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Conner Gray Covington Associate Conductor & Principal Conductor of the Deer Valley® Music Festival Barlow Bradford Symphony Chorus Director Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director & Symphony Chorus Manager SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations Melissa Robison Program Publication & Front of House Director Chip Dance Production & Stage Manager Kate Henry Operations Manager Jeff F. Herbig Properties Manager & Assistant Stage Manager Lyndsay Keith Artist Logistics Coordinator Robyne Anderson 2nd Assistant Stage Manager DEVELOPMENT Leslie Peterson Vice President of Development Jessica Proctor Director of Institutional Giving Heather Weinstock Director of Special Events & DVMF Donor Relations

Katie Swainston Individual Giving Manager Lisa Poppleton Grants Manager Dallin Mills Development Database Manager Erin Marr Donor Engagement (DVMF) & Special Events Coordinator Ellesse Hargreaves Stewardship & Event Coordinator OPERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Director of Production Michaella Calzaretta Opera Chorus Master OPERA TECHNICAL Jared Porter Senior Technical Director Kelly Nickle Properties Master Dusty Terrell Scenic Charge Artist

PATRON SERVICES Faith Myers Director of Patron Engagement Merry Magee Marketing Manager - Patron Loyalty Mara Lefler Sales Manager Andrew J. Wilson Patron Services Manager Genevieve Gannon Group Sales Associate Alicia Ross Val Tholen Sales Associates Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies Melanie Giles Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Kyle Siedschlag Accounts Payable Specialist

COSTUMES Verona Green Costume Director Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tiffany Lent Cutter/Draper Donna Thomas Milliner & Craftsperson MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Kathleen Sykes Content & Social Media Manager Robert Bedont Marketing Manager - Audience Development Nina Starling Website Content Coordinator

EDUCATION Paula Fowler Director of Education & Community Outreach Kyleene Johnson Symphony Education Manager Annie Jones Symphony Education Assistant Anna Atkinson Opera Education Assistant

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 11

THE BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

Gary L. Crocker David L. Dee* Senator Luz Escamilla Dr. Julie Aiken Hansen Daniel Hemmert Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate Thomas Thatcher

W. James Tozer Dr. Astrid Tuminez David Utrilla Kelly Ward Dr. Richard B. Williams 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 David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton

Marilyn H. Neilson O. Don Ostler Stanley B. Parrish Marcia Price 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.)

*Executive Committee Member

Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Jennifer Webb Onstage Ogden

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous NATIONAL ADVISORY COUNCIL

Deer Valley® Music Festival

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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

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

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson

Ralph Matson†

Associate Concertmaster

Acting Principal The J. Ryan Selberg Memorial Chair

Laura Ha

Andrew Larson

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 Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle

• First Violin •• Second Violin

Acting Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

* String Seating Rotates † On Leave

Deer Valley® Music Festival

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Principal

Associate Principal

Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler

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

TIMPANI George Brown

Erin Svoboda-Scott

PERCUSSION Keith Carrick

Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Elder Principal

Edmund Rollett

Associate Principal

Llewellyn B. Humphreys Brian Blanchard Stephen Proser # Sabbatical †† Substitute Member

Principal

Eric Hopkins

Associate Principal

Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Claudia Restrepo†† Acting Librarian

Katie Klich† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

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MUSIC DIRECTOR Thierry Fischer has been Music Director of the São Paulo Symphony since March 2020 and of the Utah Symphony since 2009, becoming Music Director Emeritus in 2023. He was Principal Guest of the Seoul Philharmonic 2017–2020, Principal Conductor of the BBC National Orchestra of Wales 2006–2012, and Chief Conductor of the Nagoya Philharmonic 2008–2011 (now Honorary Guest Conductor).

Thierry Fischer Music Director

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

In recent seasons he has conducted the Boston, Cleveland, Atlanta, and Cincinnati symphonies, Mostly Mozart Festival Orchestra (New York), BBC Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande; also the Swedish and Munich chambers, Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment, and the Ensemble InterContemporain. He has performed and commissioned many world premieres.

He has led Utah Symphony in annual single composer cycles including Mahler, Ives, and Nielsen; he has also released acclaimed performances of Mahler’s Symphonies 1 and 8 on Reference Records, the latter with the world-renowned Mormon Tabernacle Choir. 2019 saw the first release of a Saint-Saëns symphony cycle on Hyperion as part of an ongoing collaboration (also to excellent reviews). He has conducted the orchestra in Utah’s five national parks and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, he brought the orchestra to Carnegie Hall for the first time in 40 years and released a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas. For his inaugural concerts in São Paulo Fischer conducted Beethoven’s Missa Solemnis with the OSESP Orchestra and Chorus to launch their 2020 Beethoven season. Last season’s highlights also included three back-to-back Beethoven programs with the Brussels Philharmonic at Flagey in Brussels; at the Southbank Centre he conducted Tristan Murail with the London Sinfonietta and Stravinsky’s Rite of Spring with the Royal Philharmonic Orchestra. In Autumn 2020, on top of concerts with his titled orchestras, he returned to the London Philharmonic for a streamed concert at the Royal Festival Hall. While Principal Conductor of the BBC National Orchestra of Wales 2006-2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo, winning the ICMA Award in 2012 for Frank Martin’s Der Sturm on Hyperion with the Netherlands Radio Philharmonic Orchestra and Chorus. In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. Thierry Fischer is represented by Intermusica.

DeerValleyMusicFestival.org 19

PRINCIPAL CONDUCTOR Currently in his fourth season as Associate Conductor with the Utah Symphony, Conner Gray Covington also serves as the Principal Conductor of the Deer Valley® Music Festival, the summer home of the Utah Symphony. Last season, Covington conducted two subscription programs with the Utah Symphony and made his subscription debut by stepping in on short notice for a program of Andrew Norman and Gershwin. During his tenure in Utah so far, Covington has already conducted nearly 250 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Previously, he was a Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra, with whom he made his Carnegie Hall debut in 2016, Conner Gray Covington and the Curtis Opera Theater while also being mentored by Principal Conductor Philadelphia Orchestra Music Director Yannick Nézet-Séguin. He began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. A four-time recipient of a Career Assistance Award from the Solti Foundation U.S., Covington was a featured conductor in the 2016 Bruno Walter National Conductor Preview presented by the League of American Orchestras. Highlights of recent seasons include appearances with the symphonies of St. Louis, Utah, Kansas City, Nashville, Virginia, Portland (ME), Monterey (CA), and the Oregon Mozart Players. In the 2020-2021 season, Covington will make debuts with the Reno Chamber Orchestra and the Omaha Symphony. He has served as a cover conductor for the Philadelphia Orchestra, the Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, San Diego Symphony, and The Florentine Opera Company (Milwaukee, WI). Covington has also worked with the Tonhalle Orchester Zürich as part of the 6th International David Zinman Conducting Masterclass. In 2014, Covington was selected by members of the Vienna Philharmonic to attend the Salzburg Festival as a recipient of the Ansbacher Fellowship for Young Conductors. In 2012, he competed in the prestigious Malko Conducting Competition in Copenhagen, Denmark, where he conducted the Danish National Symphony for a jury headed by Lorin Maazel and was the youngest participant to advance to the third round. Covington also worked with the New Japan Philharmonic in the 2012 Tokyo International Conducting Competition and advanced to the semi-final round. In the summers of 2011 and 2012, Covington attended the Aspen Music Festival as a fellowship student in the American Academy of Conducting at Aspen where he worked closely with Robert Spano, Larry Rachleff, and Hugh Wolff as well as other guest conductors throughout the summer. He has also conducted the Fort Worth Symphony Orchestra in a masterclass with Miguel HarthBedoya and for two summers studied at the Pierre Monteux School for Conductors. Covington grew up in East Tennessee and began playing the violin at age 11. He completed high school at the renowned High School for the Performing and Visual Arts in Houston, Texas. He then went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a MM in orchestral conducting and was awarded the Walter Hagen Conducting Prize.

Deer Valley® Music Festival

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DEER VALLEY® MUSIC FESTIVAL SERIES SPONSORS DEER VALLEY® MUSIC FESTIVAL SEASON SPONSOR

FESTIVAL PRINCIPAL CONDUCTOR SPONSOR

SHIEBLER FAMILY FOUNDATION

CHAMBER SERIES SPONSOR

OFFICIAL VEHICLE OF THE UTAH SYMPHONY SUMMER FESTIVAL

BMW OF MURRAY BMW OF PLEASANT GROVE

Deer Valley® Music Festival

2021 DEER VALLEY MUSIC FESTIVAL SEASON SPONSOR

The earth has music for those who listen. — WILLIAM SHAKESPEARE —

PATRIOTIC POPS SPONSORS

LODGING SPONSOR

CONDUCTOR SPONSOR

ORCHESTRA SPONSOR

Deer Valley® Music Festival

ON THE HILL

UTAH SYMPHONY’S PATRIOTIC POPS featuring Capathia Jenkins

July 2 / 2021 / 7:30PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor CAPATHIA JENKINS, vocalist

JOHN WILLIAMS GERSHWIN

Call of the Champions (2002 Winter Olympics) “Strike Up The Band”

ARR. SCHARNBERG

MERCER COPLAND MERCER AMANDA MCBROOM JOHN WILLIAMS TRADITIONAL

“Goody Goody” “Buckaroo Holiday” from Rodeo “Something’s Gotta Give” “America (Lives in Me)” “Hymn to the Fallen” from Saving Private Ryan Armed Forces Salute

ARR. BOB LOWDEN

ARLEN/HARBURG

“Over the Rainbow “

BERLIN

“God Bless America” INTERMISSION

JOHN WILLIAMS GERSHWIN

Midway March “Fascinating Rhythm”

ARR. DAVE WOLPE

GERSHWIN

“Summertime” from Porgy and Bess

ARR. NELSON RIDDLE

COPLAND

“Saturday Night Waltz” and Hoe Down from Rodeo

HAMLISCH

“Nobody Does It Better”

BATES/WARD

“America The Beautiful”

ARR. SAM SHOUP

DeerValleyMusicFestival.org 25

ARTIST’S PROFILE

Capathia Jenkins Vocalist

Brooklyn-born Capathia Jenkins most recently released the critically-acclaimed CD Phenomenal Woman: The Maya Angelou Songs with her collaborator Louis Rosen, and they sold out the world-famous Birdland Theatre in NYC for three nights. She 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. Ms. Jenkins also created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short-Fame Becomes Me. In 2007 she starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She has also been seen in Godspell, The Look of Love, and Nora Ephron’s Love, Loss, and What I Wore.

GUEST ARTIST SPONSOR

Her Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos, and Law & Order. She can be seen in the film Musical Chairs directed by Susan Seidelman. Ms. Jenkins was also seen in The Wiz in a live performance on NBC. She can be heard on the following film soundtracks: Nine, Chicago, and Legally Blonde 2. www.capathiajenkins.com

JOANNE SHIEBLER GUEST ARTIST FUND

*See page 20 for Conner Gray Covington’s Artist Profile.

Deer Valley® Music Festival

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ON THE HILL

KOOL & THE GANG with the Utah Symphony

July 9 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor KOOL & THE GANG

Program to be announced from the stage.

CONCERT SPONSOR

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STAGE SPONSOR

DeerValleyMusicFestival.org 29

ARTISTS’ PROFILE

Kool & the Gang, officially launched in 1969 after performing for 5 years under various band titles, has influenced the music of three generations and, at the age of 50, the band has become true recording industry legends.

Kool & The Gang Guest Artists

In 1964, Ronald Bell and his brother, Robert “Kool” Bell, joined Jersey City neighborhood friends Robert “Spike” Mickens, Dennis “Dee Tee” Thomas, Ricky Westfield, George Brown, and Charles Smith to create a unique musical blend of jazz, soul, and funk. At first calling themselves the Jazziacs, the band went through various names—The New Dimensions, The Soul Town Band, Kool & the Flames—before settling on their famous moniker. Thanks to iconic songs like “Celebration,” “Cherish,” “Jungle Boogie,” “Summer Madness” and “Open Sesame,” they’ve earned 2 GRAMMY® Awards, 7 American Music Awards, 25 Top Ten R&B hits, 9 Top Ten Pop hits and 31 gold and platinum albums. Kool & the Gang recently celebrated their 50th Anniversary. Here are a few ways they celebrated the milestone: •

Induction into the New Jersey Hall of Fame.

•

In a touching tribute, a street they grew up on in Jersey City has been renamed in their honor: “Kool & the Gang Way.”

•

“Celebration” was inducted into the GRAMMY Hall Of Fame.

•

Kool’s bass is displayed at the new Smithsonian Institution National Museum of African American History and Culture in Washington, DC.

•

Artifacts from the band’s archive have recently gone on display, next to Count Basie, at the newly-opened Grammy Museum Experience in Newark, NJ.

•

Ronald Bell, Robert Bell, and George Brown were inducted into the Songwriter’s Hall of Fame.

*See page 20 for Conner Gray Covington’s Artist Profile.

Deer Valley® Music Festival

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ON THE HILL

KRISTIN CHENOWETH with the Utah Symphony

July 10 / 2021 / 7:30PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER KRISTIN CHENOWETH MARY-MITCHELL CAMPBELL, conductor

Program to be announced from the stage.

PRESENTING SPONSOR

MARLON FAMILY FOUNDATION CONCERT SPONSOR

ORCHESTRA SPONSOR

STAGE SPONSORS

DeerValleyMusicFestival.org 33

ARTIST’S PROFILE

Kristin Chenoweth Guest Artist

Emmy and Tony Award-winning actress and singer Kristin Chenoweth’s career spans film, television, voiceover, and stage. In 2015, Chenoweth received a coveted star on The Hollywood Walk of Fame. In 2009, she received an Emmy Award for Best Supporting Actress in a Comedy Series for her role in Pushing Daisies. In 1999, she won a Tony Award for You’re A Good Man, Charlie Brown and she was also nominated for her original role of Glinda the Good Witch in Wicked in 2004. Chenoweth has been nominated for two Emmy Awards and for a People’s Choice Award for her role on Glee. In 2009, she wrote an upliftingly candid, comedic chronicle of her life so far, A Little Bit Wicked, which debuted on The New York Times Hardcover Non-Fiction Best Seller List. Chenoweth has performed to sold-out audiences across the world, including performances at Carnegie Hall and Royal Albert Hall. Chenoweth released The Art of Elegance, her album of American Songbook classics via Concord Records. The album debuted at #1 on Billboard’s Current Jazz and Traditional Jazz charts, and #1 on Amazon’s Vocal Pop chart. Chenoweth also returned to the stage in her limited engagement My Love Letter to Broadway, at the Lunt-Fontanne Theatre, receiving rave reviews. In 2014, she released a CD and DVD of her own live concert performance, “Kristin Chenoweth: Coming Home.” In December 2018, Chenoweth performed with the iconic Tabernacle Choir and Orchestra at Temple Square in their annual Christmas concert. 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. She was seen in the Starz original series American Gods, where she reunited with executive producer Bryan Fuller in the role of Easter. Notable television roles include appearances in The West Wing, Disney’s Descendants, and The Muppets. In film, Chenoweth voiced the role of Gabi in the hit animated film Rio 2 and Fifi, Snoopy’s beloved French poodle in The Peanuts Movie. Chenoweth is a passionate supporter of charities which dedicate their time and efforts to helping those in need. She formed a charity partnership with the Broken Arrow

Deer Valley® Music Festival

ARTIST’S PROFILE

Performing Arts Center (BAPAC) Foundation in her home state of Oklahoma. Partnering with the BAPAC in a labor of love, Kristin launched an annual Broadway Bootcamp in 2015, providing young Broadway hopefuls with the opportunity to take classes, hold performances, and learn from top mentors in the entertainment industry including Kristin herself. In her lifelong mission to cultivate arts education across the globe, Chenoweth has also created “Places! The Kristin Chenoweth Tour Experience,” a unique educational program for young singers that puts them right next to her performing on stage. Each concert in Chenoweth’s ongoing tour will feature local participants from higher education conservatories, universities, and colleges for the immersive educational experience. Chenoweth is a graduate of Oklahoma City University with a Master of Music degree in Opera Performance. She is an inductee into the Oklahoma Hall of Fame, as well as the Oklahoma Music Hall of Fame.

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ST. MARY’S CHAMBER CONCERTS

HAYDN’S CELLO CONCERTO NO. 1

with Vivian Fung & Anna Clyne July 14

/ 2021 / 8 PM ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor MATTHEW JOHNSON, cello

VIVIAN FUNG

String Sinfonietta I. Animato II. Interludium III. Pizzicato IV. Moto Perpetuo – Presto Possible

ANNE CLYNE

Within Her Arms

HAYDN

Concerto in C Major for Cello and Orchestra I. Moderato II. Adagio III. Allegro molto Matthew Johnson, cello

DeerValleyMusicFestival.org 37

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ARTIST’S PROFILE Acting Principal Cellist Matthew Johnson has been a member of the Utah Symphony since 2010. He is a graduate of the University of Southern California, where he studied with Ron Leonard and Andrew Shulman. Prior to his appointment with the Utah Symphony, Matthew was a member of the Kansas City Symphony for six seasons. He has also performed in music festivals such as the Sarasota Music Festival and the Schleswig-Holstein Music Festival in Germany, where he served as principal cellist. A musician with Utah roots, Matthew moved to Salt Lake City from Massachusetts when he was 12 years old. He made his solo debut with the Utah Symphony at age 18 and was a student of Richard Hoyt and Utah Symphony cellist John Eckstein.

Matthew Johnson Cello

An avid chamber musician, Johnson has collaborated with such artists as Patricia Kopatchinskaja and Yefim Bronfman, composers Steve Reich and Harrison Birtwistle, and dancer Misty Copeland. *See page 20 for Conner Gray Covington’s Artist Profile.

MOAB MUSIC FESTIVAL® music in concert with the landscape

With small outdoor concerts and safety protocols in place, MMF is still the “hottest ticket of the season.” — Sunset Magazine

moabmusicfest.org

•

435.259.7003

August 30 – September 16, 2021 Michael Barrett, Music Director

•

Leslie Tomkins, Artistic Director

NOTES ON THE PROGRAM By Michael Clive

Vivian Fung (b. 1975) String Sinfonietta JUNO Award-winning composer Vivian Fung has a talent for combining idiosyncratic textures and styles into largescale works, reflecting her multicultural background. NPR calls her “one of today’s most eclectic composers.” This is supported by many of her works, including Clarinet Quintet: Frenetic Memories, a reflection on her travels to visit minority groups in China’s Yunnan province; Earworms, commissioned by Canada’s National Arts Centre Orchestra, which musically depicts our diverted attention spans and multi-tasking lives; and The Ice is Talking for solo percussion and electronics, commissioned by the Banff Centre, using three ice blocks to illustrate the beauty and fragility of our environment. Fung has a deep interest in exploring cultures through travel and research. In early 2019, Fung traveled to Cambodia to connect with her roots and collect research for a new opera. She traveled to Southwest China in 2012 to study minority music and cultures, continuing research that previously inspired Yunnan Folk Songs (2011), commissioned by Fulcrum Point New Music in Chicago with support from the MAP Fund. As a composer whose trips often inspire her music, Fung has also explored diverse cultures in North Vietnam, Spain, and Indonesia. She toured Bali in 2004, 2008, and 2010, and competed

Deer Valley® Music Festival

in the Bali Arts Festival as an ensemble member and composer in Gamelan Dharma Swara. Fung has received numerous awards and grants, including the 2015 Jan V. Matejcek New Classical Music Award for achievement in new music from the Society of Composers, Authors, and Music Publishers of Canada (SOCAN), a Simon Guggenheim Foundation Fellowship, the New York Foundation for the Arts’ Gregory Millard Fellowship, and grants from ASCAP, BMI, American Music Center, MAP Fund, American Symphony Orchestra League, American Composers Forum, and the Canada Council for the Arts. She is an associate composer of the Canadian Music Centre and currently serves on the board of the American Composers Forum. Regarding her String Sinfonietta, Fung notes: As with many of my works, influences from Chinese and Indonesian folk music can be heard in String Sinfonietta. It is essentially a reworking of my String Quartet No. 1 for string orchestra, with revisions that include the addition of double basses. The third movement was composed first, and was originally thought of as stand-alone piece. However, inspired by the success of “Pizzicato,” I composed the first, second, and fourth movements over the next two years, using similar scale patterns found in “Pizzicato.”

NOTES ON THE PROGRAM

The first movement, “Animato,” is lively with frequent use of interlocking and syncopated rhythms under long, flowing, melodic lines. Next, “Interludium,” the only slow movement, has hints of a folk melody, superimposed over alternating chords that appear and disappear to create an atmospheric mood. As the title suggests, “Pizzicato” requires the string players to pluck the strings of their instruments, with few added surprises towards the end. The final movement, “Moto Perpetuo,” includes a virtuosic display of constantly swirling sixteenth notes that drives the work to an explosive conclusion. Fung is currently at work on a flute concerto for the Vancouver Symphony Orchestra and the orchestra’s Principal Flutist Christie Reside, a new piano trio for the L’arc Trio in San Francisco, and a new piece for the United Kingdom’s Tangram Collective. Anna Clyne (b. 1980) Within Her Arms London-born Anna Clyne is a GRAMMY®nominated composer of acoustic and electro-acoustic music. Described as a “composer of uncommon gifts and unusual methods” in a New York Times profile and as “fearless” by NPR, Clyne’s work often includes collaborations with cutting-edge choreographers, visual artists, filmmakers, and musicians. In October 2020, AVIE

Records released Mythologies, a portrait album featuring Clyne’s works recorded live by the BBC Symphony Orchestra. Clyne served as composer-in-residence for the Chicago Symphony Orchestra, Baltimore Symphony Orchestra, L’Orchestre national d’Île-de-France, and Berkeley Symphony. She is currently the Scottish Chamber Orchestra’s Associate Composer through the 2021-2022 season and a mentor composer for Orchestra of St Luke’s DeGaetano Composition Institute. Several upcoming projects explore Clyne’s fascination with visual arts, including Color Field for the Baltimore Symphony Orchestra, inspired by the artwork of Mark Rothko; Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera; as well as Woman Holding a Balance, a film collaboration with Orchestra of St. Luke’s and artist Jyll Bradley (whom Clyne also teamed up with for the film, Pardes, commissioned by the Scottish Ensemble). Other upcoming premieres include A Thousand Mornings for the Fidelio Trio; Fractured Time for the Kaleidoscope Ensemble; and Overflow for wind ensemble, inspired by the poetry of Emily Dickinson, composed for the Scottish Chamber Orchestra. Clyne composed a trilogy of Beethoveninspired works, which premiered in 2020 for Beethoven’s 250th anniversary: Stride for string orchestra, inspired by Beethoven’s Sonata

DeerValleyMusicFestival.org 41

NOTES ON THE PROGRAM

Pathétique, premiered by the Australian Composers Orchestra; Breathing Statues, premiered by the Calidore String Quartet; and Shorthand for solo cello and string quintet premiered by The Knights at Caramoor. The inward, contemplative sound of In Her Arms is unmistakably elegiac. In her Composer’s Notes for the work, Clyne describes it as “music for my mother, with all my love.” She also appends this moving poetic epigraph: Earth will keep you tight within her arms dear one— So that tomorrow you will be transformed into flowers— This flower smiling quietly in this morning field— This morning you will weep no more dear one— For we have gone through too deep a night. This morning, yes, this morning, I kneel down on the green grass— And I notice your presence. Flowers, that speak to me in silence. The message of love and understanding has indeed come. —Thich Nhat Hanh The Vietnamese Buddhist monk, peace activist and poet Thich Nhat Hanh is founder of the plum Village tradition.

Deer Valley® Music Festival

Joseph Haydn (1732–1809) Concerto in C Major for Cello and Orchestra, H. VIIb:1 “What a shame,” Haydn reportedly quipped from his deathbed. “I was just learning to compose for the woodwinds.” The story is probably invented, but it reflects much of the truth we know about Haydn: his modesty, his humor, his boundless attention to the technical side of writing for orchestral instruments, and his mastery of the practicalities of being a composer. Haydn was great at his job. The most important job Haydn had was as musical director of the Esterházy court, which boasted the pre-eminent court orchestra in Europe at a time when such orchestras competed fiercely for artistic laurels. He held this position from 1761 until 1790, and during his tenure he increased the orchestra’s size and technical abilities—not only through his conducting skills, but also by providing music that his instrumentalists found rewarding to play. That included concertos that gave some of Europe’s best soloists a chance to show what they could do. Haydn’s attributes as a composer and the skills of his immensely accomplished cellist at the Esterházy court, Joseph Weigl, are all brilliantly displayed in his Concerto in C Major for Cello and Orchestra. Composed

NOTES ON THE PROGRAM

between 1761 and 1765, it’s vintage Haydn, and is counted as the Cello Concerto No. 1 in the Hoboken catalog. Which makes it all the more astonishing that we know so little about it: the concerto, which Haydn dedicated to Weigl, was lost until 1961. Until that year, musicologists knew only of the first movement’s principal theme, which was noted in his draft catalog of 1765. After a full copy of the score was discovered by musicologist Oldřich Pulkert in the collections of the Prague National Museum, the concerto received a historic performance by Mstislav Rostropovich in May 1962. The late H.C. Robbins Landon, a noted scholar of Haydn’s music, called its rediscovery the most important musical find since World War II. Judging from this Concerto in C Major, Haydn’s understanding of the cello’s artistic possibilities was already advanced even though he was barely 30 when he wrote it—perhaps inspired by the concerto’s dedicatee, Haydn’s friend and colleague Joseph Weigl, who must have been a superb cellist. Many aficionados of the cello’s rich, distinctively human voice

tend to divide its repertory into pre- and post-Dvořák, since the Dvořák Cello Concerto is credited with revealing new expressive possibilities in the instrument. But more than two centuries before Dvořák, Haydn exploited many of the same affinities that Dvořák found in the cello: the wine-dark sound that lends itself to musical introspection, especially falling melodic lines and themes that gather force gradually. During the course of the concerto’s three movements, marked moderato, adagio, and allegro molto, Haydn exploits the full range of the instrument’s technical capabilities, requiring the soloist to play complex chords, rapid runs, and growling sonorities. The concerto opens with a lively, affirmative discourse between soloist and orchestra, and then proceeds to the dignified adagio, with the melody arising gradually from within the orchestra. The energetic finale displays all of Haydn’s symphonic skills before bringing in the cello for a spectacular virtuoso finish. We can only surmise that Joseph Weigl was as delighted to play it as we are to hear it.

DeerValleyMusicFestival.org 43

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ON THE HILL

SUPER DIAMOND with the Utah Symphony

July 16 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER RANDY CORDERO (Surreal Neil), lead vocals, acoustic guitar CHRIS COLLINS, electric guitar, backing vocals MIKE SUGAR, bass, backing vocals JAMES TERRIS, keyboards, backing vocals VINCE LITTLETON, drums RAMA KOLESNIKOW, conductor, arranger

Program to be announced from the stage. All songs by Neil Diamond All orchestrations by Rama Kolesnikow and Chris Guardino PRESENTING SPONSOR

CONCERT SPONSOR

LODGING SPONSOR

CONDUCTOR SPONSOR

STAGE SPONSOR

DeerValleyMusicFestival.org 45

ARTISTS’ PROFILE

Super Diamond Guest Artists

GUEST ARTIST SPONSOR

FRANK & ALICE PULEO

San Francisco’s Super Diamond has become one of the most popular live shows at major nightclubs, theaters, ballrooms and public events throughout the United States. For over a decade the band has consistently performed sell-out shows at venues such as Irving Plaza in New York, 930 Club in Washington DC, Bimbo’s in San Francisco, and House of Blues venues in Chicago, Los Angeles, San Diego, Cleveland, and Dallas. Super Diamond has also performed at landmark venues and events such as Hollywood Bowl, Taste of Chicago, Fenway Park in Boston, Coors Field in Denver, and numerous fairs, festivals, and corporate celebrations across the country and overseas. Super Diamond front man “The Surreal Neil,” Randy Cordero, astonishes audiences with his live interpretation of the “real Neil.” Randy formed Super Diamond with founding members Matt Tidmarsh (bass guitar), Rama Kolesnikow (keyboards), and his childhood friend James Terris (keyboards), and soon after attracted the stellar talents of Chris Collins (guitar) and Vince Littleton (drums). With a dedication to performing a dazzling, rockin’ show and a reputation as one of the best live bands in the country, Super Diamond continuously draws full-capacity crowds and has a loyal, dedicated and ever-expanding fan base that bridges generations.

Deer Valley® Music Festival

PHOTO © JOAN DEGIORGIO

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ON THE HILL

THE TEMPTATIONS with the Utah Symphony

July 17 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON & T.C. CAMPBELL, conductors THE TEMPTATIONS

QUINN MASON GERSHWIN

Toast of the Town An American in Paris Overture

Temptations Program to be announced from the stage.

CONCERT SPONSOR

CONDUCTOR SPONSOR

TED & LORI SAMUELS

ORCHESTRA SPONSOR

DOUG & CONNIE HAYES

DeerValleyMusicFestival.org 49

ARTISTS’ PROFILE

The Temptations Guest Artists

GUEST ARTIST SPONSOR

SCOTT & KATHIE AMANN

The history of The Temptations is the history of contemporary American pop. For more than 50 years, The Temptations have prospered, propelling popular music with a series of smash hits and sold-out performances throughout the world. The Temps began their musical life in Detroit in the early 60s. It wasn’t until 1964, however, that the Smokey Robinson-writtenand-produced “The Way You Do the Things You Do” turned the guys into stars.

“Great singing,” says Otis, “will always prevail.”

An avalanche of hits followed, many of which (“My Girl,” for instance) attained immortality. “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is Only Skin Deep,” “I Wish It Would Rain”...the hits kept coming.

“Our challenge,” says Otis, “is to live in the present while respecting the past. Our past is filled with riches only a fool would discard. But we also understand that for a group with history, no matter how glorious that history might be, reinvention is the name of the game.”

The classic lineup was Otis Williams, Melvin Franklin, Paul Williams, Eddie Kendricks, and David Ruffin. Beyond the fabulous singing, The Temps became known for smooth stepping and flawless presentations. The Temptations Walk became a staple of American style, with flair, flash, and class. Millions of fans saw their Temptations as cultural heroes.

“When I tell people we are God’s group,” says Otis, a remarkably modest man, “I don’t mean it arrogantly. It’s just that we have been tested time and again and keep coming back. We have suffered the death of so many legendary singers, and others have left, and yet our unity is tighter, our sound brighter and our popularity greater. Someone has watched over this group. Someone has protected our integrity. Someone has said...just go on singing and it’ll get better.”

No matter the change in personnel, The Temptations remained true to The Temptations tradition. They survived the whims of fashion, whether disco or techno, and stuck to their guns.

Deer Valley® Music Festival

The current lineup consists of Otis Williams, Ron Tyson, Terry Weeks, Larry Braggs, and Willie Greene Jr. “The more we change,” says veteran Ron Tyson, “the more we stay true to ourselves. We’re about singing straight-up soul. It’s a style that will live on forever.”

And so THE TEMPTATIONS go on.......and on..... and on........

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ST. MARY’S CHAMBER CONCERTS

MOZART’S FLUTE CONCERTO NO. 2 with Still, Wirén & Stravinsky July 21

/ 2021 / 8 PM ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor MERCEDES SMITH, flute

STILL WIRÉN

MOZART

ΩSTRAVINSKY

Mother and Child Serenade for Strings I. Preludium II. Andante espressivo III. Scherzo IV. Marcia Concerto No. 2 in D Major for Flute and Orchestra, K. 314 (285d) I. Allegro aperto II. Andante ma non troppo III. Allegro Mercedes Smith, flute Concerto in E-flat Major for Chamber Orchestra, “Dumbarton Oaks” I. Tempo giusto II. Allegretto III. Con moto

CONCERT SPONSOR

PATRICIA A. & WILLIAM K. NICHOLS

DeerValleyMusicFestival.org 53

ARTIST’S PROFILE

Mercedes Smith Flute

Mercedes Smith is Principal Flutist of the Utah Symphony. A Texas native, she served as Principal Flutist of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade and has performed with orchestras such as the Seattle Symphony, San Diego Symphony, Houston Symphony, and Pacific Symphony. Awarded First Prize in the National Flute Association’s 2010 Young Artist Competition, Smith has performed multiple times in Carnegie Hall, Europe, and Asia, and performed as guest Principal Flutist for the Seoul Philharmonic Orchestra’s 2018 European Tour. She is currently on the faculty of Miami Summer Music Festival and has performed with Grand Teton Music Festival, Oregon Bach Festival, Tanglewood, Music Academy of the West, Verbier Festival Orchestra, and Marlboro Music Festival. Smith was accepted as a scholarship student at the Manhattan School of Music at the age of 16 and is greatly indebted to her teachers Michael Parloff, Jeanne Baxtresser, and Dr. Ronda Mains. Smith lives in Salt Lake City with her husband, violinist David Porter, and serves as Board Chairman of Salty Cricket–a music program for those in underserved communities.

*See page 20 for Conner Gray Covington’s Artist Profile.

Deer Valley® Music Festival

LEARNERS . FRIENDS . ALLIES . LEADERS

jazzSLC

the GAM Foundation presents

at the Capitol Theatre

ARTURO SANDOVAL QUINTET 09/10/21—Capitol Theatre

CECILE MCLORIN SALVANT

KENNY BARRON TRIO with Regina Carter

02/26/22—Capitol Theatre

JOHN PIZZARELLI

09/25/21—Capitol Theatre

04/11/22—Capitol Theatre

BENNY GREEN, CHRISTIAN MCBRIDE & RUSSELL MALONE

JAVON JACKSON & RANDY BRECKER

11/19/21—Rose Wagner Theatre

JOEY ALEXANDER

01/31/22—Capitol Theatre

02/23/22—Capitol Theatre

PAQUITO D’RIVERA

05/27/22—Capitol Theatre

For ticket information visit www.jazzslc.com 20210624 Deer Valley Music Festival ad.indd 1

6/25/21 12:50 PM

NOTES ON THE PROGRAM By Michael Clive

William Grant Still (1895–1978) Mother and Child Long known as the “Dean of AfricanAmerican Classical Composers,” as well as one of America’s foremost composers, William Grant Still became a legend in his own lifetime, and after a period of unjust neglect, has been the subject of renewed interest in the past decade. He was born in 1895 in the Mississippi town of Woodville to parents who were teachers and musicians. They were of African-American, Indian, Spanish, Irish, and Scottish heritage. When William was only a few months old, his father died and his mother took him to Little Rock, where she taught English at the high school level. There his musical education began, with violin lessons from a private teacher, and with later inspiration from the RCA Victor operatic recordings bought for him by his stepfather. At Wilberforce University, Still took courses leading to a B.S. degree, but spent most of his time conducting the band, learning to play various instruments, and exploring composition and orchestration. His subsequent studies at the Oberlin Conservatory of Music were financed at first by a legacy from his father, and later by a scholarship established for him by the faculty. After college, Still entered the world of popular music, playing in orchestras and orchestrating, working in particular with the violin, cello and oboe. His employers included many of the era’s biggest names: W. C. Handy, Donald Voorhees, Sophie

Deer Valley® Music Festival

Tucker, Paul Whiteman, Willard Robison, Artie Shaw, and others. For several years he arranged and conducted the Deep River Hour over CBS and WOR. While in Boston playing oboe in the pit orchestra for the immensely popular show Shuffle Along, Still applied to study at the New England Conservatory with George Chadwick, and was again rewarded with a scholarship due to Chadwick’s own vision and generosity. He also studied, again on an individual scholarship, with modernist composer Edgard Varèse. In the 1920s, Still made his first appearances as a serious composer in New York, and began a valued friendship with Dr. Howard Hanson, the revered director of the Eastman School of Music (Rochester). He earned extended Guggenheim and Rosenwald Fellowships as well as important commissions from the Columbia Broadcasting System, the 1939 New York World’s Fair, Paul Whiteman, the League of Composers, the Cleveland Orchestra, the Southern Conference Educational Fund, and the American Accordionists Association. In 1944, he won the Jubilee prize of the Cincinnati Symphony Orchestra for the best overture to celebrate its Jubilee season, with a work called Festive Overture. In 1953, a Freedoms Foundation Award came to him for his To You, America! which honored West Point’s Sesquicentennial Celebration. In 1961, he received the prize offered by the US Committee for the UN, the NFMC and the Aeolian Music Foundation for his orchestral work The Peaceful Land, cited as the best musical composition honoring the United Nations.

NOTES ON THE PROGRAM

In 1939, Still married the journalist and concert pianist Verna Arvey, who became his principal collaborator. They remained together until Still died of heart failure in 1978. His service to the cause of brotherhood is evidenced by his many firsts in the musical realm: Still was the first African American in the United States to have a symphony performed by a major symphony orchestra, and the first to conduct a major American symphony orchestra—the Los Angeles Philharmonic Orchestra, which he led in performing his own compositions at the Hollywood Bowl in 1936. He was the first Black composer to have an opera produced by a major company in the United States—his Troubled Island, which took the stage at New York’s City Center of Music and Drama in 1949. With these firsts, Still was a pioneer, but, in a larger sense, he pioneered because he was able to create music capable of interesting the greatest conductors of the day: serious music with a definite American flavor. Still was recognized by many institutions for his contributions to American music, including honorary degrees from Wilberforce University (Master of Music) in 1936; Howard University (Doctor of Music) in 1941; Oberlin College (Doctor of Music) in 1947; Bates College (Doctor of Letters) in 1954; University of Arkansas (Doctor of Laws) in 1971; Pepperdine University (Doctor of Fine Arts) in 1973; and Doctor of Music degrees from the New England Conservatory of Music, the Peabody Conservatory, and the University of Southern California. Other awards and honors included the second Harmon Award

in 1927; a trophy of honor from Local 767 of the Musicians Union AFM, of which he was a member; trophies from the League of Allied Arts in Los Angeles (1965) and the National Association of Negro Musicians; citations from the Los Angeles City Council and Los Angeles Board of Supervisors (1963); a trophy from the APPA in Washington DC (1968); the Phi Beta Sigma George Washington Carver Award (1953); the Richard Henry Lee Patriotism Award from Knotts Berry Farm, California; a citation from the Governor of Arkansas in 1972 and the third annual prize of the Mississippi Institute of Arts and Letters in 1982. The deeply moving Mother and Child, inspired by a 1932 lithograph by the artist Sargent Johnson, is a movement from Still’s Suite for Violin and Piano, composed in 1943. Still re-scored the suite for string orchestra after the first version’s premiere in 1944. Writing for the Seattle Symphony, Carolyn Tarr notes that in 1943, the year of Mother and Child’s composition, Still quit the creative team for the movie-musical Stormy Weather, which “would have been his biggest paycheck ever.” At the time, Still declared that the film’s studio, 20th Century Fox, “degraded colored people,” and said that the film’s “crude, sexy stereotypes… are the sort of misconceptions that…indirectly influence the lives of our thirteen million people.” Johnson’s deceptively simple image and Still’s evocative music certainly dignifies rather than degrades. Still captures the intimacy and beauty of a poignant moment between mother and child. Many listeners and viewers of Sargent’s lithograph

DeerValleyMusicFestival.org 57

NOTES ON THE PROGRAM

also discern the oppression that is the backdrop of the maternal embrace. Mother and Child remains one of the most admired of all of Still’s creations. The perennially popular Suite for Violin and Piano from which it is drawn is one of over 150 major works in his catalog; others include 5 symphonies, 8 operas, a ballet score, and numerous choral works. Dag Wirén (1905—1986) Serenade for Strings In the US and most of Europe, Dag Wirén is almost unknown save for a handful of very fine compositions, of which his Serenade for Strings is by far the most frequently performed. But his reputation is far different in his native Sweden. There he enriched every aspect of the nation’s musical life, from popular music—he even composed the music for the Swedish entry in the 1965 Eurovision Song Contest—to the national ballet and opera companies, serving as a board member of the Royal Swedish Opera and composing the score for an award-wining television ballet. He wrote perceptive critical essays. From the 1930s, when his piano performances were a fixture on Swedish radio, until his death in 1986, Dag Wirén embodied musical life in his native land. Wirén was born in 1905 in the Swedish town of Striberg, where his father had a roller-blind factory. His parents were both musical, and after giving Wirén piano lessons, they enrolled him at the Stockholm Conservatory in 1926. With the benefit of a stipend from the Swedish government, he

Deer Valley® Music Festival

continued his studies in Paris, where he met Stravinsky and was especially influenced by the French composers known as Les Six, who countered the severities of modernism with a style that was lighter in texture and neo-classical in its compositional roots. This approach fit well with Wirén’s personal philosophy of music, which combined a relaxed, inclusive stylistic approach with rigorous standards of quality. Wirén believed that music was to be enjoyed and should be accessible to listeners, but applied rigorous standards to his own works, some of which he withdrew from publication even after successful performances. On the classical side, Wirén’s catalog includes symphonies, concertos, concert pieces, and choral works; his works for the stage, broadcast media, and film include movie scores, incidental music, and popular songs. His Serenade for Strings, composed in 1937 (at age 32) comprises four contrasting movements marked preludium, andante espressivo, scherzo, and marcia. Writer Kathryn Bacasmot has described the Serenade as “[rushing] in like a warm summer breeze…enveloping the listener in light, gorgeous melodies.” Other critics have said his music is distinguished by its energy, high spirits, and melodic abundance. The Serenade for Strings is an especially successful embodiment of Wirén’s chief goal as a composer: to write music in a thoroughly modern idiom yet in a manner that entertains and pleases listeners. As such, it has won passionate admirers. If you find yourself among them, you’ll find it worthwhile to seek out his Symphony No. 2, composed in 1939, which carries the

NOTES ON THE PROGRAM

Serenade’s spirit forward in symphonic form. Wolfgang Amadeus Mozart (1756—1791) Concerto No. 2 in D Major for Flute and Orchestra, K. 314 (285d) There’s a category of musical arcana that your intrepid annotator calls “bar bets”— obscure facts that seem so counter-intuitive or just plain strange that they beg for a trivia dare. Among these is the notion that Mozart, who composed some of the most ravishing music for flute in the repertory, disliked the instrument intensely. Is that even possible? Well, yes. The flute is probably one of the few orchestral instruments that Mozart did not play. In addition to his renown as a pianist (he performed many of his own piano concertos in concert), he was a superb violinist—good enough to rank as one of the best of his era, had he chosen to play it publicly. And yet, as musicologists love to remind us, he said more than once that he hated the flute. In a letter to his father—letters to Leopold were the source for many of his unguarded complaints— he wrote of one flute commission from an amateur player, “I could, to be sure, scribble off things the whole day long, but a composition of this kind goes out into the world, and naturally I do not want to have cause to be ashamed of my name on the title page. Moreover, you know I am quite powerless to write for an instrument [the flute] which I cannot bear.” This aversion certainly did not prevent Mozart from creating music for flute that is not only gorgeous, but that flatters the instrument—

NOTES ON THE PROGRAM

an anomaly that won’t be of much use in a bar unless you happen to bring Mozart’s correspondence along with you as proof. Then again, as often happens with bar bets, the more we know about the facts behind them, the less bizarre they seem. First, we must take note that the flute of Mozart’s day was a far cry from the modern “transverse flute,” which is crafted from ideally resonant metal alloys, with holes, keys, and finger pads that are finished with the precision of jeweled watch movements. If Mozart had only known! With his perfectionist’s ear, he was maddened by imperfect intonation and inconsistencies of tone, and the 18th-century flute almost guaranteed that these problems would arise. Made of wood and held straight in front of the player (rather than at a “transverse” angle from the mouth), the object of Mozart’s derision was basically a wooden pipe with holes—an instrument that more closely resembled the Baroque recorder than a modern flute. Yet more advanced transverse flutes were only a few decades away. By the mid-1800s, they were very much as we know them now. In the case of the Flute Concerto No. 2, we must also remember that this work, which sounds as if it were born for flutes and flutists, wasn’t. Mozart composed this concerto in 1778 (at age 27) in Mannheim, a German city with one of Europe’s best orchestras; he hoped to secure a position as court musician there. It was originally scored for oboe. The flute version is not just a routine transposition for a neighboring instrument in the woodwinds

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section; Mozart himself adapted it for the flutist Johann Baptist Wendling, a skilled Mannheim Orchestra instrumentalist who had introduced Mozart to a potential Dutch patron. Thus Mozart was favorably disposed to the flutist for whom he arranged the flute version (he had little patience for amateurs), and knew the performance would be at the highest professional level. The concerto is a lush showcase for the flute’s pure tone, its flowing legato, and the natural, breathing quality of its phrasing— unlike the oboe’s crisper transitions from note to note. This is especially apparent in the concerto’s second movement; in it we hear the slow, lyric lines in which Mozart seems to make the flute sing, sumptuously foiled by a lovely cantilena—a simple song form—in the strings. For generations after Johann Wendling first played it, this work was known simply as a flute concerto. But its original scoring, for oboe soloist, was relocated almost 150 years after it was written, and it is now shared by flutists and oboists. But a note for trendwatchers: for the time being, at least, the flute version is far more frequently programmed. Igor Stravinsky (1882—1971) Concerto in E-flat Major for Chamber Orchestra, “Dumbarton Oaks” Stravinsky’s music has been described as the antithesis of Tchaikovsky’s, but ballet scores laid the foundation for the international fame of both men. Stravinsky’s first major success,

NOTES ON THE PROGRAM

The Firebird, came when he was 27, and it was The Rite of Spring that made him an international celebrity five years later. His first collaboration with the choreographer George Balanchine brought him to America for an extended period: the ballet Jeux de cartes, composed in 1936. Returning to Europe after the rehearsal period, Stravinsky moved to the Haute-Savoie region of the French Alps, the highest topography in Europe, to be near his daughter Ludmila; not yet 30, she was dying of tuberculosis and confined to a sanatorium. Stravinsky described this as “perhaps the most difficult time of my life.” It was during this period that he composed “Dumbarton Oaks,” his Concerto in E-flat for Chamber Orchestra. He began the work in the spring of 1937 with the encouragement of conductor Ernest Ansermet, a neighbor and supportive friend. The commission for the concerto had come from Washington, DC A-listers Robert Woods Bliss and Mildred Bliss to celebrate their 30th wedding anniversary. The diplomat Robert Woods Bliss had held positions including ambassadorships to Argentina and Sweden; Mildred Bliss was a respected art collector with a deep knowledge of pre-Columbian sculpture. This cosmopolitan couple not only knew Stravinsky’s work by reputation, but had almost certainly heard the witty score for Jeux de cartes in performance. As for the nickname “Dumbarton Oaks,” the phrase is one of those that strikes a familiar note with many of us who can’t quite place it exactly; it is, in fact, the name of the 19thcentury mansion where the Blisses resided in Washington, displayed their art, and

entertained. The power couple donated the house, its contents and gardens to Harvard University in 1940. Dumbarton Oaks was the site of the international conference at which the United Nations was organized in 1944—the signal event that accounts for the familiarity of its name. Today it is a research center for the study of Byzantine and pre-Columbian art. The premiere of the concerto took place at Dumbarton Oaks on May 8, 1938, about five weeks before Ludmila Stravinsky’s death, when the composer himself was ill with tuberculosis. The premiere was conducted by his friend Nadia Boulanger. Like many a composer before and since, Stravinsky found consolation in Bach during the difficult time when he wrote the “Dumbarton Oaks” concerto. “I played Bach regularly during the composition of the Concerto, and was greatly attracted to the ‘Brandenburg’ Concertos,” he wrote. “Whether or not the first theme of my [first] movement is a conscious borrowing from the third ‘Brandenburg,’ however, I do not know.” Many listeners hear the theme clearly, first in the viola part of the opening bar, then more strongly as the movement develops. The sound is effervescent throughout, and the movements are played without pause, an eight-bar passage joining the first movement to the second, an allegretto described by Stravinsky biographer Eric W. White as possessing “an intense purity of line.” A progression of dignified chords creates an atmosphere of near-silence that leads to the third movement, an energetic finale.

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ON THE HILL

THE MAGICAL MUSIC OF HARRY POTTER July 23 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER ENRICO LOPEZ-YAÑEZ, conductor JULIA BRADSHAW, soprano (Gryffindor) MARIAH STANELLE, alto (Ravenclaw) MITCHELL MOSLEY, tenor (Hufflepuff) TATE FORSHAY, baritone (Slytherin)

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ON THE HILL JOHN WILLIAMS NICHOLAS HOOPER ARR. JERRY BRUBAKER

“Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone “The Weasley Stomp” from Harry Potter and the HalfBlood Prince

JOHN WILLIAMS

Harry Potter and the Chamber of Secrets Fawkes the Phoenix Dobby the House Elf Gilderoy Lockhart The Chamber of Secrets

JOHN WILLIAMS

“Nimbus 200” from Harry Potter and the Sorcerer’s Stone

JOHN WILLIAMS

Suite from Harry Potter and the Prisoner of Azkaban Aunt Marge’s Waltz The Knight Bus A Bridge To The Past Double Trouble INTERMISSION

JOHN WILLIAMS

“Witches, Wands and Wizards” from Harry Potter and the Prisoner of Azkaban

PATRICK DOYLE

“Death of Cedric” from Harry Potter and the Goblet of Fire

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“Diagon Alley” from Harry Potter and the Sorcerer’s Stone

JOHN WILLIAMS

“Buckbeak’s Flight” Symphonic Suite from Harry Potter

PATRICK DOYLE

“The Quiddich World Cup (The Irish)” From Harry Potter and the Goblet of Fire

JOHN WILLIAMS, PATRICK DOYLE, NICHOLAS HOOPER, ALEXANDRE DESPLAT

Symphonic Suite from Harry Potter Fireworks The Flight of the Order of the Phoenix Harry & Hermione Obliviate Lily’s Theme Courtyard Apocalypse

JOHN WILLIAMS

“Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

PATRICK DOYLE

“Hogwarts’ Hymn” from Harry Potter and the Goblet of Fire

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ARTIST’S PROFILE

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, Trisha Yearwood, Richard Marx, Jennifer Nettles, Kellie Pickler, Renée Elise Goldsberry, Megan Hilty, Hanson, Kenny Loggins, and more.

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During the 2020–21 season, Lopez-Yañez will collaborate with artists including Wu-Tang Clan, Nas, Maxwell, Leslie Odom Jr., Stewart Copeland of The Police, Ben Folds, Kenny G, and more. Lopez-Yañez will appear with the National Symphony Orchestra, San Francisco Symphony, San Diego Symphony, San Antonio Symphony, and will make return appearances with the Detroit Symphony, Rochester Philharmonic, and Utah Symphony. Previously, Lopez-Yañez has appeared with orchestras throughout the North America including the Aguascalientes Symphony, Edmonton Symphony, Oklahoma City Philharmonic, Omaha Symphony, and Sarasota Orchestra among others. 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, his exciting education, classical, and pops concerts are performed by orchestras across the United States. Lopez-Yañez previously held the position of Assistant Conductor with the Nashville Symphony and Omaha Symphony. 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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TAKE ME HOME: THE MUSIC OF JOHN DENVER STARRING JIM CURRY with the Utah Symphony

July 24 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER LEE HOLDRIDGE, conductor JIM CURRY, vocals/guitar

Program to be announced from the stage.

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ARTISTS’ PROFILES

Lee Holdridge Conductor

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Lee Holdridge is completely at home in film music, concert music, opera, and songwriting. Holdridge’s recent film scores include Walking With Destiny, Brothers at War, and Great Voices Sing John Denver. Previous scores include the eclectic Korgoth of Barbaria and Puerto Vallarta Squeeze. Concert works include the orchestral suite Scenes of Summer and the Concerto for Violin and Orchestra No. 2. Operas extend from Lazarus and His Beloved to the more recent Dulce Rosa. Songs include the classic “Moonlighting” and “The First Time I Loved Forever,” the theme for the iconic television series Beauty and The Beast. He has collaborated with Neil Diamond, Placido Domingo, John Denver, Barbra Streisand, Natalie Cole, Whitney Houston, and many others. 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. © 2021 Promontory Development, LLC. Each individual office is Independently Owned and Operated.

ARTISTS’ PROFILES

After being awarded a full Rotary International scholarship to study music and voice and being selected to sing as the voice of John Denver in the CBS Television Movie Take Me Home, the John Denver Story, there was no doubt that Jim Curry would continue to sing the praises and songs of America’s Troubadour: John Denver. As a life-long fan, Jim dedicated himself to continue John Denver’s legacy of songs and his message of love and caring for our planet to future generations.

Jim Curry

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Since 2002, the combined talents of Curry and his band have brought John’s music back to thousands upon thousands of people. Curry is honored to have had John Denver band members join him in some of the most prestigious venues in the country. He also works behind the scenes to preserve Denver’s music. Most notable is Curry’s collaboration with Lee Holdridge in rebuilding and preserving Denver’s original symphony arrangements. Curry was a key performer in the induction of John Denver to the Colorado Music Hall of fame show hosted by Olivia Newton John. He was also the host of the official John Denver Estate show, which toured the United States and Australia. Curry’s latest project is titled Such a Wild Place and was produced by two of John Denver’s band members, Pete Huttlinger and Chris Nole. It includes four original songs co-written by Jim Curry and also includes three unreleased songs written by John Denver. Jim Curry continues to perform John Denver’s heartfelt songs on cruise ships, in symphony halls, and in performing arts centers to growing audiences all over the world.

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ST. MARY’S CHAMBER CONCERTS

CHEVALIER DE SAINTGEORGES’ VIOLIN CONCERTO NO. 2 with Dvořák & Caroline Shaw July 28

/ 2021 / 8 PM ST. MARY’S CHURCH

CONNER GRAY COVINGTON, conductor KATHRYN EBERLE, violin

DVOŘÁK

Serenade in D minor, Op. 44 I. Moderato quasi marcia II. Menuetto—Trio: Presto III. Andante con moto IV. Finale: Alegro molto

CAROLINE SHAW

Entr’acte

SAINT-GEORGES

Violin Concerto in A Major, Op. 5 No. 2 I. Allegro moderato II. Largo III. Rondeau Kathryn Eberle, violin

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ARTIST’S PROFILE

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 and the newlyappointed Concertmaster of the Hollywood Bowl Orchestra. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies.

Kathryn Eberle Violin

Eberle performs annually as soloist with the Utah Symphony. She made her subscription series debut in 2014 performing Leonard Bernstein’s Serenade, After Plato’s Symposium. Most recently, she performed Edgar Meyer’s Violin Concerto in January 2020. Other solo appearances include performances with the Los Angeles Philharmonic, the Nashville Symphony, the Louisville Orchestra, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil. An avid chamber musician, Eberle has collaborated with such artists as Arnold Steinhardt, Edgar Meyer, Jaime Laredo, and Ricardo Morales. Festival appearances include Yellow Barn, Banff, Aspen, Missillac, Sewanee, Laguna Beach, Fairbanks Summer Arts, Innsbrook Institute, and Festival Mozaic. A native of Nashville, Tennessee, Ms. Eberle began her violin studies on her third birthday. She received a master’s degree from The Juilliard School studying with Sylvia Rosenberg. She previously studied with Robert Lipsett and Cornelia Heard at the Colburn School, Blair School of Music and the University of Southern California where she received the String Department and Symphony awards upon graduation. Ms. Eberle performs on a 1754 Gennaro Gagliano violin, the ex “Von Vecsey.” *See page 20 for Conner Gray Covington’s Artist Profile.

Deer Valley® Music Festival

NOTES ON THE PROGRAM By Michael Clive

Antonín Dvořák (1841—1904) Serenade in D minor, Op. 44 Nationalist movements in Western classical music owe much to Antonín Dvořák, who believed passionately in composers’ use of indigenous sources for their compositions. In his own music, native Czech sources account for the distinctive, echoing melodies and for the ever-present sense of “swing” we hear in the Serenade in D minor. The sheer pleasure of listening to Dvořák’s Serenade suggests the relaxed enjoyment of a divertimento such as Mozart’s Eine kleine Nachtmusik—not only in its loose structure, but also in the feeling of a glowing twilight that suffuses the music. In fact, according to contemporary accounts, Dvořák was inspired to compose this work after hearing a performance of Mozart’s Wind Serenade in B-flat Major K. 361 in Vienna. Mozart’s wind instruments are included in Dvořák’s scoring, along with cello and double-bass; the sound is deep and rich-textured. The sense of relaxation we hear in Dvořák’s Serenade was seemingly reflected in its ease of composition, which reportedly took less than two weeks for all four movements. But Dvořák himself was not always so relaxed about composing such works. Earlier in his career, his concern with making his mark as a symphonist and opera composer made divertissements such as his Slavonic Dances and Serenades seem trivial. But these lighter works were precisely what his publisher wanted from

him, and the listening public’s appetite for them was seemingly insatiable. By the time he composed the Serenade in D minor, in 1878, he was more fully reconciled to such forms. It was a time of creativity and optimism for him: His marriage was still new, his first son was born, and he was finally enjoying financial self-sufficiency as a composer of high repute. The Serenade is dedicated to the eminent German music critic and composer Louis Ehlert, who had praised Dvořák’s Slavonic Dances in the German press. (Brahms, too, was a champion of Dvořák’s music, and he spoke highly of this Serenade.) If you hear humor in its opening, you’re not alone; some critics have found satirical pomposity in the introduction to the first movement, which Dvořák is said to have completed in a single day. After that, it’s all breezy melodies and charm, and one of the repertory’s greatest joys for wind players. Dvořák’s music is known for its rhythmic and narrative intensity—for drama and swing. Here, it can be said, we hear his characteristic swing, but not drama…just relaxed pleasure in the playing and the listening. Throughout, Dvořák’s beloved Bohemian dance rhythms can be heard if we listen for them (Dvořák’s music never really strays far from dancing). The suite ends in a vivid finale marked allegro molto. Caroline Shaw (b. 1982) Entr’acte When Caroline Shaw won the Pulitzer Prize for Music in 2013, it caused more than the

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usual stir. Shaw was not only the youngest composer ever to win the award, but also one of the few women. Others include Ellen Taaffe Zwilich, 1983; Shulamit Ran, 1991; Melinda Wagner, 1999; Jennifer Higdon, 2010; and, more recently (post-Shaw, that is), Julia Wolfe, 2015; Du Yun, 2017; and Ellen Reid, 2019. The recent increase reflects progress that women are making in the world of classical music—or, perhaps more accurately, the classical music world’s progress in actually listening to women. Shaw, in particular, was immediately recognized as an astonishing new voice. Her prize-winning composition, Partita for 8 Voices, was composed for the GRAMMY®winning vocal ensemble Roomful of Teeth, a fearlessly experimental group that defies musical tradition and has rewritten the rules of choral singing. Major singers now seek her out, and she has created works for artists including sopranos Renée Fleming and Dawn Upshaw, and mezzo-soprano Anne Sofie von Otter. Born in Greenville, North Carolina, Shaw began playing the violin at age two and writing music at age ten. She received her Bachelor of Music in violin performance from Rice University in 2004 and her master’s degree in violin studies from Yale in 2007. She entered Princeton University’s PhD program in composition in 2010, and is now based in New York as a vocalist, violinist, composer, and producer. She is a member of Roomful of Teeth. In addition to many commissions for vocalists, instrumentalists, and orchestras,

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Shaw’s film scores include Erica Fae’s To Keep the Light and Josephine Decker’s Madeline’s Madeline as well as the upcoming short 8th Year of the Emergency by Maureen Towey. She has produced for Kanye West (The Life of Pablo; Ye) and Nas (NASIR), and has contributed to records by The National and by Arcade Fire’s Richard Reed Parry. Her website notes, “Once she got to sing in three-part harmony with Sara Bareilles and Ben Folds at the Kennedy Center, and that was pretty much the bees’ knees and elbows.” Shaw currently teaches at NYU and is a Creative Associate at The Juilliard School. She has held residencies at Dumbarton Oaks, the Banff Centre, Music on Main, and the Vail Dance Festival. She loves the color yellow, otters, Beethoven opus 74, Mozart opera, Kinhaven, the smell of rosemary, and the sound of a janky mandolin. As we listen to Entr’acte, we hear the combination of old and new that is characteristic of her sound: traditional harmonies juxtaposed against startling dissonances; strict rhythms that give way to elastic, wayward rhythmic shifts. The effect is often vertiginous or dreamlike. Her deeply communicative writing for strings, which utilizes a wide array of effects, seems to reflect her early and continuing commitment to the violin. In her composer’s note about Entr’acte, she writes: Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2—with their spare and soulful shift to the D-flat major trio in

NOTES ON THE PROGRAM

the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition. As befits a composition that straddles both sides of Alice’s looking glass, many listeners hear a surreal quality in Entr’acte. As writer Timothy Judd notes, “Throughout the piece we get subtle glimpses of Classical and Baroque music that has suddenly found itself in the wrong century.” Chevalier de Saint-Georges (1745–1799) Violin Concerto in A Major, Op. 5 No. 2 Born in the French colony of Guadeloupe in 1745, Saint-Georges (the name is an inherited honorific—he was born Joseph Bologne) was a dashing figure in that most style-conscious of cities, Paris, where he made his career. He was the son of Georges de Bologne Saint-Georges, a wealthy married planter, and Anne, dite (called) Nanon, his wife’s Senegalese slave. A famous portrait by Mather Brown, an American artist who made his career in England, depicts the younger Saint-Georges as almost incredibly handsome, elegant and heroic; in his right hand he holds what at first glance might be taken for a conductor’s baton, but is actually a sword. He served with valor as a colonel in the Légion StGeorges, the first all-Black French regiment, fighting on the side of the Republic.

Saint-Georges’ wealthy father had taken the seven-year-old Joseph to boarding school in France, and settled with his wife in a fashionable section of Paris two years later. Under the French code noir, which strictly codified French social status by color, Saint-Georges was barred from marrying anyone of his own social standing, but he received the education befitting a gifted aristocrat, enrolling at age 13 in the Académie royale polytechnique. More is known about his great success as a fencer, dancer, and man about town than about his musical education; in fact, what we know as the Légion St.-Georges was actually the Légion franche de cavalerie des Amèricains et du Midi, which became associated with his heroic exploits and then adopted his name. Parisian concertgoers were stunned in 1769 when Saint-Georges, the dashing fencer and social figure, appeared as a violinist in the orchestra of François-Joseph Gossec; within four years, Saint-Georges was the ensemble’s concertmaster and conductor. But even earlier than that, in 1772, SaintGeorges, then 27, created a sensation by performing two recent compositions—his Violin Concertos Nos. 1 and 2—under Gossec’s baton. Saint-Georges’ violin concertos are exemplars of the French Classical style in concertos—tasteful, elegant, and harmonious. Despite the lack of concrete evidence regarding Saint-Georges’ musical training, critics surmise that his earliest public compositions bore Gossec’s influence, while the 1772 concertos were the breakthrough

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NOTES ON THE PROGRAM

works with which Saint-Georges’ style came into its own. They are framed to showcase the soloist’s taste as well as instrumental skills. The sound is relaxed and lyrical, and they demonstrate the combination of restraint, elegance, and virtuosity that is characteristic of French concertos such as Ravel’s for the piano. In particular, SaintGeorges exploits the extent of the violin’s tonal range, from the highest highs to the lowest lows. While the instrument’s lowest reaches are delimited by the low (G) string, the highs are bound only by the violinist’s technical abilities with neck hand and bow; determining how high is too high is often a matter between the concerto’s composer and its dedicatee. In this case, SaintGeorges knew exactly what the soloist could accomplish, and it was spectacular.

Critics tell us that the 1772 concertos demonstrate a level of artistry beyond the composer’s earlier works; listening to the Concerto No. 2, we are inclined to believe them. For example, the concerto’s sumptuous largo movement employs a wider range of colors than do his previous works, and its whimsical touches show a confident hand; the scoring, too, is particularly deft. The grace and polish of this concerto, along with the fascinating details of Saint-Georges’ life, make it all the more regrettable that many of his compositions were lost in the French Revolution. As for his remarkable life story, in June 2020 Searchlight Pictures announced plans for a biopic about Saint-Georges. He would seem to be a great and timely subject for a gorgeous movie.

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ON THE HILL

LITTLE RIVER BAND with the Utah Symphony

July 30 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor LITTLE RIVER BAND WAYNE NELSON, lead vocals/bass CHRIS MARION, keyboards/vocals RICH HERRING, lead guitar/vocals RYAN RICKS, drums/percussion/vocals COLIN WHINNERY, guitar/lead vocals

Program to be announced from the stage.

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ARTISTS’ PROFILE

Little River Band Guest Artists

The Eagles founding member, the late Glenn Frey, knew what he was saying when he dubbed Little River Band “the best singing band in the world.” Through the 70’s and 80’s, LRB enjoyed huge chart success with multiplatinum albums and chart topping hits like: “Reminiscing,” “Cool Change,” “Lonesome Loser,” “The Night Owls,” “Take It Easy On Me,” “Help Is on Its Way,” “Happy Anniversary,” “We Two,” “Man On Your Mind,” “The Other Guy,” and It’s A Long Way There”. Bassist/vocalist Wayne Nelson joined the band in 1980 and worked alongside founding members with some of the most distinctive harmonies and vocal abilities, creating the unique LRB sound. In 1981, Nelson was recognized by world renowned Beatles producer Sir George Martin who, while producing “Time Exposure,” chose Nelson to record lead vocals on two of the band’s biggest hits, “The Night Owls” and “Take It Easy On Me.” Later that same year, guitarist extraordinaire Stephen Housden joined LRB bringing a rock element into the band’s sound and helped contribute to their string of Top 10 hits. As band members departed, both Housden and Nelson worked together to bring LRB into the new millennium. To date, lead singer/bassist Wayne Nelson has contributed his vocal and bass guitar talents on 22 Little River Band

Deer Valley® Music Festival

ARTISTS’ PROFILE

albums. LRB continues to perform to sold-out audiences, and Stephen Housden continues to write and participate in all things Little River Band. In 2004 LRB was inducted into the Australian Recording Industry Association Hall of Fame at the 18th Annual ARIA Music Awards and in September 2015 the band was awarded Casino Entertainer of the Year at the G2E Gaming Expo in Las Vegas Nevada. Keyboardist Chris Marion is a Dove Award-winning producer. Chris is the creator of all the orchestral arrangements and charts on The Big Box. It is amazing to watch him play, sing, and conduct from his riser! Lead guitarist Rich Herring is a highly skilled player, singer, and producer of many Nashville artists…not to mention a great songwriter. He and Wayne have co-produced every LRB project since he joined the band. Drummer Ryan Ricks has locked down the rhythm section, and rounds out the vocals with his incredible range. Great singing drummers are rare…and LRB is lucky to have Ryan as part of that all-important vocal blend. Nashville guitarist Colin Whinnery plays rhythm and lead guitar, and shares lead vocal duties with Wayne. He brings a brand new voice and a fresh outlook to the rhythm section. Bringing their vocal and musical energy along with great arrangements to their timeless classic hits, each show creates new memories for the audience. The band enjoys watching their fans fall in love with the songs all over again as they are swept up by the show’s powerful performance and the volume of hits from LRB’s history. With 90–100 dates being scheduled for their 2021–22 tour, Little River Band is hotter than ever, selling out shows and making music coast to coast while continuing their legacy of being “the best singing band in the world.”

*See page 20 for Conner Gray Covington’s Artist Profile.

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ON THE HILL

1812 OVERTURE WITH RACHMANINOFF’S PIANO CONCERTO NO. 2 July 31 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor STEPHEN BEUS, piano CANNONEERS OF THE WASATCH

SHOSTAKOVICH

Festive Overture

RACHMANINOFF

Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando Stephen Beus, piano INTERMISSION

DVOŘÁK KHACHATURIAN

TCHAIKOVSKY

Carnival Overture “Adagio of Spartacus and Phrygia” from Spartacus Suite No. 2

1812 Overture

PRESENTING SPONSOR

DIANE & HAL BRIERLEY CONCERT SPONSOR

ORCHESTRA SPONSOR

STAGE SPONSOR

RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION

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ARTISTS’ PROFILES *See page 20 for Conner Gray Covington’s Artist Profile.

Strikingly original... an interpretive voice all his own” (Fanfare). In the space of four months, American pianist Stephen Beus won first prize in the Gina Bachauer International Piano Competition, and was awarded the Vendome Prize (Lisbon) and the Max I. Allen Fellowship of the American Pianists Association (Indianapolis).

Stephen Beus Piano

As a result of winning The Juilliard School Concerto Competition, Beus made his Carnegie Hall debut with the Juilliard Orchestra and James DePreist, playing Prokofiev Concerto No. 3. He has also performed as guest soloist with the Gulbenkian Orchestra (Lisbon), Oxford Philomusica, the Tivoli Symphony (Copenhagen), the Tbilisi National Opera Orchestra, the Northwest Sinfonietta (Seattle), the Royal Philharmonic of Morocco (Casablanca), the Vaasa Symphony Orchestra (Finland) as well as with the Hamburg, Indianapolis, Nashville, Santa Fe, Utah, Fort Worth, Tucson, Yakima, Bellevue, Salt Lake, Eastern Sierra, Corvallis, Jacksonville, Texarkana, and Walla Walla Symphonies. Equally active as a soloist, Beus has performed at Wigmore Hall, the Salle Gaveau and Salle Cortot (Paris), Merkin Hall, the Shanghai Oriental Art Center, the Central Conservatory (Beijing), Teatro di San Carlo (Naples), Carnegie Hall (Weill Recital Hall), the Queluz Palace (Lisbon); has performed for the Dame Myra Hess and Fazioli Salon series (Chicago), the International Keyboard Institute and Festival (New York City); and has given recitals across the United States as well as in Kazakhstan, Russia, Finland, Denmark, Switzerland, Germany, Georgia, China, France, Italy, Portugal, the Czech Republic, and Morocco. Born and raised on a farm in eastern Washington, Beus began lessons at age five and made his orchestral debut four years later. He went on to win numerous national and international competitions throughout his youth, capturing the attention of both audiences and critics. Commenting on Beus’ competition success, Fanfare magazine writes: “In some ways Beus doesn’t fit the mold of the typical competition winner. His playing is strikingly original and,

Deer Valley® Music Festival

ARTISTS’ PROFILES

despite his youth, he has an interpretive voice all his own… Above all, his playing is so natural as to seem effortless and the sound he produces has extraordinary richness and depth, not quite like anyone else’s.” Beus holds degrees from Whitman College, The Juilliard School, and Stony Brook University, and his teachers have included Leonard Richter, Robert McDonald, Gilbert Kalish, Christina Dahl, and Paulette Richards. He has recorded on the Endeavor Classics, Harmonia Mundi, and Centaur Records labels. Stephen Beus is a Steinway Artist and currently teaches at Brigham Young University. For more details, visit www.stephenbeuspiano.com.

The Cannoneers of the Wasatch have traveled the Wasatch Front for 50 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 5 decades now, 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 CANNON SPONSOR

LAW OFFICES OF THOMAS N. JACOBSON

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Our 2021 Season Dedicated to Founder Fred C. Adams

June 21 –October 9 PERICLES June 21 – September 9

RAGTIME June 26 – September 11

RICHARD III June 22 – September 10

CYMBELINE July 16 – October 9

THE COMEDY OF ERRORS June 23 – September 11

INTIMATE APPAREL July 17 – October 9

THE PIRATES OF PENZANCE THE COMEDY OF TERRORS June 25 – October 9 July 29 – October 9 Receive $4 off each ticket when using the code Tuacahn21 at checkout. Season Sponsor

ANNIVERSARY SEASON

800-PLAYTIX | bard.org | #utahshakes | Cedar City, Utah Left to right: John G. Preston (left) as Victor Franz, Andrew May as Walter Franz, and Armin Shimerman as Gregory Solomon in The Price, 2019; Betsy Mugavero (left)as Alice Heminges, Sarah Hollis as Elizabeth Condell, and Katie Cunningham as Rebecca Heminges in The Book of Will, 2019; Festival Founder Fred C. Adams, Wayne T. Carr (left) as Bassanio and Tarah Flanagan as Portia in The Merchant of Venice, 2018.

ON THE HILL

THE BEACH BOYS with the Utah Symphony

August 6–7 / 2021 / 7:30 PM DEER VALLEY® SNOW PARK OUTDOOR AMPHITHEATER CONNER GRAY COVINGTON, conductor MIKE LOVE, lead vocals BRUCE JOHNSTON, keyboards/vocals CHRISTIAN LOVE, guitar/vocals KEITH HUBACHER, bass/vocals TIM BONHOMME, keyboards/vocals JOHN COWSILL, percussion/vocals SCOTT TOTTEN, guitar/vocals RANDY LEAGO, saxophone/woodwinds/harmonica

Program to be announced from the stage.

PRESENTING SPONSOR

CONCERT SPONSOR

CONDUCTOR SPONSOR

STAGE SPONSORS

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ARTISTS’ PROFILE

The Beach Boys Guest Artists

GUEST ARTIST SPONSOR

JIM & ZIBBY TOZER

You can capsulize most pop music acts by reciting how many hits they’ve had and how many millions of albums they’ve sold. But these conventional measurements fall short when you’re assessing the impact of The Beach Boys. This band has birthed a torrent of hit singles and sold albums by the tens of millions. But its greater significance lies in the fact that The Beach Boys’ songs have forever changed the musical landscape, profoundly influencing countless performing artists to follow. The Beach Boys have continued to create and perform with the same bold imagination and style that marked their explosive debut over 50 years ago. In 2013, their Capitol Records release, Sounds of Summer (RIAA certified triple platinum with over three million in sales and climbing), and its companion The Warmth of the Sun marked a resurgence in Beach Boys interest that again rocked the world. In 2016, The Beach Boys celebrated the 50th anniversary of the hit “Good Vibrations,” which is widely considered one of the greatest masterpieces in the history of rock and roll. The band commemorated this prolific time in the life of the Beach Boys with a 50 Years of Good Vibrations tour. Few, if any, acts can match The Beach Boys’ concert presence, spirit, and performance. They have been center stage at Live Aid, multiple Farm Aids, the Statue of Liberty’s 100th Anniversary Salute, the Super Bowl and the White House. On one day alone—July 4, 1985—they played to nearly 2 million fans at shows in Philadelphia and Washington, DC. The Beach Boys have appeared on countless worldwide TV shows and specials throughout the years including: The Ed Sullivan Show, Dick Clark’s American Bandstand, The Tonight Show, Jimmy Kimmel Live!, The Today Show, Good Morning America, NBC’s Macy’s Day Parade, and PBS’ A Capitol Fourth. *See page 20 for Conner Gray Covington’s Artist Profile.

Deer Valley® Music Festival

FESTIVAL MAP

St. Regis Bar & Lounge

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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

Deer Valley® Music Festival

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 and blankets are both permitted on either side of the hill. 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 above sea level. We recommend you drink a lot of water to stay hydrated. The air is thin,

HILL RULES

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 flash photography or recording of any kind is allowed during Utah Symphony | Utah Opera performances. If you plan to share any photos you take, remember to turn off your flash and 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 6PM. 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 wristband to re-enter the performance venue.

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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.

S PEC I A L TH A N KS TO TH E A LTE R N ATI V E V I S I O N S FU N D A N D TH E C A R ES AC T A N D TH E UTA H STATE LEG I S L ATU R E TH ROUG H A RTS & M US EU M S . Gifts as of 6/15/2021 * 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.

Anonymous Diane & Hal Brierley~ George S. & Dolores Doré Eccles Foundation~ Kem & Carolyn Gardner

Anthony & Renee Marlon~ Patricia A. Richards & William K. Nichols~ Shiebler Family Foundation~ Sorenson Legacy Foundation~ Zions Bank

M I LLE N N I U M ($250,0 0 0 –$ 499,999)

The Church of Jesus Christ of Latter-day Saints

Deer Valley® Music Festival

Lawrence T. & Janet T. Dee Foundation

Alex & Debbie Dunn O.C. Tanner Company

THANK YOU E N CO R E ($1 0 0,0 0 0 –$249,999)

Scott & Kathie Amann~ Crocker Catalyst Foundation Dominion Energy Marriner S. Eccles Foundation~

The Florence J. Gillmor Foundation Emma Eccles Jones Foundation LOVE Communications**

Sorenson Legacy Foundation~ George Speciale Summit County Restaurant Tax / RAP Tax~ Jacquelyn Wentz

B R AVO ($50,0 0 0 –$99,999)

Anonymous Judy Brady & Drew W. Browning Grand & Little America Hotels* Janet Q. Lawson Foundation Frederick Q. Lawson Foundation

League of American Orchestras John & Marcia Price Foundation Harris H. & Amanda Simmons Elizabeth Solomon

Norman C.† & Barbara L.† Tanner Second Charitable Trust Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer~

OV E RTU R E ($25,0 0 0 –$ 49,999)

Arnold Machinery Doyle Arnold & Anne Glarner~ Brent & Bonnie Jean Beesley Foundation BMW of Murray, BMW of Pleasant Grove~ C. Comstock Clayton Foundation Deer Valley Resort**~ John & Joan Firmage Kristen Fletcher & Dan McPhun~ Brian & Detgen Greeff Hearst Foundation

Susan & Tom Hodgson~ Intuitive Funding~ Tom & Lorie Jacobson~ John C. Kish Foundation~ McCarthey Family Foundation Moreton Family Foundation Edward Moreton Fred & Lucy Moreton Charles Maxfield & Gloria F. Parrish Foundation Promontory Foundation~ Mark & Dianne Prothro~ Alice & Frank Puleo~ S.J. & Jessie E. Quinney Foundation

JoAnne L. Shrontz Family Foundation Simmons Family Foundation James and Kathleen Sorenson Foundation Struck* Summit Sotheby’s~ Jonathan & Anne Symonds~ Nora Eccles Treadwell Foundation Utah Education Network John & Jean Yablonski~ Edward & Marelynn† Zipser

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THANK YOU M A ESTRO ($1 0,0 0 0 –$24,999)

Fran Akita Anonymous (2) Austin Bankhead HJ & BR Barlow Foundation Thomas Billings & Judge Judith Billings~ Susan & Jim Blair~ Berenice J. Bradshaw Trust Larry & Judy Brownstein~ R. Harold Burton Foundation Caffe Molise* Marie Eccles Caine FoundationRussell Family Howard & Betty Clark Larry Clemmensen~ Cultural Vision Fund Marian Davis & David Parker~ Kathleen Digre & Michael Varner Pat & Sherry Duncan~ Glenda & Ralph Earle~ Matthew B. Ellis Foundation Robert & Elisha Finney~ Cindy & Mike Gatewood~ Diana George

Greenberg Traurig~ Doug & Connie Hayes~ Richard K. & Shirley S. Hemingway Foundation~ G. Frank & Pamela Joklik Kulynych Family Foundation II, Inc.~ Mr. & Mrs. Christopher J. Lansing~ Dennis & Pat Lombardi Tom & Jamie Love~ Rebecca Marriott-Champion~ Ms. Dorothy E. McBride~ Charles & Pat McEvoy~ Lois & Hal Milner~ Terrell & Leah Nagata~ Ashton & Becky Newhall~ James and Ann Neal~ Leslie Peterson & Kevin Higgins Stephen & Cydney Quinn~ David & Shari Quinney Regence BlueCross BlueShield of Utah Albert J. Roberts IV

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Ted & Lori Samuels~ Ben & Peggy Schapiro~ Sandefur Schmidt Squatters Pub Brewery* St. Regis Deer Valley / Deer Crest Club**~ Stay Park City*~ Mr. & Mrs. G.B. Stringfellow Steve & Betty Suellentrop~ Thomas & Marilyn Sutton~ James R. & Susan Swartz~ Utah Office of Tourism~ Howard & Barbara Wallack~ W. Mack and Julia S. Watkins Foundation WCF Insurance~ Drs. Cornelia & Rasmus Wegener Kathie & Hugh Zumbro

Outdoor Advertising Works! Free advertising consultation. Annual advertising discounts are available.

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THANK YOU Utah Symphony | Utah Opera is grateful to the following generous sponsors for supporting our 2021 Deer Valley® Music Festival. B RO NZE ($8 ,0 0 0 –$9,999) Howard & Ray Grossman Mary Haskins Hallie & Ted McFetridge

Mike & Maureen Mekjian Brooks & Lenna Quinn Barbara & Paul Schwartz

Brad & Linda Walton

A M BA SSA DO R ($5,0 0 0 –$7,999) Altabank Suzanne & Clisto Beaty Berkshire Hathaway Home Services David & Deborah Brown Jack & Marianne Ferraro Lynn & Tom Fey Annie Lewis & Bob Garda Goldman Sachs Grandeur Peak Global Advisors

Don & Lisanne Hendricks Holland & Hart Hotel Park City/Ruth’s Chris Restaurant Rick & Paulette Katzenbach Allison Kitching George Klopfer & Joy Simeonova Harrison & Elaine Levy Dan & Deena Lofgren

Mike & Karen McMenomy Raymond James Joyce Rice Mary & Doug Sinclair Janice & Ed Story Tim & Judy Terrell Doug & Becky Wood Y2 Analytics* YesCo*

Lisa & David Genecov Amy & Ken Goodman Sue & Gary Grant Wes & Sunny Howell Michael Huerta & Ann Sowder Jerry & Mary Huffman Hyatt Centric Inwest Title Services, Inc. Diane & Page Jenkins Jim & Carol Katsikas Merele & Howard Kosowsky Michael Liess Bill Ligety & Cyndi Sharp Mark & Patricia Lucas Steve Mahas Keith & Vicki Maio Avi Markowitz & Elana Spitzberg Miriam Mason & Greg Glynnis Robin & Richard Milne

Glenn & Dav Mosby Barbara & Tom O’Byrne Bob & Kim Rollo Becky Roof & Gary Smith Dru Schmitt Eric & Shirley Schoenholz Lisa & Joel Shine Christine St. Andre & Cliff Hardesty Ray & Ann Steben Janet & Richard Thompson Renee & Dale Waters Kelly & James Whitcomb Cindy Williams Barry & Fran Wilson Gayle & Sam Youngblood

PATRO N ($3 ,0 0 0 –$ 4,999) Anonymous Pam & Paul Apel Bill & Susan Bloomfield Charlotte & Hal Browning John & Caryl Brubaker Michael & Vickie Callen Vince & Anne Cannella Charlene Carter Mark & Marcy Casp Bob Chamberlain George & Katie Coleman Debbi & Gary Cook Margarita Donnelly John Doppelheuer & Kirsten Hanson Carol & Greg Easton Blake & Linda Fisher Jim & Adele Forman Joe Furlong

G R A SS PA SS ($2 ,0 0 0 –$2 ,999) Tom Fuller Tom Hogan

Caroline & David Hundley Jayne Roth

Laurie Zeller & Matthew Kaiser

V I P FO R A N I G HT ($1 ,0 0 0 –$1 ,999) Bob & Cherry Anderson Tina & John Barry Jennifer & Charlie Beckham Traci & Scott Garmon Haynes & Boone, LLP

Camille & David Huchton Randy King Gary Lambert Jennifer & Gideon Malherbe Lisa & Tim O’Brien

Salt Flats Brewing Co. / Salt Flats Spirits* Tea Zaanti* Ellen & Chuck Wells Robert Young

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LEGACY GIVING

prevent wildfires, for the love of the outdoors.

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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Articles inside

» Thank You

» Deer Valley® Music Festival Concerts

» Hill Rules

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