Utah Symphony Jan/Feb 2023

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STEVEN BROSVIK President & CEO

Welcome to Abravanel Hall and to a new year of inspiring concerts expertly performed by the musicians of the Utah Symphony. This January and February the Utah Symphony presents four masterworks programs with music by a diverse range of consummate composers from the 18th through the 21st centuries. These two months also feature performances by this season’s Artist-in-Association Emmanuel Pahud, Concertmaster Madeline Adkins, and the return of the Utah Symphony Chorus joined by the Choristers of The Madeleine Choir School. And on a lighter front, be sure not to miss vocalist Storm Large and a screening with live orchestra of the classic movie An American in Paris.

THIERRY FISCHER Music Director

Did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, Utah Symphony | Utah Opera performs more than 200 education concerts statewide every year? And that nearly one-third of our total audience is comprised of students? For example, in late January while part of the orchestra will be playing for Utah Opera’s familyfriendly presentation of The Daughter of the Regiment, the remainder of the musicians will be performing chamber education concerts in schools. And in February, thousands of fifth-grade students will attend special concerts in Abravanel Hall—an annual tradition for generations of our youth. These events are just two of the many programs we offer free of charge to supplement the core music curriculum for Utah students.

Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which provides over one-third of the support towards their cost. The remainder of that credit goes to our many donors who cumulatively match the state’s support. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music!

BRIAN GREEFF Board of Trustees Chairman

With sincere best wishes for a healthy and prosperous new year,

MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009, has held the same position with the São Paulo Symphony since 2020, and took up his post as Music Director of the Orquesta Sinfónica de Castilla y León in September 2022.

In recent seasons he has conducted orchestras across the globe, notably the Cleveland Orchestra—where he returned this past autumn—also the Boston, Atlanta, and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic Maggio Musicale Firenze among others.

THIERRY FISCHER

Music Director

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

Fischer closes his tenure in Utah with Mahler’s allembracing 3rd Symphony, featuring the women of the Tabernacle Choir. This follows on their recording together of Mahler’s 8th symphony (released in 2017 on Reference Records, after Mahler 1 in 2015 and a disc of newly commissioned works by American composers in 2015). In this farewell season he has also chosen to celebrate Messiaen’s music with a performance of Turangalîla and the release on Hyperion in 2023 of his Des canyons aux étoiles (directly inspired by the breathtaking landscape of Utah). After a transformative 14 years in Utah, including the orchestra’s visit to Carnegie Hall for the first time in 40 years, a Saint-Saëns cycle on Hyperion and many other highlights, Fischer becomes Music Director Emeritus in 2023–24 Season.

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. In 2012 he won the ICMA Award for his Hyperion recording of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. His discography also includes a Beethoven disc with the London Philharmonic on the Aparté 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. He was Principal Guest of the Seoul Philharmonic 2017–2020 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–2011.

Thierry Fischer is represented by Intermusica.

ASSOCIATE CONDUCTOR

Benjamin Manis joined the Utah Symphony as Associate Conductor in September 2022, leading the orchestra on tour as well as at Abravanel Hall and the Deer Valley® Music Festival. Before moving to Salt Lake, Manis spent three seasons as Resident Conductor of the Houston Grand Opera, making his debut with Verdi’s Rigoletto. Other highlights of his time in Houston included Carmen, Roméo et Juliette, and five world premieres. Manis returns to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.

BENJAMIN MANIS Associate Conductor

Winner of the 2022 and 2019 Solti Foundation US Career Assistance Awards, Manis has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors Gianandrea Noseda, David Robertson, and Stéphane Denève. After three years in the Aspen Conducting Academy, Manis returned to Aspen in the summer of 2021 as assistant conductor, where he conducted two programs with the Aspen Chamber Symphony.

Before moving to Houston, Manis studied cello and conducting at the Colburn School, where he conducted outreach concerts in public schools across Los Angeles and performed Lutosławski’s Cello Concerto as soloist with conductor Robert Spano. In May of 2019 he completed his Master of Music degree at Rice University’s Shepherd School of Music, where he studied with Larry Rachleff.

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead* Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry Gary L. Crocker

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla Theresa A. Foxley

Brandon Fugal Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel Frank R. Pignanelli

Gary B. Porter Shari H. Quinney

Miguel R. Rovira Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher W. James Tozer

David Utrilla

Kelly Ward Kim R. Wilson

Thomas Wright* Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt* Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb Onstage Ogden

Herbert C. Livsey, Esq.

Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel Dr. J. Richard Baringer

John Bates

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter R. Don Cash

Raymond J. Dardano Geralyn Dreyfous

Howard S. Clark Kristen Fletcher Richard G. Horne

Ronald W. Jibson E. Jeffery Smith

Lisa Eccles

Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq. Diana Ellis Smith

* Executive Committee Member

UTAH SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis 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

Laura Ha 2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu# Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman~ Erin David Joseph Evans Lun Jiang Rebekah Johnson••v Tina Johnson~ Amanda Kofoed~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Shengnan Li 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

VIOLA*

Brant Bayless Principal The Sue & Walker

Wallace Chair

Yuan Qi Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas

Whittney Sjogren Leslie Richards~

CELLO* Matthew Johnson Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ 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

PICCOLO Caitlyn Valovick Moore

OBOE

Zachary Hammond Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall Associate Principal Lissa Stolz

ENGLISH HORN Lissa Stolz

CLARINET

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

Erin Svoboda-Scott 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 Danz Principal Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~ Stephen Proser TRUMPET Travis Peterson Principal

Jeff Luke Associate Principal

Peter Margulies Paul Torrisi

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler

TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

2022-23 UTAH SYMPHONY SEASON SPONSOR

George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

Saluting Maestro Thierry Fischer for his inspiring passion for excellence … and his lasting impact in Utah!

ELGAR’S ENIGMA VARIATIONS

JANUARY 6 & 7, 2023 / 7:30 PM Maurice Abravanel Hall

DOUGLAS BOYD, conductor MADELINE ADKINS, violin

HELEN GRIME BRUCH ELGAR

Near Midnight

Scottish Fantasy for Violin and Orchestra, Op. 46 Prelude: Grave I. Adagio cantabile II. Allegro III. Andante sostenuto IV. Finale: Allegro guerriero MADELINE ADKINS, violin

INTERMISSION

Variations on an Original Theme, Op. 36 “Enigma Variations” I. “C.A.E.” L’istesso tempo II. “H.D.S-P.” Allegro III. “R.B.T.” Allegretto IV. “W.M.B.” Allegro di molto V. “R.P.A.” Moderato VI. “Ysobel” Andantino VII. “Troyte” Presto VIII. “W.N.” Allegretto IX. “Nimrod” Moderato X. “Dorabella” - Intermezzo Allegretto XI. “G.R.S.” Allegro di molto XII. “B.G.N.” Andante XIII. “***” Romanza: Moderato XIV. “E.D.U.” Finale: Allegro

FEATURED ARTIST SPONSOR

CONCERT SPONSOR

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

ARTISTS’ PROFILES

DOUGLAS BOYD Conductor

Douglas Boyd is currently the Artistic Director of Garsington Opera, and has held the positions of Music Director of L’Orchestre de Chambre de Paris, Chief Conductor of the Musikkollegium Winterthur, Music Director of Manchester Camerata, Principal Guest Conductor of the Colorado Symphony Orchestra, Artistic Partner of St. Paul Chamber Orchestra, and Principal Guest Conductor of City of London Sinfonia. In 2020 he received the highly prestigious Grand Vermeil Médaille de la Ville de Paris. He works with major orchestras worldwide including the BBC Symphony, Philharmonia, CBSO, Bournemouth Symphony, Royal Northern Sinfonia, Bergen Philharmonic, Gävle Symphony, Orchestre National de Lyon, Tonhalle Zürich, Budapest Festival, Mozarteum Salzburg, Slovenian Philharmonic, and Gürzenich.

MADELINE ADKINS Violin

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She served as Associate Concertmaster of the Baltimore Symphony Orchestra from 2005–2016.

She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster, Jacques Israelievitch.

Adkins is a Concertmaster of the Grand Teton Music Festival and has served as Guest Concertmaster of the Pittsburgh Symphony, the Cincinnati Symphony, the Houston Symphony, and the Hong Kong Philharmonic. She has performed as a

Operatic engagements have included Die Zauberflöte /Glyndebourne on Tour, La grotta di Tronfonio / Zürich Opera, La clemenza di Tito / Opera North, The Rape of Lucretia / Winteroper Potsdam, Le nozze di Figaro, Don Giovanni, Fidelio, Così fan Tutte, Eugene Onegin, Capriccio, Silver Birch and Dalia (both Roxanna Panufnik, world premieres) and Rusalka / Garsington Opera which also went to the Edinburgh Festival in 2022.

Douglas Boyd’s extensive discography includes the complete Beethoven Symphonies with the Manchester Camerata, Schubert Symphonies with the St Paul Chamber Orchestra as well as several recordings with Musikkollegium Winterthur. Recordings with L’Orchestre de Chambre de Paris include ‘Intuition’ with Gautier Capucon for the Erato label, and a disc of Haydn Symphonies.

soloist in Europe, Asia, Africa, and 25 US states. Festival appearances include the Stellenbosch International Chamber Music Festival in South Africa and the Sarasota Music Festival, and as a clinician, at the National Orchestral Institute, the National Youth Orchestra at Carnegie Hall, and the Haitian Orchestra Institute. Her recording of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released to critical acclaim in 2016.

The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. She received her Bachelor’s summa cum laude from the University of North Texas and her Master’s degree from New England Conservatory, where she studied with James Buswell. When not on stage, Madeline is passionate about animal rescue, and has fostered over 100 kittens.

HISTORY OF THE MUSIC

By Jeff Counts

Near Midnight

Duration: 10 minutes.

THE COMPOSER – HELEN GRIME (b. 1981) – Helen Grime, who in 2020 was named a Member of the Most Excellent Order of the British Empire (MBE) for her services to music, is an English-born Scot whose music has been commissioned and performed by the world’s most prestigious ensembles. She attended the St. Mary’s Music School in Edinburgh and the Royal College of Music, where she studied oboe and composition. Grime’s first big public success came from a pairing of those two professional pursuits when her Oboe Concerto (which she premiered as soloist) won her the Making Music category of the British Composer Awards in 2003. In addition to the MBE appointment, many honors have followed.

THE HISTORY – In a 2019 interview about one of her commissions, Helen Grime talked about her intellectual path as a composer. “Around 2005,” she states, “I’d been wanting to write an orchestra piece for a while and I’d written an oboe concerto for myself to play, which was chamber orchestra and solo oboe. I had lots of ideas for combining different layers in music, and that’s something which has become increasingly more important for me, and of course that’s something you can really play, with an orchestra.” Fast forward from 2005 to 2012 and this idea of playing with orchestral layers, sonic and thematic, is readily apparent in Near Midnight. From Grime’s own program note for the work we learn, “As its title suggests, the piece has an introspective, nocturnal quality. The solitary, sometimes

melancholy hours as one day moves into the next can be a time of reflection and unrest. When first sketching ideas for the piece, I came across a poem by D. H. Lawrence called ′Week-night Service.′ Its melancholic undertones, images of tolling bells, high-spun moon and the indifference of night, immediately struck a chord with me. Throughout the piece fanfare-like brass passages act almost like the tolling of bells, sometimes distant but often insistent and clangorous, these episodes act as important markers in the structure of the piece.” Close study of the Lawrence poem provides a particularly good opportunity for chord-striking in we listeners as well. It is set in four sections, as is Near Midnight according to the next part of Grime’s note, and there is more than a passing correspondence between them. Lawrence’s “splashes of sound, endlessly, never stopping” are reflected in the “surging rising scales” of Grime’s first segment. The “rapid outbursts” of her part two find balance with the “little jests” of his. Part three is the emotional centerpiece of both works and the “wise old trees” of Lawrence’s closing verse are briefly evoked by the “reflective” nature of Near Midnight’s final section.

THE WORLD – Elsewhere in 2012, the Mayan Calendar ended but the world did not, Queen Elizabeth II celebrated her Diamond Jubilee and the Curiosity Rover landed on Mars two months after the Transit of Venus.

THE CONNECTION – These performances represent the Utah Symphony premiere of Helen Grime’s Near Midnight.

HISTORY OF THE MUSIC

Scottish Fantasy, Op. 46

Duration: 30 minutes in four movements.

THE COMPOSER – MAX BRUCH (18381920) – Bruch, whose name we know today thanks to precisely two of his over two hundred works, deserves a more honorable place in our historical memory. He was a child prodigy, a beloved teacher, and a highly skilled conductor, who just happened to be born into a world lit by the lamps of legends. Beethoven had died not so long before. Mendelssohn held sway, temporarily but firmly. And everything was trending towards the later War of the Romantics between Brahms and Wagner that would dominate the continental conversation during Bruch’s best years. What chance did an unassuming cop’s son from Cologne have in such an environment?

THE HISTORY – Speaking of the War of the Romantics (between the musical conservatives and progressives of the late 19th century), it is important to remember that Bruch was not afraid to take a side, even if it cost him. As an elder stateman in his own right during the high moments of the debate, he was an avowed devotee of Mendelssohn and Schumann and an equally passionate opponent of Wagner and Liszt. This was a potentially risky position to maintain as the new century approached with its Mahlers and Schoenbergs and Richard Strausses. The world was leaving him behind and the posterity penalty would have been fatal if not for works like the First Violin Concerto and the Scottish Fantasy of 1880. Bruch’s

friendships with the violin virtuosi of his day (Ferdinand David, Joseph Joachim, Pablo de Sarasate) and his nine compositions for their instrument have defined his legacy. It’s fitting, in a way. Bruch always believed that the violin could “sing a melody better than a piano” and his use of folk tunes provided the perfect material with which to prove the point. The Scottish Fantasy was written while Bruch was conducting in England and he made “free use” (a phrase from the original lengthy title of the work—Fantasia for Violin with Orchestra and Harp, with the Free Use of Scottish Melodies) of classics such as “Hey, the Dusty Miller,” “Auld Robb Morris” and “Scots wha hae.” The audience loved what it heard, but the formal freedom Bruch indulged with each of the tunes was a point of contention for some reviewers. In fairness, Bruch was no professional ethnomusicologist. He was much more interested in the spirit of each song and perfectly recreated their individual moods if not their literal constructions. The premiere was performed in Liverpool by Joachim (who was not at his best that night, according to the conductor, Bruch himself) but dedicated to Sarasate. Two great violin rivals, united by one of their most dedicated compositional champions.

THE WORLD – Elsewhere in 1881, the First Boer War came to an end, as did Ottoman control of Romania, the Boston Symphony was founded, the first appearance of the character Pinocchio occurred, and Russia’s Alexander II was assassinated.

THE CONNECTION – The Scottish Fantasy was performed most recently in 2012 under the baton of Thierry Fischer. Fumiaki Miura was soloist.

HISTORY OF THE MUSIC

Variations on an Original Theme,

op. 36 (“Enigma

Variations”)

Duration: 29 minutes in 15 sections.

THE COMPOSER – EDWARD ELGAR (1857-1934) – Stories of how a certain piece of music came to be are occasionally more colorful than the work itself. Coincidences, accidents, alternating strokes of luck and genius— these are the central ingredients of such legends. As with so many others, this one seems too perfect to be true. Edward Elgar returns home after a busy day and sits down at the piano to unwind. He begins to idly improvise and summons a tune that catches his wife’s ear. Her positive reaction to the theme leads him to playfully speculate on how some of their friends might render it and from this simple lark is born his most celebrated masterpiece.

THE MUSIC – The Enigma Variations, though humble and domestically adorable in inception, settled Edward Elgar’s reputation once and for all on the international stage. It was a personal triumph that also served as a signal to the rest of Europe that England need no longer bow before the elite musical countries on the continent. The “Enigma” mentioned in the subtitle referred not to a single riddle in the score but two, the easiest to solve being the “friends pictured within.” Each of the 14 variations bears the initials or nicknames of people close to the composer, including his wife, various fellow musicians and even himself. Only Variation

XIII (“ *** ”) was left open to conjecture. The three asterisks placed there by Elgar were guessed at for many decades with the only contained quote from Mendelssohn’s Calm Sea and Prosperous Voyage available for guidance. We know who it is now, as you will see in the accompanying Dramatis Personae by Scott Foglesong, but the question itself is emblematic of this music’s status as a delightful investigational puzzle among Elgar’s peers and admirers. For historians, then and now, the second of the “Enigmas” is the one that keeps the library candles lit until dawn. It is the notion that a hidden meta-theme haunts the original melody. Elgar himself encouraged this rumor of a popular tune that, though not literally extant in his music, was the material upon which his motto was based as a counterpoint. Whether or not this was just a savvy bit of marketing and misdirection, we will never know. Elgar took the truth with him to the grave and enjoyed every second of the speculation he heard in the meantime. The trendiest among the ongoing scholarly “solutions” to the supposed master enigma include Rule Britannia (the favored choice of an Elgar Society Journal correspondent), Auld Lang Syne (the favored choice of just about everyone else for a while), Pop Goes the Weasel, and recently, the Dies Irae

THE WORLD – Elsewhere in 1899, Cuba was officially rid of Spanish rule, Sudan began a 56-year period of joint Egyptian/ British control, the Fiat automotive company was founded in Italy, and Who’s Who in America was published for the first time.

THE CONNECTION – Enigma Variations was last performed on the Utah Symphony’s Masterworks series in 2012. Mark Wigglesworth was the conductor.

OF THE MUSIC

By Scott Fogelsong

Enigma Variations: Dramatis Personae

C.A.E. Caroline Alice Elgar, née Roberts, was the composer’s wife. More importantly, she was his inspiration, amanuensis, and manager who gracefully shouldered the full-time job of caring for a hyper-sensitive musician given to fits of depression. Posterity owes Lady Elgar an immeasurable debt; without her, many of Edward’s finest works would likely never have come to pass.

H.D.S-P. Hew David Steuart-Powell was an amateur pianist who played trios with Elgar and a cello player named Basil Nevinson (who is the B. G. N. of Variation 12.)

R.B.T. Richard Baxter Townshend was an amateur actor with a deep voice that he could turn falsetto in a heartbeat. Judging from Elgar’s whimsical, lighthearted setting, there must have been something a bit Charlie Chaplin-ish about him.

W.M.B. William Meath Baker was a keen musical amateur possessed of boundless energy, quite given to slamming the door as he caroomed out of a room—or finished his variation.

R.P.A. Richard Penrose Arnold, son of poet Matthew Arnold, was a dreamy man but also an enthusiastic conversationalist whose infectious laugh Elgar caught in a bubbling rhythmic figure (HA-ha-ha, ha-ha-HA-ha-ha).

Ysobel Isabel Fitton was an amateur violist, something of a pillar of the Worcester music community. Naturally, the viola gets all the best stuff.

Troyte Arthur Troyte Griffith was a blustering, phenomenally bright artist who enjoyed his many boisterous debates with Elgar, who honored him with a deliriously energetic tour de force for full orchestra.

W.N. Winifred Norbury was a gracious elder music lover who lived in a charming antique country

house. She must have been a picture-perfect sweet little old lady, at least in Elgar’s estimation.

Nimrod August Johannes Jaeger was Elgar’s dear friend and publisher who faithfully boosted not only Elgar’s career, but also contemporaries such as Hubert Parry. Jaeger is German for ‘hunter’—thus the Biblical reference to Noah’s mighty great-grandson. ‘Old moss-head,’ as Edward affectionately called him, was gifted with rare musical perceptiveness. It was Jaeger’s unbounded admiration for Beethoven’s adagios that lies behind the nobilissima visione of this celebrated variation.

Dorabella Dora Penny was a close family friend who suffered from a slight, albeit endearing, stutter. Elgar sketched her little disability with such affection that it would have been impossible for her to take offense—as indeed she did not.

G.R.S. George Robertson Sinclair is less the subject here than his bulldog Dan, who barks, frolics, tumbles, and eventually jumps into the River Wye. Dog and owner made a finely matched pair: Sinclair was every bit as explosive and accident-prone as his rowdy pet.

B.G.N. Basil Nevinson was the cellist who played trios with Elgar and Steuart Powell; not surprisingly, this variation gives the cello a starring role.

*** Lady Mary Lygon is the subject, although Elgar decided to omit her name when she and her husband left England for Australia. Elgar’s subtitle “Romanza” informs us that this is more intermezzo than variation. The middle section quotes Mendelssohn’s Calm Sea and Prosperous Voyage—friend Edward’s good wishes for Lady Lygon’s forthcoming journey.

E.D.U. Edward Elgar, identified by his wife’s habit of addressing him as ‘Edoo’. A glittering marchlike tune gives way eventually to a dramatic combination of both phrases of the main theme, culminating in a noble peroration that looks forward to the splendors of the First Symphony, only a few years in the future.

MUSIC FOR STRINGS

JANUARY 12, 2023 (THURSDAY) / 7:30 PM Mid-Valley Performing Arts Center, Taylorsville, Utah

JANUARY 13, 2023 (FRIDAY) / 7:30 PM St. Mary’s Church, Park City, Utah

BENJAMIN MANIS, conductor

PRICE

Adoration

Five Folksongs in Counterpoint

I. Calvary II. Oh My Darlin’ Clementine III. Drink to Me with Thine Own Eyes IV. Shortnin’ Bread V. Swing Low, Sweet Chariot

BRITTEN RUTTER

Simple Symphony for String Orchestra, Op. 4

I. Boisterous Bourrée II. Playful Pizzicato III. Sentimental Saraband IV. Frolicsome Finale INTERMISSION Suite for Strings I. A-Roving II. I Have a Bonnet Trimmed with Blue III. O Waly Waly IV. Dashing Away

BARTÓK

Divertimento for String Orchestra

I. Allegro non troppo II. Molto adagio III. Allegro assai

See page 9 for Benjamin Manis’ profile.

HISTORY OF THE MUSIC

By Jeff Counts

Adoration

Five Folksongs in Counterpoint

Florence Price (1887–1953)

Duration: 3 minutes; 18 minutes in five movements

Florence Price had no illusions about the success rates of composers like herself. “I have two handicaps,” she told Serge Koussevitzky in a 1943 letter, “those of sex and race.” She was asking the largerthan-life Boston Symphony conductor to view her work outside of the preconceived notions her gender and heritage might elicit, but nothing ever came of it. Perhaps he simply could not find a way to embrace an artist that did not match the white, male, marble-busted traditions of the profession. It’s a problem that plagues us still. Fortunately for Price, and us, other conductors (the Chicago Symphony’s Frederick Stock among them) did take her seriously and, though their support did not win her lasting renown while she was alive, they did help bookmark her legacy for later discovery during the ever-so-slightly more enlightened times we live in today. Discovery really is the operative word here, as a big part of Price’s catalogue was lost until 2009 when a trove of material was found in an abandoned house in St. Anne, Illinois. Price had spent her summers there before she passed in 1953, and among the buried treasures were two violin concertos and her Fourth Symphony. Lost in a different way were so many smaller works that did get published but were not widely noticed. Adoration was written in 1951 as a work for church organ but later

was given new life in an arrangement for solo violin and string orchestra. The only two works Price wrote for string quartet (that we know about—maybe there is another chest of wonders waiting to be unearthed?) were created around the same time. Five Folksongs in Counterpoint (1950) features recognizable American melodies in a succession of sophisticated contrapuntal guises and the collection highlights Price’s impressive technical skill and imagination. As this evening’s concert proves, this music works quite well for a full string ensemble too.

Simple Symphony, Op. 4

Benjamin Britten (1913–1976)

Duration: 16 minutes in four movements

Exceptional precociousness is a rare but famously recurring theme in classical music history. We are so enchanted by stories about the child prodigies of distant yore, for good reason, but we forget it can still happen in a more modern setting. Benjamin Britten was one such case. Like Mozart, Mendelssohn, Chopin, and an elite few others, he entered his teen years with an impressive body of compositional work already to his credit. Not every composer chooses to embrace their juvenilia as they mature. Many, in fact, send their earliest work into the fire. But Britten found an interesting way to make use of his most formative creations. He was in his final year at the Royal College of Music in 1834 when he composed the

MASTERWORKS SERIES HISTORY OF THE MUSIC

Simple Symphony which, according to his own note in the score was, “entirely based on material from works which the composer wrote between the ages of 9 and 12.” Though only 20 at the time, Britten was looking pretty far back, in human developmental terms, to find these melodies, and his wistful affection for the ideas of his younger self is apparent throughout the Simple Symphony. “Although the development of these themes is in many places quite new,” his note continues, “there are large stretches of the work which are taken bodily from the early pieces.” The movement titles (“Boisterous Bourée”, “Playful Pizzicato”, “Sentimental Sarabande”, “Frolicsome Finale”) might sound like chapters from an elementary school music book, but the instrumental writing is taut and adventurous and, though it is certainly appropriate for student musicians, it reveals itself best in the hands of professionals. In another nod to innocent days gone by, Britten dedicated the Simple Symphony to his childhood viola instructor, Audrey Alston.

Suite for Strings

John Rutter (b. 1945)

Duration: 12 minutes in four movements.

British composer and conductor John Rutter got an early start too. “I’ve known I wanted to be a musician since I could walk and talk,” he writes on the “Meet John” section of his website. “My bewildered parents,” he continues, “probably driven crazy by the hours of piano improvisation

and piping treble singing they endured… sent me at age seven for piano lessons where my piano teacher told me to be a composer, or a singer (or anything but please not a pianist).” Though just a lad in that critical moment, he took the advice and now, decades later, is one of our greatest living creators of music for vocal ensemble. Rutter is known throughout the world for his Gloria, Requiem, Magnificat, and other large-scale choral works with orchestra, and a massive library of SATB vocal anthems, carols, and songs. He has been commissioned to write for several royal events honoring Queen Elizabeth, Prince William, and others, and continues to travel around the world as our most beloved choral ambassador. Lesser known are Rutter’s works for instrumental ensemble. These include the Suite Antique (1979) and the Suite for Strings (1973). In the older work, Suite for Strings, Rutter’s experience as a choir composer is immediately evident in the subject matter and the clean, clear part-writing of the string sections. The movements feature traditional melodies from England and Scotland, some of which go back hundreds of years. From cautionary tales for sailors (“A-Roving”) to ruminations on blue bonnets or the fading charms of young love (O Waly Waly) to admiration of domestic productivity (“Dashing Away”), the Suite for Strings is an infectious tour of British cultural history.

Divertimento

Bela Bartók (b. 1945)

Duration: 27 minutes in three movements.

HISTORY OF THE MUSIC

Bartók’s essential utterances for the string instrument family are more than indispensable additions to the repertory of professional string quartets and chamber music societies, they are defining pillars of 20th century musical thought. The quartets alone deserve (and have gotten, many times over) lifetimes of study to unpack the galactic scope of their ambition. Bartók composed the Divertimento in an uncharacteristic rush during the summer of 1939. Over the course of just two weeks, he fulfilled the requirements of a commission from the Swiss conductor and tastemaker Paul Sacher. Sacher, who had also commissioned the incredible Music for Strings, Percussion and Celesta in 1936, provided Bartók access to his chalet in Saanen (which included a full-time chef) for privacy and reflection. Sacher had been thrilled with the earlier project but wanted something lighter (read: less technically challenging) to come from the Divertimento collaboration. The experience struck Bartók as

particularly antique. “I feel like a musician of the olden time,” he wrote to his son, “the invited guest of a patron of the arts.” Like a 17th century court composer then, Bartók worked with single-minded focus during the run-up to the war. “The newspapers are full of military articles,” he continued in his letter, admitting that he was “worried about whether I shall be able to get home from here if this or that happens.” This or that did happen, of course, just weeks later when Germany invaded Poland, but the Divertimento shows none of this mounting external strife. It is an homage to quieter times, when genial entertainments like classicalera divertimenti could be crafted in environments of true tranquility, not in temporary sensory deprivation chambers like the one enjoyed by Bartók in Switzerland. Bartók’s Divertimento is a unique artifact, one only he could have written. It is old-fashioned but eager, fussy, and folksy, with all of his usual inventiveness on full display.

CARMINA BURANA

JANUARY 27 & 28, 2023 / 7:30 PM Maurice Abravanel Hall

FAWZI HAIMOR, conductor LIV REDPATH, soprano BRIAN STUCKI, tenor CHRISTOPHER CLAYTON, baritone UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHOIRS

BARLOW BRADFORD, symphony chorus director CHORISTERS OF THE MADELEINE CHOIR SCHOOL MELANIE MALINKA, chorus director (The Madeleine Choir School)

JOSHUA CERDENIA STRAVINSKY

Feuertrunken (Fire-Drunk)

Firebird Suite (1919)

Suite from The Firebird

I. Introduction and Dance of the Firebird II. Dance of the Princesses III. Infernal Dance of King Kastchei IV. Berceuse V. Finale

INTERMISSION

ORFF

Carmina Burana

Fortuna imperatrix mundi [Fortune, Empress of the World]

I. Primo vere [In Springtime]

Uf dem Anger [On the Green]

II. In taberna [In the Tavern]

III. Cour d’amours [The Court of Love]

Blanziflor et Helena [Blanziflor and Helena]

Fortuna imperatrix mundi

CONCERT SPONSOR

ARTISTS’ PROFILES

FAWZI HAIMOR Conductor

Fawzi Haimor was General Music Director of the Württembergische Philharmonie Reutlingen from September 2017 until the end of 2020. Highlights of the 2022–23 season include concerts with The Florida Orchestra with works by Cerdenia, Marsalis, Ellington, and Gershwin and his debut with Utah Symphony. Fawzi Haimor has conducted many orchestras including the Orchestre

LIV REDPATH Soprano

Liv Redpath is a leading soprano leggero on the opera and concert stages across the globe. She will open her 2022–23 calendar season singing the title role in the new Simon Stone production of Lucia di Lammermoor at Los Angeles Opera. Redpath will make debuts at Komische Oper Berlin as Ophélie in a new production of Hamlet by Nadja Loschky; the Glyndebourne Festival where she essays

BRIAN STUCKI Tenor

Quickly distinguishing himself with a voice that The Salt Lake Tribune declares is “heaven sent,” Brian Stucki’s recent engagements include performances of Gentleman’s Island with Utah Opera, Don Ottavio in Don Giovanni with Florentine Opera, Mozart’s Requiem with the Phoenix Symphony, and Beethoven’s Christus am Ölberge with the Tabernacle

Philharmonique du Luxembourg, BBC Philharmonic, Orchestre de chambre de Paris, NDR Radiophilharmonie Hannover, WDR Funkhausorchester in Cologne, Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, Orquesta Sinfónica do Porto Casa da Música, the Oulu Sinfonia, and Orchestra Sinfonica di Milano Giuseppe Verdi. In the US, he has worked with The Florida Orchestra, Indianapolis Symphony Orchestra, New West Symphony, and the New Mexico Philharmonic, among others.

the role of Tytania in Britten’s A Midsummer Night’s Dream; and La Monnaie/De Munt in Brussels where she returns to the role of Sophie in Der Rosenkavalier. Concert appearances include Handel’s Messiah with National Symphony Orchestra; Nielsen’s Symphony No. 3 “Sinfonia espansiva” with The Cleveland Orchestra; Nielsen’s Hymnus amoris, and Symphony No. 3 with Danish National Symphony Orchestra; and Beethoven’s Missa Solemnis at Aix en Provence with Balthazar Neumann Ensemble and Choir.

Choir at Temple Square. An accomplished oratorio soloist as well, Stucki’s recent performances on the concert stage include Haydn’s Creation with Boston Baroque and Utah Symphony, Mozart’s Mass in C, Requiem, and Mass in C minor with the Jerusalem Symphony Orchestra. Stucki holds a Master of Music from Indiana University and a Bachelor of Music from Brigham Young University. He is also a former member of the Glimmerglass Opera Young American Artists Program.

ARTISTS’ PROFILES

CHRISTOPHER CLAYTON Baritone

Baritone Christopher Clayton is quickly establishing himself as a rising talent on the operatic stage. He has appeared with companies such as Utah Opera, Portland Opera, Opera Birmingham, Chautauqua Opera, Sarasota Opera, and Opera Idaho. Recent Engagements have included Alvaro in Florencia en el Amazonas, Friedrich Bhaer in Adamo’s Little Women with Utah Opera,

DR. BARLOW BRADFORD

Symphony Chorus Director

Over the course of his extraordinary musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings including an INDIE from NAIRD (National Association of Independent Record Distributors & Manufacturers) for the CD Welcome All Wonders, released in 1996 on the BWE label.

and Tonio in Pagliacci with Opera Birmingham. Christopher received a Professional Studies Certificate and Master’s degree from Manhattan School of Music. At Manhattan School he studied with Maitland Peters and worked closely with Warren Jones and Dona Vaughn. He has received prizes and grants from the Gerda Lissner Foundation, the Violetta Pollara DuPont Vocal Competition the Marian Anderson Vocal Competition, the Irene Dalis Vocal Competition, the Chautauqua Opera Guild and the Oratorio Society of New York.

Utah Chamber Artists was featured on NPR’s “The First Art,” a program dedicated to choral music and performed as a featured ensemble with the Boston Pops and Utah Symphony. Under his baton, Utah Chamber Artists also toured Israel with the Israel Chamber Orchestra, performed as the guest choir at the American Choral Directors Association national convention, and joined the Mormon Tabernacle Choir on their national television broadcast. Dr. Bradford’s focused, energetic conducting style led to his appointment as music director of the Orchestra at Temple Square in Salt Lake City and associate director of the Mormon Tabernacle Choir. Prior to that, he was director of orchestras at the University of Utah.

West composer

William Call

MELANIE MALINKA Chorus Director (The Madeleine Choir School)

Melanie Malinka is a native of Stuttgart, Germany and has served as Director of Music at The Madeleine Choir School in Salt Lake City, UT since 2001. In this position she oversees the school’s rigorous choral program and leads preparations of the choristers for their extensive concert season, regular service commitments, international tours,

and engagements with leading local arts organizations including Utah Symphony | Utah Opera. She regularly conducts the Cathedral Choir of The Cathedral of the Madeleine and has served as interim chorus master for several opera productions of the Utah Opera. Melanie received a Bachelor of Music in Voice Performance from Westminster Choir College of Rider University in Princeton, New Jersey and a Master of Music in Choral Conducting from the University of Utah where she studied with Dr. Barlow Bradford.

UTAH SYMPHONY CHORUS

Rich Adams

Sara Baylor

Nate Benincosa

Grace Bingham Skyler Blummel

Emma Chambers

Lexie Davis

Jake Fowkes

Dacia Gray

Julie Hadlock

Maren Hansen

Dave Hansen

Emily Hansen

John Hayward Mika Holbrooks

Yu-Feng Huang Brandon Huegley Leslie Jenkins Ashley Judd Scott King Emily Larson David Layton Anna Lucero April Lund

Hal Mauchley

Nathan McKeller

William Mollenkamp

Ryan Oldroyd

Matt Robertson

Melissa Settler

Michelle Skylar

Talia Stivener

Mitch Sturges-Kershisnik

Seth Sturges-Kershisnik

Julia Thomas

Connor Thompson

For the UNIVERSITY OF UTAH CHORUS please see our digital playbill available online via our app.

Anaya Alt

Elena Cabrera

Martin Cabrera Renzo Foster Lucy Fowler Rhys Golley Vanessa Gomez Amelia Hanley

Arina Ispolatova Elliott Jeppsen Ella Johnson Miles Keeton Anders Millican Madison McGinley Samantha McGinley Ethan Molina

Noah Nix Meg Nuvan Joshua Peterson Daniel Quinlan Mateo Sigala Ailano Soriano Vargas Pavlos Tsoutsounakis Alexandra Young

Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age appropriate learning. MCS music curriculum is unmatched and also provides outstanding instruction in the humanities, mathematics and the sciences, as well as foreign languages, visual arts, theology, and athletics.

The choristers in Grades Five through Eight regularly assist with the worship life at the Cathedral of the Madeleine and participate in the Annual Concert Series. During the academic year they

can be heard at the Cathedral’s 5:15 p.m. Mass Monday through Thursday, and on Sundays at the 11:00 a.m. Mass. The students travel on international and national performance tours to Italy every four years, and just returned from Rome, Assisi, Florence and Milan. The Choristers of the Madeleine Choir School regularly collaborate with the Utah Symphony and Utah Opera and other arts organizations, including the Grand Teton Music Festival.

Please visit utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@ utmcs.org or 801-323-9850 ext. 103.

Musical preparation: Melanie Malinka, Director of Music, The Madeleine Choir School

HISTORY OF THE MUSIC

By Jeff Counts

Feuertrunken

Duration: 10 minutes.

THE COMPOSER – JOSHUA CERDENIA (b. 1989) – According to his bio, Filipino composer Joshua Cerdenia’s music is “often full of extramusical references”, which, in the words of one reviewer, “might send you looking for footnotes.” Cerdenia, an artist who composes for both the concert hall and the theater stage, is a devotee of world music with a specific interest in the traditional sounds of Bali, Indonesia and his native Philippine Islands. His work as a collaborative pianist and composer has taken him around the world, with performances in Beijing, Bangkok, Shanghai, and various US venues to his credit. Cerdenia lives in Manila, a software engineer by day and incredibly versatile musician by night.

THE HISTORY – In Cerdenia’s own words, Feuertrunken is “a loud mediation (if one can meditate loudly) on joy.” “In the months that I spent composing the piece, between March-June 2017,” he continues, “I found little cause for celebration in the many goings-on both locally and abroad; perhaps this was the reason I thought the subject of joy had so much urgency. During this time I also found myself absorbed in the Divine Comedy, especially the Purgatorio Dante’s vision of purgatory is a giant mountain partitioned into seven terraces, each devoted to purification from one of the deadly sins.” With such a deeply literary reference in play, we might indeed find ourselves searching for the footnotes

mentioned above. Not to worry. Cerdenia supplies one by adding, “Dante ascends the mountain terrace by terrace, until at last he finds a great wall of fire between himself and paradise. An angel of God encourages him to make the plunge into his final trial. Though my piece as a whole is not programmatic (meaning musical events generally do not correspond to anything in Dante’s story), there is a brief interlude in which I imagine Dante in devoted silence before he submits to the fire.” The wealth of intellectual and artistic influences don’t stop there. Cerdenia also writes that, “The title, meaning ‘fire-drunk’ or ‘drunk with fire’, comes from Friedrich Schiller’s famous ‘Ode to Joy’ (‘We enter, drunk with fire, Heavenly One, your sanctuary’).” Cerdenia, to his credit, chose to avoid the obvious musical quotation this poetic passage suggests (perhaps even insists upon) by opting to pass over Beethoven to focus on another composer whose music he believes also “conveys joy so adeptly”. “Feuertrunken,” Cerdenia’s excellent program note concludes, “briefly quotes the opening of Mahler’s First Symphony before veering off into various episodes of supplication, blasphemy, and finally, praise.”

THE WORLD – Elsewhere in 2017, the Woman’s March on Washington occurred in America, as did a total solar eclipse from coast to coast, Robert Mugabe was ousted in Zimbabwe, and Harry and Meghan got engaged.

THE CONNECTION – These performances represent the Utah Symphony premiere of Joshua Cerdenia’s Feuertrunken.

HISTORY OF THE MUSIC

The Firebird Suite (1919)

Duration: 23 minutes in five movements.

THE COMPOSER – IGOR STRAVINSKY (1882–1971) – With the Great War finally over, Stravinsky probably expected his fortunes to rise with the peace tides. They did not, at least not right away. Many of the compositions he had written during the conflagration were done for little or no payment, which meant Stravinsky’s financial circumstances were quite dire in 1919. In an attempt to raise some much-needed cash, he made a new orchestral suite from his ballet The Firebird. It would not be the last time the ever-savvy Stravinsky resorted to such a measure. The practice of reconstituting and reorchestrating older works into marketable suites was one he exploited often during his career.

THE HISTORY – The Firebird, based on the captured mythical beast with flaming feathers from Russian folklore, was the piece that put Stravinsky on the international musical map back in 1910. It was a fabulously successful moment in his career that almost didn’t happen. Had not Anatol Liadov been unable to meet the deadline of his Ballets Russes commission, the opportunity to fill in would not have fallen to Stravinsky. And had he not been gifted with such a chance, it is nearly certain the road to The Rite of Spring would not have been so open. Serge Diaghilev, the famous kingmaker and Ballets Russes impresario, knew what he was witnessing. “Mark him well,” he reportedly said at the time, “He is a man on the eve of celebrity.” He was, but as formative experiences go, The Firebird

was a lifelong source of mixed emotions for the composer (he even had to sue Warner Brothers for referencing it without permission in a 1936 film, receiving a paltry three cents in victory damages). Stravinsky claimed to have been displeased with his ballet from the start and was known to refer to it in later life as “that audience lollipop.” Despite its success, he was immediately anxious to move beyond the elements of the score that so pleased everyone else—the assimilative “Russianness” of the orchestration first among them. He cursed the music as hopelessly derivative of his training and heritage and in truth it was, but not at all to its detriment. Stravinsky masterfully synthesized the best of his forbears (Tchaikovsky, Rimsky-Korsakov, et al) into something that, despite his own brutal assessments, was wholly fresh and unique. Part of him must have known this deep down. He made three attempts to “rescue” the ballet as a concert suite—right away in 1911, again in 1919, and one final time in 1945. Was Stravinsky happy with it in the end? Probably not, but fortunately our adoration of this great masterpiece depends little on that, and there can be little doubt about how happy he was to be paid more than three cents for it.

THE WORLD – Elsewhere in 1919, Theodore Roosevelt died, the first Silesian Uprising occurred in Poland, as did a revolution in Egypt, and both the rise and fall of the extremely short-lived Hungarian Soviet Republic.

THE CONNECTION – Music from The Firebird is performed often by Utah Symphony on various programs. The most recent presentation of the 1919 Suite was in 2000. Joseph Silverstein conducted.

HISTORY OF THE MUSIC

Carmina Burana

Duration: 60 minutes in three sections.

THE COMPOSER – CARL ORFF (1882–1971) – With or without the bombastic medieval oratorio that made him famous in the concert hall, Carl Orff would have been well known for his work in the classroom. His five-volume Musik für Kinder and expanded Schulwerk system, which originated in the 1920s as an “elemental method” for childhood education that included music, dance, and improvisation, are still in use around the world. Anyone who has seen an primary school concert featuring an array of floor-mounted marimbas and other purpose-built toy percussion has witnessed the popular “Orff Approach” in practice. Fittingly, the three Schulwerk pillars of sound, movement, and spontaneity were guiding principles in his professional composing life too.

THE HISTORY – Equal to Orff’s enthusiasm for the young music of the Germany’s kinder was his fascination for the old music of the Baroque and before. His keen attention to the sacred stage works of musical antiquity convinced him that the most effective concert (and educational) experiences were those that combined various artistic elements into a unified theatrical whole. He was on to something, but the only successful embodiment of this theory he would ever make was in 1936 with Carmina Burana. The title comes from a collection of 13th century Latin and German poems that translates roughly to “Songs from Beuern”, “Beuern” being the site of a Bavarian monastery of the Benedictine Order. Orff came across a set

of modernized translations of the literary Carmina Burana in the catalogue of a Würzburg bookshop and when he got his hands on the illustrated volume in 1934, he was instantly “assailed by images and words.” So intense was the experience, the composer began sketching out a framework for his grand interpretation of the texts before he fully understood them. O Fortuna was the opening poem of the book, and the colorful depiction of the Wheel of Fortune that complimented it was particularly inspiring for Orff. As a mighty frame for the other 23 numbers of the oratorio, Orff’s orchestrated O Fortuna is among the most recognizable three minutes in music history, limitless in its pop culture applicability. Carmina Burana entire is a primitivist marvel, full of infectious rhythm and plainspoken secular pleasures, with songs that are grouped into three large parts: “Spring”, “In the Tavern” and “The Court of Love”. The premiere was a huge success, but the real life of this score wouldn’t begin until after the War, when the where and when of its creation could be perhaps forgiven, if not forgotten. Orff, no fool, knew he had struck gold and told his publisher that all his previously published work could be destroyed.

THE WORLD – Elsewhere in 1936, construction on the Hoover Dam was completed, Jesse Owens won four gold medals at the Berlin Summer Olympics, Syria signed a treaty of independence with France, and Federico Garciá Lorca was murdered by Spanish Fascists.

THE CONNECTION – Carmina Burana has been performed many times by Utah Symphony. The most recent presentation was in 2015. Jun Märkl conducted.

EMMANUEL

PAHUD PERFORMS

MAGIC FLUTE FANTASY

FINISHING TOUCHES REHEARSAL: FEBRUARY 3, 2023 / 10 AM

FEBRUARY 3, 2023 / 7:30 PM

FEBRUARY 4, 2023 / 5:30 PM

Maurice Abravanel Hall

THIERRY FISCHER, conductor EMMANUEL PAHUD, flute (Artist-in-Association)

HAYDN BERG MOZART NIELSEN

Symphony No. 12 in E major

I. Allegro II. Adagio III. Presto

Lyric Suite Andante amoroso Allegro misterioso Adagio appassionato

Fantaisie sur “La flûte enchantée,” Op. 54 EMMANUEL PAHUD, flute

INTERMISSION

Concerto for Flute and Orchestra

I. Allegro moderato II. Allegretto EMMANUEL PAHUD, flute

JANÁČEK

Sinfonietta

I. Allegretto II. Andante - Allegretto III. Moderato IV. Allegretto V. Andante con moto

PRICE FAMILY FOUNDATION

CONCERT SPONSOR

CONDUCTOR SPONSOR GUEST ARTIST SPONSOR

EMMANUEL PAHUD Flute

The Swiss and French flautist Emmanuel Pahud is one of today’s most exciting and adventurous musicians. Emmanuel Pahud appears regularly at leading festivals throughout Europe, the USA, and the Far East. He has appeared as soloist with many of the world’s leading orchestras including the London Philharmonic, Zurich Tonhalle, Suisse Romande, Bayerischer Rundfunk, Mariinski, Camerata Salzburg and

See page 8 for Thierry Fischer’s profile.

Mozarteum, Deutsche Kammerphilharmonie Bremen, Cincinnati Symphony, National Symphony, NHK Symphony, and the Scottish Chamber Orchestra. In 1993, Emmanuel Pahud founded the Summer Music Festival Musique à l’Empéri together with Eric Le Sage and Paul Meyer in Salon de Provence. In June 2009 Emmanuel Pahud was honoured with the Chevalier dans l’Ordre des Arts et des Lettres for his contribution to music by the French government and in April 2011 awarded an HonRAM by the Royal Academy of Music. He also is an Ambassador for UNICEF.

HISTORY OF THE MUSIC

By Jeff Counts

Symphony No. 12 in E Major

Duration: 15 minutes in three movements.

THE COMPOSER – FRANZ JOSEPH HAYDN (1732–1809) – Haydn, in 1763, was still only the vice-Kapellmeister at Eisenstadt for the Esterházy family, but his logical ascension to the top job was not far off. Prince Pál Antal had only recently rescued the composer after his previous position in Count Morzin’s court was dissolved for financial reasons, but the prince’s death in 1762 did not negatively impact the growing devotion between the Esterházy family and Haydn. Pál Antal’s brother Miklós was an avid musical connoisseur as well, and he made sure his favored composer, once he became full Kapellmeister in 1766, continued to enjoy a generous environment in which to create new works for the next 24 years.

THE HISTORY – The great majority of those new works were, of course, symphonies. The five early examples Haydn wrote during his Morzin period were a big part of what brought him to the attention of House Esterházy, so a continuation of that genre exploration was highly important to everyone. In fact, of the staggering 104 symphonies Haydn would write during his productive life, 87 of them date from his Esterházy years. That his international reputation grew so steadily during his almost three decades in a relatively remote Hungarian location was thanks in part to the professional flexibility his employers allowed. His duties at court kept him very busy, but Haydn was permitted to take occasional

outside commissions like the one that produced the six “Paris” symphonies in 1785–86. Long before those high days of continental fame, however, were the more formative ones. Symphony No. 12 was composed in 1763, within a five-year stretch that yielded dozens of similar works. This extravagant pace of output has made the chronology of the lownumbered symphonies a challenge for scholars, but No. 12 has a firm birth year. On the short side, as Haydn symphonies go, No. 12 comprises three movements and features a central adagio in place of the expected minuet that is somber, harmonically unusual (for the time) and half the length of the entire piece! Despite the inclusion of such an interesting middle movement, academic commentary about Symphony No. 12 often refers to it as a “trifle” or “bit of fluff”. But its admittedly dashed-off-in-a-day character does not detract from its importance in the progression of ideas Haydn was cultivating in his early 30s. He did not invent the symphony form, tempting as it is to think so, but he did perfect it and elevate it to a masterwork status worthy of later acolytes like Mozart, Beethoven, and so many others.

THE WORLD – Elsewhere in 1763, the Seven Year’s War came to an end, Istanbul’s Hagia Sophia was damaged by an earthquake, Russia invaded Circassia in the Northern Causasus, and slaves revolted against their Dutch masters in Guyana.

THE CONNECTION – Though they regularly perform Haydn Symphonies on the Masterworks Series, these concerts represent the Utah Symphony premiere of No. 12.

HISTORY OF THE MUSIC

Lyric Suite

Duration: 17 minutes in three movements.

THE COMPOSER – ALBAN BERG

(1885–1935) – For a composer whose catalogue of works was relatively slim at the time of his passing, Berg managed to make a surprisingly meaningful impact on music history. Pieces like Wozzeck, Lulu, the Violin Concerto, and the Piano Sonata not only remain in the common repertory today, they continue to influence a deeper conversation about the legacy of 20th-century composition. Berg was never fully classifiable as either avant-garde or retrograde and, not being terribly prolific, he did not enjoy the same level of early public success as the elite Viennese company he kept. But thanks to Wozzeck, that began to change in the mid 1920s. People started to notice him then, and to remark on the highly personal way he approached the formal innovations of the era.

THE HISTORY – Alban Berg’s use of the 12-tone technique (in which every note in the chromatic scale gets equal melodic weight and are often not repeated until all have sounded) was generally less abstract than his teacher Arnold Schoenberg. Berg was interested in overlaying occasional tonal comforts onto the supposedly random, purely atonal system and the Violin Concerto is a great example of this practice, with its sequence of gently rising thirds. He was also prone to encoding messages into his scores and both impulses, the serial and the secret, found a home in the Lyric Suite for string quartet from 1926. The year before, Berg had traveled to Prague

to hear a selection of orchestral excerpts from Wozzeck and stayed at the home of Herbert and Hanna Fuchs-Robettin. Berg had been introduced to the couple by Alma Mahler (who would eventually marry Hanna’s brother Franz Werfel) and the composer was instantly taken with Mrs. Fuchs-Robettin. Alban and Hanna indulged in a brief but intoxicating love affair that, by most accounts, remained hidden from public knowledge for the next 50 years. What gave it away at last? Berg did, from the beyond. Embedded throughout the score are cyphers and references to his time with Hanna that include their initials (A.B. and H.F. transliterated into musical language as A. B-flat. and B.F.), various numerological permutations of 23 (the number of letters in his full name) and 10 (the number in hers), the superimposed text of the Baudelaire poem “De profundis clamavi” and the ultimate sonic signal for forbidden romance, the Tristan chord from Wagner’s opera. The Lyric Suite was an instant hit, even though nobody yet knew its illicit extra-musical content, and Berg’s publisher sought to capitalize on its popularity by asking the composer to rearrange three of the movements (2-4) for string orchestra in 1927.

THE WORLD – Elsewhere in 1927, Fritz Lang’s Metropolis had its premiere, the Harlem Globetrotters had their road debut, Babe Ruth had his 60-homerun season, the Freedom Bridge opened in Canada, and Heisenberg formulated his Uncertainty Principle.

THE CONNECTION – This marks the Utah Symphony debut of Three Pieces from Berg's Lyric Suite

Fantaisie sur “La flûte enchantée”

Duration: 13 minutes.

THE COMPOSER – WOLFGANG

AMADEUS MOZART (1756–1791) –Mozart was working simultaneously on the Requiem, the clarinet concerto, his final string quartet, and two operas during the incredibly prolific year of 1791, his last on Earth. The drama of these final creations was matched only by that of his actual life and the ill health and mysterious visits of 1791 leant an air of urgency to everything Mozart produced. It was a furious dash to the finish, the finish of an existence cut far too short after 35 brief years. Theories about the cause of Mozart’s demise have varied over the years (rheumatic fever? acute miliary fever or the ridiculous but persistent typo of “military” fever?), but his wife Constanze believed he had simply worked himself to death. She would know.

THE HISTORY – Though he started it before La clemenza di Tito, Die Zauberflöte (The Magic Flute) was the last opera Mozart completed. It was a prime example of the popular dramatic style known as Singspiel (a blend of singing and spoken text) and an intellectually crafty allegory on Mozart’s own Masonic associations and beliefs. The highly unusual plot details the exploits of Prince Tamino who, lost and pursued by a demon in a foreign land, is rescued by servants of the Queen of the Night. After seeing a picture of the Queen’s daughter Pamina (and falling instantly in love with her), Tamino receives the eponymous instrument as a gift and sets

HISTORY OF THE MUSIC

off with the bird catcher Papageno (who has also been given a magic musical implement) to save Pamina from the evil Sarastro. Mozart would live to see Flute successfully staged and even conducted the premiere performances, but his death just months later would deprive him of knowing how lasting and important the work was meant to become. It is important to view The Magic Flute not as Mozart’s personal benediction or his farewell to opera but rather as the excited, forward-looking declaration of a young genius in his prime. This is the ambitious music of a man with plans for the future, not the last rites of one who felt time slipping and hoped he had said enough. Excerpts from this great masterpiece have been put to many uses in the centuries since. In the steps of violin virtuoso Pablo Sarasate, Belgian composer Robert Fobbes made an arrangement of themes from the opera in 2018 as a gift for his flautist friend and countryman Marc Grauwels. The Fantaisie paraphrases the best moments of Mozart’s drama and gives the solo flute the unenviable job of telling one of opera’s strangest stories over 13 brisk minutes.

THE WORLD – Elsewhere in 1791, Methodist Church founder John Wesley died, the element Titanium was discovered, the Brandenburg Gate was completed in Berlin, and Thomas Paine’s Rights of Man was published in London.

THE CONNECTION – Utah Opera has staged The Magic Flute periodically over the years, but these performances represent the Utah Symphony premiere of Fobbes’ arrangement of the opera’s themes into the Fantasy for solo flute.

HISTORY OF THE MUSIC

Concerto for Clarinet and Orchestra, Op. 57

Duration: 20 minutes in two movements.

THE COMPOSER – CARL NIELSEN (1865–1931) – Anyone interested in reading Carl Nielsen’s own thoughts about his incredible life in music must thank his daughter Irmelin. It was at her consistent urging that he offered his one and only autobiography for publication in 1927. It was a reminiscence of his early days called “My Childhood on Funen.” Also the birthplace of Hans Christian Anderson, Funen is Denmark’s third largest island and, in and around its fertile farmland, it boasts castles, stone age ruins, and Viking relics. The book only covers Nielsen’s life up to his departure for Copenhagen to start his formal studies and, written from the distant perspective of the composer’s last years, it is only fair to acknowledge that it includes the occasional embellishment.

THE HISTORY – Contemporary to the writing of the memoir for Nielsen, was a project meant to capitalize on the popularity of his Wind Quintet (1922). The intention was to create separate concerti for each of the instruments in the Copenhagen Quintet that premiered the work, but sadly for the horn, bassoon, and oboe players of the world, Nielsen never completed the set. Of the two concerti he did write, the work for flute came first. But even it was delayed. Nielsen was struggling to wrestle down his Sixth Symphony at the time, so work on the first of the wind concerti did not begin in earnest until 1926. By then, the Copenhagen Quintet had replaced flutist

Paul Hagemann with Holger GilbertJespersen, so a new soloist/composer relationship needed to be established. Nielsen worked on the concerto in Florence, Italy through September and much of October of 1926 and GilbertJespersen performed it on October 21. It was well received (Honegger was there and reportedly liked it) but the composer found it lacking. Of particular artistic concern for Nielsen was the temporary ending he had been forced to append due to an illness he developed on his travels, so he revised the score before taking the podium himself for the second, definitive presentation later in the year. Nielsen wrote a densely in-depth program note for the Flute Concerto in 1929. Some of the highlights of that essay regarding the first movement describe how the solo flute “moves about as if seeking something” before running through various states of being that include “impassioned expressions” and “pottering around here and there” before becoming “bored” and then “quite nervous”. The second movement narrative is less lengthy, but it is just as colorful, with mentions of a “maliciously” jabbing orchestra and a “child-like…innocent” soloist that meet by the end in a “lighter, more superficial, and smiling atmosphere.”

THE WORLD – Elsewhere in 1926, the UK faced a general strike in support of the empire’s coal miners, Germany signed the Treaty of Berlin with the Soviet Union, and Italian silent film star Rudolph Valentino passed away.

THE CONNECTION – Nielsen’s Flute Concerto was last performed by the Utah Symphony back in 1988. Joseph Silverstein was on the podium and Erich Graf was soloist.

BY WILLIAM SHAKESPEARE

BY LORRAINE HANSBERRY

BY WILLIAM SHAKESPEARE

CORIOLANUS

BY WILLIAM SHAKESPEARE

Photo: A scene from The Sound of Music, 2022.

HISTORY OF THE MUSIC

Sinfonietta

Duration: 22 minutes in four movements.

THE COMPOSER – LEOŠ JANÁČEK

(1854–1928) – Born just 13 years after his Czech countryman Dvořák, Leós Janáček should have been an established elder statesman by the time the last decade of his life came around. He wasn’t. By then, he had spent most of his career in the city of Brno (capital of his beloved Moravian homeland region), and his successes as a composer were modest until the opera Jenufa began making an international splash in 2016. From that moment forward, he enjoyed his most intensively creative period and confirmed himself as an essential artistic innovator of the 20th century, not the 19th. Important works from his last years include The Cunning Little Vixen, the two string quartets, the Glagolitic Mass, Mládí, and the Sinfonietta.

THE HISTORY – The Sinfonietta of 1926 was completed just two years before Janáček died, and it represented a culmination of ideas and ideals that were important to him throughout his life. It was 1925, the story goes, when he happened upon a military band performance in a park and imagined himself composing a set of fanfares that matched the infectious patriotic sentiment of what he was hearing. Moravia had been part of Czechoslovakia since the World War I, and a subject of the Hapsburg Empire before that, so a certain individualistic cultural honor was to be expected amongst the citizens in and around Brno. Janáček definitely felt it himself and used his fanfare inspiration to fulfill

an interesting commission a few months later. The Sokol gymnastics movement was founded in Prague in 1862 and continued into the 20th century as a means of honing the bodies and minds of young Czech men and (eventually) women. Their events were quietly nationalist in spirit and provided an opportunity for Czechs of every stripe to indulge in some healthy civic pride. So, when organizers of an upcoming Sokol festival approached Janáček for a new work, he knew it would be a perfect outlet for his military band project. He dedicated the Sinfonietta to “The Czechoslovak Armed Forces” and devised a scenario of landmarks to accompany its five movements. Movement one opens, of course, with a herald of militaristic brass. Movement two portrays Špilberk Castle, while the third movement depicts the Brno Monastery. In movement four we are transported through the streets of downtown Brno during the liberation, our progress halting in the finale before the great Brno Town Hall. The fanfares invoking that special day in the park return at the end and through them we feel the bright, generous character of a man whose time came late, but was not wasted.

THE WORLD – Elsewhere in 1926, Gertrude Ederle became the first woman to swim the English Channel, Hirohito was crowned Emperor of Japan, Henry Ford announced the 40-hour workweek, and Harry Houdini died on Halloween.

THE CONNECTION – Despite its popularity, Janáček’s Sinfonietta has not been often performed by Utah Symphony. The most recent concerts were in 2001 with Keith Lockhart on the podium.

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ENDOWMENT

DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT

Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.

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ADMINISTRATION

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Thierry Fischer

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Joseph Q. Jarvis M.D., M.S.P.H

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“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”

~T.S. Eliot

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Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis Edward R. Ashwood & Candice A. Johnson Clark D. Jones

Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir

Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols

Sharon & David† Richards

Harris H. & Amanda P. Simmons

E. Jeffery & Joyce Smith

G.B. & B.F. Stringfellow Mr.† & Mrs. M. Walker Wallace

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman Joann Svikhart Edward J. & Marelynn† Zipser

Marilyn H. Neilson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org. †Deceased

Dr. Ralph & Judith Vander Heide Edward J. & Marelynn† Zipser

ACKNOWLEDGMENTS

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