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18/19 U TA H SY M
P H O N Y S E AS O N
M A R C H – A P R IL
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MARCH/APRIL 2019 PERFORMANCES
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome
MARCH 22 | 7:30 PM
8 Music Director
RACHMANINOFF’S PIANO CONCERTO NO. 2
10 Associate Conductor 15 Utah Symphony 16 Board of Trustees 18 UNWOUND 22 House Rules
MARCH 29–30 | 7:30 PM
26 Administration
DVOŘÁK’S “NEW WORLD” SYMPHONY
30 Season Sponsors 31–38 Tonight’s Concert 39 Support USUO 40 Donors
APRIL 9 | 7:30 PM
54 Legacy Giving 59 Tanner & Crescendo Societies 63 Education 64 Acknowledgments
BEN FOLDS WITH THE UTAH SYMPHONY
APRIL 12 | 10 AM APRIL 12 | 7:30 PM APRIL 13 | 5:30 PM
Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
RACHMANINOFF & SHOSTAKOVICH APRIL 19–20 | 7:30 PM
CIRQUE DANCES @UtahSymphony
WITH TROUPE VERTIGO & THE UTAH SYMPHONY
PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Ken Magleby Katie Steckler Patrick Witmer
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison
APRIL 26–27 | 7:30 PM
VILLEGAS PLAYS CONCIERTO DE ARANJUEZ
The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2019
UTAHSYMPHONY.ORG
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5
WELCOME
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Music Director
Chair, Board of Trustees
On behalf of the artists, musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and today’s concert featuring the Utah Symphony. March is celebrated around the nation as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the need for and benefits of quality music education programs. Schools and community groups celebrate with creative activities and events, based on a designated theme. This year’s theme is “All Music. All People.” Appropriately, this year’s 5th Grade concerts, titled “From Many Lands, One America,” featured pieces and composers representative of the cultures of immigrants from each of the four main waves of immigration to the United States. During February more than 20,000 5th Grade students attended these special daytime concerts in Abravanel Hall. And throughout each school year USUO’s Education programs provide to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. Our programs provide students with the gift of live classical music and the inspiration to
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develop their own creative capabilities to enhance their lives. In addition to two family-focused Saturday morning concerts (Peter & the Wolf with Ballet West II and Story Pirates: Symphony Extravaganza!), in March and April the Utah Symphony presents four dynamic masterworks programs of music by a diverse range of composers from 18th century Mozart and 19th century Rachmaninoff, Dvořák and Schumann to living composer and current composerin-association Andrew Norman. March also marks the debut of our Unwound casual concert experience (March 23) targeted to appeal to people interested in classical music, but not the conventions of the 20th century concert experience. And for another non-traditional way to enjoy classical favorites, be sure not to miss in April the theatrical Cirque Dances with Troupe Vertigo fusing together elements of cirque acrobatics and classical dance to the thrilling sounds of the Utah Symphony!
UTAH SYMPHONY
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MUSIC DIRECTOR Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphony, newly commissions works, and the first of a three-CD set of symphonies of Saint Saëns. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta. While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category). 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 from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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UTAH SYMPHONY
Utah musicians in concert at the
Gallivan Center
Evan Taylor
7:30 PM Wednesday nights excellenceconcerts.org • 385-743-0146
ASSOCIATE CONDUCTOR Conner Gray Covington begins his second season with the Utah Symphony as Associate Conductor. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick NézetSéguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Associate Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and will make debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize.
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UTAH SYMPHONY
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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
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Acting Associate Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Ralph Matson† Associate Concertmaster
Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
David Porter Acting Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second
BASS* David Yavornitzky Principal
Wen Yuan Gu Associate Principal Second
Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera
Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
UTAHSYMPHONY.ORG
HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
TROMBONE Mark Davidson Principal
Robert Stephenson Associate Principal
BASS TROMBONE Graeme Mutchler
Lissa Stolz
TUBA Gary Ofenloch Principal
ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal
Sam Elliot Associate Principal
TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Michael Pape Stephen Kehner††
E-FLAT CLARINET Erin Svoboda
KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Caitlyn Valovick Moore
TRUMPET Travis Peterson Principal
PICCOLO Caitlyn Valovick Moore
Jeff Luke Associate Principal
LIBRARIANS Clovis Lark Principal Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Peter Margulies Gabriel Slesinger††
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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler* Naoma Tate
Thomas Thatcher David Utrilla Kim R. Wilson Thomas Wright Henry C. Wurts
Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson
O. Don Ostler Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington D.C.)
William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Andrew Larson* EX OFFICIO
Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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UTAH SYMPHONY
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Take this quiz to find out if UNWOUND is the concert experience for you! ❑❑ Do you live for casual Fridays, even if they happen to be on Saturday? ❑❑ Were you nervous about trying sushi for the first time but now you spend every last paycheck on California rolls? ❑❑ Is do-it-yourself guru Ron Swanson your spirit animal? ❑❑ Are both Lou Ferrigno and Mark Ruffalo your Incredible Hulk? Can you dig Toto’s and Weezer’s “Africa.” Do you love Romeo and Juliet and West Side Story? ❑❑ Is local craft beer the only beer for you? ❑❑ Do you hate being told what to do? ❑❑ Do you have to see it for yourself? ❑❑ More than anything, do you like good, live music? If you answered yes to any of these questions then you should join us for Utah Symphony’s new casual concert series, UNWOUND. Wear what makes you comfortable, react to the music as you like, grab a drink and have a good time with your friends in the lobby. The music is the same but we’ve thrown the rules out the window. — UNWOUND Rach 2 | Saturday, March 23, 2019 UNWOUND Rhapsody in Blue | Saturday, November 16, 2019 UNWOUND Carmina Burana | Saturday, March 28, 2020 — #usuounwound @utahsymphony
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UTAH SYMPHONY
THE UTAH SYMPHONY'S 2019 DEER VALLEY MUSIC FESTIVAL
At Deer Valley® Snow Park Outdoor Amphitheater
June 28 _ August 10
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HOUSE RULES
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.
WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.
LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.
for a list of these special performances. All children, regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.
QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.
CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.
COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.
NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.
YOUNG CHILDREN
EMERGENCY INFORMATION
Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683
In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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UTAH SYMPHONY
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#UTAHSYMPHONY #SYMPHONYROCKSTARS #MUSICEDMATTERS
ADMINISTRATION
ADMINISTRATION Paul Meecham
Rachel McNassor
Karyn Cunliffe
David Green
Olivia Custodio
Director of Individual Giving
Alison Mockli
President & CEO Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Ali Snow
Director of Major Gifts
Jessica Proctor
Director of Institutional Giving
Lisa Poppleton
Grants Manager
Executive Assistant to the COO & Office Manager
Heather Weinstock
SYMPHONY ARTISTIC Thierry Fischer
Alina Osika
Manager of Special Events & DVMF Donor Relations
Symphony Music Director
Development Operations Manager
Anthony Tolokan
MARKETING & COMMUNICATIONS Jon Miles
Vice President of Symphony Artistic Planning
Conner Gray Covington Associate Conductor
Barlow Bradford
Vice President of Marketing & Public Relations
RenĂŠe Huang
Symphony Chorus Director
Director of Communications & Digital Media
Walt Zeschin
Chad Call
Director of Orchestra Personnel
Andrew Williams
Marketing Manager - Audience Development
Lance Jensen
Digital Content Producer
Orchestra Personnel Manager
Kathleen Sykes
Controller
Payroll & Benefits Manager
Jared Mollenkopf
Patron Information Systems Manager
Bobbie Williams
Accounts Payable Accountant
EDUCATION Paula Fowler
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Paul Hill
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
OPERA TECHNICAL Jared Porter
Senior Technical Director
Kelly Nickle
Properties Master
JR Orr
Executive Assistant to the Music Director Symphony Chorus Manager
Nina Starling
SYMPHONY OPERATIONS Cassandra Dozet
PATRON SERVICES Faith Myers
Head Carpenter
Scenic Charge Artist
Melissa Robison
Director of Patron Engagement
Merry Magee
Marketing Manager - Patron Loyalty
COSTUMES Verona Green
Director of Orchestra Operations Program Publication & Front of House Director
Chip Dance
Production & Stage Manager
Jeff F. Herbig
Website Content Coordinator
Andrew J. Wilson
Patron Services Manager
Ellesse Hargreaves
Patron Services Assistant
Properties Manager & Assistant Stage Manager
Genevieve Gannon
Lyndsay Keith
Sarah Pehrson Jackie Seethaler Powell Smith
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
DEVELOPMENT Leslie Peterson
Vice President of Development
Group Sales Associate
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Hallie Wilmes Ticket Agents
Assistant Props
Travis Stevens Dusty Terrell
Costume Director
Jessica Cetrone
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp
Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Alyssa Lund Yoojean Song Connie Warner Stitchers
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Juliette Lewis Lesli Spencer
Wigs/Make-up Crew
Mike Lund
Director of Information Technologies We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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UTAH SYMPHONY
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FEEL IT FOR YOURSELF UTAH SYMPHONY’S
2019/20 SEASON
HIGHLIGHTS INCLUDE:
RHAPSODY IN BLUE CARMINA BURANA THE TEMPTATIONS TCHAIKOVKSY’S VIOLIN CONCERTO DISNEY IN CONCERT: COCO BEETHOVEN’S FIFTH THE PLANETS THE MUSIC OF JOHN WILLIAMS A CELEBRATION OF CHRISTMAS
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THE JOANNE SHIEBLER GUEST ARTIST FUND GUEST ARTIST SPONSOR
KEM & CAROLYN GARDNER SYMPHONY CHORUS DIRECTOR SPONSOR
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UTAH SYMPHONY
CIRQUE DANCES WITH TROUPE VERTIGO & THE UTAH SYMPHONY
Program
Cirque Dances
with Troupe Vertigo & the Utah Symphony APRIL 19–20
/ 2019 / 7:30PM / ABRAVANEL HALL
CONNER GRAY COVINGTON, conductor TROUPE VERTIGO
DVOŘÁK
Slavonic Dance, Op. 46, No. 8 in G minor: Presto Slavonic Dance, Op. 72, No. 2 in E minor: Allegretto grazioso
BORODIN ROSSINI RAVEL
“Polovtzian Dances” from Prince Igor Overture to William Tell Boléro / INTERMISSION /
GERSHWIN DVOŘÁK
Cuban Overture Scherzo from Symphony No. 9 in E minor, Op. 95 “From the New World” III.
STRAVINSKY
Molto vivace
Suite from The Firebird (1919 revision) I. II. III. IV. V.
Introduction and Dance of the Firebird Dance of the Princesses Infernal Dance of King Kastchei Berceuse Finale
GUEST ARTIST SPONSOR
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CIRQUE DANCES WITH TROUPE VERTIGO & THE UTAH SYMPHONY
Artists’ Profile See page 10 for Conner Gray Covington’s profile.
Los Angeles-based theatrical circus company, Troupe Vertigo, was founded in 2009 by Aloysia Gavre (Cirque du Soleil) and her husband Rex Camphuis (Pickle Family Circus/ Film & Theater Producer). They create an eclectic and refreshing mix of circus-dance-theater works that ignite the imagination with mentally and physically spellbinding performances. Troupe Vertigo encompasses the wide spectrum of the performing arts including performances at theaters, concert halls, festivals, and special events. Troupe Vertigo has been creatively involved with world-class symphonies contributing widely with their theatrical sensibilities to help create new audiences to symphonic concerts, most recently with renowned Maestro Jack Everly for Cirque Goes Broadway. Their unique perspective on the circus arts have led to a variety of speaking engagements including The Center Theater Group, Directors Lab West, TEDx Talk, and The Chicago Contemporary Circus Festival. Troupe Vertigo premiered its first show in Los Angeles Big Top for a New Generation in 2010 at the Ford Amphitheater with a young rock n’ roll group— Nightmare & The Cat, featuring Django and Sam Stewart.
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The company returned to the Ford Amphitheater in 2012 with Nighthawks: A Film Noir Circus, inspired by American Jazz, Edward Hopper paintings, and the gritty streets of crime novels from Hammett to Chandler. 2016 brought the creation of their newest work to life entitled Tableaux originally presented by the Dance Resource Center at the Bootleg Theater in Los Angeles. Tableaux features five women inquiring about confinement and freedom, while finding themselves constrained on an island of boxes, trapped by the constrictions of society and themselves. Troupe Vertigo’s facility is also home to Cirque School, L.A.’s premier circus training space, which inspires an appreciation for the circus arts for “Anybody with Any Body”. Due to their Los Angeles home and having Cirque School as their sister company, Aloysia & Rex’s expertise is used often for the film & television industry. Most recently for Rebel Wilson’s aerial performance for Pitch Perfect 2 and for both Reese Witherspoon and Christoph Waltz who utilized Cirque School resources not only for circus instruction but for character background research.
UTAH SYMPHONY
VILLEGAS PLAYS CONCIERTO DE ARANJUEZ
Program
APRIL 26–27
/ 2019 / 7:30PM / ABRAVANEL HALL
RICHARD EGARR, conductor PABLO SÁINZ VILLEGAS, guitar
MOZART
Symphony No. 31 in D Major, K. 300a [297] “Paris” I. II. III.
RODRIGO
Allegro assai Andantino Allegro
Concierto de Aranjuez for Guitar and Orchestra PABLO SÁINZ VILLEGAS, guitar
I. II. III.
Allegro con spirito Adagio Allegro gentile
/ INTERMISSION / SCHUMANN
Symphony No. 2 in C Major, Op. 61 I. II. III. IV.
Sostenuto assai - Allegro ma non troppo Scherzo: Allegro vivace Adagio expressivo Allegro molto vivace
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C O R P O R AT E S P O N S O R
C. COMSTOCK CLAYTON FOUNDATION
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VILLEGAS PLAYS CONCIERTO DE ARANJUEZ
Richard Egarr Conductor C O N D U C TO R S P O N S O R
Pablo Sáinz Villegas Guitar GUEST ARTIST SPONSOR
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
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Artists’ Profiles Egarr was appointed Music Director of the Academy of Ancient Music in 2006, and shortly thereafter he established the Choir of the AAM. He was Associate Artist with the Scottish Chamber Orchestra 2011–17, and from 2019 adds responsibilities as Principal Guest of the Residentie Orkest The Hague and Artistic Partner of the St Paul Chamber Orchestra. He will become Music Director Designate of Philharmonia Baroque Orchestra and Chorale in 2020–21 and assume Music Directorship from 2021–22. He conducts leading symphony orchestras such as London Symphony, Royal Concertgebouw, and Philadelphia, as well as period ensembles such as Handel and Haydn Society Boston. As well as an accomplished conductor he is a brilliant harpsichordist, and equally skilled on the organ and fortepiano. He regularly plays solo at major venues such as Wigmore and Carnegie Hall and has recorded many discs for Harmonia Mundi, notably of J.S. Bach, Couperin, Purcell, and Mozart, with Byrd and Sweelinck released by Linn in 2018. He trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt. He teaches at the Amsterdam Conservatoire and is Visiting Artist at the Juilliard School in New York. Richard Egarr is represented by Intermusica. Praised as “the soul of the Spanish guitar”, Pablo Sáinz Villegas has become a worldwide sensation known as this generation’s great guitarist. The list of some of the world’s most prestigious stages that he has performed includes Carnegie Hall in New York City, Philharmonie in Berlin, and Concertgebouw in Amsterdam. He regularly inspires new invitations and reengagements to perform in different festivals and with different orchestras, including Orquesta Nacional de España and the Philharmonics of Israel, Bergen, and Denmark. In the American continent, he has performed with symphonic orchestras of New York, Pittsburgh, Cincinnati, Peru, Colombia, and Panama. Sáinz Villegas continues to search for innovative ways to inspire diverse communities of society since he believes that “music is the best language for communication because it is something intangible and ethereal”. In the last decade, he has been able to reach, through his social projects, more than 32,000 children and youth audiences in different regions of Spain, México, and the United States. Sáinz Villegas was born in Spain, the country in which his musical instrument has deep roots. During his career he has achieved more than 30 international awards. Sáinz Villegas currently lives in New York and is the official Tourism Ambassador of La Rioja, his homeland.
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VILLEGAS PLAYS CONCIERTO DE ARANJUEZ
Notes on the Program by Michael Clive
Wolfgang Amadeus Mozart (1756–1791)
Symphony No. 31 in D Major, K. 300a [297] “Paris” PERFORMANCE TIME: 16 MINUTES
Mozart’s continuing quest for appreciative patrons and audiences made him unusually well-traveled for his day, and gave us a trove of letters to pore over, since he sent scouting reports back home to whichever parent wasn’t with him on his work-hunting expeditions. His frequent grouchiness went undisguised in his letters. We can only wonder how his correspondence might have been different if he had known that every word would be scrutinized and analyzed by later generations…perhaps not at all, since he was never one to selfcensor. He generally felt that his prospective patrons couldn’t quite grasp the extent of his talents and, of course, he was right. But his impatience did not exactly endear him to those who might hire him. In the spring of 1778, Mozart’s search for work found him in Paris, a city he had not visited since his parents brought him there as a child prodigy. Now he was 22, traveling with his mother, and well established as a composer with full-blown masterpieces to his credit. For Mozart, the trip did not go particularly well: his mother was ill; a performance of one of those masterpieces, the Sinfonia Concertante, went disastrously (sabotaged, he suspected, by a rival composer); and he found the orchestral playing to be of a shockingly low standard. For today’s listeners, however, the trip was a brilliant success: it gave us his “Paris” Symphony, No. 31, which in its form and freshness was specifically intended to please the French ear. If Mozart himself
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could not ingratiate himself with the French, perhaps the symphony could do it for him: as he wrote back home to his father, Leopold, “I hope that even these idiots will find something in it to like.” The commission for the symphony came from Joseph Legros, producer of a Parisian concert series, to compensate for the Sinfonia Concertante debacle, which meant that the symphony had to be produced on the spot and on relatively short notice. This was no problem for Mozart, who often composed so rapidly that he seemed to be taking dictation. His reports of the work to his father are an odd mixture of pros and cons, of snobbery and satisfaction. He is contemptuous of most French listeners, and sees “no great harm if they don’t like it,” but is pleased with the reaction it receives at a private read-through. He ridicules a French symphonic convention called the premier coup d’archet—“What a fuss these boors make of this!…they all begin together just as they do elsewhere. It’s a joke.”—and yet he emphasizes it in his opening movement to extremely dramatic effect. Writing for The Guardian (London), Tom Service calls this opening “one of the grandest, most thrilling sounds Mozart ever made from an orchestra.” Despite Mozart’s sincere misgivings about the level of orchestral playing, his letters home after the premiere indicate that the performance was highly successful and that his efforts to tailor the symphony to the specifics of French taste were well judged. There also seems to have been an element of spectacle about the whole event; the score called for the largest orchestra Mozart had used to date for a symphony, and it was the first time his symphonic ensemble included a relatively new instrument, the clarinet. His account reveals that the French audience applauded not only between but
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also within movements (quelle horreur!) and that certain passages that were especially pleasing had to be repeated—exactly which ones are subjects of scholarly debate. What’s not open to debate: the job-hunting aspect of Mozart’s Paris trip was a failure. While the symphony broke new ground in its scope, it is structured in the traditional three-movement, fast-slow-fast form. It does, however, omit the usual Mozartean minuet (possibly another concession to the French taste). And while much has been written about Mozart’s clever pains in playing to the French crowd, less is said about the truly sublime effect he created in doing so. Perhaps, when it comes to Mozart, we take sublime beauty for granted, but Monsieur Legros did not. He observed that this symphony was the finest that had ever been created for his orchestra. Joaquin Rodrigo (1901–1999)
Concierto de Aranjuez for Guitar and Orchestra PERFORMANCE TIME: 22 MINUTES
So many of classical music’s great geniuses led tragically short lives—Mozart, Schubert, Mendelssohn, and Bizet all died in their 30s—that when we encounter those blessed with longevity, we rejoice. The Spanish composer Joaquin Rodrigo, though blinded by diphtheria at age 3, lived to be 98. He credited the apparent calamity of his illness for his lifelong involvement in music. Rodrigo made rapid progress at the conservatory in Valencia, graduating early and going on to Paris, where he studied with Paul Dukas at the École Normale de Musique. But while he absorbed the elements of French style
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and refinement, his music remains Spanish to its very core. With Manuel de Falla (b. 1876) and Enrique Granados (b. 1867), Rodrigo was central to the flowering of musical creativity that raised the prominence of Spanish music in the 20th century. These composers burst upon the music world like a new discovery, although their cultural lineage extended back centuries. Musicians and audiences greeted them like long-lost brothers, but their distinctively Iberian sound, drenched in folk melodies and in the traditions of Spanish church music of the Baroque period, was like nothing to be heard in the rest of Europe. While Manuel de Falla gained renown for ballet scores that traveled with Serge Diaghilev’s Ballets Russes, and Granados’ orchestral and piano compositions earned their standing as repertory staples (and his opera Goyescas in opera houses including New York’s Metropolitan), Rodrigo became known for his remarkable concertos. They reflect the Spanish affinity for the guitar; the two best-known examples, his Fantasy for a Nobleman and the Concierto de Aranjuez, are both for that instrument. But there are other notable examples, including a spectacularly original concerto for harp. Rodrigo composed the Fantasy for a Gentleman in 1954 for Andrés Segovia, and though it is often mistakenly associated with Molière’s Le Bourgeois Gentilhomme—inspiration for many musical adaptions—the gentleman of Rodrigo’s title is actually Segovia himself. But the Concierto de Aranjuez remains his most popular and widely performed composition. The website devoted to Rodrigo’s life and work includes the composer’s charming personal account of “how and why the Concierto de Aranjuez came about:” In September of 1938, I was in San Sebastián on my return to France…It
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was during a dinner organized by the Marqués de Bolarque with Regino Sáinz de la Maza and myself. We ate well and the wine was not bad at all; it was the right moment for audacious fantasizing… All of a sudden, Regino, in that tone between unpredictable and determined which was so characteristic of him, said: -Listen, you have to come back with a ‘Concerto for guitar and orchestra’ – and to go straight to my heart, he added in a pathetic voice: - It’s the dream of my life – and, resorting to a bit of flattery, he continued: - This is your calling, as if you were ‘the chosen one.’ I quickly swallowed two glasses of the best Rioja, and exclaimed in a most convincing tone: - All right, it’s a deal! Inspired by the gardens at the Palacio Real de Aranjuez, the concerto opens with two themes in alternation. As Rodrigo notes, the movement is “animated by a rhythmic spirit and vigor without either of the two themes… interrupting its relentless pace.” Their rhythmic impetus makes the slow hush of the second movement all the more dramatic, with a dialogue between solo instrument and ensemble that is traditional in concertos. The last movement, as Rodrigo notes, “recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar.” The late George Jellinek—a perceptive musicologist and commentator not inclined to exaggerate—called Rodrigo’s concertos revolutionary, and asserted that their freshness resulted from the composer’s use of the second interval. Even listeners with no musical background are likely to have heard about other harmonic intervals—thirds, fourths, fifths, and so on—but seconds,
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comprised of two notes that lie next to each other on the piano keyboard, are rarely heard or mentioned. And, yes, we do hear them frequently in this concerto. But are they so fully responsible for the concerto’s distinctive sound? Or do they function more like the rainfall on a streetscape in Paris or at the Palacio Real de Aranjuez, adding a poetic dimension to a scene that is already beautiful? Robert Schumann (1810—1856)
Symphony No. 2 in C Major, Op. 61 PERFORMANCE TIME: 34 MINUTES
Listening to the sunlit music of Robert Schumann’s second symphony, one could easily imagine naming it for the spring season. But “Spring” is actually the nickname for his Symphony No. 1, and the predominant sense of life and affirmation in both these symphonies tells us much about their composer. Throughout his adult life, Schumann experienced bouts of crippling depression, yet he managed to breathe the most positive elements of Romanticism into his music. His illness was so severe that he periodically needed hospitalization, yet he was a devoted husband, a productive composer, and a champion of up-andcoming composers. Schumann’s life was a dark struggle, yet in his music we sense light. Born in the Saxon town of Zwickau (now Germany), Schumann began his musical studies at age six. After customary studies at the Zwickau Gymnasium and facing intense family pressure, he matriculated at the University of Leipzig to study law. But music continued to preoccupy him; the year before his enrollment at Leipzig he encountered another fantastically gifted young composer named Franz Schubert, who was thirteen years his senior. Inspired by
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Schubert’s example as well as the poems of Jean Paul Richter, Schumann began exploring song composition—to the detriment of his law studies. He turned to one of the most celebrated German piano teachers of the day, Friedrich Wieck, for intensive piano studies. Friedrich Wieck’s daughter Clara was a nine-year-old piano prodigy when Schumann first met her; by the time he prevailed over her father’s personal and legal objections to marry her, she was 21. (One wonders whether his truncated legal studies helped him win her hand.) In the intervening years, Schumann had begun to lay the foundation for his own career as a virtuoso pianist. When a hand injury foreclosed that option, he turned to piano composition: more songs and jewel-like piano pieces. It was Clara who persuaded him to look beyond the keyboard to full orchestra, and to the symphony as a form. With Clara’s encouragement and sound musical judgment, Schumann published his first symphony in 1841, the year after they married. He completed another that same year but withheld it from publication, making his Symphony No. 2 his third complete work in symphonic form. (He eventually completed a fourth symphony, No. 3 in the catalogue; his second effort, published posthumously, became No. 4.) Schumann began sketching his Symphony No. 2 in early December of 1845 in a burst of inspiration. In little more than two weeks he had completed a draft score for piano. But the slower work of refining and orchestrating, which began the following February, was interrupted by bouts of depression, dementia, and tinnitus—a ringing in the ears that plunged his musical imagination into shadow, like an eclipse. His joints ached, his head throbbed, but he persevered. Finally, he finished the
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score for full orchestra on October 19, 1846, and published it the following year. In presenting the Symphony No. 2 to his publisher, Schumann worried that his illness might be evident in the music. But in listening to it, what we hear most is not suffering, but striving; not illness, but strength and even heroism. Composed mainly in the optimistic key of C Major, its positive sound seems to affirm individual action in the face of life’s challenges, beginning with a simple fanfare that slowly and surely builds energy. Eventually a dark, melancholy mood shrouds the third movement, an adagio. But while that section may reference Schumann’s personal struggles, it also pays tribute to Schumann’s musical ancestors, all the way back to J.S. Bach, whose revered surname is encoded in the cipher that forms the initial fanfare and its variation in the second movement. Actually, professional musicians and musicologists find this symphony to be chock-full of ciphers, coded messages, and micro-quotations from earlier works by Bach, Schubert, Mozart, and Schumann himself. The most poignant of these comes as the darkly contemplative fugal section of the adagio leads us to the symphony’s final movement, where the once-slow theme returns with stormy energy. In the course of a complex, three-part development, Schumann seems to lead us in a campaign that goes forward from darkness to light…from the adversity of his illness to triumph over it. And in one of those encoded “secret messages,” he ends the movement with a tribute to Clara, quoting the love song he dedicated to her on their wedding day. Music history is full of what-if questions. One of the most tantalizing is suggested by Schumann’s illness, which afflicted him in both body and mind. It would be treatable today. What if it had been treatable during his lifetime?
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2018/19 ANNUAL CULTURAL FESTIVAL
PROJECTS
During its 2018-19 season, Utah Symphony | Utah Opera joins the long list of Utah organizations commemorating the 150th anniversary of the laying of the Golden Spike, which officially connected the transcontinental railroad on May 10, 1869.
OPERA COMMISSION
GIFT OF MUSIC
MUSIC ALONG THE RAIL
Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthey Family Foundation.
Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.
Utah Symphony’s performance of Chinese composer Zhou Tian’s new work, a co-commission with other orchestras along the transcontinental railroad’s route.
FOR MORE INFORMATION, VISIT USUO.ORG/FESTIVAL The Hal R. and Naoma J. Tate Foundation
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INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Howard & Merele Kosowsky Val E. & Dominique C. Lambson Donald L. & Alice A. Lappe Gary & Suzanne Larsen Bill Ligety & Cyndi Sharp Peter† & Susan Loffler Jeramy Lopez David & Donna Lyon Keith & Vicki Maio Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth Tom & Janet McDougal David & Nickie McDowell Michael & Julie McFadden Elinor McLaren George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses
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THANK YOU 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 & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee
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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from February 1, 2018 to February 1, 2019. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation O.C. Tanner Company John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation
State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*
Janet Q. Lawson Foundation
$25,000 TO $49,999 Anonymous Arnold Machinery BMW of Murray/BMW of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort* Joan & Tim Fenton Foundation Frederick Q. Lawson Foundation
UTAHSYMPHONY.ORG
/
LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation National Endowment for the Arts Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Stein Eriksen Lodge** STRUCK*
(801) 533-NOTE
Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint.SmartHome WCF Mutual Insurance Company
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INSTITUTIONAL DONORS $10,000 TO $24,999 Adobe HJ & BR Barlow Foundation B.W. Bastian Foundation Brent & Bonnie Jean Beesley Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation-Russell Family Daynes Music Company* Discover Financial Services The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
W. Hague & Sue Ellis Foundation Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** Johnson Foundation of the Rockies Park City Chamber / Visitors Bureau Promontory Foundation
S.J. & Jessie E. Quinney Foundation Regence BlueCross BlueShield of Utah James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation Simmons Family Foundation The Swartz Foundation University of Utah Health Wells Fargo The Christian V. & Lisa D. Young Family Foundation
Every Blooming Thing* Holland & Hart** The Huntsman Foundation J. Wong’s Thai & Chinese Bistro* John Williams Foundation Jones Waldo Park City Kulynych Family Foundation II, Inc. Martine*
Raymond James & Associates Rocky Mountain Power Foundation Ruth’s Chris Steak House* Salt Lake City Arts Council St. Regis / Deer Crest Club** U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
Victor Herbert Foundation Intuitive Funding InvitedHome* George Q. Morris Foundation Peczuh Printing* Snell & Wilmer
Spitzberg-Rothman Foundation Squatters Pub* Stay Park City
$5,000 TO $9,999 Anonymous (2) The Aaron Copland Fund for Music, Inc. Beesley Family Foundation Deluxe Corporation Foundation Ditta Caffè* The Dorsey & Whitney Foundation George Restaurant
$2,500 TO $4,999 Bertin Family Foundation Blume Haiti Robert S. Carter Foundation CBRE Henry W. & Leslie M. Eskuche Charitable Foundation
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UTAH SYMPHONY
A NEW WEEKLY SERIES ABOUT UTAH PREMIERES TUE. MAY 23, 7PM
THIS IS UTAH, a new weekly series produced by KUED, celebrates the diverse people who call this place home. Each episode features stories about the arts, culture, food, events and the outdoors, told through the voices of the individuals who make Utah so unique.
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INSTITUTIONAL DONORS $1,500 TO $2,499 Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center Constellation Brands D’Addario Foundation
The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation Millcreek Coffee Roasters* Prime Steakhouse*
Ray, Quinney & Nebeker Foundation Glenna & Lawrence Shapiro Family Foundation Snow, Christensen & Martineau Foundation
Nebeker Family Foundation Strong & Hanni, PC
Swire Coca-Cola, USA* Thomas Family Foundation
$1,000 TO $1,499 The Fanwood Foundation Western Office The Kanter Family Foundation
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LEGACY GIVING
Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come. To learn more about how estate planning can benefit both you and USUO, please call Rachel McNassor at 801869-9010 or visit us online at usuo.giftplans.org.
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UTAH SYMPHONY
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Mon.-Sat. 10-6. Sunday and evenings by appointment.
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TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Rachel McNassor at rmcnassor@usuo.org or 801-869-9010 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton
Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Dianne May Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Turid V. Lipman Herbert C. & Wilma Livsey
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson
Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
UTAHSYMPHONY.ORG
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(801) 533-NOTE
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THANK OUR ADVERTISERS YOU TO Aladdin Skylights BMW of Murray | Pleasant Grove Caffè Molise Challenger Schools City Creek Living Classical 89 Ditta Caffè Every Blooming Thing Excellence Concert Series George Gifted Music School Grand America Grandeur Peak Funds Hamilton Park Intermountain Therapy Animals Jaguar Land Rover Downtown Salt Lake Jerry Seiner Cadillac
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833 Kayenta KUED KUER Little America Minky Couture Ogden’s Own Distillery RC Willey Ruth’s Chris Steak House San Francisco Design Security National Mortgage Tuacahn University Credit Union Utah Festival Opera Utah Food Services Utah Museum of Fine Art Waite Vision
2018/19 UTAH SYMPHONY SEASON
We are proud of the incredible talent of Utah’s young musicians, and we’re excited to share their performances with you. Two opportunities for you to hear outstanding young musicians in concert are coming up soon.
Utah Symphony Youth Guild Recital
Saturday, March 16
| 7 pm
Utah Symphony All-Star Youth Pro-Am Tuesday, May 21
| 7 pm
VIEVE GORE HALL — WESTMINSTER COLLEGE
ABRAVANEL HALL
Youth Guild members prepared for months in dedicated practice. Our auditions selected a wonderful array of talents and repertoire for you to enjoy. Join us for the Youth Guild Recital, which is free and open to the public.
Students from eleven different youth orchestras sit side-by side with the musicians of the Utah Symphony. Conner Gray Covington conducts the concert.
THE 2018–19 SALUTE TO YOUTH
concert in September 2019 will be the 60th year for this concert. For more information regarding approved repertoire and audition updates, please email kjohnson@usuo.org to be added to our mailing list. Information about auditions for next season will be available by mid-April. SEASON SPONSOR:
For tickets, visit utahsymphony.org or call 801-533-6683
ACKNOWLEDGEMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY
Tanner, llc LEGAL REPRESENTATION PROVIDED BY
Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY
Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY
Love Communications, Salt Lake City ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY
Struck, Salt Lake City / Portland The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY
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VETERANS
of US Military Armed Forces Service:
FREE Utah Symphony | Utah Opera tickets for veterans January - April 2019 Utah Symphony | Utah Opera invites veterans to attend several performances FREE OF CHARGE: Mon or Wed, January 21 or 23, 7:00 pm at Capitol Theatre – Utah Opera performances of Rachel Portman’s The Little Prince. Sat, March 16, 12:30 pm at Abravanel Hall, Peter and the Wolf performed by Utah Symphony and Ballet West II dancers. Fri or Sat, April 12 or 13, 7:30 pm at Abravanel Hall with Guest Conductor Vassily Sinaisky — with the Utah Symphony and guest pianist Simon Trpčeski — in Rachmaninoff’s Piano Concerto No. 4 and Shostakovich’s Symphony No. 12, “The Year 1917.”
tickets are limited. Get your tickets through VetTix.org
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