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18/19 U TA H SY M
P H O N Y S E AS O N
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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
18
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
WHAT. A. SCORCHER. BELLINI’S
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ABRAVANEL HALL UTAHOPERA.ORG
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2018/19 UTAH SYMPHONY SEASON
#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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UTAH SYMPHONY
BEN FOLDS WITH THE UTAH SYMPHONY
Program
with the Utah Symphony APRIL 9
/ 2019 / 7:30PM / ABRAVANEL HALL
CONNER GRAY COVINGTON, conductor BEN FOLDS, guest artist
See page 10 for Conner Gray Covington’s profile. Ben Folds is widely regarded as one of the major music influencers of our generation. He’s spent over a decade sharing the stage with some of the world’s greatest symphony orchestras—from Sydney, Australia to the Kennedy Center, performing his pop hits and his critically acclaimed Concerto for Piano and Orchestra. For five seasons he was a judge on the popular NBC series The Sing Off, which catapulted the art of a cappella into the national spotlight, and helped launch the careers of numerous a cappella groups. Throughout his career, Folds has created an enormous body of genre-bending musical art that includes pop albums as the front man for Ben Folds Five, multiple solo rock albums, as well as unique collaborative records with artists from Sara Bareilles and Regina Spektor, to Weird Al and William Shatner. His most recent album is a blend of pop and classical original works, in part recorded with the revered classical sextet yMusic that soared to #1 on both the Billboard classical and classical crossover charts. Folds is also an advocate for music education and music therapy as a member of Artist Committee of the Americans For The Arts, and he serves as a member of the Board of Directors of the Nashville Symphony.
Ben Folds Guest Artist
UTAHSYMPHONY.ORG
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P O D C A S T
TAKE A BEHIND THE SCENES LOOK INTO THE WORLD OF CLASSICAL MUSIC AND THE ARTISTS WHO MAKE IT. SUBSCRIBE TODAY AT:
RACHMANINOFF & SHOSTAKOVICH
Rachmaninoff & Shostakovich APRIL 12 APRIL 12 APRIL 13
/ 2019 / 10AM / ABRAVANEL HALL (FINISHING TOUCHES) / 2019 / 7:30PM / ABRAVANEL HALL / 2019 / 5:30PM / ABRAVANEL HALL
VASSILY SINAISKY, conductor SIMON TRPČESKI, piano
KODÁLY
Dances of Galánta I. II. III. IV. V.
RACHMANINOFF
Lento Allegretto moderato Allegro con moto, grazioso Allegro Allegro vivace
Concerto No. 4 in G minor for Piano and Orchestra, Op. 40 SIMON TRPČESKI, piano
I. II. III.
Allegro vivace Largo Allegro vivace
/ INTERMISSION / SHOSTAKOVICH
Symphony No. 12 in D minor, Op. 112 “The Year 1917” I. II. III. IV.
Revolutionary Petrograd The Rising Aurora Dawn of Humanity
U.S. Veterans are our special guests tonight as part of Utah Symphony’s annual outreach to veterans in our community. Free tickets to select symphony concerts are available to veterans through VetTix.org. CONCERT SPONSOR
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RACHMANINOFF & SHOSTAKOVICH
Vassily Sinaisky Conductor C O N D U C TO R S P O N S O R
Simon Trpčeski Piano GUEST ARTIST SPONSOR
artists’ profiles
One of the foremost Russian conductors in the great tradition of Musin and Kondrashin, Vassily Sinaisky is known for his interpretations of Russian, German, and English repertoire. Sinaisky holds the position of Conductor Emeritus of the BBC Philharmonic Orchestra. Memorable projects have included the “Shostakovich and his Heroes” festival, tours to Europe and China, as well as many appearances at the BBC Proms. Sinaisky is also Conductor Emeritus of the Latvian National Symphony Orchestra, Honorary Conductor of the Malmö Symphony Orchestra, and has previously held the positions of Music Director and Principal Conductor of the Moscow Philharmonic, Principal Guest Conductor of the Netherlands Philharmonic, and Music Director of the Russian State Orchestra. Vassily Sinaisky is a noted and influential teacher and holds the position of Professor of Conducting at the St. Petersburg Conservatoire.
Macedonian pianist Simon Trpčeski (pronounced terpCHESS-kee) has established himself as one of the most remarkable musicians to have emerged in recent years, praised not only for his powerful virtuosity and deeply expressive approach, but also for his charismatic stage presence and commitment to strengthening Macedonia’s cultural image. Simon Trpčeski is a frequent soloist with the major North American orchestras and major European ensembles. He was previously named a BBC New Generation Artists, and in May 2003, he was honored with the Young Artist Award by the Royal Philharmonic Society. Most recently, in September 2011, Mr. Trpčeski became the first-ever recipient of the title “National Artist of the Republic of Macedonia.” He makes his home in Skopje with his family.
RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION
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UTAH SYMPHONY
RACHMANINOFF & SHOSTAKOVICH
Notes on the Program by Michael Clive
Zoltán Kodály (1882–1967)
Dances of Galánta PERFORMANCE TIME: 15 MINUTES
Kodály’s Dances of Galánta exemplifies the link between ethnic musical sources and formal classical composition—and shows why it matters so much in today’s world. The exotic, copper-hued modes of this dance suite seem to echo with the sounds of the Romani people’s wanderings of many generations throughout the Indo-European region, yet they also sound decidedly Hungarian. They embody a distinct cultural heritage with ethnic sources that range from the Middle East to Western Europe; at the same time, they reflect a universal human desire to reach out and understand our neighbors through music. Kodály dedicated himself equally to ethnomusicological research, scholarship and composition throughout his career. In Dances of Galánta we hear all of these influences: Kodály’s creative instincts as a composer, his memories of his cultural origins, and his field and archival research in ethnomusicology. The suite remains one of his most popular works, a musical reminiscence of a small market town where he had spent seven years of his childhood. In his own note for the suite, Kodály recalls the very strong impression that a famous gypsy band made on him—the first orchestral sonorities he ever heard. He goes on, “About 1800 some books of Hungarian dances were published in Vienna, one of which contained music after several Gypsies from Galánta. In order to keep it alive, the composer has taken his principal themes from these old publications.” Despite Bartók’s reputation as the great 20thcentury innovator of musical nationalism,
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we now understand that he and Kodály were equal partners in championing this cause through Hungarian ethnic sources. “If I were to name the composer whose works are the most perfect embodiment of the Hungarian spirit,” wrote Bartók, “I would answer, Kodály. The obvious explanation is that all Kodály’s composing activity is rooted only in Hungarian soil, but the deep inner reason is his unshakable faith and trust in the constructive power and future of his people.” Kodály composed Dances of Galánta in 1933 on commission for the Budapest Philharmonic Society, which was marking its 80th anniversary that year, drawing upon folk melodies he remembered from his youth. In a deeply personal preface to a published edition of the score, he noted that “The author spent the most beautiful seven years of his childhood in Galánta. The town band, led by the fiddler Mihók, was famous. But it must have been even more famous a hundred years earlier. Several volumes of Hungarian dances were published in Vienna around the year 1800. One of them lists its source this way: ‘from several Gypsies in Galánta.’... May this modest composition serve to continue the old tradition.” In working with these published melodies, Kodály was able to deepen academic scholarship with fond recollection, combining authenticity with modernity. The Dances of Galánta unfolds in five sections. In its length and breadth (typically a quarter of an hour in performance), the suite could be compared to a brief symphony of the Classical era. In capturing and transmuting ethnographic musical sources, “dances” such as these are not always for dancing; instead, we can listen as we would to the dances of a concerto grosso that come together in a wellpaced suite of movements.
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Notes on the Program
Sergei Rachmaninoff (1873–1943)
Concerto No. 4 for Piano and Orchestra, Op. 40
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1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era.
PERFORMANCE TIME: 24 MINUTES
Sergei Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s great pianists—perhaps among the greatest of all, according to some current reevaluations of his recordings, piano rolls and performance reviews. With Frédéric Chopin, Franz Liszt, and the great Baroque organists like Bach and Telemann, he was one of classical music’s legendary masters of the keyboard who were also great composers. Of these, he was an heir of Liszt—whose works demand power, speed, and fire— rather than the poetic, introspective Chopin.
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Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he may have had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions, and with heart problems. (Nicolò Paganini may have had it as well.) But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style—fleet passagework, rhythmic pliancy, and long, singing lines.
If Tchaikovsky was the central and best known of the Russian romantic composers, and if Glinka was the first and the father figure, then Rachmaninoff embodied their artistic culmination. As a conservatory student in Moscow and St. Petersburg, he focused intensively on both piano technique and composition, and he was recognized as a great pianist throughout his career; just before his death, he was touring the U.S. as a piano soloist. Despite his latter-day moodiness and a bit of harmonic adventurism, you can hear that his style was rooted in the 1800s and in Russia as deeply as his predecessors’.
It was a long time between compositions for the moody, Rachmaninoff. His mercurial artistic temperament complicated by bouts of depression that almost scuttled his career as a composer; and though he overcame his famous “composer’s block” with the help of friends’ intervention and a physician’s therapy, he remained troubled by his insecurities and by bouts of melancholia. Despite the rapturous reception for his second piano concerto and his standing as a virtuoso, he made the world wait for eight years—until 1909—for his third, and it was not until 1917 that he began the earliest sketches for his Piano Concerto No. 4.
But Glinka and Tchaikovsky remained in the motherland and died there in 1857 and 1893, respectively. Listening to Rachmaninoff’s long, brooding lines—their sweetness tinged with melancholy—it is surprising to learn that he moved to the U.S. and lived in Beverly Hills until his death in
As he would do more than two decades later, Rachmaninoff came to the U.S. in 1918 to regain financial security and a sense of stability. (Born into an aristocratic family, he had lost his assets in the Russian Revolution.) But his initial ideas for a fourth concerto would not be fully developed until
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RACHMANINOFF & SHOSTAKOVICH
Notes on the Program
1941, when he introduced the work under the baton of Leopold Stokowski (during another commercial tour of the U.S.). Considering this beautiful concerto a century after Rachmaninoff first began thinking about it, we can appreciate the artistic paradox he encountered in bringing it to the concert hall. Critics in his own day and in ours called his music Romantic in a way that looked back to his 19th-century forebears. But in this work he shows a new willingness to experiment. In it we can hear contemporary influences such as composer George Gershwin and jazz pianist Art Tatum, an openness to drama and new colors, and less dependence on the sweeping Romantic contours of his earlier works. The slow movement sounds almost like blues; critics cite that as evidence that Rachmaninoff paid close attention to Gershwin’s Rhapsody in Blue. Was this unexpected choice, among others, one reason why Rachmaninoff’s fourth piano concerto was received with less enthusiasm than those that came earlier? Today we appreciate this work not only for Rachmaninoff’s customary brilliance as a composer of virtuosic piano music, but as our best indication of how a “modern” Rachmaninoff style might have sounded. Dmitri Shostakovich (1906–1975)
Symphony No. 12 in D minor, Op. 112, “The Year 1917”
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Dmitri Shostakovich, a symphony’s nickname was a calculated political decision in a life-or-death strategy for artistic survival. When he named his Symphony No. 12 “The Year 1917,” it was an emphatic political gesture referencing the year of the Russian Revolution. The symphony itself is a heroic biographical narrative honoring a principal figure of that revolution, Vladimir Lenin. Shostakovich wrote the symphony in 1961, a year after joining the Communist Party, and eight years after the death of Joseph Stalin. It’s no exaggeration to say that the events of the year 1917 dominated Shostakovich’s life. He was literally a child of the revolution, 11 years old when it took place. From early in his career as a composer, he used the symphony as a form to express his deepest ideas and to cope with the pressures exerted by the Communist regime on artists generally, and on him in particular. Those pressures began 25 years before he composed his Symphony No. 12, when the 26-year-old Shostakovich was already a rising figure in the music world and his opera Lady Macbeth of the Mtsensk District made a sensational premiere. It spurred international interest and vaulted him to a new level of celebrity—a success that made Stalin’s condemnation in a 1936 Pravda editorial all the more shocking. Stalin’s denunciation of the opera’s style as decadent and against the interest of the people could mean exile or death not just for the young composer, but for his family. Even his friends would be endangered.
PERFORMANCE TIME: 39 MINUTES
We know many symphonies by their popular subtitles—think of Haydn’s Hen, Beethoven’s Eroica, Mozart’s Jupiter, Mahler’s Titan. The composers themselves rarely had anything to do with these nicknames, and they usually don’t mean very much. But in the case of
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What did Soviet officials want from their composers? Music that was highly accessible to the proletariat and utile to the state, promoting the advantages of approved collective ideals and the values of the revolution. By the government’s reckoning, even non-programmatic music could conflict
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Notes on the Program
with these goals if it explored new ideas in composition, as Shostakovich wanted to do. After withdrawing his progressive Fourth Symphony from rehearsal with the Leningrad Philharmonic in December 1936, Shostakovich began work on his Fifth, which he presented as a musical apology to the state. On its surface, at least, he employed more traditional techniques of composition, and in the ensuing years his symphonies became not only his primary avenue of musical exploration, but also his primary means of signaling his artistic intentions to the Kremlin’s cultural watchdogs. In the years of the cold war, music critics in the West were hard on Shostakovich, viewing him as an artist who had compromised with tyrants. More recently—and especially in light of his disputed memoir, Testimony—his symphonies from No. 5 onward are analyzed as ironically stated, veiled condemnations of the state. Certainly, few composers have ever equaled Shostakovich’s ability to combine lyrical beauty and acid sarcasm. The composer himself described how this effect works in the outwardly exultant fourth movement of his fifth symphony: “I think it is clear to everyone what happens…The rejoicing is forced, created under threat… it is as if someone were beating you with a stick and saying ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a complete oaf not to hear that.” According to Shostakovich, everyone in the Kremlin was a complete oaf, while we, his listeners, are not. And yet his Symphony No. 12 is something else again. Shostakovich composed it eight years after the death of Stalin, which eased—but did not eliminate—the pressure he felt from the state’s surveillance of his work. This symphony is a straightforward,
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unironic narrative honoring Vladimir Lenin—a heroically stated musical biography of a man whom Shostakovich seems to have genuinely admired as a giant of world history. (His Symphony No. 2, written while he was still in conservatory and long before his denunciation, also honors Lenin.) Fortunately, we don’t need to know the details of modern Russian history to enjoy this symphony. It combines a dramatic narrative with mastery of symphonic form in four movements that are played without pause. In its brisk, martial opening, the melodies we hear are based on the revolutionary songs that conveyed anti-tyrant messages in 1917. In the second, the tempo slows and the seriousness grows, as Shostakovich quotes his early Funeral March for the Victims of the Revolution. The symphony’s dramatic climax comes in the third movement, a scherzo named for the Aurora, the ship that opened fire on the czar’s Winter Palace—another revolutionary “shot heard ‘round the world.” Finally, the fourth movement presents triumphant resolution and Lenin’s paternal benevolence in “The Dawn of Humanity.” It’s all beautifully stated, but what are we to make of the story line that so ardently honors a man on the wrong side of history? Should we even consider that aspect as we listen? For symphony enthusiasts, it’s interesting to compare this work to others that tell stories in symphonic form. In the course of its five movements, Beethoven’s great “Pastoral” symphony depicts the specifics of a simple, agrarian life in the country, where the highest drama comes from the weather; Richard Strauss’ Ein Heldenleben, like Shostakovich’s 12th, is a symphonic biography, but one in which the hero’s triumph comes in the form of quiet domesticity. All three are best enjoyed by just sitting back and listening without worrying about narrative content.
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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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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
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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
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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
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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
LOVE YOUR HOME STAGE ARTS
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STAGE ARTS
Catch it now! Organized by Joslyn Art Museum and Union Pacific Railroad Museum Alfred A. Hart, Scene near Deeth, ca. April 1869, albumen stereograph (detail), courtesy Union Pacific Railroad Museum
P RESENTING SP O N SO R :
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STAGE ARTS
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SALT LAKE
(801) 467-2701 2970 Highland Dr.
PARK CITY
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Salt Lake (801) 467-2701 2970 Highland Dr.
Park City (435) 645-7072 1890 Bonanza Dr.
Mon.-Sat. 10-6. Sunday and evenings by appointment.
www.sanfrandesign.com
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
/
(801) 533-NOTE
59
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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
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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