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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!
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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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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
RACHMANINOFF’S PIANO CONCERTO NO. 2
Program
Rachmaninoff’s Piano Concerto No. 2 MARCH 22
/ 2019 / 7:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor ALEXANDER GAVRYLYUK, piano
ANDREW NORMAN
[Composer in Association] RACHMANINOFF
Play Vocalise, Op. 34, No. 14 / INTERMISSION /
RACHMANINOFF
Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 ALEXANDER GAVRYLYUK, piano
I. II. III.
CONCERT SPONSOR
UTAHSYMPHONY.ORG
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Moderato Adagio sostenuto Allegro scherzando
C O N D U C TO R S P O N S O R
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RACHMANINOFF’S PIANO CONCERTO NO. 2
Alexander Gavrylyuk Piano GUEST ARTIST SPONSOR
Artists’ Profiles See page 8 for Thierry Fischer’s profile.
A stunningly virtuosic pianist, Alexander is internationally recognized for his electrifying and poetic performances. Highlights of the 2018–19 season include debuts with the London Philharmonia Orchestra, Chicago Symphony, Wiener Symphoniker, and City of Birmingham Symphony Orchestra; returns to the Royal Concertgebouw Orchestra, The Halle, Sydney Symphony, Royal Scottish National Orchestra, and Wigmore Hall; and tours of Asia, North America, and Europe, both as a solo recitalist and with violinist Janine Jansen. He has since gone on to perform with many of the world’s leading orchestras, including the New York, Los Angeles, Czech, Warsaw, Moscow, Israel, and Rotterdam Philharmonics; NHK and Cincinnati Symphony; Orchestre National de Lille and the Stuttgarter Philharmoniker; collaborating with conductors such as Vladimir Ashkenazy, Alexandre Bloch, Herbert Blomstedt, Andrey Boreyko, Thomas Dausgaard, Valery Gergiev, Neeme Järvi, Vladimir Jurowski, Sebastian Lang-Lessing, Kirill Karabits, Louis Langrée, Cornelius Meister, Vasily Petrenko, Rafael Payare, Alexander Shelley, Yuri Simonov, Vladimir Spivakov, Markus Stenz, and Osmo Vänskä. Gavrylyuk has appeared at many of the world’s foremost festivals, including the Hollywood Bowl, Bravo! Vail Colorado, Mostly Mozart, the Ruhr Festival, the Kissinger Sommer International Music Festival, and the Gergiev Festival in Rotterdam. Alexander is Artist in Residence at Chautauqua Institution where he leads the piano program as an artistic advisor. He supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children. Alexander currently lives in the Netherlands with his wife Zorica and their two daughters Anna and Olivia. He is a Steinway Artist and more information is available on his website alexandergavrylyuk.com
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UTAH SYMPHONY
RACHMANINOFF’S PIANO CONCERTO NO. 2
Notes on the Program by Michael Clive
Andrew Norman (b. 1979)
Play PERFORMANCE TIME: 40 MINUTES
Arts writers have borrowed the word “synesthesia” from neurology to denote a functional “crossing” of the senses—as with the many composers of genius through the centuries who have experienced seeing musical notes as colors. In a looser sense, paintings or photographs are said to be “rhythmic” or “loud.” This approach comes in handy when trying to describe the sounds produced by Norman’s questing, boundarycrossing creativity. Many of his musical subjects are architectural; for example, he has evoked the visual and spatial impressions of architect Frank Gehry’s work in a way that could be compared to Virgil Thomson’s musical “portraits.” In experiencing the Norman sound, it pays to listen for effects that could be described as rhyming, angular, and texturally gleaming— words that could apply equally well to Gehry’s sculptural buildings. Play earned Norman the 2017 Grawemeyer Award for Music Composition. In a 2016 article on his acceptance of the award, the New York Times described Play as “rollicking” and “gaming-influenced.” Here is an excerpt from the composer’s own comments about the work: “… Play is a cycle of pieces, a body of work that I have been writing and rewriting for almost five years. Play explores many different ideas—ideas about choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where
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video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge. Play touches on the corrupting influence of power and the collapse and rebirth of social systems, but it also explores the physicality and joy of instrumental playing, as well as the many potential meanings of coordinated human activity—how the display of massed human synchronicity can represent both the communal best and coercive worst of our race… We flip the switch on a crazy, topsy-turvy world where the percussionists discover that their instruments have all sorts of powers over the rest of the orchestra. They have the power to turn other players on and off, to make them play forwards or backwards, louder or softer, faster or slower, to trade them out one for another or make them rewind and retry ideas again and again until they are gotten right.” Sergei Rachmaninoff (1873–1943)
Vocalise PERFORMANCE TIME: 6 MINUTES
In Vocalise, the absence of words does not suggest an absence of meaning or mood. It is lushly melancholy. Russia’s tradition of art songs is rich in ruminations on the difficulties and sadness of life, and in Vocalise many listeners hear a voice that sings on behalf of anyone who feels trapped by unhappiness. More than one critic has compared the melody’s progress to a caged bird seeking escape, rising to near freedom and then falling back. In rehearsing to perform Vocalise with Rachmaninoff at the piano, soprano Antonina Nezhdanova expressed regret that the music lacked text. “What need
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RACHMANINOFF’S PIANO CONCERTO NO. 2
Notes on the Program
is there of words,” asked Rachmaninoff, “when you will be able to convey everything better and more expressively than anyone could with words by your voice and interpretation?” Sergei Rachmaninoff (1873–1943)
Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 PERFORMANCE TIME: 32 MINUTES
One can hear the brooding depressive as well as the ardent romantic throughout the concerto. In the first movement, marked moderato and written in C minor, an opening of intense foreboding builds through a series of powerful chiming chords in the piano. As the tension builds to a breaking point, the piano’s simulated chiming rolls into a sweeping main theme that is taken up in the violins but quickly engulfs the entire orchestra. From this moment on—indeed, from the very opening bars, with the piano’s lone voice—the concerto announces itself as a hugely scaled musical statement that balances sweeping, melancholy “outdoor” phrases with romantic “interior” melodies. When a rolling theme emerges, its march tempo gives it the quality of an inexorable machine, with only the solo piano to challenge it. Slow chords in the strings open the second movement, an adagio that moves from C minor into E major. While the piano delineates a theme through fleet, poetic arpeggios, the overall mood
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remains melancholy, with a short exchange between orchestra and piano developing the movement’s motifs. Yet this tinge of sadness does not overwhelm—perhaps because of the sense of romance and melodic richness that pervades the whole concerto. Its songful quality, which gave rise to two Frank Sinatra tunes based on just the first movement (“I Think of You” and “Ever and Forever”), takes full flight in the lush, gorgeous third movement, marked allegro scherzando. This movement is built around a melody that is like the distilled essence of romance, and that forms the basis of the song “Full Moon and Empty Arms.” It has been quoted in dozens of movies to convey the exquisite pleasure of love anticipated… and the exquisite pain of love unfulfilled. It can also be said to have saved Rachmaninoff ’s life: when he composed this melody and discussed it with colleagues, it secured his more optimistic outlook on his composing prospects. This is the theme that turned Brief Encounter into a three-handkerchief weepy, and that prompted Marilyn Monroe to tell Tom Ewell, “Every time I hear it I go to pieces!” in The Seven Year Itch. The concerto ends in a flourish of virtuosity and optimism. The last movement, an allegro, opens with an introduction that moves away from the previous movement’s E major, where the music was lush but the emotions lingered in an atmosphere of twilit moodiness. To close, it moves from C minor to C major with ever-increasing tension and energy. The final thematic statements and coda are resolved in C major, in a loud and ecstatic finale.
UTAH SYMPHONY
DVOŘÁK’S “NEW WORLD” SYMPHONY
Program
Dvořák’s “New World” Symphony MARCH 29–30
/ 2019 / 7:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor ALBAN GERHARDT, cello
ROSSINI DUTILLEUX
Overture to William Tell Tout un monde lointain (A whole distant world) ALBAN GERHARDT, cello
/ INTERMISSION / DVOŘÁK
Symphony No. 9 in E minor, Op. 95 “From the New World” I. II. III. IV.
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Adagio - Allegro molto Largo Molto vivace Allegro con fuoco
C O N D U C TO R S P O N S O R
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DVOŘÁK’S “NEW WORLD” SYMPHONY
Alban Gerhardt Cello GUEST ARTIST SPONSOR
Notes on the Program
Artists’ Profiles
See page 8 for Thierry Fischer’s profile. “One of the finest cellists around—expressive, unshowy and infinitely classy“ (The Guardian). Alban Gerhardt has, for 25 years, made a unique impact on audiences worldwide with his intense musicality, compelling stage presence, and insatiable artistic curiosity. Highlights of the 2018–19 season include the premiere of a new concerto by Brett Dean with Sydney Symphony Orchestra (David Robertson) and Berliner Philharmoniker (Sakari Oramo), and concerts with Hong Kong Philharmonic, Oslo Philharmonic Orchestra, Bavarian Radio Symphony Orchestra, MDR Sinfonieorchester Leipzig, and WDR Sinfonieorchester Köln under Jukka-Pekka Saraste, with whom he will record both Shostakovich concertos. Following early competition success, Gerhardt’s international career was launched by his debut with Berliner Philharmoniker and Semyon Bychkov in 1991. Notable orchestra collaborations since include Concertgebouw Amsterdam, London Philharmonic, all of the British and German radio orchestras, Tonhalle Zürich, Leipzig Gewandhaus, Orchestre National de France as well as Cleveland, Philadelphia, Boston, and Chicago Symphony Orchestras, under conductors such as Kurt Masur, Christoph von Dohnányi, Christian Thielemann, Christoph Eschenbach, Michael Tilson Thomas, Esa-Pekka Salonen, Vladimir Jurowski, Kirill Petrenko, and Andris Nelsons. Alban Gerhardt plays a Matteo Gofriller cello dating from 1710.
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by Michael Clive
Gioachino Rossini (1792–1868)
Overture to the Opera William Tell PERFORMANCE TIME: 12 MINUTES
No one brings up a curtain like Rossini. His popular overtures go far beyond the genre’s typical purposes of setting an appropriate mood and whetting the audience’s appetite for the music and the drama to come, but they often break convention along the way. In overtures by other composers, major musical
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themes that will return later as full-blown arias are previewed, giving a sense of the action as well as the music. But the Overture to William Tell, one of the two or three most popular Rossini ever wrote, doesn’t give us any hints. One reason: he originally composed it for his opera Elizabeth, Queen of England, a turgid historical drama that came 14 years and 24 operas before William Tell. He was simply too pressed for time in the weeks before the 1829 premiere of William Tell at the Paris Opéra to write something new. This orchestral favorite is composed in four familiar
UTAH SYMPHONY
DVOŘÁK’S “NEW WORLD” SYMPHONY
Notes on the Program
sections, starting with a cello solo suggestive of early morning. Its thematic material builds to a thundering storm, then subsides into a pastoral scene. The most familiar theme of all—from schoolyards to commercials to the Lone Ranger’s famous call—comes with the clarion sound of of the trumpet and then the galloping horses that tell us the good guys will prevail. Hi-ho, Silver! Away! Henri Dutilleux (1916–2013)
Tout un monde lointain… PERFORMANCE TIME: 26 MINUTES
The sensual appeal of French composer Henri Dutilleux’s voice works in tandem with some of the most difficult qualities of modern music, making them accessible and enjoyable. For example, although his work is generally atonal, dominant bass notes provide an aural context that make “pitch centers” clear. We do not hear traditional melodies in works such as the Tout un monde, but the very strong sense of structure and symmetry give us a clear sense of the themes and their transformations. And throughout, there is the appeal of Dutilleux’s coloration, written in the great French tradition of orchestration. The title of this work can be translated as “a whole distant world.” The very phrase plunges us into the reaches of the cosmos, and the provocative ellipsis at its end signals us to have our imaginations ready, perhaps to “fill in the blanks” as we listen. A glance at the extensive instrumentation shows us the breath of Dutilleux’s orchestral reach in creating celestial colors and textures. Though catalogued as a concertante and comprised of five movements, Tout un monde has all the demands of a cello
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concerto and has taken its place alongside the most important concertos in the cello repertory. Dutilleux composed it between 1967 and 1970 on commission from Igor Markevitch for Concerts Lamoreux and worked with its dedicatee, the great Russian cellist Mstislav Rostropovich, to edit and refine the cello part. The result departs radically from the post-Beethoven Romantic model: where traditional concertos present the solo instrument as the sound of a hero prevailing over the massed forces of the orchestra, Dutilleux makes the cello a kind of “voice of the cosmos” and situates it in the wonder of a dreamy universe, surging with life and mystery. The five movements of Tout un monde bear epigraphs by the French poet Charles Baudelaire and are performed without pause. The poetic references deepen, rather than explain, the mystery of the music. Antonin Dvořák (1841–1904)
Symphony No. 9 in E minor, Op. 95 “From the New World” PERFORMANCE TIME: 40 MINUTES
Despite its inescapable nickname, this was not an “American” symphony, but rather a symphony “from the New World.” Dvořák was deeply inspired by American musical sources in composing it. Drawing upon Indian songs and African American spirituals, this symphony broadly captures the spirit of both traditions without specifically quoting individual melodies. Listeners everywhere recognize the distinctively American sound in “From the New World” as soon as they hear it. The symphony opens with a portentous adagio
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DVOŘÁK’S “NEW WORLD” SYMPHONY
Notes on the Program
that gives way to a quick allegro, with a minor key that seems to communicate the excitement of discovery and unknown frontiers. The emphasis on brasses and woodwinds, as opposed to strings, gives the movement a fresh sound that separates it from European idioms. The first of these melodies—to some listeners, at least—is a solo theme for flute in the first movement that may be suggestive of the spiritual “Swing Low, Sweet Chariot.” But it is in the largo in the second movement, which has gained acceptance as the song “Goin’ Home,” that we begin to hear it most clearly. Whether it existed in song form before the symphony was written has not been settled beyond doubt; we do know that in gaining knowledge of the African American legacy of folk song in America— including the deeply moving “sorrow songs” combining the themes of death, loss, and physical return to the Creator—Dvořák worked with a remarkable African American named Harry Burleigh, who knew this music firsthand and whose blind grandfather was a former slave. “Goin’ Home” certainly has all the characteristics of these songs. It is likely (but not certain) that while working on the symphony, Dvořák demonstrated the melody for Burleigh, who later executed it as a song with the lyricist William Arms Fisher. While the idea of the sorrow song supports this idea in a general way, the frenzied scherzo that follows the second movement largo seems much more specific. The musicologist Joseph Horowitz relates it to the dance of Pau-Puk-Keewis at Hiawatha’s wedding, and Hiawatha’s pursuit through
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the forest; wild and percussive, its whirling rhythms match both the American Indian sources Dvořák studied in the U.S. and the driving metrics of Longfellow’s poem, underlined by re-emergent timpani. It can also suggest Hiawatha’s own feelings of grief and expiation. But when specific lines of Hiawatha’s dance are juxtaposed with the music of the scherzo, one cannot escape the conclusion that Dvořák wrote the movement as a literal dance for Pau-Puk-Keewis. Even more convincing is the matching of scherzo passages to Hiawatha’s chase through the woods and climactic battle with Pau-PukKeewis, even though this music—like the rest of the symphony—can be fully enjoyed as abstract expression for its own sake. The final movement is an allegro that moves from the scherzo’s E minor into a triumphant E Major, the first sustained major section in the symphony. Here Dvořák seems to shift his gaze upward from a single, poignant tale to a distant horizon, presenting us with a nation’s destiny. There is a fateful quality to the clarion brasses and thundering percussion as the symphony draws to a close; in it, contemporary listeners heard a musical portrait of a young country that was youthful but vigorous and bold, ready for a place of leadership in the community of nations. It took more than a century, but Dvořák’s conception of an intrinsically American compositional style has finally prevailed not only in our great jazz composers, but also in the unclassifiable works by musicians such as Mark O’Connor and Béla Fleck, whose creations can quote Bach and Bluegrass in a single bar.
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JESÚS VINCENTE MURILLO, UTAH OPERA RESIDENT ARTIST
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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
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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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Stream Classical KUER 24/7 on your desktop. Read the latest from NPR Classical. See and search the full playlist.
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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
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$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
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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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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