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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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CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome 8 Music Director
MAY 17 | 10 AM
10 Associate Conductor
MAY 17 | 7:30 PM
15 Utah Symphony
MAY 18 | 5:30 PM
16 Board of Trustees 18 Utah Chinese and the Golden Spike 20 Utah’s Chinese Community Today
COPLAND’S APPALACHIAN SPRING & BILLY THE KID
23 Pre-Concert Rituals 24 House Rules 26 Administration 30 Season Sponsors 31–38 Tonight’s Concert
MAY 21 | 7 PM
UTAH SYMPHONY PRO-AM: YOUTH ALL-STARS EDITION
39 Support USUO 40 Donors 54 Legacy Giving 59 Tanner & Crescendo Societies 63 Education 64 Acknowledgments
Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
@UtahSymphony
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
MAY 24–25 | 7:30 PM
SEASON FINALE: MAHLER’S SYMPHONY NO. 1
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison
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
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WELCOME
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Music Director
Chair, Board of Trustees
On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As we approach the conclusion of another spectacular winter season of artistic successes and incredible live music, we wish to thank you for the energy you bring to the hall, inspiring our musicians to create the very best music experiences with and for you. This month it is a special pleasure to present Grammy-nominated composer Zhou Tian’s Transcend, a multi-movement orchestral piece, written in commemoration of the 150th anniversary of the completion of the First Transcontinental Railroad and co-commissioned by Utah Symphony along with other American orchestras located along the historic route. Programs this month also feature James Ehnes, one of the most sought-after violinists on the international stage, as well as the Utah Symphony’s own Kathryn Eberle and Claude Halter. We conclude the Masterworks Season with the return of Mahler’s Symphony No. 1 “Titan”, the work that launched the recent series of acclaimed Utah Symphony commercial recordings.
August 10. “Escape into the music” to enjoy the world-class talent from our own Utah Symphony, paired with the best in classic rock, country, Broadway, pop, jazz, and of course, chamber and classical music in the mountain charm of Park City. This year’s guest artist line-up features such stars as the Indigo Girls, Kristin Chenoweth, Chris Botti and Utah’s own Marie Osmond! And also watch for the Utah Symphony as featured guests throughout the summer in outdoor community venues at Thanksgiving Point, the Gallivan Center, the Kenley Amphitheater in Layton, Snowbasin, and in two West Valley locations—the Utah Cultural Celebration Center and Taylorsville Regional Park. The Utah Symphony is also excited to share the stage with Sting at the USANA Amphitheatre on August 31 as we help celebrate 100 Years of Zion National Park! Thank you again for being part of tonight’s musical experience. We look forward to seeing you outdoors this summer and once again in the marvelous setting of Abravanel Hall for next season!
As the warm weather returns, we hope you will join us at our summer home at the Deer Valley® Music Festival from June 28 to
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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 symphonies, 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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SIXTEENTH SEASON THE UTAH SYMPHONY’S 2019 DE E R VALLE Y ® MUSIC FE STIVAL 6/28 CHRIS BOTTI
6/29 MARIE OSMOND
BROADWAY! LIFE IS A CABARET TO ARETHA, QUEEN OF SOUL CELLO CONCERTO
7/5 PATRIOTIC CELEBRATION
7/10 MENDELSSOHN’S VIOLIN CONCERTO 7/13
7/17 SCHUMANN’S
7/19 DISNEY IN CONCERT: A MAGICAL CELEBRATION
GOLDSBERRY 7/24 BEETHOVEN & DVOŘÁK: THE ROMANTIC VIOLIN SPACE CELEBRATION NO. 23
7/27
RODRIGO Y GABRIELA
8/2 TCHAIKOVSKY’S 1812 OVERTURE
SYMPHONY NO. 3
A SYMPHONIC
7/31 MOZART’S PIANO CONCERTO
8/3 KRISTIN CHENOWETH
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ASSOCIATE CONDUCTOR Conner Gray Covington began 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. He was recently named as one of the 2019 Solti Foundation Carrier Assistance Award Winners.
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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 Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal
David Porter Acting Associate Concertmaster
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second
BASS* David Yavornitzky Principal Corbin Johnston Associate Principal
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
James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera 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-Scott Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott
Sam Elliot Associate Principal
TIMPANI George Brown# Principal Eric Hopkins Acting Principal Michael Pape Acting Associate Principal PERCUSSION Keith Carrick Principal Michael Pape Stephen Kehner†† KEYBOARD Jason Hardink Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
LIBRARIANS Clovis Lark Principal
Leon Chodos Associate Principal
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
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
Katie Klich
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 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*
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 W. James Tozer, Jr. David Utrilla Kim R. Wilson Thomas Wright Henry C. Wurts MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Andrew Larson* EX OFFICIO
Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Onstage Ogden *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones
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.)
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
P O D C A S T
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Utah Chinese and the Golden Spike
The golden spike ceremony at Promontory Summit, Utah on May 10, 1869; completion of the First Transcontinental Railroad. Credit: Andrew J. Russell (1830–1902)
On May 10th, 1869 in Promontory, Utah, the First Transcontinental Railroad across North America officially opened for through traffic with the driving in of the last “Golden Spike” which formally joined the Central Pacific and Union Pacific railroad routes. While the participation of Chinese workers has been documented, their sacrifice and hardship have not been well publicized. Over 600 miles of the most hazardous part of the Central Pacific route was built by about 12,000 Chinese workers, the majority of whom were originally from the Canton province. They toiled in extremely harsh conditions and accomplished a seemingly impossible mission. They helped lay ten miles of track in one day, setting a railroad record that has not been matched even in the modern era. In total, nearly 2000 lives were lost during the railroad construction, though this is likely an underestimate. We can say for certain that the First Transcontinental Railroad was built on the bones of Chinese laborers. However, when the Champagne photo
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was taken at the ceremony, none of the Chinese workers were included. What’s more, according to Iris Chang, most of them were laid off without promised return passage. Then came the waves of excluding Chinese immigrants that led to the Chinese Exclusion Act in 1882. Let us not forget such tragedies like Rock Springs massacre of Chinese miners in 1885: 28 dead, 15 injured; and 78 homes burned. 2019 marks the 150th anniversary of that historical moment in Promontory, Utah. In honor of those heroic Chinese workers, the Utah Chinese Golden Spike Celebration Committee was created. A series of activities and events are planned by this committee to commemorate the 150th Golden Spike anniversary. Activities include rebuilding of the Salt Lake City Historical Chinatown, lectures about the contribution of the Chinese railroad workers, academic forums featuring the past, present, and future of Chinese Americans, attending the official reenactment ceremony commemorating the 150th anniversary at Promontory Summit and taking a group picture, the Golden Spike artwork exhibition which includes photographs, sculptures, paintings, and other artifacts, cultural performances on the history of construction of the Transcontinental Railroad; and special events for economic and trade exchanges. We will also invite children to join in the celebration by submitting pieces of art and literature to help remember our Chinese pioneers.
UTAH SYMPHONY
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.
10-MINUTE OPERAS Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthey Family Foundation. May 20-22, 2019.
GIFT OF MUSIC Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.
TRANSCEND Utah Symphony’s performance of Chinese composer Zhou Tian’s Transcend, a co-commission with other orchestras along the transcontinental railroad’s route. May 17-18, 2019.
FOR MORE INFORMATION, VISIT USUO.ORG/FESTIVAL The Hal R. and Naoma J. Tate Foundation
Utah’s Chinese Community Today
As the state of Utah and states across the nation are enthusiastically celebrating the 150th Anniversary of the Golden Spike this year, local Chinese groups are actively participating in the celebration. Many events have been planned and held, including cultural performances, workshops on Chinese railroad workers history, and other railroad and economy related topics, to recognize the contributions of the Chinese culture and people to Utah’s history, and celebrate their continued role in our state’s future. The work on the transcontinental railroad is the best known aspect of the history of Utah’s early Chinese people. Events at Promontory Summit, with the driving of the Golden Spike on May 10, 1869, marked the beginning rather than culmination of the Chinese presence in the state. Similar to the significant contributions by the 12,000 Chinese railroad workers to the then economy and development of the United States, current local Chinese communities have been continuously serving and making tremendous impacts in mainstream society. Thousands of Chinese professionals now work at local companies, universities, governments, and research institutes, with countless others integrated into our everyday lives, working seamlessly within our societies and contributing to our communities.
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By Xiaoming Dong
According to the US Census of 1870, during the first wave of immigration, only 445 Chinese were living in Utah. Over the decades, the number has been steadily increasing. Nowadays, the Chinese population is estimated to be 35,000-40,000 in Utah, with the biggest residence in Salt Lake County. Before the 20th century, several old Chinese neighborhoods were developed in Utah, including Ogden, Silver Reef, Park City, and Corinne. Chinatown in Salt Lake City was formed around 1900 and vanished in the 1930. In Salt Lake City, this Chinatown was located around Plum Alley, which ran north from 200 South to 100 South between Main and State Street, later expanded to include parts of 300 South, Commercial Avenue and Main Street. Chinese is the third-most spoken language in Utah after English and Spanish. Utah presently has the largest number of students learning Chinese language, with Chinese dual immersion programs currently offered in 65 Utah grade schools. While the Chinese community prior to 1960 was primarily composed of migrants and their descendants from southern China with Cantonese ancestors, laboring as transcontinental railroad workers, the majority of current Chinese families are first-generation migrants from China.
UTAH SYMPHONY
10-MINUTE OPERAS Commemorating the Golden Spike | Commissioned by Utah Opera
MAY 20–22, 2019 PREMIERE PREMIERE PERFORMANCES PERFORMANCES The Stone, The Tree, and The Bird by Jacob Lee and Christine McDonough
Completing the Picture
by Michael Ching and Victoria Panella Bourns
Burial
by Tony Solitro and Paisley Rekdal
No Ladies in the Lady’s Book by Lisa DeSpain and Rachel Peters
MON, MAY 20
7:30 PM Brigham City Fine Arts Center 58 S. 100 W., Brigham City
TUES, MAY 21
7:30 PM Ogden Union Station Browning Auditorium 2501 Wall Avenue, Ogden
WED, MAY 22
7:30 PM Gallivan Center, Salt Lake City 239 S. Main St. 200 S. side, 2nd floor, indoors
The Hal R. and Naoma J. Tate Foundation
For more information and FREE ticket registration, visit utahopera.org/festival
Join Us! Please join us on the Utah Symphony Guild Proudly supporting the Utah Symphony for 64 years!
The Guild supports: Gift Shop, Utah Symphony Youth Guild, Outreach Violin Program,Finishing Touches
w w w.u ta hs ym p h o n y g u i l d.o r g
Pre-concert Rituals
By Renée Huang, Director of Communications
Professional musicians spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to different time zones, culture, and climate, regular routine is sacrificed. We asked Utah Symphony Associate Conductor Conner Gray Covington to share what preconcert rituals help keep him grounded.
Conner Gray Covington Utah Symphony Associate Conductor, conducts a concert for fifth-grade students at Abravanel Hall in Salt Lake City on Tuesday, Feb. 12, 2019.
UTAHSYMPHONY.ORG
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I don’t have any specific rituals that I always perform before a performance. However, often on concert days, we will have a rehearsal that same morning, so I often like to take a short nap and maybe a walk in the afternoon so that I feel rested and relaxed. I generally like to arrive at the venue about 45 minutes before the performance. Then I’ll take my scores to the librarian to be put out on stage, and I like to be in concert attire and ready to go 10–15 minutes before each performance. I don’t like too much downtime before a performance as this can make me a bit nervous. I also like to be around people and cracking jokes backstage right before I go on as this helps to keep me relaxed. I also usually don’t do any last minute studying before a performance. If I don’t know the scores by then, it’s too late at that point!
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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
#
2018/19 UTAH SYMPHONY SEASON
#UTAHSYMPHONY #SYMPHONYROCKSTARS #MUSICEDMATTERS
ADMINISTRATION ADMINISTRATION Paul Meecham
Heather Weinstock
President & CEO
Director of Special Events & DVMF Donor Relations
David Green
Lisa Poppleton
Director of Education & Community Outreach
Julie McBeth
Nikki Orlando
Symphony Education Manager
Ali Snow
Ellesse Hargreaves
Senior Vice President & COO Executive Assistant to the CEO Executive Assistant to the COO & Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Grants Manager Development Operations Manager Development Assistant
MARKETING & COMMUNICATIONS Jon Miles
Symphony Music Director
Vice President of Marketing & Public Relations
Anthony Tolokan
RenĂŠe Huang
Conner Gray Covington
Chad Call
Vice President of Symphony Artistic Planning Associate Conductor
Director of Communications & Digital Media
EDUCATION Paula Fowler
Kyleene Johnson Paul Hill
Opera Education Assistant
Annie Farnbach
Symphony Education Assistant
OPERA TECHNICAL Jared Porter
Senior Technical Director
Kelly Nickle
Properties Master
JR Orr
Assistant Props
Barlow Bradford
Marketing Manager - Audience Development
Travis Stevens
Walt Zeschin
Kathleen Sykes
Digital Content Producer
Dusty Terrell
Symphony Chorus Director Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Cassandra Dozet
Director of Orchestra Operations
Nina Starling
Website Content Coordinator
PATRON SERVICES Faith Myers
Director of Patron Engagement
Merry Magee
Marketing Manager - Patron Loyalty
Andrew J. Wilson
Patron Services Manager
Melissa Robison
Genevieve Gannon
Chip Dance
Sarah Pehrson Jackie Seethaler Powell Smith
Program Publication & Front of House Director Production & Stage Manager
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Lyndsay Keith
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Development Assistant
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Hallie Wilmes Ticket Agents
Vice President of Finance & CFO
Brooke Yadon
Director of Information Technologies
Karyn Cunliffe
DEVELOPMENT Leslie Peterson
Alison Mockli
Jessica Proctor
Director of Institutional Giving
Olivia Custodio
Director of Individual Giving
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COSTUMES Verona Green
Costume Director
Jessica Cetrone
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp
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UTAH SYMPHONY
COPLAND’S APPALACHIAN SPRING & BILLY THE KID
Program
Copland’s Appalachian Spring & Billy the Kid MAY 17 MAY 17 MAY 18
/ 2019 / 10AM / ABRAVANEL HALL (FINISHING TOUCHES) / 2019 / 7:30PM / ABRAVANEL HALL / 2019 / 5:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor JAMES EHNES, violin
COPLAND BRUCH
Suite from Appalachian Spring Concerto No. 1 in G minor for Violin and Orchestra, Op. 26 I. II. III.
Vorspiel: Allegro moderato Adagio Finale: Allegro energico
JAMES EHNES, violin
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Transcend (2019) I. II. III.
COPLAND
Suite from Billy the Kid I. II. III. IV. V. VI. VII.
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Pulse Promise D-O-N-E The Open Prairie Street in a Frontier Town Card Game at Night Running Gun Battle Celebration on Billy’s Capture Billy’s Death The Open Prairie Again
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TR A N S C E N D S P O N S O R
PO & BEATRICE CHANG & FAMILY
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COPLAND’S APPALACHIAN SPRING & BILLY THE KID
James Ehnes Violin GUEST ARTIST SPONSOR
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Artists’ Profiles See page 8 for Thierry Fischer’s profile.
James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest of many of the world’s most respected conductors including Ashkenazy, Alsop, Andrew Davis, Denève, Elder, Ivan Fischer, Gardner, Paavo Järvi, Mena, Noseda, Robertson and Runnicles. Ehnes’s long list of orchestras includes, amongst others, the Boston, Chicago, London, NHK and Vienna Symphony Orchestras, the Los Angeles, New York, Munich and Czech Philharmonic Orchestras, and the Cleveland, Philadelphia, Philharmonia and DSO Berlin orchestras. Ehnes began violin studies at the age of five, became a protégé of the noted Canadian violinist Francis Chaplin at the age of nine, and made his orchestra debut with Orchestre Symphonique de Montréal at 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada. James Ehnes plays the “Marsick” Stradivarius of 1715.
UTAH SYMPHONY
COPLAND’S APPALACHIAN SPRING & BILLY THE KID
Notes on the Program by Michael Clive
Aaron Copland (1900–1990)
Orchestral Suite from Appalachian Spring PERFORMANCE TIME: 23 MINUTES
Orchestral Suite from Billy the Kid PERFORMANCE TIME: 20 MINUTES
Born with the 20th century, Aaron Copland—with his air of dignity and intellectualism—became known as “the Dean of American Composers” later in life largely for earlier accomplishments, such as Billy the Kid and Appalachian Spring. He was born in New York City to Russian-Jewish immigrant parents, and when he evinced an early interest in music, his older sister became his first piano teacher. By age 15, he had his sights set on a career as a composer. In 1921 Copland ventured to France to further his musical studies at a newly formed school for Americans at the Fontainebleau chateau outside Paris. There he came under the influence of one of music history’s legendary pedagogues: Nadia Boulanger, whose uncanny ear and uncompromising standards helped two generations of American composers find their individual voices. Talents as diverse as George Gershwin and Phillip Glass studied with her, but Copland was the first American composer to do so. Instructional visits to the Parisian home of Nadia Boulanger and her sister Lili were like holy pilgrimages for musical aspirants, but these sessions often resulted in excoriation rather than benediction: the Boulangers were demanding and blunt in
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their judgments. Most of all, Nadia insisted that her composition students look within themselves and their national cultures in developing an individual style. This aspect of her creative philosophy is summarized in a quip sometimes attributed to Oscar Wilde: “Be yourself. Everyone else is already taken.” It is a philosophy that Aaron Copland took to heart, eventually developing a style of music that is uniquely his and uniquely American. Copland returned to the U.S. three years later with a major commission in hand: Nadia Boulanger had asked him for an organ concerto. Coming from France, where the organ is especially revered, the assignment was a mark of high esteem. In the pieces that followed— Music for the Theater (1925) and a piano concerto (1926)—we can hear Copland experimenting with indigenous musical sources, including Jewish folk dances and Hebrew chants he heard as a child, along with jazz and blues. We can also hear lessons learned from the music of Stravinsky (whom Boulanger greatly admired). But it is in his “western ballets”—Billy the Kid, Rodeo and Appalachian Spring—that we can most clearly hear Aaron Copland as a young composer becoming himself. In Appalachian Spring we hear the most confident and classic expression of Copland’s American sound. Commissioned as a ballet score by the choreographer Martha Graham, Appalachian Spring presents a dance scenario that is no less American than Billy the Kid. But it is more abstract, in keeping with Graham’s brilliantly stark esthetic. In Graham’s frontier landscape, plot points and character
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COPLAND’S APPALACHIAN SPRING & BILLY THE KID
Notes on the Program
interactions are less important for the story they depict than for the spirit they embody. Her choreography strips emotion to its core. Appalachian Spring was originally scored for a chamber orchestra of 13 and premiered with the Graham company in 1944. The premiere performance, presented (appropriately enough) at the Library of Congress in Washington, D.C., is a milestone in American cultural history. Everything about the ballet was instantly recognizable as both new and classic: the dramatic vocabulary of Graham’s dance language; the stark, suggestive set design by artist Isamu Noguchi; and Copland’s distinctively American score. Rescored for full orchestra the following year, it won the Pulitzer Prize for music. Appalachian Spring depicts scenes from country life in 14 brief episodes. While the story is set in springtime and focuses on the natural cycle of life’s annual renewal, Graham’s “spring” is not a season of the year, but a stream—a symbol of water, life, and renewal. The dance culminates in the celebration of its characters, 19th-century Pennsylvania settlers including a young wedded couple, a “pioneer woman” and a preacher, after building a farmhouse. For Copland, who had followed his studies in Paris by exploring Schoenbergian atonality, Appalachian Spring represented a reaffirmation of the greatness of America’s musical and cultural heritage. It opens and closes with prayerful chords developed from traditional hymns, eventually centering on pastoral variations on the Quaker hymn “Simple Gifts.” Its climactic setting of this stark melody combines simplicity and majesty in a way that is profoundly moving and utterly American.
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Max Bruch (1838–1920)
Concerto No. 1 in G minor for Violin and Orchestra PERFORMANCE TIME: 23 MINUTES
Classical music has its share of one-hit wonders, but Max Bruch was not one of them—just ask any fiddler. As she or he will tell you, several of Bruch’s compositions are foundational works in the violin repertory. So we can easily understand Bruch’s exasperation over the popularity of his Violin Concerto No. 1, which captured audiences’ fascination as soon as they heard it, and remains a public favorite to this day. “The G-minor concerto again!” exclaimed Bruch after receiving yet another request to conduct it. “I could not bear to hear it even once more. My friends, play the second concerto or the Scottish Fantasy for once!” This outburst comes to us by way of the composer’s son Ewald, who might reasonably have expected a financial benefit from the concerto’s popularity. But as far as Bruch and his heirs were concerned, the concerto seemed jinxed. Bruch completed the first version of the concerto in 1866; its premiere, with Otto von Königslöw as soloist, was followed by intensive revision. Almost from the moment of the new version’s premiere two years later with the esteemed Joseph Joachim as soloist, the concerto was hugely popular, and from then on Bruch never escaped the shadow of its success. The revised version is the performing edition we know today. Strapped for funds,
UTAH SYMPHONY
COPLAND’S APPALACHIAN SPRING & BILLY THE KID
Notes on the Program
Bruch kept a copy of this version of the score for himself, and sold the original score and its rights to his publisher for a relative pittance; there is some doubt as to whether he actually received even that. In the economic turmoil surrounding World War I, the score passed in and out of the hands of various Bruch associates until its final sale to the collection of Pierpont Morgan Library. The one element all these transfers had in common was that they did not benefit Bruch or his family in any way.
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away, and play my other concertos, which are just as good, if not better.’” Happily, modern audiences can listen to it again and again, enjoying its emotional and melodic richness. Zhou Tian (b. 1981)
Transcend (2019)
Written by Zhou Tian PERFORMANCE TIME: 20 MINUTES
The concerto was performed throughout Europe and America in Bruch’s own lifetime, offering audiences precisely what they wanted in a violin concerto: singing lines, passionate phrasing, extreme dynamics, overarching drama, double- and triplestops. The concerto is marked by Bruch’s characteristic alternation of moods: simmering, soulful melodies build to explosive outbursts of passion. Its opening prelude, in a march rhythm marked allegro moderato, scarcely hints at the energy and drama of the finale, marked allegro energetico. If you’ve only heard Bruch on recording, watch the soloist dig into the strings: this is music to play while tossing your hair. The popularity of this showpiece has never flagged, especially with violin aficionados. Yet even with performances seemingly in every concert hall, Bruch suffered economic privation throughout his life. Small wonder he was embittered by this concerto’s success. “Nothing compares with the laziness, stupidity and dullness of many German violinists,” he wrote to his publisher. “Every fortnight another one comes to me wanting to play the First Concerto; I have now become rude, and tell them: ‘I cannot listen to this concerto any more—did I perhaps write just one? Go
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About 18 months ago, I was extremely delighted to have been invited to compose a new work commemorating the 150th anniversary of the First Transcontinental Railroad’s completion in May 2019. When I learned that 13 American orchestras— located along the route of the Railroad— would join forces together to commission and premiere this new work across the country, I was truly honored, as I knew the significant cultural impact this project would entail. Begun in 1862 and completed in 1869, the Transcontinental Railroad effectively linked the US from east to west for the first time. Its cultural heritage includes the contribution of a thousands-strong Chinese and Irish workforce who toiled in severe weather and cruel working conditions. Numerous “hell on wheels” towns proliferated along the construction route and became famous for rapid growth and infamous for lawlessness. As the settlements pushed westward, there was a mixing of ethnic groups and cultures. Unfortunately, as the daunting task of laying tracks over difficult terrain increased, many workers perished, and many of the rest were denied the American dream by the
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COPLAND’S APPALACHIAN SPRING & BILLY THE KID
Notes on the Program
enactment of the Chinese Exclusion Act in 1882. But those who stayed brought traditional art and music into the fabric of American culture. As a Chinese-born composer who immigrated to this country, was educated at the nation’s top music schools, and now serves at one of its finest institutions, I was moved to create this new work to tell a musical story, to convey a sense of spiritual perseverance, and to pay tribute to my own cultural heritage. Transcend consists of 3 movements, each conveying a feeling that is at once personal as well as general, which, to me, is the key of the Transcontinental Railroad—behind the magnificent constructions and promises, it was the sacrifices of tens of thousands of workers and their families who made it work. In this piece, the epic and intimate passages go hand-in-hand in evoking the darkness and lightness, as if going through tunnels on a fast train. The first movement, “Pulse,” starts with serene strings that remind me of the expansive desert of Utah and Nevada I visited. The music grows patiently and eventually bursts into a constant pulse of 152 bpm. The odd meters and violent poundings evoke the tension and suspense of man versus nature. “Promise,” a meditative second movement, is a vocalise for those who sought for a better future. Lyrical woodwind solos, dashing flute
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and harp, and plush strings are met with folksy Chinese tunes and dark harmonies. The finale, “D-O-N-E,” is based on the rhythm of the word “done” in Morse code. This single word was sent across the United States via one of the first nationwide telegraphs, when the Railroad was completed in 1869. (A quick shout-out to Raleigh, a railroad worker of 30 years in Omaha, for giving me the true story that inspired this movement!) Throughout the finale, “done” is passed back and forth to numerous instruments in the orchestra. An accumulation of materials sends the piece to a climax at the end. Transcend was commissioned by the Reno Philharmonic in partnership with Utah Symphony, Omaha Symphony, Sacramento Philharmonic and Opera, Boise Philharmonic, Arapahoe Philharmonic, Central Wisconsin Symphony, Cheyenne Symphony, Chicago Youth Symphony Orchestras, Evanston Symphony, Idaho State-Civic Symphony, Michigan State University and Stanford University. My deepest gratitude goes to Laura Jackson, Music Director of the Reno Philharmonic, without whose passion, courage, and musical genius the project would not have been possible. I want to sincerely thank all commissioning partners and the many kind and enthusiastic men and women who offered insights and personal stories during my yearlong research and travel on this piece. As a composer, this has been truly an inspiring journey.
UTAH SYMPHONY
UTAH SYMPHONY PRO-AM: YOUTH ALL-STARS EDITION
Program
Utah Symphony Pro-Am: Youth All-Stars Edition MAY 21
/ 2019 / 7PM / ABRAVANEL HALL
CONNER GRAY COVINGTON, conductor ALL-STAR PLAYERS FROM LOCAL YOUTH ORCHESTRAS
WAGNER
Prelude to Act I from Lohengrin
DVOŘÁK
Slavonic Dances, Op. 46, Nos. 1-4 No. 4 in F major: Tempo di menuetto
DVOŘÁK
Slavonic Dances, Op. 46, Nos. 5-8 No. 8 in G minor: Presto
TCHAIKOVSKY
Symphony No. 2 in C minor, Op. 17, “Little Russian” IV.
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Finale: Moderato assai
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UTAH SYMPHONY PRO-AM: YOUTH ALL-STARS EDITION
All-Stars
VIOLIN Madeline Anderson Suren Arutyunyan Edward Chen Hannah Cook Faith Driggs Lucy Floyd Sarah Francis Brynne Gallup Nicholas Greger Mary Mason Jackson Neslen Magdalena Poulos Jerica Smith McKenna Taylor Garett Wanner Madeline Ward Alexis Warnick
CELLO Sam Leake Lucy Jackson Jacob Page Brandon Sadler Maggie White
FLUTE Emily Humphrey Ryan Sharkey Melodie Wride
TROMBONE Rebecca Baysinger Mark Payne Austin Webster
VIOLA Celeste Adams Sarah Astill Charity Campbell Cole Cummings Mathew Lee Rachel McLaws Cade Singleton
OBOE Kristen Ball Megan Naccarato
TUBA Garrett Yatteau
See page 10 for Conner Gray Covington’s profile.
BASS Christopher Hulce Ella Larson Joseph Moore Tyler Morgan Noah Suttlemyre
CLARINET Bryan Barrus Ashley Montgomery
BASSOON Marty Bodell Aidan Brookhart HORN Collin Lambert Elliot Layton Braedon Line Ily Olsen TRUMPET Tyler Cowan Kitsel Lusted
PERCUSSION Aidan Smith Christan Summerhalder TIMPANI Connor Henrie
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Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in prior the First Tier Room,Abravanel AbravanelHall Hall 45 minutes to start-time,
UTAHSYMPHONY.ORG
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INDIVIDUAL DONORS FRIEND ($150 TO $999) Anonymous (15) John C. Abercrombie Madeline Adkins & John Forrest Frederick & Lisa Albright Mr. & Mrs. Franklin Alex Diane Anderson Bret, Michelle & Tyler Anderson Michael Heber Anderson Marco & Christine Andrei Ronald I. Apfelbaum, MD & Kathleen A. Murray, MD Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock Tom & Carolee Baron Govert Bassett David Bateman Randy & Jeni Bathemess Betty Bauwens Jennifer Beckham Brent James Bennett Francine R. Bennion Neal & Carolyn Bennion Richard Y. & Janis S. Bennion Leo Berkenbile Jason & Adrienne Berrett Ben Bersick Earle & Linda Bevins Sue Bhanos Reverend James Blaine Dr. & Mrs. H. Allan Bloomer Michael Blum & Abigail Rose Shauna Bona Anneli Bowen, M.D. & Glen M. Bowen M.D. Thomas Bowen & Martha Brace Athena Bowler Mr. & Mrs. John R. Bowman James & Marilyn Brezovec Eric Brown Matthew Bryan & Jason Taylor John Burger & Mary Lou Jones-Burger
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Marianne Burgoyne Jeff Burks Brian & Leeaine Burnett John & Kathryn Burnham Fred & Debbie Burr Alicia Butt Thomas H. & Mary Ellen B. Caine Robert H. & Gloria D. Campbell Keith Carrick & Kyra Sovronsky Roger† & Sharon Carrier Mr. & Mrs. Fred L. Carter, Jr. Susan Cashman Rebecca Marriott Champion Marvin & Patty Cherin Barbara Christensen Mr. & Mrs. Don M. Christensen William & Renee Christensen Clark & Gwen Christian Edward & Carleen Clark John & Patricia Clay Orson C. & Dianne Clay Shelly Coburn Richard & Julia Codell Dr. & Mrs. Hal S. Cole Phillip Coleman Lori Collett John W. & Mary Ann Creer Neil Crist Cindy & Christopher Cutler Kevin Damon & Kathy Calhoun-Damon Mark Davidson Jennifer Dawson & Phillip Purdom Kitty de Ruyter-Bons Drs. Pilar & Christopher Dechet Derna DeMaggio Klancy & Noel† DeNevers Carleton Detar & Laurel Casjens John Doty Anita Drew
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Mr. & Mrs. Paul Driggs Mr. & Mrs. James E. Duane M.G. Durrant Judith A. Eagan Barbara & Melvin Echols Jim & Kathy Eckstein John Eckstein Frank M. Edmunds Julie Edwards & Scot Singpiel Robert & Judith Edwards Lea Erickson Robert P.† & Mary Evans Laura Lee Falk Joseph Ferriter & Jennifer Trauscht-Van Horn Liz & Ron Field Karen Fields Dr. & Mrs. Perry Fine Omni Flux Bettina Foody Drs. Norman L. & Carol M. Foster Dr. Elizabeth L. Frank John A. & Cathey Frederick Carolyn C. Fredin Lewis D. Friedland Judith Z. Friedman Ernst Friedrich, M.D. & Marianne Friedrich, Ph.D. Bryson & Jan Garbett Ashley Gardner Smith Roman Gardner Joshua & Alisha Garrett Dave Garside Charles Gay Dr. Martin I. & Sheila G. Gelman David George & Kristine Rhodes-George Gordon† & Andree George Catherine Gerwels Raymond & Harriett Gesteland Pete Giacoma Dr. & Mrs. William R. Gray Richard & Carolyn Greene
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INDIVIDUAL DONORS FRIEND ($150 TO $999) CONTINUED… Paul & Janet Griffin Greg Grimshaw Mr. & Mrs. Theodore Gurney, Jr. Maxine Haggerty James Hall Blake D. Hamilton, M.D. Dr. Elizabeth Hammond Gabrielle & Marvin† Hammond Peter & Beth Hanlon Dean & Ann Hanniball Francis & Joan Hanson Matthew Harmer Dixie L. Harris Virginia Harris Alene Harrison Barbara Hartman Joel & Christine Hatch Doug Hattery Dr. Alan B. Hayes Susan Hendry Craig & Tiffany Hess Micah Hignight Mr. John P. Hill, Esq. Richard & Ruth Ann Hills Lane & Patrice Hirning Lewis E. Hitchner Steve Hogan & Michelle Wright Lee & Audrey Hollaar Dr. & Mrs. John Howarth Robert† & Virginia Huber Virginia A. Hughes Randy & Nikki Huizenga Jesse N. Hunsaker, M.D. Stephen Tanner Irish Ellis R. & Kathryn S. Ivory Adam Jackson Mr. & Mrs. Richard Jaffa
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Dr. Richard & Helene Jaffe Dr. Brent James Matthew & Paige Janzen James & Jeanne Jardine Dr. & Mrs. Joseph D. Jensen Gordon & VeeDrienne Johnson Mary Johnson Rodney Johnson Kimberli Jones Nick Kapitula Raymond & Beverly Karcher Dr. Siegfried & Mrs. Ellen Karsten Robert & Debra Kasirer Jacob & Chelsea Kauffman Renate & Christopher Kesler David Klock Pat Koch Michael & Peg Kramer Veronica Kulig & James Boesch Steven Labrum David & Kathy Langr Claudia Laycock Dennis Layne & Nelean Meadows Layne Kieu Le Glen M. & Karen W.† Leonard Swantje & Mitchell Levin Katherine P. Liddle Bill & Sarah Lindsay Gary & Sandra K.† Lindstrom John Lollar Marilyn Lott Janet Love Tommy Love Lynnette Loveland Mr. & Mrs. James S. Lowrie Mr. & Mrs. Keith Ludwig David & Linda Lundstrom Ralph R. & Sylvia S. Mabey
Yuki MacQueen Robert & Raija Maddock Ed & Heidi Makowski John C. & Karen R. Malechek Michael Manfull Dr. & Mrs. Ned L. Mangelson Susan R. Marquardt Alexander Martin Miriam Mason Penelope Mathews & David Horner Karen McArthur & Bernard Grosser Neylan McBaine & Elliot Smith Jerilyn McIntyre & David Smith Dan McKnight & Deanna Donaldson Heather McMaster Rachel McNassor Edward G. “Skip” & Patricia Mencimer Mr. & Mrs. Reed W. Merrell Joel Millard Dan P. Miller Robert L. Miller Robert & Dianne Miner Dave Moore & Mary Mallon Michael Morris James Moyer Keegan Moyer & Jennifer Gardner John Mulderig Janene Muller Mark & Katie Murphy John C. & Mary Ann Nelson Phillip & Alice Newberry Ruzena Novak Patti O’Keefe Ellen Opprecht Ralph & Kay Packard
UTAH SYMPHONY
INDIVIDUAL DONORS FRIEND ($150 TO $999) CONTINUED… Adrian S. Palmer Francisco Pami Dr. Marzia Pasquali & Ms. Nicola Longo Robert & Barbara Patterson Family Memorial Foundation Paula S. Paterson Barbara Perry Joan C. Peterson Kelvin Peterson & Liqin Qiu Joseph C. & Deborah R. Pienezza Jerry & Nancy Pitstick Milivoj Poletan Lisa Poppleton & Jim Stringfellow David Porter Dr. Glenn Prestwich Laszlo & Sandra Preysz Matthew & Maria Proser Mark & Rita Puckett Glen & Dorothy Purdie Michael & Alexandria Range Sandrina Range Randy Rasmussen Mr. Bill Reagan Ronald Rencher Richard F. Riesenfeld & Elaine Cohen Eric & Sally Robinson John Rohrbaugh Rebecca Roof John Rose Dr. John W. Rose & Ms. Carolyn A. Pedone Suzanne Rosenberg Gerry & Ginny Rothstein Patricia Curtis Rothwell Steven Rouzer Jerry R. & Linda Rowley
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Doug & Jodi Russell Mr. & Mrs. Leonard Russon Ellen T. Rye Juergen & Cheryl Sass Michael & Chris Savage Steven & Barbara Schamel Sandefur Schmidt Darrell Schrick Brent & Lisa Shafer Orion & Marge Sherwood James Sherwood Scott & Susan Shields M. Tom & Junko Shimizu Glenda & Robert† Shrader Deborah Simmons Margaret M. Simmons Val & Barbara† Singleton Julia M. Smith Leonora Smith* Mercedes Smith Stewart & Diane Smith Harrison Smithwick Edwina Jo Snow Jacqueline F. Solon Neal & Carol Sorensen Susan Chausow Southam James & Angela Southwick Wayne Sowers Robert & Arita R. Sparks Diana Major Spencer Ronald W. Strahan, M.D. Sharon Strong Annie & Cory Strupp Dennis D. & Karen M. Taggart Mrs. Gaylia Tanner Max & Beverly Tanner Isabella Tcaciuc & Thomas Bosteels Ronald W. Tharp & Kate F. Little
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Whittney Anne Thomas Brent & Lissa Thompson Larry R. & Mary Thornock Gail Tomlinson William & Patricia Tueting Mike & Ellen Turbow Sarah & Alexander Uhle Kenneth Uy Shirley Van Wagenen Mark E. Vernon Gary P. Veverka Judith M. Victor William & Donna R. Vogel Kerry Vogt William & Heidi Vriens Dianne Walker & Peter Yogman Sharon Walkington Bonnie Walsh Don Walton John & Marva Warnock Bruce & Leigh Washburn Rasmus Wegener Frank & Janell Weinstock Werner & Dorothy Weixler Van P. Whitfield Reatha & Charles M. Whiting David Whittaker Julie Wilkerson Joanne May Williams Glenn & Connie Wimer Gayle & Carolyn Winterrose Laura & Thomas Witt Scott Wood Gary K. & Kristy S. Woodward Frank & Betty Yanowitz Robert Stephen Zeile Dean & Jean† Zobell
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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 D. Dee III & Dr. Candace Dee
Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall
The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace
GIFTS MADE IN HONOR Burton & Elaine Gordon Mrs. Barbara Nellestein Matthew & Maria Proser
Barbara Scowcroft & Ralph Matson Joanne & Bill Shiebler
Grant Gill Smith Dale Strobel Whittney Thomas
GIFTS MADE IN MEMORY Dawn Ann Bailey Jay T. Ball Betty Bristow Kathie Dalton Peggy Chase Dreyfous Leah Burrows Felt Lorraine L. Felton
Crawford Gates Lowell P. Hicks Harry Lakin Sharon R. Lewis Frank & Maxine McIntyre Clyde Dennis Meadows Dr. Richard George Middleton
Glade & Mardean Peterson Shirley Corbett Russell J. Ryan Selberg Ann O’Neill Shigeoka, M.D. Phyllis “Philly” Sims Maxine Winn
Proud Supporters of the Utah Symphony
Grandeur Peak Funds are distributed by ALPS Distributors, Inc.
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UTAH SYMPHONY
INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from March 8, 2018 to March 8, 2019. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE Anonymous The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy
The Florence J. Gillmor Foundation Emma Eccles Jones Foundation O.C. Tanner Company John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks
Shiebler Family Foundation State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
Perkins-Prothro Foundation
Sorenson Legacy Foundation
Foundation LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Simmons Family Foundation Stein Eriksen Lodge** STRUCK*
Summit Sotheby’s Norman C.† & Barbara L. Tanner Second Charitable Trust Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint.SmartHome WCF Mutual Insurance Company
$50,000 TO $99,999 The Grand America Hotel & Little America Hotel*
$25,000 TO $49,999 Anonymous Arnold Machinery BMW of Murray/ BMW of Pleasant Grove Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort* Joan & Tim Fenton Foundation Frederick Q. Lawson
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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 Cultural Vision Fund Daynes Music Company* Discover Financial Services The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Matthew B. Ellis Foundation Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Hyatt Centric Park City** Johnson Foundation of the Rockies Janet Q. Lawson Foundation Park City Chamber / Visitors Bureau S.J. & Jessie E. Quinney Foundation Raymond James & Associates Richard K. & Shirley S. Hemingway Foundation
Regence BlueCross BlueShield of Utah The Joseph & Evelyn Rosenblatt Charitable Fund Schmidt Family Foundation The Swartz Foundation University of Utah Health W. Mack & Julie S. Watkins Foundation Wells Fargo
Holland & Hart** The Huntsman Foundation J. Wong’s Thai & Chinese Bistro* John Williams Foundation Jones Waldo Park City Kulynych Family Foundation II, Inc. The M Lazy M Foundation Martine* Promontory Foundation
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 The Christian V. & Lisa D. Young Family Foundation
Henry W. & Leslie M. Eskuche Charitable Foundation Victor Herbert Foundation InvitedHome* Inwest Title Service. Inc.
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. Deluxe Corporation Foundation Ditta Caffè* The Dorsey & Whitney Foundation Every Blooming Thing* George Restaurant* Goldman Sachs & Co. LLC
$2,500 TO $4,999 Anonymous Bambara* Bertin Family Foundation Robert S. Carter Foundation CBRE
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UTAH SYMPHONY
INSTITUTIONAL DONORS $1,500 TO $2,499 Castle Foundation City Creek Center Constellation Brands Corning Incorporated Foundation The Handley Foundation, Inc. The Helper Project
Millcreek Coffee Roasters* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Glenna & Lawrence Shapiro Family Foundation
The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation Snow, Christensen & Martineau Foundation
The Kanter Family Foundation Nebeker Family Foundation
Strong & Hanni, PC Swire Coca-Cola, USA*
The Charles & Annaley Redd Foundation Romney Lumber Company
Sexy Hair* XMission
$1,000 TO $1,499 Anonymous The Fanwood Foundation Western Office
$150 TO $999 Cope & Cope Investments Gourmandise* P.S.C.I.
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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 contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012, or visit our website at usuo.giftplans.org.
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UTAH SYMPHONY
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TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 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 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
Herbert C. & Wilma Livsey Dianne May 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 Ms. Marilyn Lindsay† Turid V. Lipman
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
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ACKNOWLEDGEMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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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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