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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
SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Program
Season Finale: Mahler’s Symphony No. 1 MAY 24–25
/ 2019 / 7:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor KATHRYN EBERLE, violin CLAUDE HALTER, violin
HAYDN
Symphony No. 9 in C Major I. II. III.
SCHNITTKE
Allegro molto Andante Minuetto: Allegretto
Moz-Art à la Haydn KATHRYN EBERLE, violin CLAUDE HALTER, violin
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Symphony No. 1 in D Major “Titan” I. II. III. IV.
Langsam. Schleppend. Wie ein Naturlaut—Immer sehr gemächlich Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt
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SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Artists’ Profiles See page 8 for Thierry Fischer’s profile.
Acclaimed by the Salt Lake Tribune as, “marrying unimpeachable technical skill with a persuasive and perceptive voice,” violinist Kathryn Eberle is the Associate Concertmaster of the Utah Symphony. Ms. Eberle has also served as Guest Concertmaster with the Kansas City, Omaha, and Richmond Symphonies in addition to performing frequently with the St. Louis Symphony.
Kathryn Eberle Violin
Eberle performs annually as soloist with the Utah Symphony. She made her solo subscription series debut with the USO in April 2014 performing Leonard Bernstein’s Serenade. Other solo appearances include performances with the Los Angeles Philharmonic, the Louisville Orchestra, the Nashville Symphony, the National Academy Orchestra of Canada, and the Bahia Symphony in Brazil. An avid chamber musician, Ms. Eberle has collaborated with such artists as Edgar Meyer, Jaime Laredo, Arnold Steinhardt, Ricardo Morales, and members of the New York Philharmonic. Her festival appearances include Aspen, Banff, Yellow Barn, Encore School for Strings, Missillac, Sewanee, Laguna Beach, Fairbanks Summer Arts, Innsbrook and Festival Mozaic. She is a frequent performer on the Nova Chamber Music Series in Salt Lake City and recently presented a complete cycle of the Beethoven Violin Sonatas with pianist Jason Hardink on Nova’s inaugural Gallery Series. Hardink and Eberle were also featured in a critically acclaimed production of The Kreutzer Sonata, a unique collaboration with Plan B Theater Company. A committed pedagogue, Ms. Eberle is on the faculty of Utah State University teaching the Orchestra Excerpts Seminar. She has given numerous master classes including guest appearances at Vanderbilt University, University of Alaska Fairbanks, Dixie State University, Brigham Young University and the Sewanee Summer Music Festival. Ms. Eberle received a Master’s Degree from The Juilliard School studying with Sylvia Rosenberg. She previously studied with Robert Lipsett both at the Colburn School and the University of Southern California where she received the String Department and Symphony awards upon graduation. Ms. Eberle performs on a J.B. Vuillaume violin made in 1870.
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UTAH SYMPHONY
SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Artists’ Profiles
Claude Halter has always found himself happiest when surrounded by nature, preferably mountain biking, surfing, or hiking. However, growing up in Paris, France, the opportunities were scarce! The annual family ski trip was always the year’s highlight and the longing for adventure built up as time went by. During a summer music festival, Claude met Stéphane Tran Ngoc, a violin teacher who was about to start teaching at Lawrence University in Wisconsin. Without much hesitation Claude jumped at the chance to carve his own future in a new country, learn a new language, and discover new landscapes. One month later, he was a freshman student discovering root beer, corn dogs, keg parties, and of course, “real” cheese. From the Midwest, Claude moved to California where he studied with Ian Swensen for his master’s degree at the San Francisco Conservatory of Music. The following three years were spent in Miami Beach where Claude attended the New World Symphony, an organization dedicated to fine tuning young professional instrumentalists looking to win an orchestral position in the world’s best symphonies. Miami was the city where Claude met his beautiful wife Anne Lee, then cellist at the NWS. She eventually won a position in the Utah Symphony cello section. A few weeks after Anne joined the orchestra, Claude auditioned for the position of principal second violin and won.
Claude Halter Violin
Claude is extremely proud to be leading the wonderful second violin section of the Utah Symphony and is grateful for the support of the colleagues that surround him. As a chamber music lover, Claude is also very excited and musically rewarded when performing with the Fremont Quartet, a group formed by the Utah Symphony string principal players, Madeline Adkins, Brant Bayless, and Rainer Eudeikis. Living in Salt Lake City and easily being able to ski in the Wasatch backcountry, mountain bike in Park City or Moab, hike, fly fish, and ride a motorcycle to the Deer Valley Music Festival has quenched Claude’s thirst for the outdoors. Even though he probably could not have placed SLC on a map while growing up in Paris, he could not have found a better place to live. He is looking forward to the future of the Utah Symphony to keep growing and offering exciting concerts with world class performers and conductors.
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SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Notes on the Program by Michael Clive
Joseph Haydn (1732–1809)
Symphony No. 9 in C Major PERFORMANCE TIME: 13 MINUTES
It’s all very well for musicologists and critics to warn us that composers’ symphonic totals are not baseball scores, and that we should not judge a composer by the numbers. But composers themselves paid attention to them—hence the “curse of nine,” which bedeviled Mahler and other post-Beethoven symphonists. For us listeners, the most memorable numbers are Haydn’s impressive 104, Mozart’s 41—which included a dozen or so less-thanmature efforts and a musical “joke”—and Beethoven’s nine, which redefined the symphony’s form and scope. It’s easy to envision these figures as points on a graph, starting with the elegance and relative brevity of Haydn; as the numbers go down, scale and significance go up. Right? Not exactly. Haydn’s symphonies are far from lightweight diversions. He took the form seriously and helped bring it to a new level of refinement; in fact, he had been earning his living as a composer for about a decade before he wrote his first symphony, and by the time he composed his Symphony No. 9 in C Major, he had already composed the innovative trio of symphonies we know as “Morning,” “Noon” and “Night,” his Nos. 6, 7 and 8. Thus we should not think of No. 9, composed for one of the best court orchestras in Europe as “early Haydn.” Joseph Haydn’s first important appointment as a professional musician was to the
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court of Count Morzin, an aristocrat of the Austrian Empire whose palace was in the village of Dolni Lukavice, near the city we now know as Pilsen (Plzeň) in the modern Czech Republic. The year was either 1757 or 1759—Haydn would have been either 25 or 27 years of age. George August Griesinger, Haydn’s first major biographer, reported the following based on an interview with Papa Haydn himself: In the year 1759 Haydn was appointed in Vienna to be music director to Count Morzin with a salary of two hundred gulden, free room, and board at the staff table. Here he enjoyed at last the good fortune of a carefree existence; it suited him thoroughly. The winter was spent in Vienna and the summer in Bohemia, in the vicinity of Pilsen. Not only the exact year, but even the particular individual who hired Haydn is contested; was it Ferdinand Maximilian Morzin or his son and heir, Karl Joseph? On such questions hang questions of objectivity in music journalism. The late H.C. Robbins Landon, an important authority on Haydn and Mozart, believed that the young Haydn’s patron was in fact the senior Count Morzin, a more powerful figure in Austrian politics. On the other hand, James Webster, writing almost 15 years later in the generally authoritative New Grove Dictionary of Music and Musicians, identifies Haydn’s benefactor as Ferdinand Maximilian’s son, Karl. As it happens, H.C. Robbins Landon was a generous colleague and friend to the author of the article you’re reading now—which may be one reason why I am
UTAH SYMPHONY
SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Notes on the Program
inclined to believe him regarding the facts of Haydn’s biography. But another reason is how well it supports our understanding of Haydn’s unusual life as a composer. To put a Trekkie spin on it, Haydn lived long and prospered, applying his great musical gifts with discipline, judgment and political sure-footedness. His agreeable character and musical accomplishments had already become known within and outside his professional world. All of these virtues were instrumental in building his reputation as a patriarch of the Classical age, and his appointment by the senior Count Morzin while still in his twenties to a position in which he could call himself Kapellmeister would have been an important early stage in his professional life. The Kapellmeister’s lifestyle during the Classical era reflects the same pattern that prevails today, with the new “season” of music beginning each fall. It has often been described as migratory, and kept Haydn where his employer wanted him—on the Count’s hereditary estate in the country during the summers, and in the thick of the Austrian capital’s musical and social scene in the winters. Haydn’s canon of 104 symphonies begins with his appointment by Count Morzin. It is believed that 11 of his early symphonies were written for the Count, though they are not numbered consecutively and there is some debate as to exactly which of these works were written for him. (The numbers range up into the 30s, with significant gaps in the chronology.) But most music historians place the Symphony No. 9 in the period when Haydn was composing for the house of Morzin. In later symphonies we hear Haydn creating
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a sound that is familiar to us as “symphonic scale,” for an ensemble of about 60 players. (The post-Romantic symphony orchestra generally numbers at least 70, sometimes many more). But the symphonies written for Count Morzin were scaled for a smaller orchestra and had a more intimate sound; based on scores for another of Haydn’s composers, Landon estimated that Count Morzin’s orchestra comprised six to eight violins; a basso section of one cello, one bassoon and one double-bass; and a “wind-band” sextet of oboes, bassoons and horns. The resulting sound is more akin to a chamber ensemble than to that of a larger ensemble that can blast out Mahlerian depths. What we hear is not the dramatic intensity of a Romantic symphony, but the beauty and symmetry of the Classical era at a scale that brings us close to the heart of the music, as in a chamber work. The textures are transparent, and the instruments are somewhat exposed. In listening to this symphony, we can hear the pleasure that Haydn took in his colleagues’ capabilities, and his experimentation with form: its three movements follow the traditional fast-slow-fast sequence, but the final movement unusually combines both a minuet and a trio—in a symphony, the trio is just a section for a smaller ensemble within the orchestra—both in three-quarter time and marked allegretto. These conclude the symphony without the usual finale. The phrase lengths, too, show boldness, alternating three-bar phrases with the conventional four in the minuet. Once Haydn’s symphonies numbered in the thirties and beyond, these experiments gelled in the familiar classical symphonic form that he helped to create.
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SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Notes on the Program
Alfred Schnittke (1934–1998)
Moz-Art à la Haydn PERFORMANCE TIME: 8 MINUTES
Russian composer Alfred Schnittke’s dates are 1934–1998, making him one of the first composers of international stature whose life and works were documented on the Internet as well as in print during his lifetime. Equally important, Schnittke’s career as a composer began just after the death of Joseph Stalin. Thus he and Rodion Shchedrin, born two years earlier, escaped the harshest aspects of scrutiny by the Soviet cultural bureaucracy, which had terrorized Shostakovich, whom he greatly admired. Ultimately, both men survived Stalin, and Schnittke outlasted the Soviet regime. Musically, Schnittke was a citizen of the world whose artistic influences were unusually diverse. His first musical studies were in Vienna, where his father was posted translating Russian into German; in 1948 his family returned to Russia, adding Soviet influences to his early loves of Mozart and Schubert, and he entered the Moscow Conservatory in 1961. He had a particular affinity for the music of Shostakovich, and was fascinated by the bold modernism of the Italian composer Luigi Nono, whom he met when Nono visited the Soviet Union. Schnittke’s stylistic arc spanned early serialism that incorporated many sources in in his own unique way, dubbed “polystylism,” and later evolved to a still more inclusive, mellower, inward style typified by his fourth violin concerto. Like many composers of his generation, he spoke dismissively of his early atonality later in life.
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All this is well documented in scholarly profiles, but time has not yet given us a comprehensive picture of Schnittke as an artist. Certainly he suffered the pressures and uncertainties that composers faced in the Soviet Union as well as ill health, and much of his music is described as bleak, pessimistic or brooding. Yet he was not without humor, having composed an opera called Life with an Idiot and a Symphony No. 0, which your annotator has not been able to find. Like American composers such as Leonard Bernstein and Aaron Copland, Schnittke was committed to popular, theatrical music; he wrote the scores for over 70 Russian films and declared he was dedicated to bridging the gap between “serious” and “popular” styles. He also seems to have been inspired by fiddlers, an affectionate term not just for violinists but also violists, and most especially for those who play both. String instruments dominate his chamber sonatas and concertos. His friendships with great Russian fiddlers seem to have inspired him, among them violinist Grigori Zhislin, violist Yuri Bashmet and violinist Gidon Kremer. Schnittke’s humor is evident not just in the whimsical pun embedded in the title Moz-Art à la Haydn, but in the music itself. Like Stravinsky and Prokofiev—both wrote music in tribute to Haydn—Schnittke venerates the masters of the Classical era. Moz-Art à la Haydn combines humorous parody with underlying seriousness. It is a pastiche based in an unfinished fragment by Mozart identified as Music to a Carnival Pantomime. Scored for two solo violinists backed by a chamber orchestra, the work begins as if at a carnival of goblins, then
UTAH SYMPHONY
SEASON FINALE: MAHLER’S SYMPHONY NO. 1
Notes on the Program
opens into Classical style refracted through a modern lens. Old musical quotations dance around like ghosts. The fun concludes with a final reference to Haydn’s Symphony No. 45 in F-sharp Minor, “Farewell.” Gustav Mahler (1860–1911)
Symphony No. 1 in D Major, “Titan” PERFORMANCE TIME: 56 MINUTES
Today we know Mahler primarily as a symphonist—some would say the preeminent symphonist since Beethoven. But during his lifetime, the acceptance that Mahler’s symphonies won from critics and the public was mostly grudging, barely hinting at the appreciation that these masterworks would receive later. His cycles of art songs placed him within in the lineage of the foremost German-language art-song composers, but somehow did not establish him as a composer of greatness. As a conductor, on the other hand, Mahler was a giant of his day, with a reputation that made him perhaps the first modern celebrity-conductor. (His ill-fated stint as leader of the New York Philharmonic is one of the tragedies of his life and of American music.) As a conductor of opera he was a penetrating musical analyst with a tremendous sense of theater. All of these factors helped shape his approach to the symphony, which he reserved for his biggest ideas about music and the search for meaning in life. Often described as monumental, Mahler’s symphonies offer the listener an experience that is not only transcendently beautiful, but that also reflects Mahler’s experience in working through these ideas.
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Born in 1860 in Bohemia, Mahler was one of the composers who toiled in the shadow of Beethoven, who had redefined the possibilities of symphonic form with his Choral Symphony, the Ninth. In 1888, when he composed most of his Symphony No. 1, other composers were still incorporating the familiar, decorative conventions of the late Romantic era in their symphonies—Dvořák, Saint-Saëns, Brahms, and Tchaikovsky, to name a few. Though Brahms was also haunted by the specter of Beethoven, he worked as an apprentice might with a master’s tools and traditions. It was Mahler who faced the challenge of revolutionizing the form as Beethoven did, and who used it to express the fullness of meaning he found in the biggest metaphysical questions and the deepest personal experiences we face as human beings. Musicologists marvel that the 29-yearold Mahler expected nothing but success when his First Symphony premiered in Budapest on November 20, 1889. Instead, it was greeted with scattered boos and halfhearted applause. “Naively, I imagined it would be child’s play for performers and listeners, and would have such immediate appeal that I should be able to live on the profits and go on composing,” he told his friend Natalie Bauer-Lechner. By contrast, Brahms, who was in his 40s and a successful composer by the time he completed his first symphony, was tormented by anxiety over its introduction. What could have caused Mahler to miscalculate the musical public’s readiness for his Symphony No. 1 so grossly? No less than his later symphonies, this symphony incorporates formal innovations, jarring
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Notes on the Program
dissonances, and cheek-by-jowl juxtapositions of classical and popular musical motifs— elements that might have shocked contemporary listeners, but had lost all sense of novelty and risk for Mahler, whose work habits were obsessive and immersive. Though he did most of his work on this symphony in the year 1888, when he was 28, he drew upon musical sources dating back to his teens. Mahler may also have taken confidence from initial reaction to his 1884 song cycle, Songs of a Wayfarer, which was already revered by musical insiders though it had not yet achieved a wider following. Two of the cycle’s songs provide thematic material for the symphony, and the love that inspired it—Mahler’s thwarted affair with the soprano Johanna Richter—was a wellspring for the emotions we hear in the symphony. As with many of his compositions, Mahler continued to revise and correct his Symphony No. 1 for years after its premiere. He completed the final performing edition in 1906. As the first movement of the symphony takes rise, we hear the legacy of Beethoven: the seemingly random accretion of natural sounds as they gather into music, evoking a beautiful spring morning. As the tempo hastens, the movement’s key settles into D major and we hear the wayfarer’s walking theme as he seeks consolation over love’s disappointment. Many listeners hear a questing, self-questioning mind at work in Mahlerian movements such as this one, prompted by a wounding experience: As we listen, are we working through the lover’s personal anguish? Or are we surrendering to self-pity?
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We know the rustic Austrian dances known as Ländler from composers dating back to Haydn, Beethoven, and Mozart (who loved to write them). But in Mahler, they are staples in his recurring juxtaposition of the elegant and the vulgar. In the second movement of this symphony, the example we hear is based on Mahler’s 1880 song “Hans und Grethe.” Some listeners hear suggestions of taking comfort through drinking here—a frequent element in such country dances. But any possible humor or sentimentality is eclipsed in the symphony’s third movement, a funeral march that intensifies the contrast between elegance and vulgarity to a degree that Mahler’s contemporary audiences found disturbing. Yes, that is the familiar children’s song “Frère Jacques” (known in German as “Brüder Martin”) that we hear in the midst of the grotesquely solemn funeral march. More street music follows—cafe songs, hints of klezmer and Magyar themes—before Mahler startlingly transports us to an extended lyrical passage that brings the movement to a close. The symphony ends with one of the most theatrical movements in the symphonic repertory, as the hysteria of a violently dissonant opening evokes what Mahler called “the cry of a wounded heart.” This agony yields to a peaceful, expansive melody borne up by cellos and violins; and though the pain of the opening bars returns, it includes trumpet fanfares suggesting the eventual triumph over the pain of lost love. Eventually we hear a reprise of the morning sounds that opened the symphony and a final interchange between optimism and despair. Mahler’s scoring instructs that the horn players rise to their feet, playing “as if to drown out the entire orchestra” in triumphant resolution.
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INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Carl & Gillean Kjeldsberg George Klopfer Howard & Merele Kosowsky Les Kratter Val E. & Dominique C. Lambson Donald L. & Alice A. Lappe Gary & Suzanne Larsen Lisa & James Levy Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Ms. Susan Loffler Dennis & Pat Lombardi Jeramy Lopez Gregg & Karen Lund David & Donna Lyon Jennifer Malherbe Jed & Kathryn Marti Daniel & Noemi P. Mattis Christopher & Julie McBeth Tom & Janet McDougal David & Nickie McDowell Michael & Julie McFadden Elinor McLaren
Michal & Maureen Mekjian George & Linda Mendelson Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Dale Moses Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen O. Don & Barbara Ostler Chris Parker Dr. S. Keith & Barbara Petersen Robert Petkun Ray Pickup Victor & Elizabeth Pollak Dr. & Mrs.† Marvin L. Rallison W.E. & Harriet R. Rasmussen Kenneth Roach & Cindy Powell James & Anna Romano Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman
Margaret P. Sargent Grant H. Schettler James Schnitz William G. Schwartz & Jo Ann Givan Dewelynn H. & J. Ryan† Selberg Stuart & Mary Silloway Mary & Doug Sinclair Christine St. Andre & Cliff Hardesty Tim & Judy Terrell Richard & Janet Thompson Ann & Steven Tyler Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Wesley Warren & Amber Hawkins-Warren Susan Warshaw Kelly Whitcomb Dan & Amy Wilcox David & Jerre Winder Wendy S. Wirth & Kandy Perkins
PATRON ($1,500 TO $2,499) Anonymous (4) Drs. Crystal & Dustin Armstrong Susan Benson Roger & Karen Blaylock Patricia Bragg Jeff Brown Kelly Burt Mr. & Mrs. William D. Callister Dorothy B. Cromer Kathleen & Frank Dougherty Robert S. Felt, M.D. Pat & Nancy Forester Thomas Fuller James & Barbara T. Gaddis Catherine Gorrell
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Dr. & Mrs. John Greenlee David & SandyLee Griswold** Kenneth & Kate Handley Camille Huchton Gordon Irving W. Carroll Jackson James R. Jones & Family Thomas J. Klassen & Carolyn Talboys-Klassen Mel & Wendy Lavitt Bill & Sharon Macey John & Kristine Maclay Peter Margulies & Louise Vickerman George & Nancy Melling Dan & Janet Myers Oren & Liz Nelson
Nancy Nichols Dr. & Mrs. Richard T. O’Brien Lee K. Osborne Robert† & Catherine Pedersen Renee Y. Plumb Dr. Richard & Frances Reiser Francis Roth Gibbs† & Catherine W. Smith Walter & Lorraine Stuecken Mitch & Dawn Taubin Douglas & Susan Terry Robert R. & Sue A. Webb Jeremy & Hila Wenokur Scott & Mary Wieler Marsha & Richard Workman Laurie Zeller & Matthew Kaiser
UTAH SYMPHONY
INDIVIDUAL DONORS FRIEND ($1,000 TO $1,499) Anonymous (3) Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Ian Arnold David Bailin David & Rebecca Bateman Victoria Bennion C. Kim & Jane Blair Diane Banks & Dr. Mark Bromberg Mr. & Mrs. Neill Brownstein Lindsay & Carla Carlisle Dana Carroll & Jeannine Marlowe Michael & Beth Chardack William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin James Dashner Elisabeth B. Dean James & Rula Dickson Alice Edvalson Eric & Shellie Eide Quinn & Julie Gardner Robert & Mary Gilchrist Ralph & Rose Gochnour Mr. & Mrs. Richard R. Graham John & Ilauna Gurr
Geraldine Hanni Robert & Marcia Harris Jonathan Hart Lex Hemphill & Nancy Melich Courtney Henley Connie C. Holbrook Scott Huntsman Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson Rick & Paulette Katzenbach Umur Kavlakoglu Robert & Karla Knox Julie Korenberg, Ph.D., M.D. & Stefan Pulst, M.D. Mr. & Mrs. Bruce M. Lake Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Edward J. & Grace Mary McDonough Clifton & Terri McIntosh Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Henriette Mohebbizadeh Barry & Kathy Mower Joe Mulvehill
Sir David Murrell IV & Mary Beckerle Timothy & Lisa O’Brien Joseph J.†& Dorothy Moyle Palmer Linda S. Pembroke Rori & Nancy Piggott Thomas B. Pilger Dr. Barbara S. Reid Gina Rieke Janet Schaap Mr. August L. Schultz Bianca Shepard Dennis & Annabelle Shrieve Barbara Slaymaker Mr. & Mrs. Isaac Stein Dr. & Mrs. Michael H. Stevens David H. & Barbara S. Viskochil Gerard & Sheila Walsh Brad E. & Linda P. Walton Dr. James C. Warenski Renee Waters Margaret & Gary Wirth David B. & Anne Wirthlin Caroline & Thomas Wright
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.
utahfoodservices.com
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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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Mon.-Sat. 10-6. Sunday and evenings by appointment.
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TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact 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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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
go get tix now! uaf.org
MA K E A REGUL AR NIGHT OUT
A B IG NI GHT OUT.
Music Begins Here Now Accepting Music Students PreK–12 Call 801.300.1199, or visit GiftedMusicSchool.org
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A NEW WEEKLY SERIES ABOUT UTAH TUNE IN OR STREAM THURSDAYS 7PM THIS IS UTAH celebrates the diverse people and communities that call this place home. Host Liz Adeola travels the state, discovering how Utah’s own distinctive mix of independent Western attitude, inspiring landscapes and pioneering heritage informs who we are at heart, and defines our collective sense of place.
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