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2018/19 UTAH SYMPHONY SEASON
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NOVEMBER/DECEMBER 2018 PERFORMANCES
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome 8 Music Director
NOVEMBER 16–17 | 7:30 PM
10 Associate Conductor
BACH’S BRANDENBURG CONCERTOS 1 & 2
15 Utah Symphony 16 Board of Trustees 18 Brandenburg Concertos 20 Bach and Boulez 22 USUO Education Report 26 Pre-concert Rituals
NOVEMBER 24–25 | 7:30 PM
30 Season Sponsors
MESSIAH SING-IN
31–38 Tonight’s Concert 39 Support USUO 40 Donors 45 Annual Cultural Festival 52 Legacy Giving 53 Tanner & Crescendo Societies 54 Administration 59 House Rules 64 Acknowledgments Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
DECEMBER 7–8 | 7:30 PM
BACH’S BRANDENBURG CONCERTOS 3 & 4
DECEMBER 13 | 7:30 PM DECEMBER 14 | 7:30 PM DECEMBER 15 | 5:30 PM
@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
ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas Chad Saunders ADMINISTRATIVE ASSISTANT Caleb Deane EDITOR Melissa Robison
AN EVENING IN SPAIN WITH BOLÉRO & CARMEN
DECEMBER 21–22 | 7:30 PM
PINK MARTINI’S JOY TO THE WORLD
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 2018
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5
WELCOME
6
Paul Meecham
Thierry Fischer
Kem Gardner
President & CEO
Music Director
Chair, Board of Trustees
Welcome to Abravanel Hall and this performance of the Utah Symphony. We can think of no better way to enjoy the wonder of the holiday season and promise of the New Year than through the magic of great live music experienced together as a community. Whether it is the Baroque music of Handel’s celebrated Messiah and J.S. Bach’s masterful Brandenburg Concertos, the Nordic romanticism of Sibelius and Grieg, or the 20th century exuberant sounds of Copland, Boulez, and Ravel’s Boléro you can hear your Utah Symphony demonstrate their extraordinary versatility and expertise as they deliver moments that will live long in your memory.
In honor of the holiday season, we’d like to express our deep appreciation to all of you for supporting Utah Symphony | Utah Opera. Because of the generosity of friends like you, USUO is able to bring the gift of music year-round to audiences throughout the state and region—with a remarkable one third of that audience comprised of students experiencing one of our many free education performances. If you haven’t yet made a gift this calendar year, please consider doing so. Your support will go further thanks to a generous match by the George S. and Dolores Doré Eccles Foundation (see page 39 for more details). Thank you.
In special holiday concerts, the Utah Symphony welcomes the returns of global music sensations Celtic Woman, bringing a fresh fusion of traditional Irish music with contemporary songcraft, and Pink Martini with Joy to the World, a collection of holiday music from around the globe. And, in what has become a holiday tradition in recent years, we’ll present the next chapter in the magical world of Hogwarts with the Utah Symphony playing the masterful John Williams score live to a screening of Harry Potter and the Prisoner of Azkaban™.
On behalf of all of the musicians, staff, and board members at Utah Symphony | Utah Opera, we wish you the happiest of holiday seasons and a joyful 2019!
UTAH SYMPHONY
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 and newly commissioned works. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta. While Principal Conductor of the BBC National Orchestra of Wales from 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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UTAH SYMPHONY
2018/19 UTAH SYMPHONY SEASON
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ASSOCIATE CONDUCTOR Conner Gray Covington begins his second season with the Utah Symphony as Associate Conductor. In his first season as Assistant Conductor, Covington conducted over 80 performances of classical, education, film, pops, and family concerts as well as tours throughout the state. Prior to his tenure in Utah, he was the Rita E. Hauser Conducting Fellow at the Curtis Institute of Music in Philadelphia where he worked closely with the Curtis Symphony Orchestra and the Curtis Opera Theater while also being mentored by Philadelphia Orchestra Music Director Yannick NézetSéguin. Covington began his career as Assistant Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program.
Conner Gray Covington Associate Conductor
Covington has also worked with the symphonies of St. Louis, Virginia, and Monterey (California) as a guest conductor and will make debuts with the Kansas City Symphony and the Portland (Maine) Symphony in the 2018–19 season. He has served as a cover conductor for the Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Atlanta Symphony, Kansas City Symphony, The Florentine Opera Company (Milwaukee, W.I.), and the Britt Festival Orchestra (Jacksonville, O.R.). Born in Louisiana, Covington grew up in East Tennessee and began playing the violin at age 11. He went on to study violin with Dr. Martha Walvoord and conducting with Dr. Clifton Evans at the University of Texas at Arlington where he graduated summa cum laude with a degree in violin performance. He continued his studies with Neil Varon at the Eastman School of Music where he earned a Master of Music in orchestral conducting and was awarded the Walter Hagen Conducting Prize.
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UTAH SYMPHONY
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UTAH SYMPHONY Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor
Elizabeth Beilman Acting Associate Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
Barlow Bradford Symphony Chorus Director
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Whittney Thomas
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson† Associate Concertmaster David Porter Acting Associate Concertmaster David Park Assistant Concertmaster
Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
UTAHSYMPHONY.ORG
Lee Livengood
Michael Pape Acting Associate Principal
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda
PERCUSSION Keith Carrick Principal
Corbin Johnston Associate Principal 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
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Jennifer Rhodes
Katie Klich††
CONTRABASSOON Leon Chodos
ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser
PICCOLO Caitlyn Valovick Moore
Jeff Luke Associate Principal
OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
Peter Margulies Gabriel Slesinger††
(801) 533-NOTE
KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal
Caitlyn Valovick Moore
Lissa Stolz
Michael Pape Stephen Kehner††
Leon Chodos Associate Principal
TRUMPET Travis Peterson Principal
Robert Stephenson Associate Principal
/
Eric Hopkins Acting Principal
Matthew Johnson Associate Principal
BASS* David Yavornitzky Principal
Claude Halter Principal Second
Erin Svoboda Associate Principal
TIMPANI George Brown# Principal
TROMBONE Mark Davidson Principal
Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † On Leave # Sabbatical †† Substitute Member
Sam Elliot Associate Principal
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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman
Alex J. Dunn Brian Greeff Stephen Tanner Irish Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Abigail E. Magrane Brad W. Merrill Robin J. Milne Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Miguel R. Rovira Joanne F. Shiebler* Naoma Tate
Thomas Thatcher David Utrilla Kim R. Wilson Thomas Wright Henry C. Wurts
Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
Howard S. Clark Kristen Fletcher Burton L. Gordon Richard G. Horne
Ron Jibson Warren K. McOmber E. Jeffery Smith Barbara Tanner
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 (California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (California)
Senator Orrin G. Hatch (Washington D.C.)
William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Gary L. Crocker David L. Dee*
MUSICIAN REPRESENTATIVES
Elizabeth Beilman* Andrew Larson* EX OFFICIO
Henriette Mohebbi Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles Spencer F. Eccles NATIONAL ADVISORY COUNCIL
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UTAH SYMPHONY
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Brandenburg Concertos
By Renée Huang, Director of Communications
Impeccable timing and opportunity in 18th century Germany created the perfect storm when Johann Sebastian Bach was the Kapellmeister (music director) of the small town of Köthen, where he composed music for the court. It was during this time he wrote a series of chamber works that would later be considered benchmarks of Baroque music. In 1721 Bach conceived of six lively concertos for chamber orchestra. They were compiled from already written, short instrumental sinfonias and concerto movements. He reworked them to create a brilliant collection of interrelated pieces and then presented them in a bound manuscript as a gift to Margrace of Brandenburg—a gift that was utterly dismissed and unacknowledged for more than a century. Meanwhile, the town of Köthen had an unusually robust classical music community, thanks in part to the new Prussian king, Friedrich Wilhelm I (the “Soldier King”). He preferred to focus his efforts on strengthening the military and thus disbanded the prestigious Berlin court orchestra, which he considered a waste of precious resources. This royal act thrust highly trained musicians into the field, hungry for work, which allowed Köthen’s music-loving Prince Leopold to snatch them up for his high court. This concentration of talent inspired Bach to push the bounds of his creative expression, writing six concertos requiring different combinations of instruments while highlighting several virtuosic soloists. A trumpet solo anchors Concerto No. 2, while a solo violin soars in No. 4. Concerto No. 6 omits violins and features a simplistic viola de gamba, a precursor to the cello, on which Prince Leopold himself would likely have performed. By highlighting the harpsichord in Concerto No. 5, Bach laid the groundwork for the modern piano concerto. In fact, the composition style is so advanced in this work that scholars consider it to be the last piece he composed in the set. It wasn’t until a century and a half later that Bach’s biographer Philipp Spitta referred to them collectively as the “Brandenburg Concertos.” The name stuck and the rest is history.
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UTAH SYMPHONY
ENTERTAINMENT SERIES ZIONS BA NK
A LOVERLY NIGHT FOR LOVERS. LERNER AND LOEWE’S
MY FAIR LADY
WITH THE
UTAH SYMPHONY
FEBRUARY 15 & 16 / 7:30 PM / ABRAVANEL HALL Conner Gray Covington, conductor I could have danced all night! Bring your valentine and enjoy the elegance and enchantment of Lerner and Loewe’s My Fair Lady. Experience the classic Broadway hit with Broadway singers in period costumes and the Utah Symphony performing the breathtaking score.
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Bach and Boulez
By Thierry Fischer
THOUGHTS ON SIMILARITIES AND CONTRASTS Besides an obvious contrast of time between the 17th and 20th centuries, there is surprisingly not so much musical contrast between the two composers. Both Bach and Boulez pieces are what we call perfection, in small ensembles. Both are poetry. The Brandenburg Concertos are perfection in German Baroque style: exuberant with contagious energy. Boulez’ Memorial, Dérive, and Initiale are perfection in French melancholy dreamlike worlds, in an absolute irresistible and inviting mixture of sounds. Bach’s audacity makes us feel like it is not old music. Boulez’ warm, inviting novelty makes us feel unexpectedly at home after a few seconds and sustains the feeling. The mixing of the two styles will show us that the notion of beauty and harmony doesn’t correspond to the notion of time. I am convinced that during the performances, we will completely forget which composer we are actually performing and listening to. It should be a revelation: realizing that beauty is eternal, whether it has been written today or a couple of centuries ago.
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UTAH SYMPHONY
R AC
HEL
POR
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WRI LAS
GHT
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THE LITTLE PRINCE RACHEL PORTMAN & NICHOLAS WRIGHT'S
JAN 19 - 27
J. Q. LAWSON CAPITOL THEATRE
UTAHOPERA.ORG
USUO Education Report
USUO is deeply engaged and invested in music education and has been impacting schools, students, and teachers through live orchestra and opera Education performances for more than four decades. Across initiatives of our Education program, which makes up a third of the orchestra’s performances each year, we make it a priority to reach each school district in the state on a 3 to 5 year rotation. WHY MUSIC EDUCATION MATTERS • A third of our state population is children: Utah has the highest percentage of children under the age of 18 in the country at 31 percent of the total state population. • Music matters to Utahns: A 2017 National Endowment for the Arts study shows Utah tops the nation for arts consumption. • A three-year study found Utah rated #1 in the nation at a whopping 51 percent, heads and tails above the national average of 32 percent, for performing arts attendance. • 40 percent of Utah public schools last year (457 schools out of 1,113 total public schools) were served by Utah Symphony. • Music shapes lives and futures: a 2015 study by the National Association for Music Education found graduation and attendance rates increased for schools with music education programs. • Schools with music programs have an estimated 90 percent graduation rate (17 percent higher) and 94 percent attendance rate (9 percent higher) compared to schools without music education programs. #MusicEdMatters
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UTAH SYMPHONY
USUO Education Report
2018/19 UTAH SYMPHONY SEASON
y o J e h t n i e Shar s y a d i l o H of t h e UTAH SYMPHONY with the
MESSIAH SING-IN
NOVEMBER 24 & 25, 2018
PINK MARTINI’S JOY TO THE
WORLD: A HOLIDAY THE UTAH SYMPHONY SPECTACULAR WITH
DECEMBER 21 & 22, 2018
HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT
DECEMBER 22, 2018
CELTIC WOMAN: THE BEST OF CHRISTMAS
A NEW YEAR’S CELEBRATION
NOV 29, 30 & DEC 1, 2018
WITH THE UTAH SYMPHONY
DECEMBER 18, 2018
FOR TICKETS visit
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HERE COMES SANTA CLAUS!
JANUARY 4 & 5, 2019
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 two of our guest artists to share what pre-concert rituals help keep them grounded.
Baiba Skride, Violin
“On a typical concert day I would probably have a rehearsal in the morning, so after that I would try to go for a walk, have a light lunch, perhaps salad. I always try to take a nap in the afternoon just to reboot my brain, even if it’s just for five minutes. Getting ready for a concert always involves doing my hair and makeup, which really relaxes me, so I will listen to music or watch a series during my “beauty” hour. Depending on the time in the afternoon, I would probably practice some. I like to get to the concert hall about 30–40 minutes ahead of time to properly warm up and change into concert clothes. I never eat directly before a concert, but maybe have a bite of banana for the sugar and a cup of tea. And that’s about it, nothing terribly exciting about getting ready. :)”
Timothy Nishimoto, Pink Martini singer/percussionist
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“When I first started singing with the band, in 2002, I would get so nervous that I could barely speak 30 minutes prior, and after, the show. I think I just wasn’t comfortable holding a microphone or hearing my voice coming from the speaker over there, or from the back speakers. I had a friend who became a Karaoke DJ on a slow night, so I would do tons of Karaoke songs with just her and me so that I would hopefully become more at ease on stage. I think ‘How Karaoke Saved My Life’ will be the title of my autobiography because often when I feel jitters before going on stage, I imagine that I’m about to sing in a sleazy bar with no one there, or with no one that cares one bit if I mess up.”
UTAH SYMPHONY
With a Sunday Brunch this grand, half the fun is wondering where to begin and why your appetite can’t be endless. 8 01- 2 5 8 - 6 0 0 0 | G R A N DA M E R I CA . C O M
VETERANS
of US Military Armed Forces Service:
FREE Utah Symphony | Utah Opera tickets for veterans January - April 2019 Utah Symphony | Utah Opera invites veterans to attend several performances FREE OF CHARGE: Mon or Wed, January 21 or 23, 7:00 pm at Capitol Theatre – Utah Opera performances of Rachel Portman’s The Little Prince. Sat, March 16, 12:30 pm at Abravanel Hall, Peter and the Wolf performed by Utah Symphony and Ballet West II dancers. Fri or Sat, April 12 or 13, 7:30 pm at Abravanel Hall with Guest Conductor Vassily Sinaisky — with the Utah Symphony and guest pianist Simon Trpčeski — in Rachmaninoff’s Piano Concerto No. 4 and Shostakovich’s Symphony No. 12, “The Year 1917.”
tickets are limited. Get your tickets through VetTix.org
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Utah Symphony Season Sponsor | 2018-19
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UTAH SYMPHONY
BACH’S BRANDENBURG CONCERTOS 3 & 4
Program
Bach’s
Brandenburg Concertos 3 & 4 DECEMBER 7–8
/ 2018 / 7:30PM / ABRAVANEL HALL
THIERRY FISCHER, conductor BAIBA SKRIDE, violin MADELINE ADKINS, violin MERCEDES SMITH, flute LISA BYRNES, flute
J.S. BACH
Brandenburg Concerto No. 3 in G Major, BWV 1048 I. II. III.
BOULEZ J.S. BACH
Allegro Adagio Allegro
Mémoriale Brandenburg Concerto No. 4 in G Major, BWV 1049 I. Allegro II. Andante III. Presto Madeline Adkins, violin; Mercedes Smith and Lisa Byrnes, flute
/ INTERMISSION / SIBELIUS
Concerto for Violin and Orchestra in D minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Baiba Skride, violin
GRIEG
Selections from Peer Gynt The Abduction of the Bride; Ingrid’s Lament In The Hall of the Mountain King Solveig’s Song Ase’s Death Morning Mood Arabian Dance Anitra’s Dance Stormy
UTAHSYMPHONY.ORG
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(801) 533-NOTE
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BACH’S BRANDENBURG CONCERTOS 3 & 4
Baiba Skride Violin GUEST ARTIST SPONSOR
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Artists’ Profiles
See page 8 for Thierry Fischer’s profile.
Baiba Skride’s natural approach to her music-making has endeared her to some of today’s most important conductors and orchestras worldwide. She is consistently invited for her refreshing interpretations, her sensitivity, and delight in the music. The list of prestigious orchestras with whom she has worked includes the Berlin Philharmonic, Gewandhausorchester Leipzig, Boston and Chicago Symphony Orchestras, Concertgebouw Orchestra, Sinfonieorchester des Bayerischen Rundfunks, Orchestre de Paris, London Philharmonic, Shanghai Symphony Orchestra, and Hong Kong Philharmonic Orchestra. Notable conductors she collaborates with include Marin Alsop, Christoph Eschenbach, Ed Gardner, Susanna Mälkki, Andris Nelsons, Andrés Orozco Estrada, Santtu-Matias Rouvali, Vasily Petrenko, Yannick Nézet-Séguin, Tugan Sokhiev, John Storgårds, and Simone Young. Summer 2018 sees Baiba Skride return to the NHK Symphony Orchestra with Jukka-Pekka Saraste, and to the Tanglewood Music Festival with chamber music and concert appearances, performing Bernstein’s Serenade with the Boston Symphony Orchestra and Andris Nelsons before they begin the 2018–19 season together on a distinguished tour to the BBC Proms, Elbphilharmonie Hamburg, Vienna’s Musikverein, KKL Lucerne, Philharmonie de Paris, and Concertgebouw Amsterdam. Further highlights include performances with Münchner Philharmoniker, Mozarteumorchester Salzburg, City of Birmingham Symphony Orchestra, Oslo Philharmonic, Helsinki Philharmonic Orchestra, Gothenburg Symphony Orchestra, Bilbao Orkestra Sinfonikoa, Polish National Radio Symphony Orchestra, as well as the Baltimore, Houston, Toronto, Vancouver, and Utah Symphonies. In Spring 2019 Skride highly anticipates the world premiere of Sebastian Currier’s Violin Concerto, a co-commission by the Boston Symphony Orchestra and Gewandhausorchester Leipzig, with which she tours to Spain, Japan, and China. Skride continues to champion Sofia Gubaidulina’s Offertorium as well as her Triple Concerto for Violin, Cello and Bayan, and celebrates the piece’s Spanish premiere with the Orquesta Sinfónica de Galicia following other successful premieres in the last few seasons.
UTAH SYMPHONY
BACH’S BRANDENBURG CONCERTOS 3 & 4
Artists’ Profiles Madeline Adkins joined the Utah Symphony as Concertmaster in September 2016. Prior to this, she served as Associate Concertmaster of the Baltimore Symphony Orchestra (BSO) since 2005, and Assistant Concertmaster of the BSO from 2000–2005. As a sought-after soloist, Adkins has appeared with orchestras in 15 U.S. states, Europe, Asia, and Africa. During her time with the BSO, she was featured semi-annually and has performed over 25 works with that orchestra. Adkins performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster Jacques Israelievitch (1948–2015).
Madeline Adkins Violin
Mercedes Smith is Principal Flute of the Utah Symphony. A Texas native, she served as Principal Flute of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade. She has performed with the Seattle Symphony, San Diego Symphony, Houston Symphony, and served as Principal Flute of the Pacific Symphony during the 2010–11 season. Ms. Smith has performed multiple times in Carnegie Hall, Europe, and Asia, and performed as guest Principal Flutist for the Seoul Philharmonic Orchestra’s 2018 European Tour.
Mercedes Smith Flute
Lisa Byrnes is currently Associate Principal Flute with the Utah Symphony where she has played since 2000. A native of Northern California, Ms. Byrnes studied at the Eastman School of Music and graduated with degrees from the Curtis Institute of Music and the San Francisco Conservatory of Music. She has appeared as concert soloist performing works by Mozart, Ibert, Nielsen, Dubois, Rivier, Bloch, Vivaldi, and Bach. She has also appeared as guest soloist with the Utah Symphony performing the Bach B Minor Suite and the Bach Brandenburg Concerto No. 4.
Lisa Byrnes Flute
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BACH’S BRANDENBURG CONCERTOS 3 & 4
Notes on the Program by Michael Clive
Johann Sebastian Bach (1685–1750)
Brandenburg Concerto No. 3 in G Major, BWV 1048 PERFORMANCE TIME: 10 MINUTES
Brandenburg Concerto No. 4 in G Major, BWV 1049 PERFORMANCE TIME: 17 MINUTES
BACKGROUND ON BACH’S BRANDENBURG CONCERTOS
According to tradition, Bach composed the Brandenburg Concertos as an unsuccessful job application, and as ridiculous as that sounds, it is very close to the truth. We can trace their origins back to about 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, Christian Ludwig. Then, as now, making a living as a musician was not easy, and composers relied upon the patronage of noble families and the church. Bach’s sales call seemed to produce the desired effect, since the margrave commissioned several works. What happened after that is less clear, but it seems certain that the compositions were submitted and remained unpaidfor. Considering the instrumentation Bach employed in the set, it is likely that he based at least some of them on concertos he had written while Kapellmeister at Köthen, or perhaps earlier while at Weimar; such recycling was standard practice for composers. Whatever the reason, we know from Bach’s dedication page that he hoped
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the score would secure either a position in the margrave’s court or further commissions. In a tribute of suffocating formality, Bach’s tone in addressing his prospective patron contrasts ironically with the texts of his religious cantatas and oratorios, which are simple and sometimes startlingly blunt. It seems Bach was on closer terms with God than with the margrave. “Don’t judge the works too harshly,” he asks; “remember how deeply I respect you.” After this submission, which seems unduly modest to us now, the scores lay ignored for more than a century without being played. They were discovered in the Brandenburg archives in 1849 and published in 1850. WHAT TO LISTEN FOR
Bach’s Brandenburg Concertos are, with Handel’s dozen concerti grossi, the prime exemplars of the concerto grosso form. These precursors of the solo concerto have an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three to five movements of alternating tempi, most often fast-slow-fast. We can see the roots of the later concertos here: the smaller group of players, or concertino, can range from two to five instrumentalists and corresponds to the modern concerto soloist, while the larger group, or ripieno— usually a dozen players or fewer—takes the ensemble role. Together they form what we might think of as an ideally sized chamber orchestra, with the concertino taking solo lines and the ripieno providing the benefits of an orchestra. If Baroque concertos are missing some of the compositional elements we take for granted in Classical and Romantic
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concertos, that does not mean they are less sophisticated or less beautiful than those that came later; in fact, the more monumental concertos of the 19th century are lacking in some of the elements that Bach and Vivaldi put into theirs. Since the advent of the great Romantic concertos, we have come to expect the concerto to showcase the skill of a single soloist with virtuosic playing that is thrilling, often conveying a sense of monumentality as it works its way through strenuous musical ideas. Baroque concertos, by contrast, are more focused on the idea of contrasting a large group with a smaller group. There is a dynamic aesthetic appeal here, far more complex than simply many versus few: Baroque composers knew that depending on how the musical materials are presented, either a large or a small group of players could be foregrounded in a composition or provide the foil for another group of players. While the voices of the concertino and the ripieno remain separate, their interplay is less oppositional than we hear in Romantic concertos. In the Third Brandenburg Concerto, stringed instruments are featured: three each of violins, violas, and cellos. Though it is technically a three-movement work, modern listeners are sometimes startled to encounter the central movement, which consists of just a single measure. Known as a “Phrygian half-cadence,” it consists of just two connected chords, often extensively ornamented, that have been described as a “musical semicolon” that conjoins the moderately quick opening movement with the faster, more energetic finale. Although Bach did not play the violin (as far as we know), his compositions
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for that instrument are glorious, and the Brandenburg Concerto No. 4 features an extremely virtuosic violin part. In the concerto’s second movement, the violin even takes the bass line, providing the sole accompaniment for the concertino. Pierre Boulez (1925–2016)
Mémoriale PERFORMANCE TIME: 7 MINUTES
BACKGROUND
Perhaps his music publisher, International Editions (IE), came closest to capturing the genius of Pierre Boulez in words: “He was a living classic.” But when he died in 2016 at the age of 90, Boulez was more widely admired elsewhere in the music world than in the U.S., where he had lived and worked as a composer, conductor and teacher in the 1970s. Long before that, in the years just following World War II, Maestro Boulez had established himself as the most insightful and important talent among a new generation of composers who were all in their 20s during the 1940s in France. In the decades that followed, Boulez gained esteem as a composer, conductor, and—as IE notes—”a thinker, a motor of international musical life, and an emblematic figure in postwar world culture.” Boulez was born in the town of Montbrison in the Loire region of France. The son of an engineer, he had an aptitude for the sciences as well as music, and excelled in mathematics. When Boulez chose music over the sciences (despite his father’s misgivings), he enrolled at the Conservatoire de Paris, studying harmony and composition with Olivier Messiaen, who was the Conservatoire’s sole concession to
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Modernism. Once Messiaen exposed him to the work of Schoenberg, Stravinsky, Bartók, and Webern, his curiosity inevitably led him to the 12-tone compositions of the Second Viennese School—much frowned upon at the ultra-conservative Conservatoire.
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Jean Sibelius (1865–1957)
Concerto in D minor for Violin and Orchestra, Op. 47 PERFORMANCE TIME: 31 MINUTES
Boulez compared the explorations of Schoenberg and Berg to moving from Newton to Einstein in physics. But if Boulez, like Newton, was standing on the shoulders of giants, he was also establishing a pattern of rejecting those he once admired. He eventually rebelled against the dogmatism of Schoenberg and even Stravinsky, who had helped him by praising an early composition. But if Boulez the teacher could be dogmatic, his rule for his composition students was simple and broad: be yourself. He, like the traditionalist Nadia Boulanger, made composition students struggle to discover their own distinctive voices in music. WHAT TO LISTEN FOR
Mémoriale is scored for nine instruments— large for a chamber work, small for an orchestral one. The effect is intimate, drawing the listener close to complex textures, with strings muted and the horns limited to soft dynamics. The flute, with its easily hidden, aerated tone, rides easily above these choirs. If this is your first hearing of a Boulez composition, it can be useful—if a bit irreverent—to compare it with your first time eating sushi. Rather than searching for familiar flavors, it is better to focus on textures. Heard this way, Mémoriale—despite its name—creates a sense of lightness, brightness, and delicacy. More than one critic has noted that in the diaphanous sound of this work and its use of the flute, Boulez almost seems to be channeling the spirit of his countryman Debussy.
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BACKGROUND
As a major symphonist and the creator of the beloved Finlandia as well as one of the most successful violin concertos in the repertory, Jean Sibelius was the very soul of Finnish classical music. He can hardly be called a “neglected” composer. Yet somehow, in the literature on Sibelius, there is a nagging sense that this great composer has never quite achieved the place in the musical pantheon that his greatness would justify. The reason may be one of the very qualities that his admirers value most: his originality. Sibelius’ long life spanned a period of astounding change in history and in classical music. Born in 1865, the last year of the Civil War and Lincoln’s presidency, he survived until 1957—the year that the Soviet Union launched Sputnik and Van Cliburn launched his career. When Sibelius began composing, the Romantic style strongly prevailed in European music, but its aesthetic boundaries were expanding quickly, and the challenge of Richard Wagner was forcing composers to re-think everything. Surrounded by change, Sibelius never stopped exploring ways to advance his musical style, never compromised his expressiveness, and never sounded like anybody else. Scholars frequently contrast his creativity to that of Camille Saint-Saëns, who at first would seem to have almost nothing in common with the Finnish master. But in a way, that is the point: Saint-Saëns,
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who was born about a generation before Sibelius (in 1835), also survived well into the 20th century. He was, like Sibelius, a composer of great technical mastery who witnessed enormous changes in the musical world. And for Saint-Saëns, “witness” was the operative word: he looked on and commented but never changed his style, always continuing to produce music effortlessly and unquestioningly, with — according to some critics — little of the originality that Sibelius demonstrated. WHAT TO LISTEN FOR
A strong, distinctive sense of expressiveness, deep and dark-hued, seems to be what musicologists are getting at when they struggle with Sibelius’ unique sound. His work is unmistakably Nordic, but also highly personal. Hearing it is like a journey northward. No one put it better or more succinctly than Phillip Huscher, the distinguished musicologist and annotator for the Chicago Symphony Orchestra: “Sibelius’ sense of mood and color is keen.” Coming from him, those eight words speak volumes. In the concerto, we can hear his special feeling for the violin; in fact, Sibelius began his musical life determined to achieve greatness as a violinist. “[I]t was a very painful awakening when I had to admit that I had begun my training for the exacting career of an eminent [soloist] too late,” he wrote. He composed his violin concerto in 1903, when he was 36 and his ambitions for a career as a virtuoso were in the past, but his love for the instrument is on every page of the score. In this innovative concerto, he takes advantage of the violin’s versatility— integrating the solo part with the orchestra rather than isolating it for virtuosic display.
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As it opens, a lovely melody, melancholy in mood, takes its place over pulsing strings. The movement blooms in the richness of its accompaniment and in the vigor of the violin’s solo utterance, building to an energized statement in march rhythm. A fiery coda brings it to a close. The second movement, an Andante, brings us the extended, singing lines that have long been traditional in the central movement of violin concertos—perhaps the most romantic pages Sibelius ever wrote. But it is the final movement, marked Allegro ma non tonto (fast, but not too fast), that has captured most attention among players and critics. Its supreme difficulty belies the “not too fast” marking as its emphatic, swirling dance rhythm builds in energy and technical demands, combining Sibelius’ Nordic aesthetic with the zest of a Gypsyinspired finale. It is considered one of the two or three greatest movements in the violin concerto repertory. Edvard Grieg (1843–1907)
Selections from Peer Gynt PERFORMANCE TIME: 26 MINUTES
BACKGROUND
It’s easy to get the wrong idea about the abundantly melodic and dramatically expressive Peer Gynt suites, taken from incidental music that Grieg composed in 1874 and 1875, when he was in his early 30s. Everywhere there are orchestras, these suites are favorites. Their tuneful charm and relative brevity make them appealing to young listeners as well as aficionados, which has given many American listeners the idea that Peer Gynt must be a simple rustic tale from the north of Europe. But it
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is far from that. In the legendary character Peer Gynt, Henrik Ibsen—one of the most important playwrights of the 19th century—saw a complex anti-hero and a story that shed light on the Norwegian national character. He believed that the character of Peer might well have been based in actual history, much like the tales of New England’s Leatherman. His treatment of the subject is seriously literary, sometimes satirical and sometimes surreal, encompassing 40 scenes. Its verses are in Danish, the shared language of Norway and Denmark during Ibsen’s lifetime. Ibsen, who was more than 30 years older than Grieg, finished the play in 1867 and asked Grieg to compose incidental music for a production seven years later. The protagonist of Peer Gynt—like Odysseus, Beowulf, and all such characters—leaves his home and is transformed by adventures. It is an epic story, and for both Ibsen and Grieg, it was an epic headache. “[The work on] Peer Gynt progresses slowly,” Grieg wrote to a friend, “and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.” But eventually the project became absorbing. “The more he saturated his mind with the powerful poem,” his wife wrote, “the more clearly
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he saw he was the right man for a work of such witchery and so permeated with the Norwegian spirit.” Thus the two suites that he extracted as the Peer Gynt Suites are actually excerpts from a much larger body of music. WHAT TO LISTEN FOR
The story of Peer Gynt is full of procrastination, avoidance and close calls. In the suites we hear none of that, but we do get a sense of narrative and of scenepainting. The eight movements can be enjoyed as purely abstract music. But more so than most suites, it pays to keep track of the movement’s names. For example, “Morning Mood,” treats us to one of the most vividly evoked sunrises in music. The feeling of open skies and possibilities makes the mournful “Ase’s Death,” seem all the sadder, which in turn makes the allurements of “Anitra’s Dance” all the sexier. “In the Hall of the Mountain King” gives us a sense of Peer’s stealth and cleverness amid exotic, unfamiliar surroundings. Heard together, the arc of these two suites takes us from the start of Peer’s journey to its end. Though we do not know the intricately plotted details of his adventures, we have seen the sunrise at their beginning and heard his eventual homecoming.
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INDIVIDUAL DONORS ABRAVANEL & PETERSON SOCIETY CONT. Bill Ligety & Cyndi Sharp Dennis & Pat Lombardi Jeramy Lopez David & Donna Lyon Keith & Vicki Maio Jed & Kathryn Marti Daniel & Noemi P. Mattis David & Nickie McDowell Michael & Julie McFadden Elinor S. McLaren & George M. Klopfer George & Nancy Melling George & Linda Mendelson Glenn Mosby Dale Moses Sir David Murrell IV & Mary Beckerle Marilyn H. Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler
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2018/19 ANNUAL CULTURAL FESTIVAL
PROJECTS
During its 2018-19 season, Utah Symphony | Utah Opera joins the long list of Utah organizations commemorating the 150th anniversary of the laying of the Golden Spike, which officially connected the transcontinental railroad on May 10, 1869.
OPERA COMMISSION
GIFT OF MUSIC
MUSIC ALONG THE RAIL
Utah Opera’s 10-minute opera commissioning project, with additional support from the McCarthey Family Foundation.
Utah Symphony’s participation in the Gift of Music concert on May 10, 2019, the official Golden Spike celebration.
Utah Symphony’s performance of Chinese composer Zhou Tian’s new work, a co-commission with other orchestras along the transcontinental railroad’s route.
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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,
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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 and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee
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GIFTS MADE IN HONOR Neill & Linda Brownstein Classical Movements Peggy Chase Dreyfous The Emily Company
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Joanne & Bill Shiebler Constance & Marcus Theodore
GIFTS MADE IN MEMORY Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Loraine L. Felton Harry E. Franta Crawford Gates Lowell P. Hicks Muriel Lindquist
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Ann O’Neill Shigeoka, M.D. Phyllis Sims Rebecca “Becky” Sharp Sorensen Shirl Swenson Marie Watkins Ardean Watts Sarah Maxine Winn Lawrence Young Dr. I. Zelitt
UTAH SYMPHONY
INSTITUTIONAL DONORS We thank these generous organizations for their support of Utah Symphony | Utah Opera. This list includes donations received from October 2, 2017 through October 2, 2018. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation Dominion Energy The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation O.C. Tanner John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks Shiebler Family Foundation Sorenson Legacy Foundation
State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
The Grand America Hotel & Little America Hotel* The Huntsman Foundation
Frederick Q. Lawson Foundation Utah Symphony Guild
LOVE Communications** McCarthey Family Foundation Montage Deer Valley** Moreton Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation S.J. & Jessie E. Quinney Foundation
St. Regis / Deer Crest Club** Simmons Family Foundation Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome WCF Mutual Insurance Company
$50,000 TO $99,999 C. Comstock Clayton Foundation
$25,000 TO $49,999 Anonymous Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove Cache Valley Electric Chevron Corporation Deer Valley Resort* Janet Q. Lawson Foundation
UTAHSYMPHONY.ORG
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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 The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation
Every Blooming Thing* Goldman Sachs & Co. LLC The Val A. Green & Edith D. Green Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** National Endowment for the Arts Ogden Opera Guild Park City Chamber Bureau Promontory Foundation
James Riepe Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund The Swartz Foundation Wells Fargo
Holland & Hart** J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Norman C.† & Barbara L. Tanner Second Charitable Trust
Raymond James & Associates Ruth’s Chris Steak House Salt Lake City Arts Council U.S. Bank Foundation Union Pacific Foundation Utah Autism Foundation
InvitedHome* Millcreek Coffee Roasters* George Q. Morris Foundation Prime Steakhouse Peczuh Printing* Rocky Mountain Power Foundation
Snell & Wilmer Spitzberg-Rothman Foundation Stay Park City Summerhays Music Center* The Victory Foundation Zurchers*
$5,000 TO $9,999 Anonymous (2) Deluxe Corporation Foundation The Dorsey & Whitney Foundation Grandeur Peak Global Advisors
$2,500 TO $4,999 Blume Haiti Robert S. Carter Foundation CBRE Ditta Caffè* Victor Herbert Foundation Intuitive Funding
Proud Supporters of the Utah Symphony
Grandeur Peak Funds are distributed by ALPS Distributors, Inc.
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UTAH SYMPHONY
INSTITUTIONAL DONORS $1,500 TO $2,499 Blue Lemon* Castle Foundation City Creek Center D’Addario Foundation Henry W. & Leslie M. Eskuche Charitable Foundation The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Foundation
Constellation Brands Ray, Quinney & Nebeker Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Salt Lake Comic Con* Snow, Christensen & Martineau Foundation The Empress Theatre
Young Presidents’ Organization Zions Management Services Co.
Summerhays Music Center Swire Coca-Cola, USA*
Thomas Family Foundation Wrona, Gordon & Dubois
$1,000 TO $1,499 Five Penny Floral* Huntsman International LLC The Kanter Family Foundation
Monday–Saturday 7am–9pm Sundays 9:30am–4pm
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LEGACY GIVING
Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come.
To learn more about how estate planning can benefit both you and USUO, please call Rachel McNassor at 801-869-9010 or visit us online at usuo.giftplans.org.
Stream Classical KUER 24/7 on your desktop. Read the latest from NPR Classical. See and search the full playlist.
classicalkuer.org
TANNER & CRESCENDO SOCIETIES
“You are the music while the music lasts.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Rachel McNassor at rmcnassor@usuo.org or 801-869-9010 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Captain Raymond & Diana Compton
Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Dianne May Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson
Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes 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 Constance Lundberg† Richard W. & Frances P. Muir
Marilyn H. Neilson Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser` †Deceased
UTAHSYMPHONY.ORG
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ADMINISTRATION ADMINISTRATION Paul Meecham
Olivia Custodio
Alison Mockli
David Green
Chelsea Kauffman
Annual Fund Coordinator
Jared Mollenkopf
Jessica Proctor
Director of Government & Foundation Giving
Bobbie Williams
Executive Assistant to the CEO
Ali Snow
Lisa Poppleton
EDUCATION Paula Fowler
President & CEO Senior Vice President & COO
Julie McBeth
Executive Assistant to the COO & Office Manager
SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Director of Individual Giving
Grants Manager
Heather Weinstock
Manager of Special Events & DVMF Donor Relations
Alina Osika
Payroll & Benefits Manager Patron Information Systems Manager Accounts Payable Accountant
Director of Education & Community Outreach
Kyleene Johnson
Symphony Education Manager
Development Operations Manager
Paul Hill
MARKETING & COMMUNICATIONS Jon Miles
Annie Farnbach
Associate Conductor
Vice President of Marketing & Public Relations
Barlow Bradford
RenĂŠe Huang
OPERA TECHNICAL Jared Porter
Anthony Tolokan
Vice President of Symphony Artistic Planning
Conner Gray Covington Symphony Chorus Director
Walt Zeschin
Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Jeff Counts
Vice President of Operations & General Manager
Director of Communications & Digital Media
Chad Call
Jeff F. Herbig
Kathleen Sykes
Digital Content Producer
Nina Starling
Website Content Coordinator
Director of Patron Engagement Marketing Manager - Patron Loyalty
Andrew J. Wilson
Patron Services Manager
Ellesse Hargreaves
Patron Services Assistant
Properties Manager & Assistant Stage Manager
Genevieve Gannon
Lyndsay Wygant
Sarah Pehrson Jackie Seethaler Powell Smith
Artist Logistics Coordinator
0PERA ARTISTIC Christopher McBeth
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta
Group Sales Associate
Sales Associates
Nicholas Barker Gavin Benedict Lorraine Fry Jodie Gressman Ellen Lewis Ananda Spike Ticket Agents
Opera Chorus Master
Brooke Yadon
Opera Production Coordinator
DEVELOPMENT Leslie Peterson
Vice President of Development
Rachel McNassor
Director of Major Gifts
54
Technical Director
Lane Latimer
Graphic & Digital Media Designer
Merry Magee
Production & Stage Manager
Kyle Coyer
Kelly Nickle
Melissa Robison Chip Dance
Senior Technical Director
Mike Call
Cassandra Dozet
Program Publication & Front of House Director
Symphony Education Assistant
Marketing Manager - Audience Development
PATRON SERVICES Faith Myers
Director of Operations
Opera Education Assistant
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Mike Lund
Director of Information Technologies
Karyn Cunliffe Controller
Properties Master Assistant Props
Travis Stevens Carpenter
Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green
Costume Director
Jessica Cetrone
Costume Rentals Supervisor
Kierstin Gibbs LisaAnn DeLapp
Rentals Assistants
Amanda Reiser Meyer Wardrobe Supervisor
Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper
Donna Thomas
Milliner & Craftsperson
Chris Chadwick Yoojean Song Connie Warner Stitchers
Hope Bird Shelley Carpenter Krissa Lent Katie Satot
Wigs/Make-up Crew We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
UTAH SYMPHONY
STAGE ARTS
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LORE
Sometimes the truth is more frightening than fiction. Join storyteller Aaron Mahnke and musical guest Chad Lawson for an unforgettable evening of dark, spine-tingling tales—the perfect way to celebrate All Hallows’ Eve. Lore is an award-winning, critically acclaimed podcast that exposes the darker side of history, exploring the people, places, and things we fear the most. October 31, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW
THE MOUSETRAP by agatha christie
directed by david morgan
Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW
ETHEL with ROBERT MIRABAL, FLUTE: THE RIVER
Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute. December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW
WONDERLAND
music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy
uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood
From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination. January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018
801-422-2981 BYUARTS.COM
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.
UTAHSYMPHONY.ORG
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OUT OUT ON ON THE THE TOWN TOWN OUT ON THE TOWN
dining guide diningdining guide guide THE THENEW NEWYORKER YORKER60 60West WestMarket MarketStreet. Street.SLC’s SLC’s premier premierdining diningestablishment. establishment.Modern ModernAmerican American MARTINE 22 East 100 South. Exceptional ambience, MARTINE 22 Eastin100 South. Exceptional ambience, located in cuisine cuisineisisfeatured featured inrefined refined dishes dishesand and approachable approachable located infood. a historic brownstone. Martine Salt comfort From From classic classic totoinnovative, innovative, from acomfort historic food. brownstone. Martine offers Salt Lake Cityoffers afrom sophisticated Lake City a sophisticated dining experience kept contemporary contemporary seafood seafood toConveniently toAngus AngusBeef Beef steaks steaks – simple. –the the dining experience kept simple. located on First South Conveniently located onfor First South around the corner menu menuprovides provides options options forevery every taste. taste. Served Served ininaa around the corner from the Eccles Theater. Extensive bar and wine from the Eccles Theater. Extensive bar and wine service. casually casuallyelegant elegantsetting settingwith withimpeccable impeccableservice. service. service. martinecafe.com L,for T,corporate LL, RA,CC, CC,and VS. 801-363-9328 martinecafe.com L, D, T,D,corporate LL, RA, VS. 801-363-9328 Private Privatedining diningrooms rooms for and social socialevents. events. Lunch Lunch&&Dinner. Dinner.No Nomembership membershiprequired. required.L,L,D,D,LL, LL,AT, AT, RR, RR,CC, CC,VS. VS.801.363.0166 801.363.0166 MARKET MARKETSTREET STREETGRILL GRILLDOWNTOWN DOWNTOWN48 48 SPENCER’S 255 South West Temple, SLC. Whether it’s West WestMarket MarketStreet. Street. Unanimous Unanimous favorites favorites for forseafood seafood before orproviding after the exceptional show or an evening dinner with friendswinning. and dining, dining,providing exceptional service service and and award award winning. The Thecontemporary contemporary menu menu features features the thehighest highest quality quality family—enjoy hand cut steaks, fresh seafood, locally-crafted beers, available. available.inspired Select Selectfrom froman an abundant abundant offeringof offresh fresh classically cocktails and an awardoffering winning wine list. seafood flown indaily, daily, Angus AngusBeef Beefsteaks, steaks,and andaavariety variety L,seafood D, ST, C,flown LL, RA,inCC, VS. 801-238-4748 ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668
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B-Breakfast B-BreakfastL-Lunch L-Lunch D-Dinner D-Dinner S-Open S-Open SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre Top: Image licensed by Ingram ImageSunday LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
THANK OUR ADVERTISERS YOU TO BYU Arts Caffè Molise Challenger School City Creek Living Daynes Music Diita Caffè Excellence in the Community Gifted Music School The Grand America Hotel Grandeur Peak Funds Hamilton Parks Interiors Jerry Seiner Cadillac Kayenta Ken Garff Volvo Cars
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
KUED KUER Larry H. Miller Lexus Little America Hotel Lumen Lighting Millcreek Coffee Roasters The Nature Conservancy Parsons Behle & Latimer RC Willey Rowland Hall Ruby’s Inn Summit Sotheby’s University Federal Credit Union Utah Food Services
utahfoodservices.com
801.531.0226 Book us for your next event!
Utah’s Catering Company Proud Partner of the UTAH SYMPHONY | UTAH OPERA
Millcreek Coffee Roasters has been delivering freshly roasted coffee to restaurants, businesses, and homes in Utah since 1992. Visit us at
www.millcreekcoffee.com
for premium coffee delivered to your doorstep.
UTAH SYMPHONY VOLUNTEER OPPORTUNITIES
Do you love music and kids? VOLUNTEER WITH UTAH SYMPHONY IN THE CLASSROOM OR AFTER SCHOOL! UTAH SYMPHONY 5TH GRADE CONCERTS Volunteer to be a docent who visits 5th grade classrooms along the Wasatch Front to prepare students for a special concert in Abravanel Hall. We teach you how to do it and give you all the tools to succeed! Contact Ky Johnson at kjohnson@usuo.org. THE MUSIC OUTREACH PROGRAM Volunteer to set up and facilitate free group violin lessons at an after-school program in Rose Park. Contact Doyle Clayburn at dcsunset13@gmail.com.
ALL LIVES CAN BE ENRICHED BY THE ARTS. SHARE YOUR LOVE OF MUSIC WITH OUR YOUNG PEOPLE.
ACKNOWLEDGEMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY
Tanner, llc LEGAL REPRESENTATION PROVIDED BY
Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES PROVIDED BY
Shuman Associates, New York City ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY
Love Communications, Salt Lake City ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY
Struck, Salt Lake City / Portland The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.
Music Begins Here Now Accepting Music Students PreK–12 Call 801.300.1199, or visit GiftedMusicSchool.org
By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY
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