Beethoven No. 6 by Mills Publishing Inc.

2021–22 SEASON

BEETHOVEN

NO. 6

MARCH 24, 2022

Preprint Wasatch Peaks

WELCOME What better way to welcome spring than with two refreshing performances by the Utah Symphony: The Carnival of Animals, Saint-Saëns’s musical menagerie, and Beethoven’s 6th Symphony, portraying a day in the countryside. It’s like a musical trip to the zoo or picnic with friends. Your next opportunity for a spectacular night out is just a few weeks away with Cirque de la Symphonie, a dazzling combination of music and acrobatics. After that, we will be heading downtown to close out the season with one performance each at Peery’s Egyptian Theater and The Monarch. I personally can’t wait to hear the 12 perfectly harmonious voices of Chanticleer at Peery’s. Eighth Blackbird will join us at The Monarch in May for a show long in the making: we have rescheduled this performance three times since the spring of 2020! We’re looking towards next season with a sense of optimism: Onstage Ogden is planning a slate of 26 performances for our 2022/2023 season. You can expect to see some amazing concerts by our friends at Utah Symphony, including one or two surprises. We’ll also be expanding our programming downtown, with four or five performances each at Peery’s Egyptian Theater and The Monarch. Previous subscribers to the Masterworks and Entertainment series can expect to sit in their same seats at a great savings. Long-time ticket buyers and newattendees alike can expect a wide variety of engaging, uplifting, and entertaining experiences to choose from. We hope to announce our new season in April, with tickets going on sale to subscribers in May. Thanks again for joining us this evening and for your ongoing support of Onstage Ogden. We hope to see you again soon. James Fredrick Executive Director, Onstage Ogden

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BOARD & STAFF BOARD OF DIRECTORS Jennifer Webb President Susan Shreeve Vice President

Cirilo Franco John Fromer Dr. Val Johnson Chris Karczewski

Jean Vaniman President-Elect

Russ King Chair of Foundation Board

Roger Christensen Treasurer

Dr. Rosemary Lesser Zach Nelson Wendy Roberts Joyce Stillwell Dr. Deborah Uman Jon Wilson

Dr. Robert Fudge Secretary Dr. Ann Ellis At Large Christina Myers At Large

FOUNDATION Russel King Chair

Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke

Marti M. Clayson Secretary

STAFF James Fredrick Executive Director

Camille Washington Marketing & Box Office Manager

Andrew Barrett Watson Outreach & Events Manager

Avery Franklin Audience Engagement & Administrative Coordinator

Sarah Lorna Bailey Development Coordinator Cover illustration: Nate Williams for Onstage Ogden

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ONSTAGE OGDEN

In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County. So, for the small fee of $400, they brought the Utah Symphony to Ogden for a single performance. Three hundred people attended the concert. This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts. Then, in 1957, this committee reformed and incorporated as the Ogden Guild. After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association. Under the direction of numerous board members and long-serving Executive Directors like Jean Pell (27 years), and Sharon Macfarlane (14 years), Onstage Ogden has expanded our programming to include internationally renowned classical dance, vocal, and chamber music. Since our inception, we have presented over 800 performances to tens of thousands of Utahns. In addition, Onstage Ogden actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve. We also offer a variety of education classes, from Masterworks Music Detectives to Music and Dance Explorers. And we are partnering with several local community organizations to expand these programs to reach even more children and students. Onstage Ogden is proud to celebrate 70 years sponsoring only the finest music and dance in the Greater Ogden area. We are honored participate in the enrichment of our community by presenting professional classical performance. Mills Publishing, Inc. Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Graphic Design; Patrick Witmer, Graphic Design/Web Developer; Paula Bell, Dan Miller, Paul Nicholas Advertising Representatives Onstage Ogden 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 2022. PRINTED ON “RECYCLABLE” PAPER. PLEASE RECYCLE.

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2021–22 SEASON

MASTERWORKS SERIES Rachmaninoff Symphonic Dances January 27, 2022 at 7:30PM Ravel La Valse February 3, 2022 at 7:30PM Beethoven No. 6 March 24, 2022 at 7:30PM

DANCE & VOCAL SERIES BYU Ballroom Dance Company October 23, 2021 at 7:30PM Nochebuena December 23, 2021 at 7:30PM Ballet Hispánico February 5, 2022 at 7:30PM Chanticleer April 28, 2022 at 7:30PM

FAMILY SERIES Spanish Brass November 11, 2021 at 7:30PM Here Comes Santa Claus! December 14, 2021 at 7:00PM Carnival of the Animals March 17, 2022 at 7:00PM Youth Benefit Concert May 17, 2022 at 7:00PM

ENTERTAINMENT SERIES Cirque de la Symphonie April 21, 2022 at 7:30PM

SPECIAL EVENTS The Nutcracker November 26–27, 2021 Friday at 7:00PM Saturday at 2:00PM & 7:00PM

DOWNTOWN SERIES Imani Winds October 12, 2021 at 7:30PM Hot Club of San Francisco October 15, 2021 at 7:30PM Thalea Quartet December 7, 2021 at 7:30PM Eighth Blackbird January 13, 2022 at 7:30PM

Arts

The Onstage Ogden’s 2021–2022 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, and Parks (RAMP) program, and Ogden City Arts.

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MASTERWORKS SERIES S E A SO N S P O N SO R E D BY W E B E R CO U NT Y R A M P

TITO MUÑOZ CONDUCTS

BEETHOVEN 6, SIBELIUS & BUXTEHUDE March 24, 2022 / 7:00 PM BROWNING CENTER AT WEBER STATE UNIVERSITY

Tito Muñoz, conductor Augustin Hadelich, violin BUXTEHUDE (arr. Carlos Chávez) Chaconne in E minor

BEETHOVEN Symphony No. 6 in F Major, Op. 68, “Pastorale”

SIBELIUS Concerto in D minor for Violin and Orchestra, Op. 47

I. Awakening of cheerful feelings upon arrival in the country: Allegro ma non troppo II. Scene at the brook: Andante molto mosso III. Happy gathering of country folk: Allegro IV. Thunder Storm: Allegro V. Shepherds’ song; cheerful and thankful feelings after the storm: Allegretto

I. II. III.

Allegro moderato Adagio di molto Allegro, ma non tanto Augustin Hadelich, violin

CO N C E RT S P O N SO R

Onstage Ogden Board of Directors

OnstageOgden.org

ARTISTS’ PROFILES Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Now in his seventh season as the Virginia G. Piper Music Director of The Phoenix Symphony, Muñoz previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Other prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra, and the Aspen Music Festival. Since his tenure in Cleveland, Muñoz has celebrated critically acclaimed successes with the orchestra, among others stepping in for the late Pierre Boulez in 2012 and leading repeated collaborations with the Joffrey Ballet, including the orchestra’s first staged performances of Stravinsky’s Rite of Spring in the reconstructed original choreography of Vaslav Nijinsky.

Tito Muñoz Conductor CO N D U C TO R S P O N SO R

Born in Queens, New York, Muñoz began his musical training as a violinist in New York City public schools. He attended the LaGuardia High School of the Performing Arts, The Juilliard School’s Music Advancement Program, and the Manhattan School of Music Pre-College Division. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips. Muñoz received conducting training at the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize, returning to Aspen as the festival’s Assistant Conductor in the summer of 2007, and later as a guest conductor. Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited by Leonard Slatkin as a participant of the National Conducting Institute. That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. He was awarded the 2009 Mendelssohn Scholarship sponsored by Kurt Masur and the Felix Mendelssohn-Bartholdy Foundation in Leipzig, and was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition in Frankfurt.

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ARTISTS’ PROFILES Augustin Hadelich is one of the great violinists of our time. From Bach to Paganini, from Brahms to Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician’s musician. Named Musical America’s 2018 “Instrumentalist of the Year,” he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations.

Augustin Hadelich Violin G U E S T A RTI S T S P O N SO R

LAWRENCE T. & JANET T. DEE FOUNDATION

Hadelich’s 2020–21 season culminated in performances of the Brahms Violin Concerto with the San Francisco Symphony, conducted by Esa-Pekka Salonen. These were the first performances played by the full ensemble to a live audience in Davies Hall in 15 months. Hadelich’s 2021–22 season started off with a three-concert stunning debut with the Berlin Philharmonic (Prokofiev’s Violin Concerto No. 2). Shortly thereafter, came the European premiere of a new violin concerto written for him by Irish composer, Donnacha Dennehy. He will play the rescheduled world premiere with the Oregon Symphony in October of 2022. Other highlights of the 2021–22 season include being named Artist-in-Residence with the Frankfurter Museumsorchester, the continuation of his residency as Associate Artist with the NDR Elbphilharmonie/Hamburg, and debuts with L’Orchestre National de France, the Prague Radio Symphony, and the Warsaw Philharmonic. Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Born in Italy, the son of German parents, Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Hadelich plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

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HISTORY OF THE MUSIC Chaconne in E Minor Duration: 7 minutes.

THE COMPOSER(S) – CARLOS CHÁVEZ (1899–1978) – To count Carlos Chávez among the most important Mexican composers of the 20th century doesn’t do him full justice. Certainly, he represented his country with persistence and flair, but he was much more than a cultural ambassador. Well-traveled and well-versed in multiple compositional schools of thought, Chávez had a career that was truly international in scope and historical in impact. DIETRICH BUXTEHUDE (1637–1707) – In addition to owning one of the best names in classical music, Dietrich Buxtehude was a keyboardist of such renown that a young Johann Sebastian Bach reportedly once walked 200 miles to hear him play. He was born in Scandinavia (in a part of Denmark that is now in Sweden) but is remembered today primarily for his contributions to German Baroque culture.

THE HISTORY – Bach’s long walk, assuming he actually took it, would definitely have been worth it. Buxtehude’s reputation then and legacy today come mostly from his collection of compositions for the organ, even though at least 100 of his vocal cantatas still exist as well. The church choir music of Buxtehude was simple and functional and probably not of much use to the younger musician, but Bach would have found much to emulate in the organ music, which included inspiring examples of preludes, toccatas, passacaglias, chaconnes, and fugues. The chaconne form, a repeated progression of chords over which

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intricate melodic decorations are iterated, owes its current status to the great masters like Buxtehude and Bach who polished it to perfection. It is, in fact, so recognizable in its Baroque-period guise that many assume it was born during that fertile era. Not so. Chaconnes date back to late 16th century as dances from Spain and Italy, and some scholars have argued for an origination that was even earlier and quite a bit farther away in Latin America, specifically in Mexico. Carlos Chávez, a Mexican national treasure and tireless promoter of his country’s indigenous traditions, was probably sympathetic to the Latin American origin supposition. He, like Bach before him, was fearless in his pursuit of knowledge and willing to travel far to learn from others. Chávez returned from one such journey to the United States in the late 1920s with a mission—to create his own orchestra and make the most of his European training and Mexican loyalty as an artist. He wrote many works for his beloved Orquesta Sinfónica de México over the next several years, including a full-scale realization of Buxtehude’s Chaconne in E Minor in 1937. It is a wonderful synthesis of antique expression and modern instrumental flexibility.

THE WORLD – Elsewhere in 1937, Snow White and the Seven Dwarves premiered in the United States, former King Edward VIII married Wallis Simpson, the bombing of Guernica occurred in Spain, and Austrian actor and inventor Hedy Lamarr left her home country for good.

THE CONNECTION – This is the first time the Buxtehude/Chávez Chaconne has appeared on a Utah Symphony Masterworks program.

HISTORY OF THE MUSIC Concerto in D minor for Violin and Orchestra, Op. 47 Duration: 31 minutes in three movements.

THE COMPOSER – JEAN SIBELIUS (1865-1957) – Sibelius’ busy schedule and heavy drinking necessitated an escape from the pressures of Helsinki in 1903. He had vowed to cope with his alcohol issues “with all [his] strength” but was not having much success. Within a few years he would be diagnosed with a throat tumor that would eventually force what his strength could not fully manage but, in early days of the new century, his demons still held sway. A little distance from the capital and its social climate was needed and, though it took a year to complete, his new home in the village of Järvenpää provided some genuine, though ultimately insufficient, solace.

THE HISTORY – Coincident with the gradual departure from Helsinki was the creation of the Violin Concerto. As a composer, Sibelius was not cut from the showy sort of cloth that produced the virtuoso concerti of previous decades. His was a more solemn disposition, so solemn that one wonders why he agreed to take on a project so contingent on being able to convincingly step outside of himself. It would seem, at least in part, that an avid admirer talked him into it. Willy Burmester was a leading violin soloist at the time and was greatly impressed with Sibelius. Burmester’s enthusiasm proved a balm for the composer’s personal troubles and Sibelius eventually agreed to craft a concerto for him. As a violinist himself, Sibelius was a fine player but had been a late starter and secretly thought himself

a failure in that regard. So, at best, the concerto provoked in him a wistfully imagined career as a virtuoso performer that might have been. At worst, it encouraged frequent drinking “slips” that threatened a full-on relapse. One can hear all this in the concerto. The latent darkness is right there in the music of the first movement, but also so much more. Burmester, for his part, believed the concerto’s merits rivaled Tchaikovsky’s and history has proven him an oracle. Sibelius completed the concerto in 1903 and settled on a premiere date for Burmester in March of the following year. Unfortunately, circumstances pressed the composer towards an earlier 1904 date. These “circumstances” were almost certainly related to his ongoing money woes. In any case, the change did not suit Burmester’s calendar and Viktor Nováček played instead. By all accounts Nováček was not up to the concerto’s demands and, though Burmester was willing to forgive the initial insult and even offered to assist in the revisions that would make the concerto a success, he was not given the premiere of the new version either. A pity. This masterpiece has countless champions now, but we should not forget that its first and most devoted was twice betrayed by it.

THE WORLD – Elsewhere in 1904, the RussoJapanese War began, Britain and France signed the Entente Cordiale, Charles Dillon Perrine discovered Jupiter’s largest irregular moon Himalia, and Jack London published The SeaWolf.

THE CONNECTION – The Sibelius Violin Concerto is among the most popular concerti on Utah Symphony Masterworks programs. It last appeared in 2018 under Thierry Fischer with Baiba Skride as soloist.

OnstageOgden.org

HISTORY OF THE MUSIC Symphony No. 6 in F Major, Op. 68 (“Pastorale”) Duration: 39 minutes in five movements.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770–1827) – The period from 1803–1808 was marked by furious compositional activity for Beethoven, with a broad focus on symphonies, sonatas, string quartets, and a nascent but important opera project. Despite the impressive creative density of those years, however, he found it difficult to establish financial security in Vienna and, given his generally poor health at the time, he might not have been able to enjoy it much if he had. He didn’t starve, thankfully. In addition to calling on his modest handful of supporters, Beethoven was accustomed to selling selected pieces to publishers to make ends meet. But there was no steady employment to be had and he struggled to set up concerts from which he could collect the sales. In late 1808, finally, he got his chance.

THE HISTORY – The “Pastoral” Symphony of Beethoven has been forever linked to his 5th Symphony thanks to the circumstances of their dual creation and dual premiere. It would be unheard of today to program both these works on a single concert, but that is exactly what happened back on December 22, 1808, at the Theatre an der Wien. This historic, and now infamous, performance included not only the 5th and 6th Symphonies but also the 4th Piano Concerto, a concert aria, excerpts from the Mass in C and the “Choral Fantasy.” The phrase

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“making the most of an opportunity” doesn’t begin to cover what Beethoven attempted to wring out of the evening. It probably goes without saying that the event was an under-rehearsed marathon of over four hours that had very mixed results for Beethoven. Regardless of the evening’s effectiveness, the juxtaposition of the two symphonies is fascinating to consider. Though composed simultaneously, they could not be more different. The “Pastorale” is as gentle and subtle as the 5th is forceful and iconic. If the 5th opens with the sharpness of a blade, the 6th whispers itself into life before the listener is even aware. The five movements of the 6th Symphony have titles that evoke specific scenes from “country life” and while much of the music is obviously quite descriptive, the composer cautioned that “It is rather an expression of feeling than a pictorial representation.” The disclaimer is unnecessary and, in some instances, possibly even inaccurate. Beethoven’s early sketches included notes that identified very specific “pictorial” references, but they never made it into the published score. In the end, he was right that we wouldn’t need them. Exhibit A is the storm sequence, which is as literal as a film score and has not been improved upon by any other composer’s “weather music” in the two centuries since.

THE WORLD – Elsewhere in 1808, it was officially illegal to import slaves into the United States as of January 1, the “Rum Rebellion” kicked off in Australia, Goethe published Faust (Part I), and Napoleon appointed his brother Joseph King of Spain.

THE CONNECTION – The last Masterworks performance of Beethoven’s “Pastoral” Symphony was in 2015. Thierry Fischer was on the podium.

UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Barlow Bradford Symphony Chorus Director 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 Alexander Martin Acting Associate Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Sara Bauman†† Erin David Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang# Rebekah Johnson Tina Johnson†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Yuan Qi Associate Principal Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands†† Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Andrew Keller Edward Merritt James Stroup†† Jens Tenbroek Thomas Zera†

Jeff Luke Associate Principal Peter Margulies Paul Torrisi

Brooks Fisher†† Acting Associate Principal

TROMBONE Mark Davidson Principal

Lissa Stolz 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

Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TUBA Vacant Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda-Scott

Eric Hopkins Michael Pape

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal

LIBRARIANS Clovis Lark Principal Claudia Restrepo

Jennifer Rhodes HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair

Caitlyn Valovick Moore

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

TRUMPET Travis Peterson Principal

†

Lisa Byrnes Associate Principal

• First Violin •• Second Violin

PICCOLO Caitlyn Valovick Moore

* String Seating Rotates † On Leave

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CONTRABASSOON Leon Chodos HORN Jessica Danz Principal Edmund Rollett Associate Principal Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser # Sabbatical †† Substitute Member

ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

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FRIENDS OF ONSTAGE OGDEN Onstage Ogden thanks the following individuals, corporations, foundations, and government funding agencies for their generous donations! The following list of acknowledgments are contributors from January 2021 - February 2022. Please contact us if you would like to make a donation, if your name has inadvertently been left off the following list or is misspelled. Thank you again for your generous support!

Season Sponsor ($90,000+) Stewart Education Foundation

Weber County RAMP

Series Sponsor ($20,000+) Pinto Family Foundation Alan and Jeanne Hall

Utah Division Of Arts and Museums

Concert Sponsor ($10,000+) Weber State University Robert & Marcia Harris Lawrence T. Dee and Janet T. Dee Foundation Ogden City Arts

Richard K. & Shirley S. Hemingway Foundation Norman C. and Barbara L Tanner Charitable Support Trust Val A Browning Charitable Foundation

Diamond ($5,000–$9,999) Marriner S. Eccles Foundation Beaver Creek Foundation Dr. Robert Fudge and Sylvia Newman*

George S. & Dolores Dore Eccles Foundation

Platinum ($2,500–$4,999) Christina & Shaun Myers* Suzanne Patterson in Memory of & Dedicated to Nancy Pinto-Orton

Nancy Pinto-Orton*

* Members of the Onstage Ogden Board of Directors

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Janet A. Petersen Matt & Camille Pollard Dessa Dal Porto & Victor Dumas in Memory of Nancy Pinto-Orton Wendy and Cary Roberts* Roosters Brewing Co. Carlyn Sarino in Memory of Nancy Pinto-Orton Juergen Sass Harlan Schmitt Mary and Howard Schuyler Susan and Greg Shreeve* Sempre Musical Society Carol and Paul Sonntag Keith and Marlys Sorbo John and Colleen Starley Edward and Mari Lou Steffen David Suehsdorf Talisman Brewing Company Jeane Taylor UTOG Brewing Company Dixie Vandyke Jean Vaniman* Bonnie Wahlen Jack and Bonnie Wahlen Andrew and Suzanne Wall Bruce and Kay Wallace Janice and Sheldon Ward Dr. Michael & Jennifer Webb in Honor of Nancy Pinto-Orton and Richard White Kent and Trudy Whiteman Aloha Whitney Larry Zaugg Jan Zehner

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February 28–March 2, 2022 801-626-7515 weber.edu/storytelling

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FROM THE UNIVERSITY OF UTAH

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