Ravel La Valse by Mills Publishing Inc.

2021–22 SEASON

RAVEL

LA VALSE

FEBRUARY 3, 2022

Preprint Wasatch Peaks

WELCOME Welcome and Happy New Year! Onstage Ogden is proud to be kicking off 2022 with a number of world-class performances, including the return of Maestro Thierry Fischer with your Utah Symphony. We have again entered a time of uncertainty. Thank you for navigating that uncertainty to be with us here this evening. Let’s continue to take care of one another: masking up for the duration of the performance, providing adequate physical distance, and generally meeting each other with the kindness and grace we all need right now. The Masterworks Series with Utah Symphony continues on March 24 with Beethoven’s Pastoral Symphony alongside works by Sibelius and Buxtehude. The next great opportunity for our youngest audience members will also be this March with Utah Symphony performing Carnival of Animals. For something truly spectacular, we hope to see you at Cirque de la Symphonie in April for a dazzling combination of music and acrobatics. We’re also beginning to look further out with a sense of optimism: Onstage Ogden is planning a full slate of performances for our 2022/2023 season. Next year you can expect to see some amazing performances by our friends at Utah Symphony, including one of two surprises. We’ll also be expanding our programming Downtown Ogden, with four performances each at Peery’s Egyptian Theater and The Monarch. We can’t wait to tell you about some fun new opportunities for families here in the Austad Auditorium as well, so stay tuned. 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 at the theater again soon. James Fredrick Executive Director, Onstage Ogden

OnstageOgden.org

BOARD & STAFF BOARD OF DIRECTORS Jennifer Webb President

Christina Myers At Large Cirilo Franco John Fromer Dr. Val Johnson Chris Karczewski

Susan Shreeve Vice President Jean Vaniman President-Elect

Russ King Chair of Foundation Board

Roger Christensen Treasurer Dr. Robert Fudge Secretary Nancy Pinto-Orton Chair of Nominating Committee Dr. Ann Ellis At Large

FOUNDATION Russel King Chair

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

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 Richard White Treasurer

STAFF James Fredrick Executive Director

Camille Washington Marketing & Box Office Manager

Andrew Barrett Watson Outreach & Events Manager Sarah Lorna Bailey Development Coordinator

Avery Franklin Audience Engagement & Administrative 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.

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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

THIERRY FISCHER CONDUCTS

RAVEL, LISZT & JOHN ADAMS February 3, 2022 / 7:30 PM AUSTAD AUDITORIUM

Thierry Fischer, conductor Joyce Yang, piano JOHN ADAMS Slonimsky’s Earbox LISZT Concerto No. 1 in E-flat Major for Piano and Orchestra I. Allegro maestoso II. Quasi adagio - Allegretto vivace III. Allegro marziale animato Joyce Yang, piano

INTERMISSION

RAVEL Une Barque sur l’océan Valses nobles et sentimentales

S E A SO N S P O N SO R

I. Modéré II. Assez lent III. Modéré IV. Assez animé V. Presque lent VI. Assez vif VII. Moins vif VIII. Epilogue

La Valse

OnstageOgden.org

ARTISTS’ PROFILES Thierry Fischer has been the Music Director of the Utah Symphony since 2009 and will become Music Director Emeritus in the summer of 2023. He has held the same position with the São Paulo Symphony since 2019. In recent seasons he has conducted orchestras across the globe, notably the Boston, Cleveland, Atlanta, and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; Orchestre de la Suisse Romande; and leading chamber orchestras such as Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment, Swedish Chamber, Ensemble Contemporain, and London Sinfonietta. He has performed and commissioned many world premieres.

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Fischer was active throughout the pandemic conducting concerts for live and virtual audiences during his inaugural season in São Paulo including Stravinsky’s ballets, Beethoven’s symphonies, and his Missa Solemnis. Other highlights of 2020–21 included the London Philharmonic at the Royal Festival Hall and on Marquee TV, Mendelssohn’s Elijah with the Netherlands Radio Philharmonic Orchestra and Chorus, also return visits to the Bournemouth Symphony and Brussels Philharmonic orchestras.

During his tenure in Utah, Fischer has led the orchestra’s first appearance in Carnegie Hall in 40 years. He recorded for Reference Records a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas; and Mahler’s symphonies 1 and 8, the latter with the world-renowned The Tabernacle Choir at Temple Square. Most recently Hyperion Records have released the complete Saint-Saëns symphonies with Fischer and Utah Symphony, to critical acclaim; they also plan to record Messiaen’s Des Canyons aux étoiles, to be performed in the awe-inspiring canyons of Utah where it was composed. Whilst Principal Conductor of the BBC National Orchestra of Wales 2006–12, Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. In 2012 he won the ICMA Award for his Hyperion CD of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. 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 2001–06. He was Principal Guest of the Seoul Philharmonic 2017–20 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–11. 12

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ARTISTS’ PROFILES Joyce Yang first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takács Quartet), and Best Performance of a New Work.

Joyce Yang Piano

Other notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Deutsches Symphonie-Orchester Berlin, the BBC Philharmonic, as well as the Toronto, Vancouver, Sydney, Melbourne, and New Zealand Symphony Orchestras. She was also featured in a five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal). Born in 1986 in Seoul, South Korea, Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present. Over the next few years she won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yang won the pre-college division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with the Juilliard PreCollege Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Piano Concerto No. 3 with that orchestra at just 12 years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Annual William A. Petschek Piano Recital Award. Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.

OnstageOgden.org

HISTORY OF THE MUSIC By Jeff Counts

Slonimsky’s Earbox Duration: 23 minutes.

THE COMPOSER – JOHN ADAMS (b. 1947) – Among the most generous and beguiling of our compositional living legends, John Adams seems to somehow choose his subjects with both great care and complete abandon. From an imagined familiarity between his father and Charles Ives to a strange book he discovered in a French farmhouse to a bluesy phrase impossibly attributed to Martin Luther, John Adams almost always titles his pieces in a way that requires further reading. It is hardly a surprise then that he would find common cause with one of the wittiest and most intellectually virtuosic voices in musical letters.

Scales and Melodic Patterns dates from 1947 and Adams acknowledged a great personal debt to it by stating that the “scales and resulting harmonies have had a singular impact on my music since the Chamber Symphony of 1992.” Further inspiration for Slonimsky’s Earbox is attributed by Adams to Igor Stravinsky, whose orchestral work Le chant du rossignol uses the orchestra to “burst[s] out in a brilliant eruption of colors, shapes and sounds.” Adams was also drawn to Stravinsky’s use of modal scales and harmonies in the Rossignol score. These had an obvious, direct-line connection for Adams to Slonimsky’s treatise, but additionally supported a longheld theory of Adams’ that “the Russians… had begun something very important with their use of modal scales…a direction that unfortunately was overwhelmed by more prestigious practices such as Neoclassicism and Serialism.” It’s exactly the kind of brainy observation Slonimsky himself might have made and clear proof that Adams and his muse were made for each other. The “Earbox” of the title comes from Adams too, who called it “a word worthy of Slonimsky himself, a coiner who never tired of minting his own.” Yet more proof. If you need it.

THE HISTORY – Known more in America for his Lectionary of Music and Lexicon of Musical Invective, Nicolas Slonimsky was a Russian-born polymath who, looking back on the 101 years of his life before passing away in 1995, could have boasted no less than four distinct careers in music. Slonimsky was a pianist, a conductor, a composer, and a highly praised THE WORLD – Elsewhere in 1995, the lexicographer with an inexhaustible supply “Trial of the Century” concluded in OJ’s of anecdotes. Adams got to know him when they both were living in Santa Monica, acquittal, the Bosnian Civil War ended, the World Trade Organization was founded, California. Slonimsky was, according to and the city of Bombay changed its name Adams, “a character of mind-boggling to Mumbai. abilities” who could “recall with absolute precision the smallest detail of something he’d read from forty years before.” Slonimsky’s Earbox (1995) owes its existence THE CONNECTION – These performances mark the Utah Symphony’s first performances to something Slonimsky had written well of John Adams’ Slonimsky’s Earbox. over forty years before. The Thesaurus of 14

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HISTORY OF THE MUSIC Piano Concerto No. 1 in E-flat Major Duration: 19 minutes in four movements (played without pause).

THE COMPOSER – FRANZ LISZT (1811– 1886) – Liszt spent the 1850s in Weimar and created some of his finest works there, including the two piano concertos, Totentanz, the Faust Symphony, as well as various etudes, rhapsodies and other sundry exercises. In addition to continuing his duties under the fabulous title of Kapellmeister Extraordinare, the composer had officially relocated to Weimar in 1848 (perhaps seen then an odd choice for someone of his stature) because of two important people, his employer and his second great love. With Grand Duke Carl Alexander, Liszt hoped he might co-found an intellectual “Athens of the North” and in the Princess Carolyne he saw nothing less than his future wife. Neither dream would be realized. THE HISTORY – Both of Liszt’s piano concertos had long incubation periods. No. 1 was apparent in sketches from the early 1830s (possibly even before) and, though ostensibly “complete” by the end of that decade, it was revised repeatedly over the next two and not premiered in its final form until 1855. Liszt, ever preoccupied with structural innovation and recalling an 1836 admonishment by Robert Schumann to “invent a new form”, chose to set his concerto as a continuous flow of ideas rather than a standard three-movement work with breaks in between. Compared to the nearly contemporaneous Concerto

No. 2 which, according to the previously quoted essayist Michael Steinberg is “for poet’s only”, No. 1 is a simple dazzler for any “keyboard athlete.” We should be careful, however, not to let assessments of this music’s showy nature (which are common and fair) blind us to its truly novel formal accomplishments. Other composers certainly noticed and, as with so much of what Liszt did throughout his composing life, they saw glimpses of the future in his intrepid, boisterous spirit. He well knew this about himself and cultivated it carefully. In fact, a wonderful legend about the concerto’s opening theme plays neatly into the notion of Liszt as a man fully aware, and perhaps a bit protective, of his place in the vanguard. According to the lore, Liszt and his son-in-law Hans von Bülow put secret words to the notes which (translated) say “None of you understand this, haha!” That dismissal, if true, seemed to predict and then casually wave away the opinion of critics and colleagues that Concerto No. 1 lacked the “poetry” mentioned above. It also baked in a reminder that, for all his swagger and fame, Liszt was an artist of incredible intellectual depth, and one willing to remind you of such if you forgot. THE WORLD – Elsewhere in 1855, Alexander II ascended to the Russian throne, The Daily Telegraph began publication in London, and the first bridge over the Mississippi River was constructed in Minneapolis. THE CONNECTION – Liszt’s Piano Concerto No. 1 was most recently performed by the Utah Symphony in 2007 with Keith Lockhart on the podium and Lise de la Salle as soloist. OnstageOgden.org

HISTORY OF THE MUSIC Three Orchestral (?) Masterpieces Duration: Une barque sur l’océan – 7 minutes; Valses nobles et sentimentales – 16 minutes; La Valse – 12 minutes

THE COMPOSER – MAURICE RAVEL (1875–1937) – For years, Ravel and Debussy were set up as rivals in Paris and, though they did not choose or nurture this “conflict,” the eventual factionalization of their artist community led to a cooling between them. It’s a shame, since the compositional similarities necessary to occasion such a competition were largely invented. Neither man liked being called an Impressionist (which they were then and still are today) and likely resented how the superficiality of the designation masked their individuality as artists. That said, it is difficult to fault their contemporaries for declaring them kindred. In addition to their comparable harmonic and formal innovations, both composers wrote prodigiously and colorfully for the piano. And both liked to convert those works into orchestral masterpieces. THE HISTORY – Ravel wrote his piano collection Miroirs (Reflections) during 1904 and 1905. In his description of the music, he bristled (lightly) by admitting he knew the title would invite the expected tag of Impressionism. It was “a rather fleeting analogy,” he said, “since Impressionism does not seem to have any precise meaning outside the domain of painting.” No. 3 of the set was Une barque sur l’océan (A Boat on the Ocean) and it was no doubt measured against Debussy’s La Mer when it was orchestrated in 1906. The title of Valses nobles et sentimentales, Ravel wrote, “sufficiently indicates that I was intent 16

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on writing a set of Schubertian waltzes.” Comprising seven dances and an epilogue, the Valses were orchestrated in 1912 and were Schubertian by dedication only. Unlike the separate parts that made up Schubert’s Valses nobles and Valses sentimentales sets, Ravel’s waltzes are indistinct, interconnected and decidedly modern by comparison. A few of the harmonic departures from expectation, in fact, earned Ravel some catcalls at the piano version premiere. Given this fascination with the waltz form, it comes as no surprise that Ravel long entertained the idea of creating an homage work to Johann Strauss, Jr. entitled Wien (Vienna). When Serge Diaghilev approached him after World War I to write a new ballet, he thought he had finally found reason to see it through. Ravel gave the impresario a two-piano sneak peek of Wien in the spring of 1920. Poulenc and Stravinsky were in attendance as well and Poulenc recalled the disastrous tension when Diaghilev referred to the music as “genius” but “not a ballet.” Ravel was highly offended and broke ties with Diaghilev on the spot. So enduring was the animosity between them that it is believed Diaghilev challenged Ravel to a duel a few years later. La Valse (the only part of tonight’s concert trio that didn’t begin life as a piano piece) premiered later in 1920, but not as a ballet. THE WORLD – Elsewhere in 1906, the San Francisco earthquake occurred. In 1912, the RMS Titanic went down during its maiden voyage. And in 1920, the very first “Ponzi” scheme was born. THE CONNECTION – La Valse was last programmed in 2015. Valses nobles et sentimentales appeared last in 1999. And Une barque sur l’océan was previously presented in 2015.

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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

Bonnie Terry

Acting Associate Concertmaster

VIOLA* Brant Bayless

Peter Margulies Paul Torrisi

Sam Elliot

CELLO* Matthew Johnson

CLARINET Tad Calcara

BASS TROMBONE Graeme Mutchler

Acting Associate Principal

††

Associate Principal

Lissa Stolz

Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell

TROMBONE Mark Davidson Principal

Associate Principal

TIMPANI George Brown Principal

Eric Hopkins

Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands†† Pegsoon Whang

Erin Svoboda-Scott

BASS CLARINET Lee Livengood

Eric Hopkins Michael Pape

BASS* David Yavornitzky

E-FLAT CLARINET Erin Svoboda-Scott

KEYBOARD Jason Hardink

Corbin Johnston

BASSOON Lori Wike

Principal

Associate Principal

James Allyn Andrew Keller Edward Merritt James Stroup†† Jens Tenbroek Thomas Zera† HARP Louise Vickerman

Principal

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Caitlyn Valovick Moore

Associate Principal

ENGLISH HORN Lissa Stolz

Andrew Larson

• First Violin •• Second Violin

Jeff Luke

Brooks Fisher

Wen Yuan Gu

Karen Wyatt•• Sara Bauman†† Joseph Evans LoiAnne Eyring Laura Ha•† Lun Jiang# Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Julie Wunderle

TRUMPET Travis Peterson

Principal

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

†

Principal Second

Assistant Principal Second

Principal The Gerald B. & Barbara F. Stringfellow Chair

Associate Principal

Claude Halter

Evgenia Zharzhavskaya

OBOE James Hall

Yuan Qi

Acting Principal The J. Ryan Selberg Memorial Chair

Associate Principal Second

PICCOLO Caitlyn Valovick Moore

Principal The Sue & Walker Wallace Chair

* String Seating Rotates † On Leave

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Associate Principal

Lee Livengood

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal

Edmund Rollett

Associate Principal

Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser # Sabbatical †† Substitute Member

PERCUSSION Keith Carrick Principal

Principal

LIBRARIANS Clovis Lark Principal

Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

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g n i l l e t y r o t S Festival Storytelling Festival Preprint Storytelling & PBS

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

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Storytelling Festival STORYTELLING

FESTIVAL

advancement.weber.edu/storytelling

26th annual

STORYTELLING

FESTIVAL

FROM THE UNIVERSITY OF UTAH

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