OnStage Ogden March Concerts

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Ogden, UT 801-625-3777

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Spring is upon us and it’s time to trade those winter blues for springtime tunes! Whether you’re into the symphony, indie quartets, or dance productions that’ll make you feel like you’ve still got the moves, Onstage Ogden has got you covered.

We are saying “so long” to snow (maybe) and “welcome back” to sunshine with the Utah Symphony performing Dvorak’s Symphony No. 5, a piece that captures the essence of the season.

Brooklyn Rider at The Monarch in downtown Ogden shows us how string instruments can be the life of the party. BYU International Dance Ensemble showcases their exceptional talent and dedication to dance from around the world. And finally, Fly Dance Company is here alongside the Utah Symphony to entertain with their electrifying blend of hiphop and contemporary dance that’s like nothing you’ve ever seen before.

Discover Cache Valley Bank

We would like to give a special shout-out to the donors, foundations, and sponsors whose generosity has made these performances possible. Your support means the world to us and we couldn’t bring such high-quality performances to Northern Utah without you.

So, here’s to a fantastic spring season of concerts in Ogden. And if you’re already planning your 2023/2024 social calendar (who isn’t?), stay tuned for our season announcement, with subscriptions going on sale shortly afterwards. We have a spectacular lineup for next season so secure your seats early to ensure you don’t miss out on any of the magic.

Thank you again for your support, and we look forward to seeing you back at a concert soon.

Fredrick Executive Director, Onstage Ogden

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.

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BOARD & STAFF

BOARD OF DIRECTORS

Jennifer Webb President

Jean Vaniman

President-Elect

Dr. Val Johnson

Vice President

Roger Christensen Treasurer

FOUNDATION

Russel King

Chair

Meg Naisbitt Vice Chair

Marti M. Clayson Secretary

STAFF

James Fredrick Executive Director

Andrew Barrett Watson Outreach & Events Manager

Sarah Lorna Bailey Development Coordinator

Christina Myers Secretary

Dr. Ann Ellis, At Large

Cirilo Franco, At Large

John Fromer

Russel King, Chair of Foundation Board

Dr. Rosemary Lesser

Wendy Roberts

Joyce Stillwell

Dr. Deborah Uman, At Large

Dotty Steimke Treasurer

Michael S. Malmborg

Dr. Judith Mitchell

Carolyn N. Rasmussen

Sherm Smith

Nikki Thon

Camille Washington Marketing & Box Office Manager

Avery Franklin Audience Engagement & Administrative Coordinator

2022–23 SEASON

Patriotic Pops

June 30, 2022 at 8PM

The Goonies in Concert

Sept. 22, 2022 at 7:30PM

Jarabe Mexicano

Sept. 28, 2022 at 7:30PM

Portland Cello Project

Oct. 7, 2022 at 7:30PM

Kittel & Company

Oct. 11, 2022 at 7:30PM

Fisk Jubilee Singers

Nov. 5, 2022 at 7:30PM

Stephen Hough performs Rachmaninoff

Nov. 10, 2022 at 7:30PM

The Nutcracker

Nov. 25–26, 2022 at 2PM & 7PM

Here Comes Santa Claus

Dec. 12, 2022 at 7PM

The Swingles with Chamber Orchestra Ogden

Dec. 14, 2022 at 7:30PM

Repertory Dance Theatre

Jan. 13, 2023 at 7:30PM

Mariachi Herencia de Mexico

Jan. 14, 2023 at 7:30PM

Carmina Burana

Jan. 26, 2023 at 7:30PM

Peking Acrobats

Feb. 2, 2023 at 7:30PM

Storm Large with the Utah Symphony: Love, Storm

Feb. 9, 2023 at 7:30PM

International Guitar Night

Feb. 10, 2023 at 7:30PM

Empire Wild

Feb. 22, 2023 at 7:30PM

The Queen’s Cartoonists

Mar. 1, 2023 at 7:30PM

Dvořák’s Symphony No. 5

Mar. 2, 2023 at 7:30PM

Brooklyn Rider

Mar. 7, 2023 at 7:30PM

FLY Dance Company:

Breakin’ Classical

Mar. 16 at 7PM

BYU International Folk Ensemble

Mar. 25, 2023 at 7:30PM

Water Works

Friday, Apr. 7 at 7:30PM

Blue Rhapsody: 100 Years of Rhapsody in Blue

Apr. 13, 2023 at 7:30PM

Sibelius’ 5th Symphony

Apr. 20, 2023 at 7:30PM

Ballt West II Snow White

May 5, 2023 at 7PM

Merz Trio

May 11, 2023 at 7:30

Arts

The Onstage Ogden’s 2022–2023 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.

Preprint Spring Stage Arts

Dvořák’s Symphony No. 5

March 2, 2023 / 7:30PM

BROWNING CENTER AT WSU

Jiří Rožeň, conductor

Randall Goosby, violin Utah Symphony

Ana Sokolović

Ringelspiel / Merry-Go-Round

I. mechanical

II. heavy-footed

III. merry-go-round ballerina

IV. mechanical

V. broken merry-go-round

Bruch

Concerto No. 1 in G minor for Violin and Orchestra, Op. 26

I. Vorspiel: Allegro moderato

II. Adagio

III. Finale: Allegro energico

SEASON SPONSOR

CONCERT SPONSORS

Val A. Browning Charitable Foundation

Robert & Marcia Harris

RANDALL GOOSBY, Violin

INTERMISSION

Dvořák

Symphony No. 5 in F Major, Op. 76

I. Allegro ma non troppo

II. Andante con moto

III. Scherzo: Allegro scherzando

IV. Finale: Allegro molto

ARTISTS’ PROFILE

Born in Prague in 1991, Jiří Rožeň studied conducting at conservatoires and universities in Prague, Salzburg, Hamburg, Zürich and Glasgow where he was Leverhulme Conducting Fellow. He was successful in Salzburg and London as the Finalist of both the Nestlé and Salzburg Festival Young Conductors Award and the Donatella Flick LSO Conducting Competition. Formerly Assistant Conductor at the BBC Scottish Symphony Orchestra, Jiří worked alongside Donald Runnicles and Thomas Dausgaard, assisting them at the BBC Proms and the Edinburgh International Festival.

Last season, Jiří conducted several productions at the Prague State Opera including the successful new production of Schulhoff’s Flammen, his first Rusalka and a double bill of Weill’s Seven Deadly Sins with Schoenberg’s Erwartung. In summer 2022, he also conducted Nono’s Prometeo, for the Czech premiere of the work with the Ostrava Centre for New Music. During his time in Scotland, he conducted Stravinsky’s Mavra, Walton’s The Bear and Strauss’ Die Fledermaus.

As a passionate and knowledgeable advocate of Czech music, Rožeň regularly programmes standard Czech repertoire, as well as music by lesser-known works by contemporary composers such as Bohuslav Martinů, Josef Suk, Viktor Kalabis and Miloslav Kabeláč.

JIŘÍ ROŽEŇ Conductor

ARTISTS’ PROFILE

Randall Goosby signed exclusively to Decca Classics in 2020 at the age of 24. June 2021 saw the release of Goosby’s debut album for Decca entitled Roots. It features three world-premiere recordings of music written by African-American composer Florence Price, and includes works by composers William Grant Still and ColeridgeTaylor Perkinson.

Goosby made his debut with the Jacksonville Symphony at age nine and with the New York Philharmonic on a Young People’s Concert at Lincoln Center’s Avery Fisher Hall at age 13. A graduate of the Juilliard School, Goosby continues his studies there, pursuing an Artist Diploma under Itzhak Perlman and Catherine Cho. Goosby plays a 1735 Giuseppe Guarneri del Gesu, on generous loan from the Stradivari Society.

Goosby was First Prize Winner in the 2018 Young Concert Artists International Auditions. In 2019, he was named the inaugural Robey Artist by Young Classical Artists Trust in partnership with Music Masters in London; and in 2020 he became an Ambassador for Music Masters. An active chamber musician, he has spent his summers studying at the Perlman Music Program, Verbier Festival Academy and Mozarteum Summer Academy.

Violin

RANDALL GOOSBY

HISTORY OF THE MUSIC Ringelspiel

Duration: 15 minutes in five sections.

THE COMPOSER – ANA SOKOLOVIĆ (b. 1968) – According to her biography, Ana Sokolović’s music is “coloured with playful images and inspired by differing artistic disciplines.” And no wonder. Born in Belgrade and based in Montreal, Ana began her muti-faceted creative life (at four years of age) in ballet before turning to music and theater. Her deep fascination “with various forms of artistic expression informs her work” to this day, and it frequently manifests itself in collaborative projects with choreographers, film directors and playwrights. As might be expected for a composer so committed to stage works, Ana is also an award-winning opera composer whose music is performed often throughout Europe and North America.

THE HISTORY – “I like to play” Ana has been heard to say in interviews, “not to play music necessarily, but to play as a child.” Nearly everything she writes is inspired by non-musical concepts and ideas and representing those seemingly untranslatable abstractions in musical language is a challenge she looks forward to with each project. For her part, Ana is never happier than when an audience member tells her that they clearly understood her intentions. “This is my paycheck!”, she admits with a smile. Written for the child in all of us, the concert work Ringelspiel was commissioned and premiered by the National Arts Center Orchestra in Ottawa in 2013. It was named after the AustrianGerman word for merry-go-round and the brief publisher’s note for the piece states, “To most of us, a merry-go-round brings back memories of childhood and conjures up emotional responses of nostalgia and naïveté. So too does it for this composer. In addition, Sokolović has derived inspiration from the mechanical aspects of a merry-goround – its simplicity of movement, its circular motion, and its status as an icon of the machine age.” The five connected sections of Ringelspiel have clever titles (mechanical; heavy-footed; merry-go-round ballerina; mechanical; broken merry-go-round) that evoke different ways of experiencing the beloved carnival attraction. It’s a journey that takes the listener from the wind-up of the apparatus itself through a few symbolic states of technological and spiritual awareness. Imagine feeling off-balance amidst the noisy clockwork earnestness of such a complicated machine or sensing a spooky music-box presence on the ride with you and you are beginning to get the idea. Eventually, of course, Ringelspiel leaves us in a place of wistful sadness when everything finally starts to break down.

THE WORLD – Elsewhere in 2013, anti-government protests raged in Turkey, the Boston Marathon bombings occurred in America, same-sex marriage was legalized in France and Nelson Mandela died in Johannesburg.

THE CONNECTION – These performances represent the Utah Symphony premiere of Ana Sokolović’s Ringelspiel

HISTORY OF THE MUSIC Concerto for Violin in G minor, op. 26

Duration: 25 minutes in three movements.

THE COMPOSER – MAX BRUCH (1838–1920) – Though he actively composed throughout his life, amassing a respectable catalogue that included symphonies, operas, songs and chamber works, Bruch’s name is invoked sporadically and insufficiently these days. He was a child prodigy, a renowned educator and a highly skilled conductor. From 1878 to 1890, he held podium posts in Berlin, Liverpool and Breslau, after which he settled for good in Berlin as a professor at the Hochschule. Respighi and Vaughan Williams were among Bruch’s students there but when he passed away in 1920, the world had almost completely passed him by.

THE HISTORY – Had it not been for his friendships with the violin legends of his day (Ferdinand David, Joseph Joachim, Pablo de Sarasate) and the handful of works he composed for their instrument, Bruch’s music might well have been entirely forgotten. He was an avowed devotee of Mendelssohn and Schumann and an equally passionate opponent of Wagner and Liszt. It was an unpopular position to maintain as the new century approached and Bruch’s old-fashioned sensibilities did a disservice to his reputation and legacy. The penalty would have been fatal if not for works like the Scottish Fantasy of 1880 and the 1st Violin Concerto. The concerto was composed in 1866, revised in 1868 and built upon material that dated back to 1857. Bruch had written his first symphony at 14 and premiered his first opera when he was barely 20. Also kicking around in his fertile brain during those ambitious teen years were sketches for a G minor violin concerto. It would be nearly a decade before those early jottings become a cohesive whole and Bruch, then 28, conducted the 1866 premiere performance with Otto von Königslöw as soloist in Cologne. He wasted no time congratulating himself and began revising the concerto immediately. The choice to seek out the advice of Joseph Joachim was smart, and Bruch benefitted from the insightful ear of the grand master. Joachim had, after all, given similar guidance to Beethoven and Mendelssohn and would later do so for Brahms. The first matter the (slightly) older musician was able to set to rest was the issue of the work’s structure. The freely informal first movement worried Bruch, who feared ridicule if he continued to call the piece a “Concerto”. Joachim settled that fear and talked the composer out of re-naming it a “Fantasy”. Joachim himself premiered the new version, our version, in 1868 under Bruch’s baton and held the piece close throughout his life, calling it the “richest and most seductive” of the four great Germanic concerti he helped bring about.

THE WORLD – Elsewhere in 1868, Liechtenstein disbanded her army and declared permanent neutrality in 1868, Siam’s King Rama IV died, Cuba’s ten-year war with Spain began and Fyodor Dostoyevsky’s The Idiot was published.

THE CONNECTION – Bruch’s 1st Violin Concerto was performed most recently in 2019 under the baton of Music Director Thierry Fischer. James Ehnes was soloist.

HISTORY OF THE MUSIC

Symphony No. 5 in F Major, op. 76

Duration: 39 minutes in four movements.

THE COMPOSER – ANTONÍN DVOŘÁK (1841–1904) – Though he was still three years away from international recognition as a composer, 1875 was highly productive for Dvořák and arguably the most prolific twelve-month stretch of his career. In and around his poorly paid duties as organist of Prague’s Church of St. Vojtech, Dvořák managed to crank out an opera (Vanda), a symphony, a piano trio, a piano quartet, a string quintet and his first truly evergreen success, the Serenade for Strings. He had, just that February, received the first of five of his annual “starving artist” grants from the Austrian government, thanks to the efforts of Johannes Brahms and the eminent music critic Eduard Hanslick.

THE HISTORY – The symphony from that robust list of 1875 accomplishments was No. 5 and the publication history of this work is puzzling, and illustrative. Dvořák gave it an Op. 24 designation upon completion, but it was not published until 1888. By that time the composer was a star. His publisher (Simrock), anxious to cash in by presenting it as current and “mature” music from one of its favorite show ponies, called it Op. 76. And if that weren’t confusing enough, Simrock also chose to name the symphony No. 3, since only two of Dvořák’s previous four were publicly available at the time. Scholars in the 20th century would later put all this nonsense to rest, but machinations such as these were not at all uncommon in Dvořák’s day. He indulged in them himself, it has been written, by assigning lower opus rankings to pieces he wanted to publish outside the bounds of his Simrock contract. Number games were good for the goose and the gander, it seemed. Symphony No. 5 was written in a short five weeks during the summer of 1875, and it was a huge departure, in terms of style and mastery, from the 4th Symphony of 1874. Much more than a year seems to have elapsed between the two pieces. No. 4 was full of gallant pretense and other Wagner derivations but, by the time No. 5 was set to paper, Dvořák had begun to settle into the assured Bohemian pastoralism that would define his voice for the rest of his life. The confidence apparent in Symphony No. 5 feels not borrowed, but earned, and the advances Dvořák made in structural clarity, thematic cohesion and tonal invention marked the beginning of a new personal era for the composer. Perhaps Simrock’s financially motivated instinct to place the work in Dvořák’s established canon managed to tell a basic, albeit accidental, truth about it. Symphony No. 5 belongs there, among the masterpieces that made him so famous. Hans von Bulow thought so. When the work was dedicated to him just before publication, he told Dvořák the honor was higher “than any grand cross from any prince.”

THE WORLD – Elsewhere in 1875, the first indoor hockey game was played in Montreal, the first Kentucky Derby occurred in the United States, Tonga became a constitutional monarchy and a British officer invented the pool variant known as Snooker while stationed in India.

THE CONNECTION – Dvorak’s 5th was last performed by Utah Symphony as part of its 2005 European Tour. Keith Lockhart conducted.

UTAH SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis

Associate Conductor

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

Laura Ha

2nd 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

Lun Jiang

Rebekah Johnson••

Tina Johnson~

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Shengnan Li

Hannah Linz••

Yuki MacQueen

Alexander Martin

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

Julie Edwards

Joel Gibbs

Carl Johansen

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

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

Jens Tenbroek

Thomas Zera

HARP

Louise Vickerman Principal

FLUTE

Mercedes Smith Principal

The Val A. Browning Chair

Lisa Byrnes Associate Principal

Caitlyn Valovick Moore

PICCOLO

Caitlyn Valovick Moore

OBOE

Zachary Hammond Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate 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

Lee Livengood

BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike

Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz Principal

Edmund Rollett

Associate Principal

Nate Basinger~

Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy Principal

TIMPANI

George Brown Principal

Eric Hopkins Associate Principal

PERCUSSION

Keith Carrick Principal

Eric Hopkins

Michael Pape

KEYBOARD

Jason Hardink

Principal

LIBRARIANS

Clovis Lark Principal

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

Brooklyn Rider

The Wanderer

March 7, 2023 / 7:30PM

Johnny Gandelsman, violin

Colin Jacobsen, violin

Nicholas Cords, viola

Michael Nicolas, cello

Caroline Shaw Entr’acte

Osvaldo Golijov

Um Dia Bom (A Good Day)

Franz Schubert

String Quartet No.14 In D Minor, D810 “Death And The Maiden”

PROGRAM NOTES

Caroline Shaw

Entr’acte

Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition. -

Caroline Shaw

Osvaldo Golijov

Um Dia Bom

(A Good Day)

What I love above all about Brooklyn Rider’s performances - of any music they play - is the bubble of time, or time-asspace, that they create, enveloping the music and us, the listeners. No matter how much is happening at any given moment, we always find room to hear everything with clarity and space to breathe. It’s an experience perfectly described by Borges in The Aleph, and illustrated in the bullet scene in The Matrix. Two of my favorite soccer players, Andres Iniesta and Zinedine Zidane, also have that superpower. And Mozart’s music, too, happens always in that ‘bubble of no time’, as does Chick Corea’s, whose presence I felt while writing Um Dia Bom. It is a quality to which I’ve always aspired in my music, and rarely achieved. Sooner or later, pathos takes over. No complaints; as the scorpion would say, “it’s in my nature”.

But I was diligent about getting there in Um Dia Bom. I wrote with thick marker on the large whiteboard next to my piano a list of guiding principles for this piece: Clarity. Line. Light. Elegance. Grace. Delight. Rhythm. Air in the Harmonies. Counterpoint. Make Believe (Representation). Child Wonder. I like to think they are all here, with the exception perhaps of counterpoint, which remains highest on my bucket list of things I want to learn.

Um Dia Bom is just that, A Good Day. Its five movements depict a life from morning to midnight and beyond, but as if told to children. Hovering in the Cradle, the opening movement tries to paint the infinite potential in the eyes of a newborn child. There might be a fairy hovering, or it’s simply the child’s eyes wondering. The second movement, …while the rain… started as a blessing I wrote for the marriage of my oldest daughter, Talia, to Yevgeni, her husband. It takes off from the poem that Vivaldi wrote to accompany the second movement of Winter in the Four Seasons: “To spend content and quiet days near the fire, while, outside, the rain soaks hundreds” You can hear the rain throughout this movement, while a dancing couple glides on the marble floors of an Italian palazzo. Around the Fire, the third movement, is a traditional Yiddish song that also talks about the bliss of being together around a small fire. In my version, the song appears and disappears, as a ghost, in the midst of a slow processional and restrained tears. Schubert’s motif of the slow movement of Death and the Maiden is in the background throughout that first section. A different manifestation of Death interrupts the processional in a short and furiously

PROGRAM NOTES

baroque appearance that opens the door to three funny and mischievous dance variations on the B section of the Yiddish song. The movement closes with the reemergence of the opening processional. I wrote this movement in memory of Guillermo Limonic, who loved singing in Yiddish, and died of Covid in the early days of the pandemic. Riding with Death, the fourth movement, is based on the late Basquiat painting of the same name. It is a sparse painting, in which the horse carrying the Death Rider is represented only by its essential bones, like an X-Ray drawn by a child. The music is a gallop in the viola and cello, over which the violins “X-Ray” the melody of Willie Blind Johnson’s Dark was the Night, playing just filaments and short echoes of the song. Feather, the closing movement, describes a graceful, endless fall of a feather from the sky. Here is where I felt the spirit of Chick Corea more present than ever. He died while I was writing this quartet and at the same time studying his Children Songs. - Osvaldo Golijov

Franz Schubert

String Quartet No.14 In D Minor, D810 “Death And The Maiden”

Given Franz Schubert’s undeniable stature in the pantheon of musical luminaries, it is a challenging exercise more than two hundred years later to imagine him as greatly under appreciated within his own lifetime. There was much left to be published of his work upon his death, much of it spread out in the hands of his small social circle in Vienna. He was known in his day as a composer of mere hausmusik; part songs, lieder and various pieces for piano. Almost none of his large

scale works were known by the Viennese public, much less outside of Vienna. Schubert himself was not a virtuoso performer- he wrote no concertos, so his cause was not advanced by the popular virtuosos of the era. Italy was all the rage: the incomparable and devilish violinist Paganini was enormously popular, as was the music of Rossini. And so it was left mostly to Schubert and his intimate circle of friends to organize evenings of informal performances comprised mostly of lieder and part songs with the ink still drying, referred to as Schubertiaden.

It took later figures such as Robert Schumann, who was an extremely prescient observer of the musical landscape, to elevate Schubert’s status to a wider audience. Schumann’s description from an 1840 essay on Schubert’s 9th Symphony for the Neue Zeitschrift fur Musik could just as easily apply to this quartet - “And this heavenly length, like a fat novel in four volumes by Jean Paul- never-ending, and if only that the reader may go on creating in the same vein afterwards. How refreshing is their sense of inexhaustible wealth where with others one always fears the ending, troubled by the presentiment of ultimate disappointment.”

Schubert’s Death and the MaidenQuartet Quartet (1824), marks an important transition in Schubert’s music for string quartet from thehausmusik-infused works, composed mainly with his family quartet in mind, to works of grand dramatic scope (the Rosamundealso appeared earlier in the same year). Reluctantly buoyed by the musicianship of the Shuppanzigh String Quartet and a desire to increase his public scope, this quartet was composed just

PROGRAM NOTES

as Schubert came to know that he was seriously ill with syphilis. His dark state of mind could be summed up in this excerpt from a letter to a friend: “I feel myself to be the most unfortunate, the most miserable being in the world.”

This was the setting in which Schubert called upon the voice of Death from an earlier song (a setting of Matthias Claudius’ ‘Death and the Maiden’ from 1817). While we hear in the overall quartet a sense of mortal struggle, peaked emotions, and intense drama, viscerally reflecting Schubert’s state of affairs, he chose the slow movement to feature Death’s song in a mantra-like theme and set of variations. Seven years after the original setting, the words of the song clearly took on heightened meaning in light of his struggles:

Der Tod:

Gib deine Hand, du schön und zart Gebild! Bin Freund, und komme nicht, zu strafen. Sei gutes Muts! ich bin nicht wild, Sollst sanft in meinen Armen schlafen!

Death:

Give me your hand, you beautiful and tender form! I am a friend, and come not to punish.

Be of good cheer! I am not fierce, Softly shall you sleep in my arms!

With tireless creativity, Schubert managed to compose some 140 or so more works before Death came far too early for the young composer, just 31.

— Nicholas Cords

ARTISTS’ PROFILE

“They are four classical musicians performing with the energy of young rock stars jamming on their guitars, a Beethovengoes-indie foray into making classical music accessible but also celebrating why it was good in the first place.”

– Pittsburgh Post-Gazette

“I don’t believe I’ve ever experienced the radical emotional range of Op. 132’s long, slow movement — with its liberating, dancing interjections — more intensely than when listening to the entirety of Healing Modes.”

- The New York Times

With their gripping performance style and unquenchable appetite for musical adventure, Brooklyn Rider has carved a singular space in the world of string quartets over their fifteen-plus year history. Defining the string quartet as a medium with deep historic roots and endless possibility for invention, they find equal inspiration in musical languages ranging from late Beethoven to Persian

classical music to American roots music to the endlessly varied voices of living composers. Claiming no allegiance to either end of the historical spectrum, Brooklyn Rider most comfortably operates within the long arc of the tradition, seeking to illuminate works of the past with fresh insight while coaxing the malleable genre into the future through an inclusive programming vision, deeprooted collaborations with a wide range of global tradition bearers, and the creation of thoughtful and relevant frames for commissioning projects.

The current concert season is strongly illustrative of the intrepid musical appetite of Brooklyn Rider. This fall, they began unveiling a major new commissioning and programmatic venture called The Four Elements; an exploration of the four classical elements (earth, air, water, and fire) as both metaphor for both the complex inner world of the string quartet and the current health of planet Earth. Featuring new commissions - each

ARTISTS’ PROFILE

based on an element - by Andreia Pinto Correia, Conrad Tao, Dan Trueman, and Akshaya Tucker, this project also features existing works from the repertoire including Shostakovich 8th String Quartet, Dutilleux’s Anisi la Nuit, Golijov’s Tenebrae, and American folk music collected by Ruth Crawford and newly arranged by Brooklyn Rider’s Colin Jacobsen. This winter, the quartet will also release The Wanderer, their first ever live concert recording, made in Palieusius Manor in Eastern Lithuania while on tour last spring. The album consists of two works written recently for Brooklyn Rider: Gonzalo Grau’s Aroma a Distancia and Osvlado Golijov’s multimovement Um Dia Bom. Also featured is Brooklyn Rider’s signature interpretation of Schubert’s iconic “Death and the Maiden” String Quartet. This season also sees vthe quartet reuniting with Magos Herrera across the US for their Dreamers project. Looking further into the future, they will expand work already underway with Syrian clarinetist Kinan Azmeh, including the future release of a collaborative album.

The 2021-22 season boasted two unique collaborative ventures: one with Israeli mandolin virtuoso Avi Avital, and the other, a brand new phase of work with Swedish mezzo soprano Anne Sofie von Otter, where they explored themes of love and death through the music of Franz Schubert and Rufus Wainwright. Also, 2022’s release of The Stranger (Avie Records) with tenor Nicholas Phan was recently nominated for a 2023 Grammy® Award and made numerous best of lists for 2022, including The New Yorker.

Prior to the global pandemic, the 201920 season saw a veritable explosion of new projects and releases. Shared at the height of the US lockdown, the Grammy®nominated recording Healing Modes (In

A Circle Records) presented Beethoven’s towering Opus 132 - the composer’s late testament on healing and the restorative power of new creation - interwoven with five new commissions powerfully exploring topics as wide-ranging as the US-Mexico border conflict, the Syrian refugee crisis, the mental health epidemic, and physical well-being. Described by The New Yorker as a project which “...could not possibly be more relevant or necessary than it is currently,” the composers include Reena Esmail, Gabriela Lena Frank, Matana Roberts, Caroline Shaw, and Du Yun. Earlier in the same season saw the release of two projects from vastly different musical spheres: The Butterfly with the master Irish fiddler Martin Hayes (In A Circle Records), an album which the Irish Times described as “a masterclass in risk-taking,” and the other, Sun On Sand (Nonesuch Records), featuring the music of Patrick Zimmerli with saxophone giant Joshua Redman and fellow collaborators Scott Colley bass and Satoshi Takeishi, percussion.

In fall 2018, Brooklyn Rider released Dreamers on Sony Music Masterworks with Mexican jazz vocalist Magos Herrera. Celebrating the power of beauty as a political act, Dreamers amplifies the visionary artistry of Violeta Parra, Federico Garcia Lorca, Gilberto Gil, Joao Gilberto, Octavio Paz, and others, all who dared to dream under repressive regimes. Featuring gems from the Ibero-American songbook in evocative arrangements by Jaques Morelenbaum, Diego Schissi, Gonzalo Grau, Guillermo Klein, and Brooklyn Rider’s own Colin Jacobsen, Dreamers topped numerous charts and garnered a Grammy® nomination for best arrangement (Gonzalo Grau’s “Niña”). Touring widely to support the album,

ARTISTS’ PROFILE

they appeared at venues ranging from New York City’s Jazz at Lincoln Center to Mexico City’s Deco masterpiece, the Palacio de Bellas Artes.

Brooklyn Rider has remained steadfast in their commitment to generate new music for string quartet at nearly every phase of their history. To kick off the 2017-18 season, Brooklyn Rider released Spontaneous Symbols (In a Circle Records), featuring new commissions by Tyondai Braxton, Evan Ziporyn, Paula Matthusen, Kyle Sanna, and Colin Jacobsen. In 2015-16 season, the group celebrated its tenth anniversary with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works from musicians from the worlds of folk, jazz, and indie rock, each inspired by a different artistic muse. The Fiction Issue with singersongwriter Gabriel Kahane featured his composition which was premiered in 2012 at Carnegie Hall by Kahane, Brooklyn Rider and Shara Nova. Additionally, Brooklyn Rider has enjoyed a longstanding relationship with the music of the iconic American composer Philip Glass, which began with 2011’s much-praised recording Brooklyn Rider Plays Philip Glass and continued with two subsequent installments of the Glass’ works for string quartet, all released on the composer’s label Orange Mountain Music. Numerous other collaborations have helped give rise to NPR Music’s observation that Brooklyn Rider is

“recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble.” During the 2016-17 season, Brooklyn Rider released an album entitled so many things on Naïve Records with Swedish mezzo-soprano Anne Sofie von Otter, comprising music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting, Kate Bush and Elvis Costello, among others. Some of a Thousand Words, an evening length program with choreographer Brian Brooks and former New York City Ballet prima ballerina

Wendy Whelan, was an intimate series of duets and solos in which the quartet’s live onstage music is a dynamic and central creative component. Some of a Thousand Words was featured at the 2016 Jacob’s Pillow Dance Festival, before two U.S. tours, including a week-long run at New York City’s Joyce Theater. A collaboration with Dance Heginbotham with music written by Colin Jacobsen resulted in Chalk and Soot, an evening length work presented by Lincoln Center’s White Lights Festival in 2014. Brooklyn Rider has also frequently teamed up with banjoist Béla Fleck, with whom they appeared on two different albums, 2017’s Juno Concerto and 2013’s The Impostor. And in one of their longest standing musical friendships to date, Brooklyn Rider and Iranian kamancheh player Kayhan Kalhor released the highly praised recording Silent City (World Village) in 2008, still touring the project to this day.

Fly Dance Co. Breakin’ Classical

March 16, 2023 / 7:00PM

BROWNING CENTER AT WSU

FLY is what happens when street dance and classical music meet! The entire family will love the pure fun of The Gentlemen of Hip Hop’s youthful energy, risktaking movement, and clever choreography set to a mix of classical favorites. Watch them showcase the beauty and power of classical music and illustrate how well hiphop movement can interpret it.

SEASON SPONSOR

CONCERT SPONSORS

ALAN & JEANNE HALL FOUNDATION

Benjamin Manis, conductor Utah Symphony

ARTISTS’ PROFILES

Kathy has spent all of her professional life in the arts— first as a dance and art teacher in public schools then as a professional director/choreographer for her own dance companies. As a dance teacher, innovative music selection, choreography, props, staging, and costuming brought her recognition as a leader in her field. She was a founding member and president of the Texas Dance Educators Association. Her dance groups won state championships and performed her choreography in educational forums and public events in Scotland, Greece, England, and Spain. Retiring from this first career, she began her work with young street dancers, teaching, mentoring, and forming them into dance groups, one of which became the original FLY Dance Company. She created the first Houston-area educational school shows featuring street dancers that covered street dance history, drug usage prevention, anatomy, African-American composers, and classical music. All shows were designed to deliver educational content along with positive social messages effectively delivered by “very cool” hip hop dancers. These shows have been performed over 600 times in the Houston area alone and hundreds of more times in cities around the country impacting an estimated 200,000 school aged children. In her temporary six-year retirement from FLY Dance Company, she created the FLY KiDS hip hip dance programs in Houston and Tyler, Texas modeled after FLY, for students aged 8 to 16 whom she mentored inspiring them to set high goals and to work hard to achieve them. Graduates from these programs continue to call or visit Kathy seeking her guidance, which she is happy to provide. Coming full circle, Kathy, as the “new” FLY Dance Company’s Artistic Director, is constantly pushing the company’s members to ever-higher standards of performance and professionalism, demanding that they strive to reach their true potential in dance and in life. Kathy is a life-long teacher and vows that she will never stop. And it seems evident that FLY Dance Company members are destined to continue her tradition of community service while, at the same time, producing and honing their art.

KATHY MUSICK WOOD Artistic Director/ Choreographer

ARTISTS’ PROFILES

American conductor Benjamin Manis joined the Utah Symphony as Associate Conductor in September 2022, leading the orchestra on tour as well as at Abravanel Hall and the Deer Valley Music Festival. Before moving to Salt Lake City, Mr. Manis spent three seasons as Resident Conductor of the Houston Grand Opera, making his debut with Verdi’s Rigoletto. Other highlights of his time in Houston include performances of Carmen, Romeo et Juliette and The Snowy Day. He led 4 world premieres, among them the 2020 world premiere of Marian’s Song with the subsequent HGO Digital filmed version and Miller Outdoor Theatre performances of the same work. Mr. Manis returns to HGO in the 22/23 season to lead productions of Tosca and El Milagro del Recuerdo.

Winner of the 2022 and 2019 Solti Foundation US Career Assistance Awards, Mr. Manis has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors Gianandrea Noseda, David Robertson, and Stéphane Denève. Over the course of three years in the Aspen Conducting Academy he assisted and worked closely with conductors such as Robert Spano, Ludovic Morlot, Leonard Slatkin, James Conlon and Vasily Petrenko. After winning the Aspen Conducting Prize, Mr. Manis was invited to returned to Aspen in the summer of 2021 as assistant conductor, where he conducted two programs with the Aspen Chamber Symphony.

Mr. Manis studied cello and conducting at the Colburn School, where he conducted outreach concerts in public schools across Los Angeles and performed Lutoslawski’s Cello Concerto as soloist with conductor Robert Spano. A student of the late Larry Rachleff he completed his Master of Music degree in 2019 at Rice University’s Shepherd School of Music.

Utah Symphony Orchestra see page 19.

BENJAMIN MANIS Conductor

ARTISTS’ PROFILES

Every so often a company bursts onto the dance scene with such original talent and drive that a whole new genre is born. Such it was with the original FLY Dance Company. Within three seasons of touring, FLY went from an unknown, “hard to categorize” dance company with no touring experience to a popular new group wowing audiences around the country—touring an average of 25 weeks and 60 concerts and 100 educational shows annually in venues ranging from Barrow, Alaska to Washington’s Kennedy Center, while producing its own concert season in Houston and making multiple trips to Europe.

That version of FLY was the creation of Kathy Musick Wood, a retired public school dance teacher who, along with her daughter and husband, opened The Duplex Center for the Arts in their Houston home. Soon thereafter, Kathy encountered a crew of street dancers at a Houston street festival and immediately visualized how, with their skills and her choreography, she could create an act to appeal to performing arts audiences. She invited the crew to The Duplex and began working with them and was quickly convinced that it would be possible.

Her plan was to do the unexpected: choosing a wide variety of music including a lot of classical; using ensemble dancing to contrast the dancers’ solos; adding classic choreography techniques, clever staging, acting skills, costuming, and comedy; and mixing it with the hip-hop dancers’ raw movement—powerful, funky, graceful, and sometimes bordering on the impossible. In the process, she created a genre that she dubbed “theatrical hip-hop”. All these elements and styles she melded into what became the unlikely collaboration called FLY Dance Company whose clean-cut, wholesome concerts toured from 2001 until 2006 with performances in venues including Jacob’s Pillow, Vail International Dance Festival, Lincoln Center, Bob Hope Theater, and many European festivals and concerts.

In 2012 the “new” FLY Dance Company was organized under the management of original FLY dancers Jorge Casco & Chris Cortez, and new partner Adam Quiroz. They began to work with Kathy on adapting many of the original performance pieces for the new dancers’ high-level breakdancing skills. Garnering the attention of national and international agents, FLY relaunched as a touring dance company. Soon thereafter, Kathy came out of retirement to join them as Artistic Director and the work on new concert choreography began.

Now FLY Dance Company, with new pieces in its repertory, a fresh image as “The Gentlemen of Hip Hop,” is touring again starting a new string of standing ovations with the promise of much more “history” to come.

International Folk Dance Ensemble presents Journey:

Reflections

March 16, 2023 / 7:00PM

Opener: Reflections

USA: Traveler

USA: Cluck Old Hen

USA: Western Wildfire

Romania: Călușul

Wales: Dawns Y Glocsen

Ireland: Hornpipe Set

England: Rapper Sword

Mexico: Fandango Veracruzano

USA: Wagoner’s Lad

India: Terah Taali

India: Ganesha

Musical Interlude

Hungary: Dulandlé

Hungary: Élő Fény

China: Mo Li Hua

USA : After You’ve Gone

USA: The Breakaway Bug

USA: Jump, Jive, An’ Wail

Tonga: Ha’ele Ki Pilitania

Norway: Tretur

Ireland: Irish Blessing

Ukraine: Hopak

BROWNING CENTER AT WSU

SEASON SPONSOR

PROGRAM NOTES

OPENER: REFLECTIONS

USA: Traveler

As settlers on the American frontier, our ancestors believed in working hard and playing hard. This rendition of a turnof-the-century celebration displays the enthusiasm and freedom that helped build the character of the USA.

CHOREOGRAPHY: Jeanette Geslison

MUSIC: “Arkansas Traveler” (traditional); performed by Mountain Strings

MUSICAL ARRANGEMENT: Dean Marshall

USA: Cluck Old Hen

MUSIC: “Cluck Old Hen” (traditional); performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison

USA: Western Wildfire

A precision style dance featuring both traditional American clogging and the latest power tap steps.

CHOREOGRAPHY: Greg Tucker and Maria Tucker

MUSIC: “Cluck Old Hen” (traditional); “Cuckoo’s Nest” (traditional); performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison

Romania: Călușul

Căluș is a a dance with origins dating back to Roman times, performed each spring between Easter and Pentecost, primarily in southern Romania. The Călușari are oath-bound men who travel from house to house to bless people and crops for the upcoming year. They dance over children and sick people to cure illness and promote health, and each courtyard ritual ends with a village hora. They wear red to ward off the evil eye and use the sound of bells and spurs to frighten away evil spirits, called iele.

CHOREOGRAPHY: Joseph Kroupa, with Cristian Florescu

MUSIC: Traditional; recorded by the Chis, in˘au Folk Ensemble

Romania: Plaiuri Oltenești

These two vigorous women’s dances are from the region of Oltenia: Sârba pe loc and Hora și Mereul.

CHOREOGRAPHY: Sonia Dion and Cristian Florescu

MUSIC: Traditional; recorded by Ansamblul Uniunea Tineretului Comunist

Wales: Dawns y Glocsen

“Dawns y Glocsen” is a light-hearted clog dance featuring young lads performing on and around wooden platforms. It was common to see young men in the local taverns dancing on tables to produce livelier sounds than could be made from the earthen floor.

CHOREOGRAPHY: Owen H. Robert

ADAPTATION AND ADDITIONAL

CHOREOGRAPHY: Edwin G. Austin Jr.

SOLOISTS: Dawson Collins, Nathan Cox, and Daniel Owen

Ireland: Hornpipe Set

Irish hard shoe step dancing is part of a long tradition in Ireland. This set dance is a hornpipe played in 4/4 time signature and is ornamented with intricate step dance rhythms. This dance is an example of the “Open Championship Level” of Irish dance competitions.

CHOREOGRAPHY: Brielle Anderson

MUSIC: “Madame Bonaparte” (traditional); performed by Mountain Strings

SOLOISTS: Brielle Anderson, Victoria Rimington, and Brigham Vargha

PROGRAM NOTES

England: Rapper Sword

Part of the Morris dance family, rapper (flexible sword) dancing originated in coalmining communities of Northumberland and Durham, England. Traditionally, men weave intricate patterns whilst comic characters “Tommy” and “Betty” try to join in the fun.

CHOREOGRAPHY: English Folk Dance and Song Society

ADAPTATION AND ADDITIONAL

CHOREOGRAPHY: Edwin G. Austin Jr.

MUSIC: Traditional; performed by Ellie Geslison

DANCERS: Levi Hancock, McKay Jessop, Nathan Jex, David Stone, and Spencer Waddell

SOLOISTS: Kye Davis and Rhen Davis

Mexico: Fandango Veracruzano

The music and dance of Veracruz blends

Spanish, African, and Caribbean rhythms. Old is made new, including the timeless la bamba wedding dance as couples “tie the knot.”

CHOREOGRAPHY: Miquel Peña

MUSIC: “La Guacamaya” (traditional), recorded and arranged by Los Cojolites; “El Colas” and “La Bamba” (traditional), recorded and arranged by Luis Leñero

SOLOISTS: Victoria Rimington and Daniel Owen

USA: Wagoner’s Lad

MUSIC: “Wagoner’s Lad” (traditional), performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison and Mountain Strings

India: Terah Taali

Terah Taali is a folk dance of the Kamar tribe from the state of Rajasthan, India. It is performed during the Pushkar Fair by the women using special metal hand cymbals

called manjeeras. The dance is done in the praise of Hindu deity Baba Ramdev Pir.

CHOREOGRAPHY: Vaishali Sagar

MUSIC: Traditional; performed by Asfak Khawra (dhol) and Samir Langa (singer); recorded by Nitin Wadekar

India: Ganesha

This choreography is a folk-fusion piece based on Lord Ganesha, the lord of good luck, who is half elephant and half human. This piece depicts how he is worshipped in the home and celebrated in the streets for 10 days every year during the festival of Ganesh Chaturthi in the state of Maharashtra.

CHOREOGRAPHY: Vaishali Sagar

MUSIC: Traditional; performed by Asfak Khawra (dhol) and Samir Langa (singer); recorded by Nitin Wadekar

MUSICAL INTERLUDE

Hungary: Dulandlé

In Kalotaszeg, Transylvania, a dulandlé was placed on the head of a new wife until the birth of her first child. A dulandlé is a fine, white veil with embroidery around the edges. This choreographic work portrays the emotional state of a young girl preparing for marriage, accompanied by the beautiful and distinct dances of the Kalotaszeg region. The spectacular men’s dance—the competitive legényes, often considered in Hungary to be the “king of dances”—is accompanied by two types of couples’ dances: the csárdás, which is perhaps the quintessential Hungarian couples’ dance, and the quick csárdás (szapora), which manifests speed and virtuosity.

CHOREOGRAPHY: Juhász Zsolt

MUSIC: Traditional; recorded by Göncöl band

MUSIC ARRANGEMENT: Kelemen László

PROGRAM NOTES

Hungary: Élő Fény

Men’s dances from the village of Méhkerék are much loved. This slapping and clapping style with very intricate rhythmic patterns is favored on the stage by numerous professional Hungarian dance ensembles.

CHOREOGRAPHY: Gary Larsen

JEWS HARP: Tyler Anderson

China: Mo Li Hua

Mo Li Hua, meaning jasmine, is also a famous Chinese folk song. The flower, though not particularly beautiful, gives off a fragrance that gladdens the heart and refreshes the mind—symbolizing internal beauty and humility.

CHOREOGRAPHY: Jiamin Huang

MUSIC: “Mo Li Hua” (traditional); recorded by Beijing Angelic Choir

USA : After You’ve Gone

MUSIC: “After You’ve Gone” (Turner Layton); performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison and Mountain Strings

USA: The Breakaway Bug

This Lindy-style tap dance hearkens back to the Jazz Age.

CHOREOGRAPHY: Jacob Madsen

MUSIC: “Beaumont Rag” (traditional); performed by by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison

SOLOISTS: Rhen Davis and Victoria Rimington / Nathan Jex and Abby Whipple

USA: Jump, Jive, an’ Wail

The Lindy hop combines jazz, tap, breakaway, and Charleston dance styles. Originating in Harlem, New York, in the 1920s, it crossed racial boundaries as both Black and White dancers came together at the integrated Savoy Ballroom. The dance was named after Charles Lindbergh, the famous American aviator who “hopped” across the Atlantic. Dancers build upon a basic swing step and improvise as they solo and partner freely. Get ready for some fast-paced fun with flips, spins, and, of course, hops!

CHOREOGRAPHY: Elaine Grenko

MUSIC: “Jump, Jive, an’ Wail” (Louis Prima); performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison

Tonga: Ha’ele Ki Pilitania

The tau’olunga, a traditional Tongan dance still performed today, can be presented at any special occasion. Most often performed by an individual young woman or a small group of girls, the dance consists of hand movements which interpret the meaning of the song. This tau’olunga is a tribute to Tongan dynasties of the past and tells the story of Queen Salote Tupou III who managed to make a name for herself at Queen Elizabeth II’s coronation parade. Despite the pouring rain, Queen Salote chose to ride in an uncovered carriage as a sign of respect for the new British monarch. “Ha’ele Ki Pilitania” reflects Queen Salote’s legacy of traditional Tongan respect, passed down through generations.

CHOREOGRAPHY: Valeti Mapuna A Vaiola Sekona

MUSIC: “Ha’ele Ki Pilitania” (Peni Tutu’ila Malupo¯) and “Hala Kuo Papa” (Queen Salote Tupuo III), recorded by BLKB3RY

PROGRAM NOTES

Norway: Tretur

The hardanger fiddle (hardingfele), a special Norwegian instrument, is featured on this piece. Unique to western Norwegian folk music, this instrument has five additional strings underneath the bowed strings to create resonance. This music is accompanied by a Schottish couple dance.

CHOREOGRAPHY: Jeanette Geslison

MUSIC: “Tretur” (Ale Carr/Dreamers’ Circus); performed by Mountain Strings

MUSICAL ARRANGEMENT: Mark Geslison and Mountain Strings

Ireland: Irish Blessing

MUSIC: “Irish Blessing” (Geoff Groberg); performed by Mountain Strings

LYRICS: Traditional

PERFORMERS

Ukraine: Hopak

Recognized as the national dance of Ukraine, hopak was performed exclusively by men in the 15th and 16th centuries during the famous Cossack period. By the 19th century, women had become a regular part of the dance, adding to the vivacious spirit of this Ukrainian hallmark.

CHOREOGRAPHY: Colleen West and Jeanette Geslison, with Edwin G. Austin Jr.

MUSIC: Traditional; recorded by the Intermountain Symphony Orchestra

MUSICAL ARRANGEMENT: Tyler

Castleton and Daniel Lee

Brielle Anderson Family Studies Provo, UT

Kelsey Christensen Elementary Education Hillsboro, OR

Dawson Collins Applied and Computational Mathematics Rexburg, ID

Remington Comp History Cedar City, UT

Nathan Cox Actuarial Science American Fork, UT

Kye Davis Microbiology Flagstaff, AZ

Rhen Davis Neuroscience Flagstaff, AZ

Braden Duke Cybersecurity Bountiful, UT

Crozier Fitzgerald Exercise Science Rexburg, ID

Elise Glover Psychology Kokomo, IN

PERFORMERS

Levi Hancock Physics Beavercreek, OH

Jillian Iverson Dance South Jordan, UT

Clara Jamison Math Education Roseville, CA

Mckay Jessop Cybersecurity Sandy, UT

Nathan Jex Public Health Draper, UT

Hannah Kooyman Exercise Science San Diego, CA

Jade Madison Dance Mobile, AL

Makeila Latapu Morgan Human Development Sacramento, CA

Daniel Owen Microbiology Meridian, ID

Victoria Rimington Advertising Mapleton, UT

KD Salmon Communication Disorders Raymond, Alberta, Canada

David Stone Bioinformatics Alpine, UT

Tori Stone Editing and Publishing Provo, UT

Hanna Storheim Experience Design & Management Farmington, UT

Brigham Vargha Media Arts Anaheim, CA

Spencer Waddell Dance Oregon City, OR

Abby Whipple Social Science Teaching Provo, UT

Janelle Wilson Dance Salt Lake City, UT

BY WILLIAM SHAKESPEARE

BY WILLIAM SHAKESPEARE

MOUNTAIN STRINGS MUSICIANS

Tyler Anderson Undeclared Roseburg, OR

Madeline Charles Business Marketing Lehi, UT

Ellie Geslison Sociology Provo, UT

Christina Iverson Molecular Biology Boston, MA

Austin Johnson Spanish Delaware, OH

Arthur Prusso Music Holladay, UT

Emily Wall Linguistics Gainesville, VA

PRODUCTION ADMINISTRATION

Jeanette Geslison

Artistic Director

Mark Geslison Mountain Strings Director

Teresa Love

Scriptwriter

Benjamin Sanders

Production Manager

Mark Ohran

Technical Director/Lighting Designer

Crysta Lamb

Production Stage Manager

John Shurtleff Technical Support

Erin Dinnell Bjorn Projection Designer

Kami Wallin Production Assistant

Kaylee Kress

Stage Manager

Kathryn Bowe Deck Crew

Tyler Driggs Deck Crew

Hannah Tran Lighting Technician

Patrick Egbert Audio Technician

Stephanie Breinholt Voice-Over

Langi Tuifua Voice-Over

Isaiah Vela Rehearsal Assistant

Amy Handy Costumer

Amanda Alley Assistant Costumer

Brielle Anderson Assistant Costumer

Elise Glover Assistant Costumer

Jaren Wilkey Photography

Troy Sales Audio Designer

Isaiah Vela Digital Advertising Graphic Designer

Adam M. Johnson Program Graphic Designer

Brenda Critchfield Dance Medicine Trainer

FRIENDS OF ONSTAGE OGDEN

Onstage Ogden is grateful for the individuals, corporations, foundations, and government agencies who have made a charitable contribution in support of the performing arts in our community. Includes gifts made following January 1, 2022. *Board of Directors, Foundation, or Staff member

Season Sponsor ($90,000+)

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Charitable Support Trust

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Concert Sponsor ($10,000+)

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Gold ($1,000–$2,499)

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Heath

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Stewart Education Foundation

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FRIENDS OF ONSTAGE OGDEN

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Bronze ($100-$499)

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James & Deborah Lindstrom

Estella Malayika

Mary L Mathewson

Mary & Kent McMillen

George Muller

Ruth Nielsen

Cheryl Orme

Donald Pantone

George and Margaret Pappas

Jeff Paulson

Matt & Camille Pollard

Bonnie & William Rembacz

Tamara Robinette

Eileen Santella

Shane and Pamela Schvaneveldt Sempre Musical Society in memory of Dr. Richard Miller

Denise Sly

Edward and Mari Lou Steffen

Michael Taylor

Nikki Thon*

Andrew and Suzanne Wall

Bruce and Kay Wallace

Paula Weick and Carl Stuart

Barbara and Gerald West

Aloha Whitney

Marilyn Woodbury

Amy Huntington

Doris D’Asto

Melba and Denis Kirby

William & Jackie Jones

Ogden Chapter of MacDowell Ensemble

Karen Gall

Roland & Amy Miller

Edna Stratford

Linda Watson

Donna and Ralph Friz

Jan and Jerome Luger

Dr. Allen and Janis Christensen

Jennifer & Dr. Michael Webb*

Cirlio Franco*

Allan & Kellie Diersman

Dr. Ann Ellis*

Marlene Barnett

Dean & Karen Cooper

Stephen and Judy Farr

Gerry and Dixie Funk

Erika Martin

Lucinda and Phillip Wagner

Larry Zaugg

Josh Grimaud

James & Deborah Lindstrom

James and Jennifer McGregor

Jeffry and Linda Burton

DeLoris and Dale Dorius

Janet and Steven Evans

Kim and Becky Hale

Janet and Robert Petersen

Mary and Howard Schuyler

Carol and Paul Sonntag

Keith and Marlys Sorbo

Jack and Bonnie Wahlen

Kent and Trudy Whiteman

Carl and Helgard Wolfram

Sandy and Phillip Maxwell

Cathay Christiansen

William and Deborah Hackett

Paul and Sandra Perkin

Pat Fuller

Katherine Grunert

Frank and Sharon Markos

Andy and Susan Mccrady

Gary and Marilyn Newman

Dorothy & Dan Steimke*

Ned and Sheila Stephens

Jeane Taylor

Laurie & Greg Rives

Michael & Cindy Palumbo

Juergen Sass

Please contact Onstage Ogden Development Coordinator, Sarah Bailey, at 801.612.0757 or sarah@onstageogden.org, if you would like to make a donation, or if your name has inadvertently been left off or is misspelled.

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