Rachmaninoff Symphonic Dances by Mills Publishing Inc.

2021–22 SEASON

RACHMANINOFF

SYMPHONIC DANCES JANUARY 27, 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

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BOARD & STAFF BOARD OF DIRECTORS Jennifer Webb President

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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

RACHMANINOFF

SYMPHONIC DANCES January 27, 2022 / 7:30 PM

BROWNING CENTER AT WEBER STATE UNIVERSITY

Thierry Fischer, conductor Madeline Adkins, violin HONEGGER Symphony No. 3, “Symphonie liturgique” I. Dies irae II. De profundis clamavi III. Dona nobis pacem

NATHAN LINCOLN de CUSATIS The Maze for Violin and Orchestra (Western US Premiere, commissioned by Madeline Adkins) I. Echoes II. The Overlook III. Pictographs IV. The Confluence

Madeline Adkins, violin

INTERMISSION

RACHMANINOFF Symphonic Dances, Op. 45

I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai - Allegro vivace S E A SO N S P O N SO R

CO N C E RT S P O N SO R

LAWRENCE T. DEE & JANET T. DEE FOUNDATION

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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 Violinist Madeline Adkins joined the Utah Symphony as Concertmaster in September 2016. Prior to this appointment, she was a member of the Baltimore Symphony Orchestra, performing as Associate Concertmaster from 2005-16. She was also Concertmaster of the Baltimore Chamber Orchestra from 2008–16.

Madeline Adkins Violin

Adkins is a Concertmaster of the Grand Teton Music Festival Orchestra and has served as Guest Concertmaster of the Pittsburgh Symphony, Cincinnati Symphony, Houston Symphony, Hong Kong Philharmonic, Indianapolis Symphony Orchestra, and Grant Park Symphony. Adkins has also been a guest artist at numerous festivals including the Stellenbosch International Chamber Music Festival in South Africa, Sarasota Music Festival, Jackson Hole Chamber Music, Music in the Mountains, and Sewanee Summer Music Festival, as well as a clinician at the National Orchestral Institute, National Youth Orchestra at Carnegie Hall, and Haitian Orchestra Institute. In addition, she has served as Music Director of the NOVA Chamber Music Series in Salt Lake City. A sought-after soloist, Adkins has appeared with orchestras in Europe, Asia, Africa, and 24 US states, including over 25 works as soloist with the BSO, and seven concertos as soloist with the Utah Symphony. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. The siblings, who included titled players in the National, Dallas, and Houston Symphonies, joined together to form the Adkins String Ensemble. She performed on viola and violin with this unique chamber ensemble for over 15 years, and the group has made numerous recordings, including Schoenberg’s Verklärte Nacht. Adkins serves as a Musician Director on the Board of the Grand Teton Music Festival. When not on stage, Adkins enjoys travel photography, reading, tap dancing, and exploring the West. She is also passionate about animal rescue, and has fostered over 100 kittens! Adkins volunteers regularly for Best Friends Animal Society, the Utah Food Bank, and the International Rescue Committee.

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HISTORY OF THE MUSIC By Jeff Counts

Symphony No. 3, “Symphonie liturgique” Duration: 33 minutes in three movements.

THE COMPOSER – ARTHUR HONEGGER (1892-1955) – Author and music annotation legend Michael Steinberg saw something worth investigating in Honegger’s selfreported “dual nationality”. He might have been on to something. Honegger was born in Paris to Swiss parents and though his adopted French home defined his artistic nationality, at least by reputation, he credited his Helvetic roots for many of his most deeply imbedded personal traits, including a “naïve sense of honesty”. The fact that his face adorned the 20 Franc Swiss bank note from 1996–2014 was further proof that this charter member of the Parisian Les Six, devotedly claimed by both of his “homes”, was never just one thing or the other. Honegger was a complex enigma whose music reflected his unique, multi-faceted, views on humanity and the world. THE HISTORY – War informed many of those views. Honegger was in Paris when the Germans came in 1940 and though they attempted to encourage his participation in the cultural confirmation of their occupation, he steadfastly declined. When the war ended in 1945, Honegger set to work on a new symphony that would be “a drama, between three characters, real or symbolic: misery, happiness and man.” “These are eternal themes”, he continued in his description of Symphony No. 3’s intent, “I have attempted to bring them up to date.” Among Honegger’s many “dualities” was his Protestant DNA as a 14

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Swiss-born person and his growing embrace of France Catholicism as an adult. The three movements of Symphony No. 3 were drawn from the latter influence. Based on elements of the Liturgy, the music embodies Honegger’s three characters in order, with terror in the face of divine and violent wrath, the loss of contentment after being so cruelly abandoned by divinity and the resigned, tentative peace that comes only from active rebellion. World War II can’t be thanked for much beyond the overarching triumph of good over evil. But the artistic response to those terrible years did yield great, lasting works. Composers from Shostakovich to Messiaen to Britten (the list is much too long to fully present here) created urgent cautionary testaments to their separate realities and left us a canon of remembrance that is as meaningful today as it was then. Honegger’s masterful contribution to this effort with the “Liturgique” Symphony has perhaps not won him the same recognition as others, but he has never truly been in their league anyhow. Popularity is not the same thing as importance, however, and Honegger’s place in history was best affirmed by Jean Cocteau at the composer’s funeral. “Arthur,” Cocteau told the gathered many, “you managed to gain the respect of a disrespectful era.” He deserves so much more in ours. THE WORLD – Elsewhere in 1946, It’s a Wonderful Life premiered in America, the Philippines gained independence, Mensa was founded in England, and Juan Perón was elected in Argentina. THE CONNECTION – Honegger’s Symphony No. 3 has not been performed by the Utah Symphony since 1985. George Cleve conducted.

HISTORY OF THE MUSIC The Maze Duration: 18 minutes in four movements.

THE COMPOSER – NATHAN LINCOLN DE CUSATIS (b. 1982) – One biography of Fordham University Associate Professor Nathan Lincoln de Cusatis describes him as a composer with an “inclusive musical voice.” This observation, like the artistic generosity it praises, comes from his wide-ranging influences and interests. The music of Lincoln de Cusatis reflects a life spent exploring both jazz and classical idioms, with other more oblique inspirations filling in the spaces in between. The biography continues: “His work is often guided by psychological narratives that unfold through references to past musical traditions, communal improvisation, cult films, iconic works of art and the ambient sounds of the urban landscape.” THE HISTORY – Non-urban landscapes provide the source material for The Maze for Violin and Orchestra (2019). Commissioned by Utah Symphony Concertmaster Madeline Adkins, this piece is described on her website as “inspired by the Maze District of Canyonlands National Park, one of the most isolated and pristine desert wilderness areas in the country.” Adkins further explains that Lincoln de Cusatis “travelled the Maze in March 2019, spending six days covering the entirety of the district…This piece is his attempt to capture that journey in sound, and to use the temporal dimension of music to translate the vastness of geologic time and change to the human scale.” Cast in four continuous movements, The Maze begins with “Echoes.” According to Lincoln de Cusatis,

this movement serves as an introduction to two of the main ideas that run through the experience – an eerie sonic representation of the desert he calls the “chord of mystery” and a melodic trailhead known as “the echo” that marks the topographical and emotional starting point of the hike. “The Overlook” depicts the geologic forces behind canyon formation while pitting the soloist against the physical barriers to entry in such a place. As she descends from the rocky rim to the floor of the Maze itself, she figuratively “chases” the erosion that created everything around her. “Pictographs” pauses the soloist/traveler near the entrance of the Maze to take in the famous Harvest Scene of cave paintings. Here, ancient gods, creation myths, and other elemental mysteries are given voice after centuries of silence. The finale of The Maze is, of course, at “The Confluence” of the Green and Colorado rivers. Lincoln de Cusatis gives each water course its own contrasting rhythmic identity as we hear the soloist “ride the rapids” to the place where they meet. She is reminded once more by “the echo” of how her journey began before finally climbing up and out of this place of suspended time and immeasurable space. THE WORLD – Elsewhere in 2019, protests heated up in Hong Kong, Notre Dame Cathedral burned, Japanese Emperor Akihito abdicated, and Greta Thunberg addressed the UN Climate Action Summit. THE CONNECTION – Though Concertmaster Madeline Adkins has appeared as soloist many times, these concerts represent the Utah Symphony premiere of Nathan Lincoln de Cusatis’ The Maze. OnstageOgden.org

HISTORY OF THE MUSIC Symphonic Dances, Op. 45 Duration: 35 minutes in three movements.

THE COMPOSER – SERGEI RACHMANINOFF (1873-1943) – Like so many of his artistic cohort in the eventful moments of 1939, Rachmaninoff decided that Europe was no place to be. He had seen it all before and knew well the sound made by distant drums of war. And at his age (he had recently fallen and was forced to miss the ballet based on his Paganini Variations), the prospect of another global conflagration was more than he was prepared to endure. He was living in Switzerland at the time but was traveling regularly for concerts in the U.S. and England. His decision to flee more permanently to America was fateful. It meant he would never see his beloved Swiss villa, let alone his longlost Russian homeland, again. THE HISTORY – In the latter years of his compositional life, Rachmaninoff favored a leaner and more focused orchestral language. The luxuriant textures that fueled his rise to prominence became rare and in their place was a more concise, less emotional presentation of ideas. Rachmaninoff’s somber seriousness as a person was often at odds with his early Romantic opulence as a composer, so the turn towards directness in his December years is perhaps an understandable eventuality. In his last completed work, Rachmaninoff found reason to blend a bit of the old with the new. The Symphonic Dances of 1940 actually date in part back to

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1915 and a ballet project that Rachmaninoff had proposed to Mikhail Fokine. Nothing came of it, so the material in those sketches remained on the shelf for twenty-five years before finding a new home in the score of Symphonic Dances. The work was dedicated to Eugene Ormandy and the Philadelphia Orchestra and, though not an overwhelming success at the premiere, Symphonic Dances is regularly and quite reasonably held up as Rachmaninoff’s finest masterpiece. The spare angularity of his late style was reminiscent of his countrymen Stravinsky and Prokofiev but the lushness of his harmonic language and the occasional, well-placed “big” melody (in honor of his own younger self) are elements that still brook no comparison, since no composer before or since has ever truly matched them. Present also of course was the Dies Irae chant that shadowed Rachmaninoff throughout his life and figured prominently in his final three large-scale works. “Last” works almost always beg a summative place in a composer’s history. The music itself, so often incomplete, does not always oblige. But with Symphonic Dances, no stretch is needed to see it as a capstone to a brilliant career. THE WORLD – Elsewhere in 1940, Winston Churchill became Prime Minister of the United Kingdom, the first McDonald’s restaurant opened, and Lhamo Thondup was officially installed as the 14th Dalai Lama in Tibet. THE CONNECTION – Symphonic Dances was recorded by Utah Symphony in 2004 and last performed live in 2017. Matthias Pintscher was on the podium.

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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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