2019–20 SEASON
THE PLANETS
September 12, 2019 | 7:30PM
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Onstage Ogden
WELCOME Dear Friends, Welcome to our 70th Anniversary Season! I am delighted to celebrate our rich history while looking forward to another exceptional season of only the finest music and dance. It has been an honor to be a part of creating this exciting collection of performances. As always, Utah Symphony has presented us with a slate of world-class performers and expertly crafted programming. We have worked hard to bring together a mix of beloved and soon-to-be favorites including everything from Beethoven to Wagner! Reflecting on our roots showcasing classical ballet, we can’t wait to experience the Moscow Ballet and the Russian National Ballet here in Ogden, as well as the more contemporary approach brought to us by Dance Theatre of Harlem. There is truly something for everyone. I hope that you have had the opportunity to learn about our new offerings this year. I would like to invite you to consider attending our new Downtown Series at The Monarch. Each concert is a unique fusion of styles presented in a relaxed atmosphere, performed by awardwinning musicians. We have also expanded our Family Series, and moved those concerts to Peery’s Egyptian Theater which will be an exciting experience for children of all ages. And finally, I want to thank each of you for supporting Onstage Ogden by purchasing tickets, donating, volunteering, and spreading the word about our mission. I am confident that our longevity is due to the support we receive from this community. I cannot overstate my gratitude and admiration for those who help us bring the best to Ogden each year! With thanks,
Melissa Klein, Executive Director
OnstageOgden.org
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Onstage Ogden
BOARD & STAFF
BOARD OF DIRECTORS Mark Stratford President
Linda Forest Secretary
Russ King Onstage Ogden Foundation
Robert Fudge Past President
David Malone Treasurer
Nancy Pinto-Orton President Elect
Steven Carter Robbyn Dunn John Fromer Steven Hendricks Val Johnson
McClain Lindquist Zachary Nelson Robert Newman Carolyn Rich-Denson Susan Shreeve Joyce Stillwell Jon Wilson
Alan Hall Robert Harris
Thomas Moore Suzy Patterson
Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Ellen Opprecht
Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke
Dr. Ann Ellis Vice President ADVISORS Marlene Barnett Karen Fairbanks FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer EXECUTIVE DIRECTOR Melissa Klein
EVENTS & OUTREACH MANAGER Andrew Barrett Watson
BOX OFFICE & MARKETING MANAGER Camille Washington
AUDIENCE ENGAGEMENT COORDINATOR Ginger Bess Simons
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801.399.9214
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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Onstage Ogden
2019–20 SEASON
MASTERWORKS SERIES The Planets September 12
DANCE & VOCAL SERIES Dance Theatre of Harlem November 9
Rachmaninoff’s Rhapsody on a Theme of Paganini October 24
Russian National Ballet January 20
Rachmaninoff’s Piano Concerto No. 3 November 7
BYU Vocal Point February 15
Tchaikovsky’s Violin Concerto January 30 Brahms’ Piano Concerto No. 2 April 9 ENTERTAINMENT SERIES The Music of John Williams September 19 A Broadway Christmas with Ashley Brown December 5 Women Rock February 13 The Temptations with the Utah Symphony April 16
Flamenco Vivo February 4
Chanticleer April 27 FAMILY SERIES Here Comes Santa Claus December 23 Sphinx Virtuosi March 11
SPECIAL EVENTS Patriotic Celebration at Snowbasin July 3 Great Russian Nutcracker November 29–30 DOWNTOWN SERIES Third Coast Percussion March 3 PUBLIQuartet March 31 Quarteto Nuevo April 2 Eighth Blackbird April 22
Carnival of the Animals March 17 Spanish Brass March 23 Snow White May 2 Youth Benefit Concert May 7
Arts
The Onstage Ogden’s 2019–2020 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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UTAH SYMPHONY
MASTERWORKS SERIES
The Planets September 12 S P O N SO R E D BY
ROBERT & MARCIA HARRIS
The Planets
September 12, 2019 | 7:30PM THIERRY FISCHER, conductor
WEBER COUNTY RAMP
BARLOW BRADFORD, chorus director Sopranos & Altos of the Utah Symphony Chorus
BEETHOVEN: Overture to The Consecration of the House, Op. 124 KAIJA SAARIAHO: Asteroid 4179: Toutatis HAYDN: The World of the Moon Overture MESSIAEN: “What is Written in the Stars” from Des canyons aux étoiles Jason Hardink, piano
JOHN WILLIAMS: “Main Title” from Star Wars / INTERMISSION /
MESSIAEN: “The Desert” from Des canyons aux étoiles HOLST: The Planets
I. II. III. IV. V. VI. VII.
Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic
Sopranos & Altos of the Utah Symphony Chorus
OnstageOgden.org
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ARTISTS’ PROFILES Swiss conductor Thierry Fischer has been Music Director of the Utah Symphony since 2009 and becomes Music Director Emeritus in 2022. Principal Guest of the Seoul Philharmonic 2017–2020, in March 2020 he begins as Music Director of the São Paulo Symphony. In Utah he has revitalized the organization, instigating a major commissioning program, taking the orchestra to Carnegie Hall for the first time in 40 years, recording Mahler symphonies for Reference Records and a SaintSaëns cycle for Hyperion.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Recent guesting has included Boston Symphony, Cleveland Orchestra, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Orchestra of the Age of Enlightenment, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, also Chamber Orchestra of Europe, Mostly Mozart New York, Orchestra of the Age of Enlightenment, London Sinfonietta and Ensemble Intercontemporain. Whilst Principal Conductor of the BBC National Orchestra of Wales 2006–2012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. His recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the ICMA award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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ARTISTS’ PROFILES
Dr. Barlow Bradford Chorus Director
Over the course of his musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Bradford have been performed/recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.
UTAH SYMPHONY CHORUS Soprano Alexia Adair Julie Barker Clare Brussel Lexie Davis Blythe Enke
Kiersten Erickson Genevieve Gannon Cassie Glazier Mika Holbrook Leslie Jenkins
Chelsie Kindred Abigail Payne Melissa Stettler
Alto Anna Bradford Katherine Filipescu Melinda Harper Christine Harris
April Iund Jordan Knudsen Emily Larsen Maria Longhurst
Rebecca Nelson Ruth Rogers Brooke Yadon
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NOTES ON THE PROGRAM
by Michael Clive
Ludwig van Beethoven (1770–1827)
Overture to The Consecration of the House, Op. 124 PERFORMANCE TIME: 10 MINUTES
It’s helpful for us to reexamine our preconceptions about Beethoven every so often. His Overture to The Consecration of the House contradicts a number of them: that he had little interest in composing for the stage, aside from his opera Fidelio; that he had no feeling for enacted drama; that he was sullen and undiplomatic in dealing with patrons and commissions. Beethoven’s first commission for the stage was the 1801 ballet Creatures of Prometheus, and he returned to this story and its themes of classical mythology and enlightened republicanism more than two decades later in this overture. He had already composed incidental music for playwright Carl Meisl’s The Ruins of Athens, a revamped version of August Kotzebue’s setting of the ballet’s original story. The overture was drenched in politics from the start. It was commissioned for the opening of a new theater in Vienna by its director, Carl Friedrich Hensler, and we can safely infer that Beethoven aimed to flatter both Hensler and his Habsburg employers. That was certainly what Meisl did in his rewrite of Kotzebue, creating an allegory about the restoration of classical ideals in the Austro-Hungarian Empire in the wake of Ottoman rule. Amid these politically fraught circumstances, The Consecration of the House was about consecrating a new theater and a new age of political enlightenment—politically flattering messages for all concerned. There could hardly have been a better occasion for Beethoven to apply the principles of Baroque composition that he’d
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been studying at that time: The music, like the story, reminds us of the beauty of past virtues. Its two intertwined sections, an introductory Maestoso that opens onto an Allegro con brio, have a vigorous, elegant beauty that is often described as Handelian. The overture was an immediate success with critics and the public, and Beethoven featured it in the series of concerts when his epochal Symphony No. 9 premiered two years later. Kaija Saariaho (b. 1952)
Asteroid 4179: Toutatis PERFORMANCE TIME: 4 MINUTES
Asteroid 4179: Toutatis dates from 2005. In this orchestral work, Saariaho’s inspiration is astronomical: a stony asteroid classified as a near-Earth object. Bulbous and irregular, a bit like a natural stone pestle or an elongated potato, Toutatis is named for a Celtic god worshipped in ancient Gaul and Britain, probably as a protector. Saariaho notes: “I first became interested in Toutatis when reading that it is the asteroid whose orbit passes closest to Earth. When reading more and then seeing pictures of it, I started to find its unusual shape and complex rotation interesting—different areas of it rotate at different speeds. One consequence of this is that Toutatis does not have a fixed north pole like the Earth; instead, its north pole wanders along a curved path roughly every 5.4 days. The stars viewed from Toutatis wouldn’t repeatedly follow circular paths, but would crisscross the sky, never following the same path twice. So Toutatis doesn’t have anything you could call a ‘day.’ Its rotation is the result of two different types of motion with periods of 5.4 and 7.3 Earth days that combine in such a way that Toutatis’ orientation with respect to the solar system never repeats. All these
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NOTES ON THE PROGRAM peculiarities, and the fact that Toutatis already has had many collisions with other heavenly objects, inspired me to write this small work…” Joseph Haydn (1732–1809)
Overture to Il mondo della luna (The World of the Moon) PERFORMANCE TIME: 5 MINUTES
The operas of Joseph Haydn are like astronomical dark matter floating in the musical universe: We know they’re out there because the experts tell us so, but unlike the choruses and arias of his oratorios, their greatness can almost never be heard by the rest of us. So we’re especially fortunate when something like the delightful overture to his opera Il mondo della luna comes along. This tuneful, beautifully constructed overture raises the curtain on a raucous romantic comedy in the Italian opera buffa tradition. It’s as giddily formulaic as any current rom-com, and no less sexy—opening with a would-be astronomer convincing his girlfriend’s father that, with the aid of a powerful telescope, they can spy on ladies undressing on the moon. Is that what we expect of the sober, temperate Haydn, whom two generations of great composers called “Papa”? Well, why not? Written in 1750, Carlo Goldoni’s libretto for Il mondo della luna had already been set by a half dozen or so composers before Haydn got his hands on it in 1777. He composed his version for the wedding celebration of Count Nikolaus Esterházy, the younger son of his most important patron. Though the opera relies on Italian forms and stock characters, it is sometimes performed—very rarely—in German, as Die Welt auf dem Monde. Composed in C Major, the overture treats us to some serious fun, mixing the energy
and cheer of outlandish comical doings with the dignity expected by the royal listeners for whom Haydn composed. Like some of Mozart’s operatic overtures—Don Giovanni, for example—it ends with an “open cadence” that leads us directly into the action of the first scene without pause. In recycling materials from this overture for the first movement of his Symphony No. 63, Haydn actually had to reduce his instrumentation to fit his symphonic orchestra. Olivier Messiaen (1908–1992)
Des canyons aux étoiles PERFORMANCE TIME: 6 MINUTES
Commissioned in 1971 by the American philanthropist and arts patron Alice Tully to celebrate the bicentenary of the Declaration of Independence, Des canyons aux étoiles is a suite of twelve orchestral movements arranged in three groupings of five, two and five. Ce qui est ecrit sur étoiles and Le desert are the third and first movements in the first grouping. When all twelve are performed together, the movements are operatic in scope, spanning more than an hour and a half. Like Ferde Grofé’s Grand Canyon Suite, Messiaen’s Des canyons aux étoiles is intimately connected to a particular place in the American Southwest—in this case, the state of Utah. Messiaen took inspiration from the landscape and the birds of the Beehive State while composing this suite, and was particularly moved by visiting Bryce Canyon National Park. In these movements, Messiaen’s musical reflections on Utahn grandeur—the meanings he discerned “written in stars,” the colors and forms he saw in the desert—describe his experiences of Bryce as a divine creation.
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NOTES ON THE PROGRAM John Williams (b. 1932)
an awareness of the practicalities of the professional musician’s life in England with the changing aesthetics of the international classical music scene—most especially the impact of German, Austrian and Russian composers.
“Main Title” from Star Wars PERFORMANCE TIME: 6 MINUTES
Is any 20th-century music more recognizable— indispensable, even—than John Williams’s music for George Lucas’ Star Wars? Among honors and awards too numerous to mention, the “Main Title” from Star Wars achieved the ultimate accolade when the comic actor Bill Murray, playing a sleazy lounge singer, put words to its melody in an inspired Saturday Night Live sketch. In a career that spans five decades, John Williams has become one of America’s most accomplished composers for film and the concert stage. He has served as music director and laureate conductor of the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. He also holds the title of artist-in-residence at Tanglewood. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honors, and the Olympic Order, as well as five Academy Awards and 48 Oscar nominations. He also has received seven British Academy Awards (BAFTA), 21 Grammys, four Golden Globes, five Emmys and numerous gold and platinum records. Gustav Holst (1874–1934)
The Planets PERFORMANCE TIME: 48 MINUTES
His name may not sound English, but his music certainly does. Gustav Holst is among the best loved of all 20th-century English composers. Throughout his career, he continued to combine
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We can hear the full range of Gustav Holst’s musical background and education in his bestknown composition, The Planets. It is endearing, charming and full of the openness of the English plainsong tradition; yet it is also executed with the sophistication and cosmopolitanism of a composer well acquainted with the latest international music of his day. But if the confident exuberance of The Planets suggests that this suite was easy for him to compose, Holst has actually accomplished something extremely difficult with it, sustaining our rapt attention for seven movements spanning almost an hour with no content other than the personalities and moods represented by each planet. Every movement is intensely colorful and specific, with each planetary subject so clearly in view that we feel ready to land our NASA module on the surface. Yet there is no story line, no overarching form…nothing but mood and the richness of the melodic subjects and rhythmic figures that Holst employs, including many folk songs from his beloved England. It’s hard to beat a luminous night sky as a source of inspiration for philosophers, physicists, poets and kings through the ages. Are the heavens for artists to understand, or do they lie within the realm of science? Like so many of the great classical thinkers, the ancient Greek mathematician Pythagoras saw no separation between the two. On the scientific side, he defined the numerical ratios by which vibrating strings produce tones that are octaves apart. But he also speculated about “music of the spheres,” the subtle sounds of heavenly bodies expressing the ineffable qualities of the Greek Zodiac according to orbital ratios. Those inspiring celestial lights? Yes, they were physical
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NOTES ON THE PROGRAM objects obeying scientific laws, but they were also the embodiments of characters in Greek myths. We could hear their personalities if we really listened. Expansive in every sense, The Planets also calls for a chorus of female voices; Holst uses these resources to the hilt, giving the suite a sense of astronomical space and the swirling energy of a spiral nebula. Though he denied that the suite has any connection to the classical Zodiac other than the names and traits of the personified planets, that connection by itself is enough for the music to conjure strong images of the mythological deities associated with each. We hear seven movements in all: Mars, the Bringer of War; Venus, the Bringer of Peace; Mercury, the Winged Messenger; Jupiter, the Bringer of Jollity; Saturn, the Bringer of Old Age (purportedly Holst’s favorite!); Uranus, the Magician; and Neptune, the Mystic. Earth is not among those profiled; nor is Pluto, which was discovered and then ejected from the planetary club after Holst composed. Now that another “ninth planet” has been discovered, and a huge one at that, we can only wonder what Holst might have made of it. The suite opens with Mars, plunging us into a universe of amoral phenomena; the bringer of war is presented as neither good nor bad, but remarkable for his virility and power. This is conveyed with pounding rhythmic figures of five beats each, indicative of brute force, and with a melodic theme that seems capable of going anywhere. Venus, by contrast, announces herself with an ascending figure of four horn notes that give rise to serenely converging chords voiced in the woodwinds; her sound is celestial, with the shimmer and sparkle of the celesta, harp and glockenspiel, bringing a sense of peace and of vertiginous space, in contrast to the earthbound Mars. Mercury, the winged
messenger, is quick in every sense: the suite’s movement of shortest duration, it conveys a sense of darting speed through devilishly constructed runs of rapid notes in two different keys and rhythms. The juxtaposition of opposing elements, a favorite device of Holst’s (and a difficult one to apply) is especially vivid here. Again, it gives rise to a marked contrast: Jupiter, the bringer of jollity, in a movement full of the charm of traditional English folk tunes. There is something deeply endearing in Jupiter’s wholesome cheer that has made it the most popular of the suite’s movements, and has revived interest in the songs it quotes. If any of the suite’s movements can be said to suggest a conventional narrative line, it is Saturn—Holst’s favorite—in a life’s journey toward reconciliation. What might sound like hints of despair in its beginnings are later subsumed by the wisdom and harmony of old age. But in this suite, if wisdom has an opposite, it’s not ignorance, but the sass of Uranus, the magician—smart-alecky and unpredictable. Uranus is a prankster, and in this movement we hear not only the evidence of tricks, but also of the prankster’s smug satisfaction in his own cleverness. Has Holst been leading us outward in the solar system? Not in a strict astronomical sense, but perhaps in an aesthetic one—from the martial strains of Mars to Neptune, the mystic, whose very mystery conveys a sense of endless space. The musical materials here are not melodic themes so much as cryptic figures that play off each other, like intersecting rays of astronomical light. A wordless chorale of women’s voices shimmers, swelling from inaudibility to a veil of sound, then recedes into the stars. In the end, after our exuberant tour of the skies, we are left at the very edge of all that we know, looking out at a thrilling but unfathomable universe.
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UTAH SYMPHONY Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor
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
Ralph Matson†
Associate Concertmaster
David Porter
Acting Associate Concertmaster
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
Associate Principal Second
Evgenia Zharzhavskaya Assistant Principal Second
VIOLA* Brant Bayless
Principal The Sue & Walker Wallace Chair
Elizabeth Beilman
Acting Associate Principal
Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Leslie Richards†† Whittney Thomas CELLO* Rainer Eudeikis†
Principal The J. Ryan Selberg Memorial Chair
Matthew Johnson Acting Principal
Andrew Larson
Acting Associate Principal
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara
Corbin Johnston
• First Violin •• Second Violin
* String Seating Rotates † On Leave
Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal
FLUTE Mercedes Smith
Lisa Byrnes
Associate Principal
Peter Margulies# Paul Torrisi TROMBONE Mark Davidson Principal
Sam Elliot
Associate Principal
BASS TROMBONE Graeme Mutchler TIMPANI George Brown
Erin Svoboda-Scott
PERCUSSION Keith Carrick
Associate Principal
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike
Leon Chodos
Associate Principal
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal
Principal The Val A. Browning Chair
Principal
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Principal The Edward & Barbara Moreton Chair
Karen Wyatt•• Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang Rebekah Johnson# Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Ju Hyung Shin• Lynnette Stewart Bonnie Terry• Julie Wunderle
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PICCOLO Caitlyn Valovick Moore
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
Associate Principal
Caitlyn Valovick Moore # Sabbatical †† Substitute Member
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Eric Hopkins
Associate Principal
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Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal
LIBRARIANS Clovis Lark Principal
Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Andrew Williams
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FRIENDS OF ONSTAGE OGDEN Onstage Ogden thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Onstage Ogden is an exempt organization as described in section 501(c)(3) of the Internal Revenue Code. The following is a list of contributors from June 2019 through August 2019. Please contact Onstage Ogden’s Executive Director, Melissa Klein, at 801-399-9214 if you would like to make a donation or if your name has been inadvertently left off the following list or is misspelled. Thank you again for your generous support!
Season Sponsor ($100,000+) Stewart Education Foundation
Series Sponsor ($25,000+) Alan & Jeanne Hall Foundation Norman C. & Barbara L. Tanner Charitable Support Trust
Concert Sponsor ($10,000+) Robert & Marcia Harris Ogden City Arts Pinto Family Foundation
Val A. Browning Foundation Weber County RAMP
Richard K. & Shirley S. Hemingway Foundation Utah Division of Arts & Museums Zions Bank
Diamond ($5,000 – $9,999) Thomas & Stephanie Moore
Platinum ($2,500 – $4,999)
Dr. Robert Fudge & Sylvia Newman
Gold ($1,000 – $2,499) Glen & Genette Buddulph Dr. Rosemary Conover & Lucky Heath
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Karen Fairbanks Paul C. & Cindy Kunz Drs. Jean & Richard Miller
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FRIENDS OF ONSTAGE OGDEN Silver ($500 – $999)
Steven Carter Mary & Lee Forrest Carter Dr. Douglas Deis Doug & Shelley Felt Jan & Jerome Luger Bronze ($100 – $499)
Anonymous (3) Dr. Robert Fudge & Sylvia Newman Knights of Columbus #14399 Andrea Lane Val & Karen Lofgreen Sharon Macfarlane David Malone & Madonne Miner Frank & Sharon Markos Sandy & Phillip Maxwell Andy & Susan Mccrady James & Jennifer McGregor Kathryn Miano Wayne & Nada Miller Dr. Mark & Meg Naisbitt Dr. & Mrs. Noel Nellis
Scott & Pam Parkinson Dr. Cary & Wendy Roberts Eloise Runolfson Greg & Susan Shreeve Jonathan & Beverly Souder
Joyce & Robert Stillwell Dr. Michael & Jennifer Webb Richard & Judy Weber Hal Wheelwright
Gary & Marilyn Newman Tina Olsen Cheryl Orme Michael Palumbo Donald Pantone Paul & Sandra Perkin Juergen Sass Leland Sather Heath Satow Mary & Howard Schuyler Shane & Pamela Schvaneveldt Darin & Jo Sjoblom Denise Sly Keith & Marlys Sorbo Edward & Mary Lou Steffen Ned & Sheila Stephens
Edna Stratford Jeane Taylor Michael Tomasula Patti Van Aarle Lucinda & Phyllip Wagner Andrew & Suzanne Wall Bruce & Kay Wallace Brent & Gloria Wallis Gerald & Ann Walters Sheldon & Janice Ward Barbara & Gerald West Kent & Trudy Whiteman Carl & Helgard Wolfram Harry & Marilyn Woodbury
70th Anniversary Club ($70–$99) Marsha Ashby Russell Ashment Paul & Georgia Bennion Evelyn Bertilson Renee Bohman & Jolene Kobe Laura & Randy Browne Sharon Charley Child Culture Club
MEMORIAL DONATIONS Phyllis Combe in Memory of Charles Combe
Ray & Betty Christian Stepen & Judy Farr Gerry & Dixie Funk David & Joan Hadley William & Jackie Jones Steve Kier Taylor Knuth Jolene Kobe
James & Deborah Lindstrom Mary Mcmillen Claude & Barbara Nix Marsha Ohlwiler Sherman Smith Roberta & Kent West Jan Zehner
Zana Anderson in Memory of Mary Irvine
Evalin McBurnie in Memory of Ronald L. Wooden & Joseph B. Terry
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