Brahms and Shostakovich

PRESENTING

IN OGDEN FOR MORE THAN 65 YEARS

BRAHMS’ SYMPHONY NO. 2 FEBRUARY 2, 2017 | 7:30 P.M.

2016–2017 SEASON

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WELCOME

We are thrilled that you are joining us for our 2016– 2017 Season.You are now part of an Ogden cultural tradition going back sixty-seven years!

Speaking of traditions, I feel blessed that music and dance have been central to so many of my own personal traditions. As a child, I attended Kansas City Symphony performances with my parents. I confess that I did not always manage to stay awake for the entire performance.

(In my defense, the concerts ended well after my regular bedtime). Still, I always looked forward to these concerts.

They were an event—a special treat. Not only did I get to dress up and spend quality time with my parents, but I also loved to watch the musicians. And I marveled at the composers who crafted brilliant masterpieces using some of the very same chords I struggled to play.

Recently, I had the chance to share a similar experience with another younger generation when I brought my nephews to last seasons’ Utah Symphony Family Shows. I loved introducing them to something I love. One nephew could not stop asking questions afterwards, and several have since asked me when the next performance is. They are all coming back again this season, so I count it as a huge success!

I am sure you have similar stories as well. Each of us has been inspired and touched by live arts performances. This is why the Ogden Symphony Ballet Association exists. We want to continue to inspire, to engage, to educate, and to uplift our community. So again, we are thrilled you are joining us this season. And we hope you make some new, amazing memories with us this year.

Emily Jayne Kunz Executive Director

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OSBA BOARD & STAFF

BOARD OF DIRECTORS Paul C. Kunz President Robert Fudge President Elect Robert Newman Vice President Jennifer Webb Secretary Tina Olsen Treasurer Genette Biddulph Past President/Nominating Melissa Bennett Brenda Burton Linda Forest John Gordon Russ King McClain Lindquist Scott Major Stephanie Moore Shane Schvaneveldt Jan Slabaugh Paul Sonntag John Starley Mark Stratford

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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Sharon Lewis Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer Beth Baldwin Paul C. Kunz Andrea Lane Robert E. Lindquist Michael S. Malmborg Judith Mitchell Meg Naisbitt Tina Olsen Ellen Opprecht Carolyn N. Rasmussen Sherm Smith

EXECUTIVE DIRECTOR Emily Jayne Kunz MARKETING MANAGER Abby Payne-Peterson ACCOUNTANT & FINANCIAL SPECIALIST Wendy Dyer

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ABOUT OSBA Under the direction of numerous dedicated Board Members and longserving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), OSBA has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area.

Since its inception, OSBA has presented over 800 performances.

In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbands’ checkbooks, they brought the Utah Symphony to Ogden for a single performance.The total cost was $400, and 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.

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In addition, OSBA actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve and socialize. We also offer a variety of music education classes, from Masterworks Music Detectives to Symphony Summer Camps.

And we are partnering with several local community organizations to expand these programs to reach even more kids, especially children in under-served communities. This year, we will also be holding our first Youth Benefit Concert, featuring Young Concert Artist Gleb Ivanov and young aspiring musicians from our very own community. The proceeds from this concert will go to fund music education scholarships for local children.

If you would like to know more about any of these programs, please do not hesitate to call our office!

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OSBA 2016 –17 SEASON Emanuel Ax plays Beethoven’s “Emperor” September 15, 2016 | 7:30 p.m.

Brahms’ Symphony No. 2 February 2, 2017 | 7:30 p.m.

Soul Unlimited featuring Ellis Hall September 22, 2016 | 7:30 p.m.

Jerry Herman: The Broadway Legacy Concert February 9, 2017 | 7:30 p.m.

Rachmaninoff’s Piano Concerto No. 3 October 20, 2016 | 7:30 p.m.

Brahms & Tchaikovsky November 10, 2016 | 7:30 p.m.

The Nutcracker November 25, 2016 | 7:00 p.m.

November 26, 2016 | 2:00 p.m. & 7:00 p.m.

Cirque Musica Holiday Spectacular!

December 8, 2016 | 7:30 p.m.

Here Comes Santa Claus!

December 13, 2016 | 7:00 p.m.

BYU Noteworthy March 4, 2017 | 7:30 p.m.

Pictures at an Exhibition April 6, 2017 | 7:30 p.m.

Gershwin’s Magic Key from Classical Kids Live!

April 18, 2017 | 7:00 p.m.

The Spy Who Loved Me April 20, 2017 | 7:30 p.m.

The Little Mermaid April 22, 2017 | 2:00 p.m.

BYU Vocal Point January 21, 2017 | 7:30 p.m.

The Ogden Symphony Ballet Association 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 Brahms & Shostakovich FEBRUARY 2, 2017 / 7:30PM / VAL A. BROWNING CENTER THIERRY FISCHER , C onduct or NAREK HAKHNAZARYAN , C ello

SPONSORED BY

RICHARD K. AND SHIRLEY S. HEMINGWAY FOUNDATION WEBER COUNTRY RAMP PROGRAM BRAHMS SHOSTAKOVICH

Academic Festival Overture, Opus 80 Concerto No. 1 in E-flat Major for Cello and Orchestra, Opus 107

I. Allegretto II. Moderato III. Cadenza IV. Allegro con moto

NAREK HAKHNAZARYAN, Cello

/ INTERMISSION /

BRAHMS

Symphony No. 2 in D Major, Opus 73

I. II. III. IV.

Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirito

APPROXIMATE PERFORMANCE TIME IS 1 HOUR, 20 MINUTES. Unless previously authorized, cameras and recording equipment of any kind are not allowed at Ogden Symphony Ballet Association performances. Please turn off cell phones, beepers and beeping watches before the performance begins.

EMERGENCY PROCEDURE Please identify the exits closest to your location. In the event it becomes necessary to evacuate the building because of an emergency, proceed to the closest exit in an orderly manner and then to a safe area away from the building.

801.399.9214 [ symphonyballet.org ]

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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings.

Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.

Thierry Fischer Music Director

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning.

In Summer 2016, Fischer toured with the Chamber Orchestra of Europe and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included Boston, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016, he conducted the Sao Paulo Philharmonic—his first visit to South America.

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 Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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801.399.9214 [ symphonyballet.org ]

ARTISTS’ PROFILES

Narek Hakhnazaryan Cello

Since winning the Cello First Prize and Gold Medal at the XIV International Tchaikovsky Competition in 2011 at the age of 22, Narek Hakhnazaryan has performed with most major orchestras across the globe and has established himself internationally as one of the finest cellists of his generation. Hakhnazaryan has performed with orchestras such as the London Symphony, Chicago Symphony, Seattle Symphony, Sydney Symphony, Rotterdam Philharmonic, Czech Philharmonic, Frankfurt Radio, NHK Symphony, and Seoul Philharmonic orchestras and Orchestre de Paris, and with conductors such as Gergiev, Guerrero, Hr u˚ ša, Koopman, Neeme Järvi, Pletnev, Slatkin, Sokhiev, Robertson, and Beˇlohlávek.

He made a hugely successful debut with the LA Philharmonic and Bringuier at the Hollywood Bowl in 2015 and toured Spain with the WDR Symphony/Saraste in the same year.

Highlights of Hakhnazaryan’s 2016-17 season include debuts with orchestras such as Berlin Konzerthaus, Netherlands Philharmonic, Utah Symphony, Teatro Dell’Opera (Rome), Munich Chamber, and Essen Philharmonic, as well as returns to the BBC Philharmonic, New Zealand Symphony, Orchestre della Toscana and to the Warsaw Easter Festival. In recital, Hakhnazaryan will perform in cities such as London, Lugano and Eindhoven and in Summer 2017 he tours Southeast Asia with concerts in Taipei, Seoul, Kyoto and Tokyo.

Narek Hakhnazaryan was born in Yerevan, Armenia, into a family of musicians: his father is a violinist and his mother a pianist. Mentored by the late Rostropovich, Hakhnazaryan received an Artist Diploma from the New England Conservatory of Music in 2011 where he studied with Laurence Lesser. Prior to this he studied at the Moscow Conservatory with Alexey Seleznyov and at the Sayat-Nova School of Music in Yerevan with Zareh Sarkisyan. Hakhnazaryan has received scholarships from the Rostropovich Foundation and the Russian Performing Arts Fund, and his prizes include First Prize in the 2006 Aram Khachaturian International Competition in Armenia and First Place in the 2006 Johansen International Competition for Young String Players. As First Prize winner in the 2008 Young Concert Artists International Auditions, Hakhnazaryan made his debut at Carnegie’s Zankel Hall and in Washington, DC.

801.399.9214 [ symphonyballet.org ]

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NOTES ON THE PROGRAM Notes by Michael Clive Dmitri Shostakovich (1906–1975) Concerto No. 1 in E-flat Major for Cello and Orchestra, Opus 107 INSTRUMENTATION: 2 flutes, 2nd doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2nd doubling contrabassoon; horn; timpani; celesta; strings PERFORMANCE TIME: 28 minutes BACKGROUND The controversy surrounding the book Testimony—the purported memoir

by Dmitri Shostakovich—continues.

Published in a 1979 English version edited by musicologist Solomon Volkov, Testimony details the horrors of an artist’s existence in Stalin’s Russia, but its authenticity is far from proven. As if to rescue us from the debate, we have the 1988 film version of Shostakovich’s life with Ben Kingsley as the embattled composer, and now The Noise of Time, the new novel by Man Booker Prize-winning author Julian Barnes covering the same ground. As an avowed work of fiction, The Noise of Time does not need to establish the authenticity of the events it describes. And as for the ideas, they are not in doubt: As a composer in Soviet Russia who had been denounced

by Stalin himself in Pravda, Shostakovich endured artistic repression that is almost beyond our imagining. Every new composition was scrutinized as a test of loyalty. Every day was lived in fear for his family’s safety and his own. He kept a bag packed just in case, but knew full well that there was no escaping the consequences of the state’s displeasure.

So when we say that Shostakovich composed his Cello Concerto No. 1

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during a welcome period of tranquility, remember: everything’s relative. In 1959, when he worked on this concerto, he was 53, and Stalin had been dead for six years.

The Premier of the USSR and head of the Communist Party was Nikita Khrushchev, who was known to be more international and more permissive in his views on Soviet art. Though Khrushchev believed in the necessity of art’s service to the Soviet people, he also—unlike Stalin— believed in the utility of art in enhancing Soviet prestige in the world. This made Shostakovich’s international standing as the USSR’s greatest surviving composer a political asset. (Stravinsky had become an American citizen, and Prokofiev had died in 1953—the same year as Stalin.)

Whatever the reason—perhaps the years of repression had taken their toll—the 1950s were not productive years for Shostakovich, even with Stalin gone. This adds significance to his 1959 cello concerto. Shostakovich was a major exponent of the concerto form, and his return to it was overdue. He dared to dedicate this concerto to the politically outspoken cellist Mstislav Rostropovich, an international star who later became an American citizen.

Shostakovich dedicated his 1966 cello concerto to Rostropovich as well.

WHAT TO LISTEN FOR Perhaps the most controversial aspect of Testimony is its insistence that every note Shostakovich composed was an implicit indictment of Soviet rule, and that common listeners heard these meanings clearly though government bureaucrats were deaf to them.

It’s an extreme claim, but one that Shostakovich’s music can support.

801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM Listening to compositions such as this concerto, we can hear that no composer has ever surpassed Shostakovich in his ability to communicate a sardonic mood, an ironic narrative line, a suggestive double meaning. In the first movement, with its tense energy, many listeners detect a mood of uncertainty and nervousness, with a repeated three-note figure looming in the background like a watchful big brother.

Respite comes in the second movement with a slower, more lyrical mood that allows the voice of the cello to sing.

Then, in traditional concerto form, the final movement brings a surge of energy and speed. With many of the initial movement’s elements recapitulated here, a positive, optimistic conclusion shines through: a resolution of the concerto’s initial themes in a statement of affirmation and endurance triumphing over adversity…perhaps the adversity of life under Soviet repression.

BACKGROUND Brahms was 44 when he composed the Academic Festival Overture—just three years after his Symphony No. 2. Both were produced during the summertime.

Yet they could hardly be more different.

Brahms never produced a more lighthearted work than the Academic Festival Overture; listening to it we have the impression of a casually mixed olio of academic melodies that could only have been cooked up in a place with a centuries-old tradition of college drinking songs and student choruses. In truth, of course, Brahms was never casual about anything musical, and the overture is crafted with consummate skill. To paraphrase Dolly Parton, it takes a lot of care to sound that carefree.

PERFORMANCE TIME: 39 minutes

But the overture is not without a connection to Brahms’ symphonies and his stature as a serious composer. Every symphonist since Beethoven has labored in his shadow, but this shadow fell with particular darkness upon Brahms, and seemed to bedevil him. In Germany and throughout Europe, musical insiders saw in Brahms a composer of superb craft and a certain gravitas that were perfectly suited to the symphonic form.

Here, at last, was someone who could keep the symphony alive and growing after Beethoven’s towering, form-busting Ninth. Brahms, for his part, was uneasy about these high expectations. He did not produce his first symphony until age 43, after 10 years of agonized labor; despite all the revising and polishing, he suffered fearsome anxiety before the premiere. After its great success one might have expected him to relax and wear the mantle of symphonist more comfortably; instead, he worried about

801.399.9214 [ symphonyballet.org ]

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Johannes Brahms (1833–1897) Academic Festival Overture, Opus 80 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; strings; timpani, percussion PERFORMANCE TIME: 10 minutes Symphony No. 2 in D Major, Opus 73 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani; strings

NOTES ON THE PROGRAM his second, facing what writers today call the “sophomore curse” as they wonder how to follow a successful first novel.

Despite his nerves, Brahms was not about to spend another 43 years fretting about a symphony. In 1877, during the summer after the premiere of his Symphony No. 1, he isolated himself in the Austrian lake resort of Pörtschach, in a tranquil villa on the banks of the Wörthersee. There, agreeably isolated in a picturesque setting, he threw himself into the composition of his Symphony No. 2. By the end of the summer, it was essentially complete.

Though the symphony was not greeted with the same enthusiasm as his First, today we recognize it not only as the First’s equal in stature, but also as its necessary complement: a symphony that does not look back to Beethoven in tribute, but instead looks ahead to a progressive future for the form.

At this point we see Brahms’ career as a composer of greatness coming to fruition.

It’s interesting to view portraits of Brahms in chronological order: in his twenties and thirties, when he was humbly seeking the advice of Robert and Clara Schumann, we see a handsome young man whose features could be described as sensitive and even delicate, but with time he starts to look more robust—and eventually ursine and curmudgeonly. This was the Brahms we know as a fierce individualist and uncompromising craftsman who held his own counsel above all.

It was also the Brahms who was receiving various awards and honors, including an honorary doctorate from the University of Breslau in 1880. His friend Bernhard Scholz, a conductor who had nominated

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him for the award, put Brahms on notice that his simple thank-you note was not sufficient for such an occasion, and that a celebratory composition would be expected. In the end, Brahms gave Scholz and his colleagues more than they bargained for: a pièce d’occasion in which brilliant orchestration raises familiar college ditties and homely drinking songs to a new level of celebratory excitement.

It’s probable that the famous tune “Gaudeamus igitur,” synonymous with the bygone glories of college life, owes its universal familiarity to the Academic Festival Overture.

In analyzing Brahms’ second symphony, some scholars have looked at it in the context of two symphonic pairs: Brahms’ First and Second Symphonies and Beethoven’s Fifth and Sixth. The evidence is circumstantial, but fascinating.

When we compare all four, the earlier symphony in each pair is an impassioned statement exploring human fate in a metaphysical way; each later symphony has a lyrical, pastoral feeling. Each earlier symphony had a long, agonized gestation; each later symphony was composed with relative speed, in a burst of creative energy. (For both Beethoven and Brahms, composition was more usually a process of great deliberation.) In fact, Brahms’ Second is sometimes referred to as his pastoral symphony. But as musicologist Sarah Gerk points out, the pattern of propulsive inspiration for a symphony following prolonged labor on another is common among symphonists—as is the pattern of following a profound, fateful symphony with one that is more relaxed.

And isn’t it also possible that Brahms was both inspired and calmed by his beautiful lakeside surroundings?

801.399.9214 [ symphonyballet.org ]

NOTES ON THE PROGRAM WHAT TO LISTEN FOR The Academic Festival Overture starts with an air of expectation and cheer.

From its opening moments to the triumphant finale, the drama builds and the excitement never stops. The climax, of course, comes with the final glorious iteration of the college hymn “Gaudeamus igitur” (“Let us rejoice”) rendered with pyrotechnical enthusiasm that makes it impossible not to imagine hundreds of mortarboards flying through the air.

Throughout the overture, Brahms’ skillful braiding of melodies combines with brilliant orchestration to lend gravitas to the festivities.

His Symphony No. 2, on the other hand, opens in a manner that is pleasantly relaxed, with the calmness of nature suffusing it. That is our impression upon hearing the symphony’s lovely opening theme—based on a four-note motif that, as it develops in the cellos and basses, takes on a wistful quality that pervades three of its four movements. “The new symphony is so melancholy that you will not be able to bear it,” he wrote to his publisher, Fritz Simrock. Though this was intentionally a comical overstatement— Brahms knew his reputation for grim seriousness, and was hedging his bets—he was sincere in his belief that melancholy is the symphony’s overriding emotion; its relative lightness of mood took early audiences by surprise. Most of the work’s melodic materials are exposed in the first movement.

After the lyrical opening, Brahms gives us a second motif in the horns that is taken in new directions by the woodwinds. This passage displays Brahms’ deep mastery

801.399.9214 [ symphonyballet.org ]

of sonata allegro development if we choose to listen for it, but his greatest mastery was his sense of flow, and the sheer impetus of the music keeps our mind off of technical details and on the notes. As the second movement opens with a noble theme in the cellos, we detect a gathering darkness that intensifies the melancholy mood without becoming weighty or somber. But this did not deter Brahms from describing this movement to Herr Simrock as unbearably long and formal. Nonetheless, it is his only true symphonic adagio, and a superb example of the form. Astute listeners will notice the second theme’s resemblance to the famous “Brahms Lullaby,” the “Wiegenlied.”

Together these opening movements take us through an absorbing halfhour of music—more than twice the length of the final two movements. As the third movement opens, the oboe intones a charmingly rustic melody suggesting a Ländler—the folk dance that Mozart so loved—that gives way to a traditional scherzo. The symphony reaches a rousing finale with the zesty final movement, marked allegro con spirito. Harvard musicologist Reinhold Brinkmann likens this to a Kehraus, a kind of joyful “last dance” favored by Haydn. If we consider that the symphony’s first movement is in waltz time (somewhat unusual for symphonies) and its third opens with a Ländler, it becomes clear that this symphony is bursting with dance. Hardly what one might expect of a work “so melancholy that you will not be able to bear it.”

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UTAH SYMPHONY Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda 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 Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

CLARINET Tad Calcara Principal The Norman C. & Barbar Lindquist Tanner Chair, in memory of Jean Lindquist Pell

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

CONTRABASSOON Leon Chodos

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal

Jennifer Rhodes

HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal

Caitlyn Valovick Moore

Jeff Luke Associate Principal

PICCOLO Caitlyn Valovick Moore

Peter Margulies Nick Norton

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair

TROMBONE Mark Davidson Principal

Roberta Zalkind Associate Principal

James Hall Associate Principal

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Nathan Lutz Interim Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot†† Acting Associate Principal

Lissa Stolz

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OSBA Depends On You To He(p Us Make A Dgference Did you know that ticket sales generally cover only 40% of our programming costs? Without support from our generous donors, OSBA would not be able to present our world-class concerts or continue our outreach efforts.

We invite you to considerjoining this special group of art lovers!

We accept donations in person, over the phone, by mail, and even on-line. We are also always happy to speak with you about planned giving options. If you have any questions, our Executive Director Emily Jayne Kunz is always happy to assist.

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Includes all Partner Benefits plus:

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- Invitation to mulitple Meet the Artist Receptions

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Sponsor ($2,500+) Includes all preceding Benefits plus: - Sponsorship Recognition - Complimentary tickets for sponsored concert - Invitations to special Donor Appreciation Events

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FRIENDS OF OSBA Includes Donations Received April 1, 2016–March 31, 2017

Thank you to all our donors! This concer t would not have been possible without you.

SUSTAINING DONORS ($50,000+) Stewart Education Foundation Weber County RAMP Grant SEASON SPONSORS ($10,000+) Alan & Jeanne Hall Foundation Lawrence T. & Janet T. Dee Foundation Robert & Marcia Harris The Norman C. Tanner & Barbara L. Tanner Charitable Support Trust Matthew B. Ellis Foundation Richard K. & Shirley S. Hemingway Foundation CONCERT SPONSORS ($5,000+) Edith Dee Green Foundation George S. & Delores Dore Eccles Foundation Mrs. Paul T. Kunz The London Connection State of Utah, Division of Arts & Museums GUEST ARTIST SPONSORS ($2,500+) Beaver Creek Foundation Paul & Cindy Kunz Sharon Lewis Merrill Lynch Ogden City Corporation through Ogden City Arts Carolyn Nebeker Rasmussen Dr. Paul & Carol Sonntag BENEFACTORS ($1,000–$2,499) Dr. Nelson L. & Carole W. Astle Dwight & Cindy Baldwin Bean Family Foundation Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Rick & Karen Fairbanks Farr’s Jewelry

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Mr. & Mrs. Kelly Goddard Kenneth & Norine Holmgren Jewel Lee Kenley Mike & Zona Keyes Dr. & Mrs. Seth Lewis Merrill Lynch Drs. Jean & Richard Miller Dr. Judith Mitchell Robert & Eleanor Newman Keith & Ellen Opprecht Nancy & Brian Pinto Ralph Nye Charitable Foundation Carolyn Rich-Denson Junior E. & Blanche B. Rich Trust Harry & Becky Senekjian E.K. & Grace Walling Michael & Jennifer Webb Weber State University Glenn & Connie Wimer SUPPORTERS ($500–$999) America First Credit Union Marlene Barnett Bert L. & Lulu M. Neal Foundation Dr. & Mrs. Arthur Budge Russ Carruth Mary & Lee Forrest Carter Elliot-Hall Company Rosemary Conover & Luckey Heath CrossAction Computers Dr. Douglas Deis Doug & Shelley Felt Dr. & Mrs. Ralph Friz Robert Fudge & Sylvia Newman Gerry & Dixie Funk Greg & Caitlin Gochnour Heather & John Gordon Dean Hurst Carol Jackson Val Johnson Kier Construction Lindquist Memorial Parks Suzanne Lindquist Val & Karen Lofgreen Jan & Jerome Luger Scott & Kirsten Major

Jim & Suzy Patterson Eloise Runolfson Mr. & Mrs. Howard Schuyler Shane & Pamela Schvaneveldt Jonathan & Beverly Souder Starley Family Dental Richard & Judy Webber Hal Wheelwright PARTNERS ($100–$499) Barbara Anderson Sally Arway Clyde Baker Kay Ballif Mark Ballif Rich & Kristin Bauter Robert Beishline Bill & Melissa Bennett Dr. & Mrs. Paul C. Bennion Phil & Melanee Berger Jeffrey & Piper Blankinship Mr. & Mrs. Chris Bolieau The Boyer Company Kathleen & Phillip Browning Maj. & Mrs. Wendell Brumley Janice Burk Mr. & Mrs. Jeffry Burton Brad & Lynn Carroll Kitty Chatelain Allen & Janis Christensen Cathay Christiansen Kent Collins Clark & Pat Combe Becky Crumbo Frank & Ludene Dallimore Alan & Joanne Dayley Lynn & Natalie Dearden Golden & Sharon Decker Pete & Lynn Dehart Kellie & Allan Diersman Deloris & Dale Dorius Kathy Douglas Mr. & Mrs. Joseph Draper Ann Alene Dunn David & Robbyn Dunn Jennifer Earl Sandra Ebarb Jerry Eddy Rodney Egan

801.399.9214 [ symphonyballet.org ]

FRIENDS OF OSBA Ann & Peter Ellis Brandon Erlacher Madelon Fallows Mr. & Mrs. Thomas Fearn Angela Flamm Jill Flamm Mr. & Mrs. Christopher Ford William & Anita Ford Linda Forest Monica Fridberg Pat Fuller Bert & Karen Gall Janice Grajek Nancy Granducci Lawren & Nancy Green Kim & Becky Hale Gwen Haycock Kimberly Hearn Angie Henderson John & Jeanne Hinchman Col. Douglas Holmes Robert & Rula Hunter Greg Hyde Intermountain Healthcare Robert W. Irvine Val Iverson Michael & Lori Jacobazzi Eric & Becky Jacobson John Watson Chevrolet Dr. & Mrs. Paul H. Johnson Kevin Johnson Steve Johnston Jeanne Kesler Melba & Denis Kirby Thomas Kuehls Kathryn Lindquist Robert Lindquist Jeanette Long Rick & Nikki Lovell Eugene & Pat Low Ivaloo Lund Macdowell Ensemble - Odgen Chapter Sharon Macfarlane Corey Malan Victoria & Michael Malmborg Mr. & Mrs. Dwayne Manful Debra Marin Frank & Sharon Markos Erika Martin Rand & Cynthia Mattson

Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady Jennifer & James Mcgregor Mary Ann Miller Nada Miller Matt Montague Mark & Meg Naisbitt Paul & Maurine Naisbitt Noel Nellis J. David Nelson Marilyn Nelson Wendy Nelson Gary Newman Arthur & Ruth Nielsen Peggy Nielsen Ogden School Foundation Cheryl Orme Donald Pantone Scott & Pam Parkinson Val & Marlene Parrish Paul & Sandra Perkin Janet Petersen Jim & Kay Philpott Matt & Cami Pollard Sanford Poulsen Paul & Joan Powell Marty & Carolyn Rasmussen Rory Rich Margaret Rostkowski Mr. Juergen Sass Harlan & Lauralee Schmitt Blaine & Justine Seamons Sempre Musical Society Greg & Susan Shreeve Lawanna & Robert Shurtliff Susan Skordos Jan Slabaugh Mr. & Mrs. Sherman Smith Keith & Marlys Sorbo Edward & Mari Lou Steffen Ned & Sheila Stephens Mr. & Mrs. Robert Stillwell Jeneile Tams Jeane Taylor Joann B. Taylor John & Marcy Thaeler Ulrich & Associates Utah Eye Centers Patti Van Aarle Robert Van Dyke

801.399.9214 [ symphonyballet.org ]

Karen Vanden Bosch Kathleen Vegh Jack Wahlen Melvin Walker Bruce Wallace Sheldon & Janice Ward Wasatch Peaks Credit Union Nancy Waterfall Suzanne Wayment Matthew Webb Lee & Carol Welch Roberta & Kent West Richard White Kenna Williams Carl & Helgard Wolfram Venita Wood Harry & Marilyn Woodbury Larry Zaugg Jan Zehner Jolene & Chad Zito IN-KIND DONORS Jonathan Adams ALSCO Alvey Media Productions Amethyst String Quartet Apple Spice Junction Dwight Baldwin Beehive Cheese Bell Janitorial Supply Bill & Melissa Bennett Dr. Glen & Genette Biddulph Big O Tires Booked on 25th Kate Bruce Brenda Burton Cafe Rio Centerpoint Legacy Theater Clifton’s Ladies Apparel Crossaction Computer Specialists Dartside Daynes Music Company Eccles Community Art Center Farr’s Jewelry Fat Cats Fun Center Linda Forest Robert Fudge & Sylvia Newman Francisco de Galvez George S. Eccles Dinosaur Park Gibby Floral

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FRIENDS OF OSBA Gibby Studios, Inc. Grounds for Coffee John Gordon George and Mary Hall George B. and Betty Jo Handy Brenn Hill Hill Aerospace Museum Iggy’s Julie Johnson Suzanne Lindquist Kaffe Mercantile Kangaroo Zoo Kier Construction KLO Radio Lifetime Products Scott & Kirsten Major Megaplex Theaters Mineral Reflections Ralph W. (Bud) Mitchell Thomas & Stephanie Moore Mountain Medical Imaging Robert & Eleanor Newman Next Ensemble Now 97.9 Ogden Nature Center Ogden Union Station Olive & Dahlia Philip & Company Recreation Outlet Rocky Mountain Water Roosters Schneiter’s Riverside Golf Jan & Mike Slabaugh Smith’s Snowbasin Dr. Paul & Carol Sonntag Standard Examiner Starley Family Dental Sun Valley Sunny 103.1 SuperSonic Car Wash Thai Curry Kitchen The Mumford Group The Timbermine Toad’s Fun Zone Treehouse Museum Craig Umbrell Brad Waddoups Bob Wallis Jennifer Webb Ziegfeld Theatre Zions Bank

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MEMORIAL DONATIONS Dr. Gordon Thatcher Allred Robert & Eleanor Newman Rodney H. Brady Jan & Mike Slabaugh Carol Brockman Andrea Lane Sharon Macfarlane Frank & Sharon Markos Dr. Judith Mitchell Jim & Suzy Patterson Carolyn & Marty Rasmussen Glen Eliason Robert & Eleanor Newman Telitha Greiner Dr. & Mrs. Arthur Budge Val Johnson

Mrs. Paul T. Kunz Sharon Macfarlane Drs. Jean & Richard Miller Dr. Judith Mitchell Kent Nichols Carolyn & Marty Rasmussen Mary McKenna Sharon Macfarlane Dr. Paul Naisbitt Dr. & Mrs. Fred Clayson Scott & Pam Parkinson Stephen Kent Paskins Mark & Shelley Geddes Claire Pinto Nancy & Brian Pinto Bonnie Raleigh Andrea Lane Gerald Richardson Robert & Eleanor Newman

John R. Hinchman Ann Alene Dunn Phillip & Merlene Petty Connie Stevens

Monte Shupe Mark & Shelley Geddes

M. Margaret Hunter Emily Jayne Kunz Ladies Literary Club Sharon Lewis & Family Judith Mitchell Jan & Mike Slabaugh

Hetty Hammon Sly Denise Sly Mel Sowerby Glenn & Connie Wimer

Carol Hurst Robert & Eleanor Newman

Diane Cook Taylor Florence Stowe

Suzan Johnson Dr. & Mrs. Arthur Budge Val Johnson

Ed Vendell Dr. Judith Mitchell

Paul T. Kunz Robert & Eleanor Newman Marvin Lewis Robert & Eleanor Newman Geraldine (Jerry) Taylor Lindquist Dr. & Mrs. Arthur Budge

IN HONOR OF DONATIONS Marjorie Funk Bud Funk Sharon Macfarlane Robert & Eleanor Newman Maryonne Wilson

801.399.9214 [ symphonyballet.org ]

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