Bach’s
OGDEN SYMPHONY BALLET
Brandenburg Concertos December 6, 2018 | 7:30pm
ASSOCIATION
2018–19 season
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WELCOME Dear Friends, I want to extend a warm welcome to each of you attending this performance. Thank you for coming! I am honored to serve as Executive Director of Ogden Symphony Ballet Association and wish to express my gratitude for your support as I have become acclimated to this new role. As a life-long musician, administrator, and advocate for the arts I am inspired and motivated by the dedication and commitment I have seen from so many donors, patrons, and volunteers. I am extremely enthusiastic about what we can accomplish together. Looking ahead, I am excited about the increase in energy surrounding the blossoming arts scene in Ogden, and the strong consortium of cultural leaders we have around us. I believe that OSBA’s value lies in the ability to connect our community through music and dance; and to bring the countless positive benefits of the performing arts to as many in our community as possible. If you haven’t already, I invite you to join our efforts by sharing your passion with others; bring a friend, persuade a coworker to attend, introduce us to someone new in town. I cannot overestimate the impact of these activities. There are many other ways to make a difference, and I encourage you to contact a staff member if you would like to share your time, talents, or resources. I am eager to get to know each of you, and learn about the facets of OSBA that you enjoy, and where we have room for improvement. I am always open to your feedback—positive or negative. We can only succeed by working together to protect and grow our cherished organization. Melissa Klein, Executive Director
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OSBA BOARD & STAFF
BOARD OF DIRECTORS Dr. Robert Fudge President Mark Stratford President Elect Paul Kunz Past President Melissa Bennett Vice President Jennifer Webb Secretary Dr. David Malone Treasurer Steven Carter Robbyn Dunn Dr. Ann Ellis Linda Forest John Fromer John Gordon Dr. Val Johnson Russ King (OSBA Foundation) McClain Lindquist Dr. Robert Newman Nancy Pinto-Orton Dr. Carolyn Rich-Denson Dr. Jan Slabaugh
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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Thomas Moore Suzy Patterson FOUNDATION Russ King Chair Marti M. Clayson Secretary
EXECUTIVE DIRECTOR Melissa Klein DEVELOPMENT DIRECTOR Taylor Knuth BOX OFFICE & MARKETING MANAGER Camille Washington OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson
Richard White Treasurer 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
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WELCOME
Under the direction of numerous dedicated Board Members and long-serving 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. 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. This May, we will present our 3rd Annual Youth Benefit Concert, featuring Young Concert Artist, violinist Bella Hristova. 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 2018–19 SEASON
ENTERTAINMENT SERIES
DANCE SERIES
Bernstein on Broadway September 13
BalletX October 6
Pink Martini December 20
Stars of American Ballet November 2
My Fair Lady in Concert February 14
Jessica Lang Dance February 2
Troupe Vertigo April 18
BYU Living Legends February 28 FAMILY SERIES Here Comes Santa Claus December 17 Peter and the Wolf March 14 Story Pirates April 16 SPECIAL EVENTS
MASTERWORKS SERIES
Patriotic Pops June 29
An American in Paris September 27 Bach’s Brandenburg Concertos 3 & 4 December 6 Rachmaninoff’s Piano Concerto No. 2 March 21 Villegas plays Concierto de Aranjuez April 25
Frank & Ella August 7 The Nutcracker November 23 & 24 The Queen’s Six February 19 Youth Benefit Concert May 8
Arts
The Ogden Symphony Ballet Association’s 2018–2019 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
BACH’S BRANDENBURG CONCERTOS 3 & 4 DECEMBER 7–8, 2018 / 7:30PM / VAL A. BROWNING CENTER
THIERRY FISCHER, conductor BAIBA SKRIDE, violin MADELINE ADKINS, violin MERCEDES SMITH, flute
J.S. BACH
BOULEZ J.S. BACH
Brandenburg Concerto No. 3 in G Major, BWV 1048 I. Allegro II. Adagio III. Allegro Mémoriale Brandenburg Concerto No. 4 in G Major, BWV 1049 I. Allegro II. Andante III. Presto Madeline Adkins, violin; Mercedes Smith and Lisa Byrnes, flute
/ INTERMISSION / SIBELIUS
Concerto for Violin and Orchestra in D minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Baiba Skride, violin
GRIEG
Selections from Peer Gynt The Abduction of the Bride; Ingrid’s Lament In The Hall of the Mountain King Solveig’s Song Ase’s Death Morning Mood Arabian Dance Anitra’s Dance Stormy ADDITIONAL FUNDING PROVIDED BY
Arts
The Ogden Symphony Ballet Association’s 2018–2019 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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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and recently extended to 2022, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. In April 2016 he took the orchestra to Carnegie Hall for the first time in 40 years, and together they have released CDs of Mahler symphonies and newly commissioned works. Since January 2017 Fischer has been Principal Guest Conductor of the Seoul Philharmonic Orchestra. Recent guesting has included Boston Symphony, London Philharmonic, Royal Philharmonic, Bergen Philharmonic, Rotterdam Philharmonic, BBC Symphony, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, and Sao Paulo Philharmonic, as well as Chamber Orchestra of Europe, Mostly Mozart New York, Scottish Chamber Orchestra, and London Sinfonietta.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
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While Principal Conductor of the BBC National Orchestra of Wales from 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 from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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ARTISTS’ PROFILES Baiba Skride’s natural approach to her music-making has endeared her to some of today’s most important conductors and orchestras worldwide. She is consistently invited for her refreshing interpretations, her sensitivity, and delight in the music. The list of prestigious orchestras with whom she has worked includes the Berlin Philharmonic, Gewandhausorchester Leipzig, Boston and Chicago Symphony Orchestras, Concertgebouw Orchestra, Sinfonieorchester des Bayerischen Rundfunks, Orchestre de Paris, London Philharmonic, Shanghai Symphony Orchestra, and Hong Kong Philharmonic Orchestra. Notable conductors she collaborates with include Marin Alsop, Christoph Eschenbach, Ed Gardner, Susanna Mälkki, Andris Nelsons, Andrés Orozco Estrada, Santtu-Matias Rouvali, Vasily Petrenko, Yannick Nézet-Séguin, Tugan Sokhiev, John Storgårds, and Simone Young.
Baiba Skride Violin
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Summer 2018 sees Baiba Skride return to the NHK Symphony Orchestra with Jukka-Pekka Saraste, and to the Tanglewood Music Festival with chamber music and concert appearances, performing Bernstein’s Serenade with the Boston Symphony Orchestra and Andris Nelsons before they begin the 2018–19 season together on a distinguished tour to the BBC Proms, Elbphilharmonie Hamburg, Vienna’s Musikverein, KKL Lucerne, Philharmonie de Paris, and Concertgebouw Amsterdam. Further highlights include performances with Münchner Philharmoniker, Mozarteumorchester Salzburg, City of Birmingham Symphony Orchestra, Oslo Philharmonic, Helsinki Philharmonic Orchestra, Gothenburg Symphony Orchestra, Bilbao Orkestra Sinfonikoa, Polish National Radio Symphony Orchestra, as well as the Baltimore, Houston, Toronto, Vancouver, and Utah Symphonies. In Spring 2019 Skride highly anticipates the world premiere of Sebastian Currier’s Violin Concerto, a co-commission by the Boston Symphony Orchestra and Gewandhausorchester Leipzig, with which she tours to Spain, Japan, and China. Skride continues to champion Sofia Gubaidulina’s Offertorium as well as her Triple Concerto for Violin, Cello and Bayan, and celebrates the piece’s Spanish premiere with the Orquesta Sinfónica de Galicia following other successful premieres in the last few seasons.
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ARTISTS’ PROFILES
Madeline Adkins
Madeline Adkins joined the Utah Symphony as Concertmaster in September 2016. Prior to this, she served as Associate Concertmaster of the Baltimore Symphony Orchestra (BSO) since 2005, and Assistant Concertmaster of the BSO from 2000–2005. As a soughtafter soloist, Adkins has appeared with orchestras in 15 U.S. states, Europe, Asia, and Africa. During her time with the BSO, she was featured semi-annually and has performed over 25 works with that orchestra. Adkins performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster Jacques Israelievitch (1948–2015).
Violin
Mercedes Smith is Principal Flute of the Utah Symphony. A Texas native, she served as Principal Flute of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade. She has performed with the Seattle Symphony, San Diego Symphony, Houston Symphony, and served as Principal Flute of the Pacific Symphony during the 2010–11 season. Ms. Smith has performed multiple times in Carnegie Hall, Europe, and Asia, and performed as guest Principal Flutist for the Seoul Philharmonic Orchestra’s 2018 European Tour.
Mercedes Smith Flute
Lisa Byrnes is currently Associate Principal Flute with the Utah Symphony where she has played since 2000. A native of Northern California, Ms. Byrnes studied at the Eastman School of Music and graduated with degrees from the Curtis Institute of Music and the San Francisco Conservatory of Music. She has appeared as concert soloist performing works by Mozart, Ibert, Nielsen, Dubois, Rivier, Bloch, Vivaldi, and Bach. She has also appeared as guest soloist with the Utah Symphony performing the Bach B Minor Suite and the Bach Brandenburg Concerto No. 4.
Lisa Byrnes Flute
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NOTES ON THE PROGRAM
by Michael Clive
Brandenburg Concerto No. 4 in
and oratorios, which are simple and sometimes startlingly blunt. It seems Bach was on closer terms with God than with the margrave. “Don’t judge the works too harshly,” he asks; “remember how deeply I respect you.” After this submission, which seems unduly modest to us now, the scores lay ignored for more than a century without being played. They were discovered in the Brandenburg archives in 1849 and published in 1850.
G Major, BWV 1049
WHAT TO LISTEN FOR
Johann Sebastian Bach (1685–1750)
Brandenburg Concerto No. 3 in G Major, BWV 1048 PERFORMANCE TIME: 10 MINUTES
PERFORMANCE TIME: 17 MINUTES
BACKGROUND ON BACH’S BRANDENBURG CONCERTOS
According to tradition, Bach composed the Brandenburg Concertos as an unsuccessful job application, and as ridiculous as that sounds, it is very close to the truth. We can trace their origins back to about 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, Christian Ludwig. Then, as now, making a living as a musician was not easy, and composers relied upon the patronage of noble families and the church. Bach’s sales call seemed to produce the desired effect, since the margrave commissioned several works. What happened after that is less clear, but it seems certain that the compositions were submitted and remained unpaid-for. Considering the instrumentation Bach employed in the set, it is likely that he based at least some of them on concertos he had written while Kapellmeister at Köthen, or perhaps earlier while at Weimar; such recycling was standard practice for composers. Whatever the reason, we know from Bach’s dedication page that he hoped the score would secure either a position in the margrave’s court or further commissions. In a tribute of suffocating formality, Bach’s tone in addressing his prospective patron contrasts ironically with the texts of his religious cantatas
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Bach’s Brandenburg Concertos are, with Handel’s dozen concerti grossi, the prime exemplars of the concerto grosso form. These precursors of the solo concerto have an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three to five movements of alternating tempi, most often fast-slow-fast. We can see the roots of the later concertos here: the smaller group of players, or concertino, can range from two to five instrumentalists and corresponds to the modern concerto soloist, while the larger group, or ripieno—usually a dozen players or fewer—takes the ensemble role. Together they form what we might think of as an ideally sized chamber orchestra, with the concertino taking solo lines and the ripieno providing the benefits of an orchestra. If Baroque concertos are missing some of the compositional elements we take for granted in Classical and Romantic concertos, that does not mean they are less sophisticated or less beautiful than those that came later; in fact, the more monumental concertos of the 19th century are lacking in some of the elements that Bach and Vivaldi put into theirs. Since the advent of the great Romantic concertos, we have come to expect the concerto to showcase the skill of a single soloist with virtuosic playing that is thrilling, often conveying a sense of monumentality as it works its way through strenuous musical ideas. Baroque concertos, by contrast, are more focused on the idea of contrasting a large group with a smaller
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NOTES ON THE PROGRAM group. There is a dynamic aesthetic appeal here, far more complex than simply many versus few: Baroque composers knew that depending on how the musical materials are presented, either a large or a small group of players could be foregrounded in a composition or provide the foil for another group of players. While the voices of the concertino and the ripieno remain separate, their interplay is less oppositional than we hear in Romantic concertos. In the Third Brandenburg Concerto, stringed instruments are featured: three each of violins, violas, and cellos. Though it is technically a threemovement work, modern listeners are sometimes startled to encounter the central movement, which consists of just a single measure. Known as a “Phrygian half-cadence,” it consists of just two connected chords, often extensively ornamented, that have been described as a “musical semicolon” that conjoins the moderately quick opening movement with the faster, more energetic finale. Although Bach did not play the violin (as far as we know), his compositions for that instrument are glorious, and the Brandenburg Concerto No. 4 features an extremely virtuosic violin part. In the concerto’s second movement, the violin even takes the bass line, providing the sole accompaniment for the concertino.
the most insightful and important talent among a new generation of composers who were all in their 20s during the 1940s in France. In the decades that followed, Boulez gained esteem as a composer, conductor, and—as IE notes—”a thinker, a motor of international musical life, and an emblematic figure in postwar world culture.” Boulez was born in the town of Montbrison in the Loire region of France. The son of an engineer, he had an aptitude for the sciences as well as music, and excelled in mathematics. When Boulez chose music over the sciences (despite his father’s misgivings), he enrolled at the Conservatoire de Paris, studying harmony and composition with Olivier Messiaen, who was the Conservatoire’s sole concession to Modernism. Once Messiaen exposed him to the work of Schoenberg, Stravinsky, Bartók, and Webern, his curiosity inevitably led him to the 12-tone compositions of the Second Viennese School—much frowned upon at the ultraconservative Conservatoire.
PERFORMANCE TIME: 7 MINUTES
Boulez compared the explorations of Schoenberg and Berg to moving from Newton to Einstein in physics. But if Boulez, like Newton, was standing on the shoulders of giants, he was also establishing a pattern of rejecting those he once admired. He eventually rebelled against the dogmatism of Schoenberg and even Stravinsky, who had helped him by praising an early composition. But if Boulez the teacher could be dogmatic, his rule for his composition students was simple and broad: be yourself. He, like the traditionalist Nadia Boulanger, made composition students struggle to discover their own distinctive voices in music.
BACKGROUND
WHAT TO LISTEN FOR
Perhaps his music publisher, International Editions (IE), came closest to capturing the genius of Pierre Boulez in words: “He was a living classic.” But when he died in 2016 at the age of 90, Boulez was more widely admired elsewhere in the music world than in the U.S., where he had lived and worked as a composer, conductor and teacher in the 1970s. Long before that, in the years just following World War II, Maestro Boulez had established himself as
Mémoriale is scored for nine instruments—large for a chamber work, small for an orchestral one. The effect is intimate, drawing the listener close to complex textures, with strings muted and the horns limited to soft dynamics. The flute, with its easily hidden, aerated tone, rides easily above these choirs.
Pierre Boulez (1925–2016)
Mémoriale
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If this is your first hearing of a Boulez composition, it can be useful—if a bit irreverent—to compare
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NOTES ON THE PROGRAM it with your first time eating sushi. Rather than searching for familiar flavors, it is better to focus on textures. Heard this way, Mémoriale—despite its name—creates a sense of lightness, brightness, and delicacy. More than one critic has noted that in the diaphanous sound of this work and its use of the flute, Boulez almost seems to be channeling the spirit of his countryman Debussy.
Concerto in D minor for Violin
nothing in common with the Finnish master. But in a way, that is the point: Saint-Saëns, who was born about a generation before Sibelius (in 1835), also survived well into the 20th century. He was, like Sibelius, a composer of great technical mastery who witnessed enormous changes in the musical world. And for Saint-Saëns, “witness” was the operative word: he looked on and commented but never changed his style, always continuing to produce music effortlessly and unquestioningly, with— according to some critics—little of the originality that Sibelius demonstrated.
and Orchestra, Op. 47
WHAT TO LISTEN FOR
Jean Sibelius (1865–1957)
PERFORMANCE TIME: 31 MINUTES
BACKGROUND
As a major symphonist and the creator of the beloved Finlandia as well as one of the most successful violin concertos in the repertory, Jean Sibelius was the very soul of Finnish classical music. He can hardly be called a “neglected” composer. Yet somehow, in the literature on Sibelius, there is a nagging sense that this great composer has never quite achieved the place in the musical pantheon that his greatness would justify. The reason may be one of the very qualities that his admirers value most: his originality. Sibelius’ long life spanned a period of astounding change in history and in classical music. Born in 1865, the last year of the Civil War and Lincoln’s presidency, he survived until 1957—the year that the Soviet Union launched Sputnik and Van Cliburn launched his career. When Sibelius began composing, the Romantic style strongly prevailed in European music, but its aesthetic boundaries were expanding quickly, and the challenge of Richard Wagner was forcing composers to re-think everything. Surrounded by change, Sibelius never stopped exploring ways to advance his musical style, never compromised his expressiveness, and never sounded like anybody else. Scholars frequently contrast his creativity to that of Camille SaintSaëns, who at first would seem to have almost
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A strong, distinctive sense of expressiveness, deep and dark-hued, seems to be what musicologists are getting at when they struggle with Sibelius’ unique sound. His work is unmistakably Nordic, but also highly personal. Hearing it is like a journey northward. No one put it better or more succinctly than Phillip Huscher, the distinguished musicologist and annotator for the Chicago Symphony Orchestra: “Sibelius’ sense of mood and color is keen.” Coming from him, those eight words speak volumes. In the concerto, we can hear his special feeling for the violin; in fact, Sibelius began his musical life determined to achieve greatness as a violinist. “[I] t was a very painful awakening when I had to admit that I had begun my training for the exacting career of an eminent [soloist] too late,” he wrote. He composed his violin concerto in 1903, when he was 36 and his ambitions for a career as a virtuoso were in the past, but his love for the instrument is on every page of the score. In this innovative concerto, he takes advantage of the violin’s versatility—integrating the solo part with the orchestra rather than isolating it for virtuosic display. As it opens, a lovely melody, melancholy in mood, takes its place over pulsing strings. The movement blooms in the richness of its accompaniment and in the vigor of the violin’s solo utterance, building to an energized statement in march rhythm. A fiery coda brings it to a close.
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NOTES ON THE PROGRAM The second movement, an Andante, brings us the extended, singing lines that have long been traditional in the central movement of violin concertos—perhaps the most romantic pages Sibelius ever wrote. But it is the final movement, marked Allegro ma non tonto (fast, but not too fast), that has captured most attention among players and critics. Its supreme difficulty belies the “not too fast” marking as its emphatic, swirling dance rhythm builds in energy and technical demands, combining Sibelius’ Nordic aesthetic with the zest of a Gypsy-inspired finale. It is considered one of the two or three greatest movements in the violin concerto repertory. Edvard Grieg (1843–1907)
Selections from Peer Gynt PERFORMANCE TIME: 26 MINUTES
Norway and Denmark during Ibsen’s lifetime. Ibsen, who was more than 30 years older than Grieg, finished the play in 1867 and asked Grieg to compose incidental music for a production seven years later. The protagonist of Peer Gynt—like Odysseus, Beowulf, and all such characters—leaves his home and is transformed by adventures. It is an epic story, and for both Ibsen and Grieg, it was an epic headache. “[The work on] Peer Gynt progresses slowly,” Grieg wrote to a friend, “and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.” But eventually the project became absorbing. “The more he saturated his mind with the powerful poem,” his wife wrote, “the more clearly he saw he was the right man for a work of such witchery and so permeated with the Norwegian spirit.” Thus the two suites that he extracted as the Peer Gynt Suites are actually excerpts from a much larger body of music.
BACKGROUND
It’s easy to get the wrong idea about the abundantly melodic and dramatically expressive Peer Gynt suites, taken from incidental music that Grieg composed in 1874 and 1875, when he was in his early 30s. Everywhere there are orchestras, these suites are favorites. Their tuneful charm and relative brevity make them appealing to young listeners as well as aficionados, which has given many American listeners the idea that Peer Gynt must be a simple rustic tale from the north of Europe. But it is far from that. In the legendary character Peer Gynt, Henrik Ibsen—one of the most important playwrights of the 19th century— saw a complex anti-hero and a story that shed light on the Norwegian national character. He believed that the character of Peer might well have been based in actual history, much like the tales of New England’s Leatherman. His treatment of the subject is seriously literary, sometimes satirical and sometimes surreal, encompassing 40 scenes. Its verses are in Danish, the shared language of
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WHAT TO LISTEN FOR
The story of Peer Gynt is full of procrastination, avoidance and close calls. In the suites we hear none of that, but we do get a sense of narrative and of scene-painting. The eight movements can be enjoyed as purely abstract music. But more so than most suites, it pays to keep track of the movement’s names. For example, “Morning Mood,” treats us to one of the most vividly evoked sunrises in music. The feeling of open skies and possibilities makes the mournful “Ase’s Death,” seem all the sadder, which in turn makes the allurements of “Anitra’s Dance” all the sexier. “In the Hall of the Mountain King” gives us a sense of Peer’s stealth and cleverness amid exotic, unfamiliar surroundings. Heard together, the arc of these two suites takes us from the start of Peer’s journey to its end. Though we do not know the intricately plotted details of his adventures, we have seen the sunrise at their beginning and heard his eventual homecoming.
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Trapped in a local bed and breakfast by a snowstorm, a group of strangers is horrified to learn there is a murderer in their midst. Join us for the longest-running play of the modern era, a tale of suspense and terror that ends as shockingly today as it did in 1952. “The Mousetrap” is presented by special arrangement with SAMUEL FRENCH, INC. October 26–November 10, 2018 Pardoe Theatre ON SALE NOW
ETHEL with ROBERT MIRABAL, FLUTE: THE RIVER
Recognized as one of America’s most adventurous string quartets, ETHEL strives for common creative expression forged in the celebration of community. ETHEL is joined by Grammy Award-winning Robert Mirabal, a Taos Pueblo composer and songwriter known especially for his work with the Native American flute. December 7, 2018 | 7:30 pm de Jong Concert Hall ON SALE NOW
WONDERLAND
music by frank wildhorn lyrics by jack murphy original book by gregory boyd and jack murphy
uk adaptation by robert hudson directed by tim threlfall choreographed by nathan balsar music direction by gayle lockwood
From the team that brought you the BYU smash hit The Count of Monte Cristo, this new musical takes Lewis Carroll’s classic story and sets it in present day New York. Jump down the rabbit hole to discover this inspirational story of love, redemption, and the power of imagination. January 24–February 2, 2019 de Jong Concert Hall On sale November 19, 2018
801-422-2981 BYUARTS.COM
801.399.9214
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FRIENDS OF OSBA OSBA thanks the following individuals, corporations, foundations, and public funding sources for their generous donations! Ogden Symphony Ballet Association 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 2018 through May 2019. Please contact OSBA's Development Director, Taylor Knuth, 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 OSBA Foundation
Weber County RAMP
Series Sponsor ($25,000+) Alan & Jeanne Hall Foundation Val A. Browning Charitable Foundation
The Standard-Examiner
Concert Sponsor ($10,000+) OSBA Board of Directors Matthew B. Ellis Foundation Norman C. & Barbara L. Tanner Charitable Trust The Pinto Foundation
Richard K. & Shirley S. Hemingway Foundation Robert & Marcia Harris Utah Division of Arts & Museums
Diamond ($5,000 – $9,999) Bank of America Merrill Lynch Beaver Creek Foundation George S. & Dolores Dore Eccles Foundation
Mrs. Paul T. Kunz Ogden City Arts Marty & Carolyn Rasmussen
Platinum ($2,500 – $4,999) Dr. Robert Fudge & Sylvia Newman Dr. William & Barbara Hughes
Keith & Ellen Opprecht
Gold ($1,000 – $2,499) Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Dr. Rosemary Conover & Luckey Heath Brent & Vicki Cox Foundation
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Donna & Ralph Friz George & Mary Hall Michael & Sharon Llyod Dr. Jean & Richard Miller Dr. Judith Mitchell Dr. Robert & Eleanor Newman
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Ralph Nye Charitable Foundation Dr. Carolyn Rich-Denson Harry & Becky Senekjian E. K. & Grace Walling Dr. Michael & Jennifer Webb Glenn & Connie Wimer
801.399.9214
FRIENDS OF OSBA Silver ($500 – $999) Kay Ballif Marlene Barnett Melissa & William Bennett Taylor Knuth & Sean Bishop Mary & Lee Forrest Carter Lynne & Steven W. Carter Dr. Douglas Deis Dr. Ann Ellis Rick & Karen Fairbanks
Doug & Shelley Felt Willis McCree & John Fromer John Gordon Dean Hurst Mr. & Mrs. Marlin Jensen Melissa & Jon Klein Paul C. & Cindy Kunz Val & Karen Lofgreen Dr. David Malone & Madonne Miner
Dr. Rand & Cynthia Mattson Scott & Pam Parkinson Suzy Patterson Patrick Poce Eloise Runolfson Dr. Jan & Mike Slabaugh Jonathan & Beverly Souder Hal Wheelwright
Linda Forest Pat Fuller David & Ruth Ann Gladwell Nancy Green Jeff Gyllenskog David & Joan Hadley Mardee Hagen Austin Halbritter Kim & Becky Hale Robert & Rula Hunter Robert Irvine Carol Jackson Dr. Michael & Lori Jacobazzi Dorothy Johnson Steve Johnston William & Jackie Jones Melba & Denis Kirby Knights of Columbus #14399 Paul Kriekard Andrea Lane Kent & SannDee Lindquist Jeanette Long Eugene & Pat Low Jan & Jerome Luger Ivaloo Lund Verlene Lund Dwayne Manful Debra Marin Frank & Sharon Markos Erika Martin Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady James & Jennifer McGregor
Arturo & Sarah Mendoza Wayne & Nada Miller Karen Miner Dr. Mark & Meg Naisbitt Maurine Naisbitt Dr. & Mrs. Noel Nellis Wendy Nelson Gary & Marilyn Newman Arthur & Ruth Nielsen Claude Nix Jason & Kristina Olsen Cheryl Orme Donald Pantone Val & Marlene Parrish Jeff Paulson Paul & Sandra Perkin Janet Petersen Joan & Paul Powell Keith & Mary Sue Rasmussen Juergen Sass Howard Schuyler Sempre Musical Society Jackie Shafer Lawanna Shurtliff Darin & Jo Sjoblom Denise Sly Paul & Carol Sonntag Keith & Marlys Sorbo Forrest & Rolayne Staffanson Dorothy Steimke Ned & Sheila Stephens Darlene Stoddard Mark & Elizabeth Stratford
Bronze ($100 – $499) Lyle & LaVon Allen Vickie Anderson Zana Anderson Lee Badger Paul & Georgia Bennion Phil & Melanee Berger Lisa Brasher Kathleen P. Browning Arthur & Marian Budge Janice Burk Jeffry & Linda Burton Brad & Lynn Carroll Kitty Chatelain Dr. Allen & Janis Christensen Cathay Christiansen Ellie Cole Phyllis Combe Kim & Becky Crumbo Lynn & Natalie Dearden Carolyn Deru Allan & Kellie Diersman DeLoris & Dale Dorius Kathy Douglas Diana Dunkley David & Robbyn Dunn John Eckstein David & Lisa Edwards Ogden Chapter of MacDowell Ensemble Janet & Steven Evans Thomas Fearn Jill Flamm Christopher Ford William & Anita Ford
801.399.9214
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Bronze continued on page 28
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FRIENDS OF OSBA Bronze ($100 – $499) continued. Jeneile Tams Jeane Taylor Jan Thurston Patti Van Aarle Harold & Emily Vonk Lucinda & Phillip Wagner
A. Steven Waldrip Melvin Walker Andrew & Suzanne Wall Bruce Wallace Brent & Gloria Wallis
Sheldon & Janice Ward Barbara & Gerald West Kent & Trudy Whiteman Carl & Helgard Wolfram Larry Zaugg
I Fly I Float The Front Industrial Art & Design Dr. Michael & Jennifer Webb Julie Johnson Kaffe Mercantille Klymit Linda Forest Mount Ogden Golf Course Northrop Grumman Conference Center Ogden Athletic Club Ogden School Foundation Ogden’s Own Distillery
Play Like a Pro Tennis Academy REAL Salt Lake Red Butte Gardens Red Pine Adventures Schneiter’s Golf Course Sean Slatter Social Axe Sylvia Newman Taggart’s Talisman Brewing Company Utah Museum of Natural History Utah Royals Wendy Roberts WSU Lindquist College
In Memory of Joseph Draper Sharon Macfarlane
In Memory of Nyla Petersen Sharon Macfarlane Jan Thurston
In-Kind Donors Alamexo ALSCO Attention to Detail Bella Muse Bhav Yoga Den Bigelow Hotel CenterPoint Legacy Theatre Color Me Mine Corn Belly’s Maze at Thanksgiving Point Costa Vida at the Junction Eccles Art Center Egan Auto Farr Better Ice Cream Hale Centre Theatre
MEMORIAL DONATIONS In Memory of Robert & Joyce Anderson Michael & Sharon Lloyd In Memory of Charles Combe Phyllis Combe In Memory of Joseph Dixon Karen Miner
In Memory of Marie Irvine Zana Anderson In Memory of Roseanne Peery King Keith & Ellen Opprecht
In Memory of Hetty Hammon Sly Denise Sly In Memory of Bruce E. & Rella Wallace Bruce Wallace
ADD YOUR NAME TO OUR LIST OF AMAZING DONORS! Support OSBA with Donations of: Cash in the form of . . . . . . . . . . . . . . . . . . . Cash, Check, Credit Cards, Money Orders, Etc. Securities in the form of . . . . . . . . . . . . . . . . . . . . . . . . . . Stocks, Bonds, Mutual Funds, Etc. Planned gifts in the form of . . . . . . . . . . . . . . . . . . . Wills, Bequests, Trusts, Annuities, Etc. Gifts-in-kind . . . . . . . . . . . . . . . . . . . . Services and tangible items to offset budgeted items Matching gifts . . . . . . . . . . . . . . . . . . . . . . . . Inquire with your Company’s HR department
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Joseph and the Amazing Technicolor Dreamcoat
Life Happens Here 2019 Season June 27 to October 12 HAMLET MACBETH JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT TWELFTH NIGHT THE BOOK OF WILL EVERY BRILLIANT THING THE PRICE THE CONCLUSION OF HENRY VI: PARTS TWO AND THREE
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