OSBA Bronfman Plays Brahms 2014

2014–2015

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BRONFMAN PLAYS BRAHMS

September 18, 2014 7:30 p.m.

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WELCOME

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Dear Friends: We are proud to welcome you to OSBA’s 2014-2015 season! Because of great support from our patrons and donors, we have eighteen performances this year. There’s nothing better than seeing one of these concerts or ballets live on the Browning Center stage. Look what’s on the schedule: ♫ Four memorable Utah Symphony Masterworks Series concerts. ♫ Five in the Utah Symphony Entertainment Series that are sure to amaze and entertain. ♫ T hree in the Utah Symphony Family Series. Santa will be here for a matinee performance, Peter and the Wolf, and Peter Pan will take the Browning stage in the spring. ♫ B allet West will bring “The Nutcracker,” the perennial favorite, to usher in the holidays. In the spring, the entire family will enjoy “Aladdin” featuring Ballet West II dancers. ♫ F rom BYU Performing Arts, Vocal Point will make a return appearance, and you will want to see the talented and colorful Living Legends in January.

Just a reminder about OSBA: • We are a non-profit organization with a 501(c)(3) tax designation.

• We contract with Utah Symphony | Utah Opera, Ballet West, and other groups and pay for their Ogden performances held at Weber State’s Browning Center. We do not receive proceeds of fund raising efforts held by any of those organizations.

• Ticket revenue pays about 45% of the cost of the concerts. The balance comes from donations made by individuals, businesses, foundations, and city, state, and local governments, including the RAMP tax initiative.

Besides the concerts, other programs OSBA provides: • Educational and community outreach programs • Youth Guild for the Performing Arts • “The Ride” for seniors living in Weber County • Informal “Conversations” prior to the Classical Series concerts Thank you for helping promote our longevity. Help us fill the house at every concert by inviting your neighbors and friends to join you! We look forward to welcoming you to each and every concert.

Sincerely,

Ogden Symphony Ballet Association

Board of Directors and Staff

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BOARD OF DIRECTORS

BOARD OF DIRECTORS

ADVISORS

EXECUTIVE

Genette Biddulph

Carol Brockman

DIRECTOR

President

Karen Fairbanks

Sharon Macfarlane

Paul C. Kunz

Alan Hall Robert Harris

MARKETING

Carol Hurst

MANAGER

John Starley

Sharon Lewis

Melissa Seamons

Vice President

Thomas Moore

President Elect

Jennifer Webb Secretary

Meg Naisbitt

EDUCATION

Suzy Patterson

DEVELOPMENT COORDINATOR

Tina Olsen

OSBA FOUNDATION

Treasurer

Russ King

Paul Sonntag

Chair

EMERGENCY

Past President/

Marti M. Clayson

Nominating

Secretary

Melissa Bennett Michael Call Geraldine Christensen

Susan Campbell

PROCEDURE Please identify the exits closest to your location.

Richard White

In the event it becomes

Treasurer

necessary to evacuate

Beth Baldwin

Brianna Davis Robert Fudge

Holly Nye Bauman

Greg Gochnour

Doug Holmes

Russ King

Paul T. Kunz

McClain Lindquist

Andrea Lane

Scott Major

Robert E. Lindquist

Judith Mitchell

Tina Olsen

Stephanie Moore

Ellen Opprecht

Elizabeth Nielsen

Carolyn N. Rasmussen

Susan Shreeve

Sherm Smith

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.

Jan Slabaugh

APPROXIMATE PERFORMANCE TIME IS 1 HOUR AND 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. The Ogden Symphony Ballet Association is funded in part by grants from the Utah Division of Arts and Museums, the National Endowment for the Arts, Ogden City Arts and the Weber County Recreation, Arts, Museums, and Parks (RAMP) program.

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UTAH SYMPHONY

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Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor

Roberta Zalkind Associate Principal

James Hall Acting Principal

Vladimir Kulenovic Associate Conductor

Joel Gibbs Julie Edwards Silu Fei Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

Titus Underwood Acting Associate Principal

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

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

VIOLIN* Ralph Matson 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 David Park Assistant Concertmaster Alex Martin Acting Assistant

Concertmaster

Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Julie Wunderle ••

Matthew Johnson Associate Principal John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes# Associate Principal Caitlyn Valovick Moore Associate Principal Melanie LanÇon††

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson# Principal

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Lissa Stolz

TROMBONE Larry Zalkind† Principal Mark Davidson Acting Principal Zachary Guiles

ENGLISH HORN Lissa Stolz

Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollet Acting Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal Peter Margulies Nick Norton

Acting Associate

Principal

BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape†† KEYBOARD Jason Hardink Principal LIBRARIAN Clovis Lark Principal Maureen Conroy Associate Librarian ORCHESTRA PERSONNEL Eric V. Johnson Director of Orchestra Personnel Myroslava Hagen Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

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SPONSOR

The

OGDEN SYMPHONY BALLET ASSOCIATION would like to thank

Bob & Marcia Harris

For sponsoring tonight’s performance.

8

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MASTERWORKS SERIES

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BRONFMAN PLAYS BRAHMS September 18 | 7:30 pm Val A. Browning Center Thierry Fischer, Conductor Yefim Bronfman, Piano

IGOR STRAVINSKY ARNOLD SCHOENBERG

Symphonies of Wind Instruments Transfigured Night, op. 4

足/ INTERMISSION /

JOHANNES BRAHMS

Piano Concerto No. 2 in B-flat Major for Piano and Orchestra, op. 83

I. Allegro non troppo II. Allegro appasssionato III. Andante IV. Allegretto grazioso

Yefim Bronfman, Piano

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BRINGING THE ARTS HOME

ARTISTS’ PROFILES

Swiss conductor Thierry Fischer has been Music Director of Utah Symphony since 2009. He has revitalized the symphony’s music-making and programming, and brought a new energy to the orchestra and organization as a whole. From 2013–14 he was Principal Conductor of the BBC National Orchestra of Wales, and returns as a guest conductor every season. In 2013–14 Fischer’s guest engagements included debuts with the Detroit, Atlanta and Cincinnati Symphonies and Oslo Philharmonic, and returns to the Orchestre National de Bordeaux and BBC Symphony. In 2014–15 he debuts with the Rotterdam Philharmonic, Residentie Orkest, and Salzburg Mozarteumorchester.

In 2012 Fischer’s recording for Hyperion of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category).

Thierry Fischer Music Director

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30’s 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 then became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor “The Swiss conductor is the of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, real thing—a musician of clear and is now Honorary Guest Conductor.

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

intelligence, technical skill, and

Thierry Fischer is represented by Intermusica worldwide and CAMI in North America.

podium personality, drawing performances that blended impeccable balancing, textural clarity and fizzing exhilaration” - Chicago Classical Review, July 2013

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BRINGING THE ARTS HOME

ARTISTS’ PROFILES

Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding technique and exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audiences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings.

After a break of many years, he will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and EsaPekka Salonen and to Singapore, Hong Kong, Taipei, Beijing, Sydney and Melbourne. In the spring he will join Anne-Sophie Mutter and Lynn Harrell for their first US tour together.

Widely praised for his solo, chamber and orchestral recordings, he was nominated for a GRAMMY® Award in 2009 for his Deutsche Grammophon recording of Esa-Pekka Salonen’s piano concerto with Salonen conducting; Yefim Bronfman with Salonen he also won a GRAMMY® Award in 1997 for his recording Piano of the three Bartók Piano Concerti with the Los Angeles Philharmonic.

His performance of Beethoven’s Fifth Piano concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival is now available on DVD and his performance of Rachmaninoff’s third concerto with the Berlin Philharmonic and Sir Simon Rattle was released on DVD, by the EuroArts label. His most Widely regarded as one recent CD releases are the 2014 GRAMMY® nominated Magnus Lindberg’s Piano Concerto of the most talented virtuoso No. 2 commissioned for him and performed by the New York Philharmonic conducted by Alan pianists performing today. Gilbert on the Da Capo label; Tchaikovsky’s Piano Concerto No. 1 with Mariss Jansons and the Bayerischer Rundfunk; and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte Nova/BMG label.

Born in Tashkent in the Soviet Union on April 10, 1958, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin.

Yefim Bronfman became an American citizen in July 1989.

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BRINGING THE ARTS HOME

NOTES ON THE PROGRAM

Symphonies of Wind Instruments It is only natural that we hear traces of France in the Symphonies of Wind Instruments—indeed, in many of Stravinsky’s compositions. But how much? The cultural link between France and Russia goes back to the days of Catherine the Great, when French was routinely spoken in court and in aristocratic households, and when French aesthetic standards were the ones to which Russian artists aspired. The link remained strong right through the Russian Revolution: Rimsky’s unique sound has been described as combining the dark Russian soul and cold Russian winter with the translucent elegance of French harmonies and textures.

Igor Stravinsky (1882–1971) Composer

COMPOSED: 1920 INSTRUMENTATION: 3 flutes, 1 doubling piccolo, alto flute, 2 oboes, 1 English horn, 2 clarinets, alto clarinet, 3 bassoons, 1 doubling contra bassoon; 4 horns, 3 trumpets, 3 trombones and tuba DURATION: Appoximately 10 minutes

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When Stravinsky became famous, he and Debussy became friends. But Debussy was 20 years older; he was already acknowledged as a great composer, and some say that the younger Stravinsky’s sudden celebrity rankled him. Stravinsky’s descriptions of their relationship are filled with veneration, but in a letter, Debussy offered his younger friend this advice: “ Cher Stravinsky, you are a great artist! Be, with all your energy, a great Russian artist! It is a good thing to be from one’s country, to be attached to the earth like the humblest peasant!” At the time, Bartók and Kodály were pioneering the field of ethnomusicology, and the principles of Russian nationalism in musical composition were still fresh in Stravinsky’s mind— as evidenced in such folkloric works such as The Firebird, The Rite of Spring and Petrushka. He probably did not need a Frenchman to tell him to be less international, less cosmopolitan, and more Russian; we hear these strains of Russian folk style in the Symphonies as well. Within two years he composed Pulcinella, marking a stylistic shift that lasted half a century—in this case, to his “neo-classical” phase. He would not return to the wellspring of Russian folk music until he composed the Requiem Canticles in 1966.

The structure of the Symphonies was heard as an oddity when it was introduced in 1920, but this may have been because most listeners were unfamiliar with the Russian Orthodox Church. The Symphonies of Wind Instruments closely parallels the Russian Orthodox burial service. Did Stravinsky compose it as a valediction not only to Debussy, but also to his own Russian roots? We can only listen—and guess.

Notes by Michael Clive.

For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.

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NOTES ON THE PROGRAM

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Transfigured Night Listening to Verklärte Nacht, we might never guess that Shoenberg’s twelve-tone musical innovations were in the offing. Schoenberg used the string sextet form to create a sense of fecundity and the shimmering textures of a moonlit forest. He rescored the work a number of times; tonight’s orchestration dates from 1943.

Arnold Schoenberg (1874–1951) Composer

Schoenberg took inspiration for Verklärte Nacht from a poem by the Austrian poet Richard Dehmel—a love poem with an intensely psychological narrative line taken from the collection Weib und Welt (Woman and World). The chill of the poetic scenario’s night air and the tension of physical intimacy between man and woman are evident from the music’s opening bars, and though the text is not included in Schoenberg’s composition, it is in direct accord with Dehmel’s poem, beginning with the woman’s anguished confession to her lover that she is pregnant by another man. In pursuing what she thought was her only chance at happiness—motherhood—she feels that now, having met her true love, fate is punishing her.

With her confession, the man and woman embark on a journey of transfiguration that takes them through the darkness of the forest in five uninterrupted movements. The man’s initial consoling response to his lover’s words is reflected in mellow, deep-toned lines that are followed by a rapturous love duet. The transition from guilt through forgiveness brings them to an ecstatic union that goes beyond the physical impulse of love to something deeper: their love, the man assures her, will make the child his. Both lovers are transfigured through the night of communion they share—as is the unborn child they look forward to raising together.

COMPOSED: 1899 INSTRUMENTATION: Strings DURATION: Appoximately 32 minutes

The author of those lines, Richard Dehmel, was in attendance at the premiere of Verklärte Nacht in Vienna. “I had intended to follow the [movement] of my text in your composition,” he later told Schoenberg.

“But I soon forgot to do so, I was so enthralled by the music.”

Notes by Michael Clive.

For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.

801.399.9214 | symphonyballet.org

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BRINGING THE ARTS HOME

NOTES ON THE PROGRAM

Concerto No. 2 in B-flat Major The Brahms Piano Concerto No. 2 is a work of virtuosic demands but not of virtuosic display. Brahms gives the scherzo its own expressive identity, with an energy that must follow seamlessly from the drama of the first movement without competing with it.

The first movement, marked allegro non troppo, opens serenely with a dignified statement in a single horn that prompts an interchange with the piano. The introduction of a motif in the woodwinds brings an unusual cadenza, after which the full orchestra repeats the woodwind motifs and introduces new materials. Without mapping these entrances and the twining thematic materials, we can hear that Brahms’ layered development of the movement is far subtler and more complex than most romantic concertos.

Johannes Brahms (1833–1897)) Composer

COMPOSED: 1880–1881 INSTRUMENTATION: 2 flutes, 1 doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets; timpani; strings and solo piano DURATION: Appoximately 50 minutes

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Then, belying his “wisp of a scherzo” description, Brahms gives us a second movement that is a three-part scherzo in a stormy D Minor. In contrast with Beethoven’s piano concertos (the lessons of Beethoven were never far from Brahms’ mind), the piano voice does not struggle with the orchestra or stand out as its antagonist; instead, it plays as the foregrounded voice in a unified ensemble. Then, as the scherzo unfolds in the second movement, it extends the stormy mood of the first movement’s darkest passages.

In the third movement, marked andante, the contemplative mood of the concerto’s opening bars returns with a tender melody introduced as a cello solo. A softly voiced cadenza develops this theme; Brahms would draw upon this melody again later in his career, in the song “Immer leiser wird mein Schlummer.” But the peaceful “slumber” suggested by this theme soon gives way to a tumultuous development section that leads to unexpected key changes; only after an unfamiliar-sounding reprise of the theme in the cello does the development finally regain the movement’s original key, providing a sense of resolution.

Our lingering memories of the concerto’s early strains of melancholy and of its stormy, unstable passages are overcome in its spirited fourth movement. Marked allegretto grazioso, it brings the concerto to a brilliant, spirited close.

Notes by Michael Clive.

For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.

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Donations made from September 4, 2013 to September 4, 2015

$50,000 + Mrs. Telitha Lindquist Ogden Symphony Ballet Association Foundation RAMP Stewart Education Foundation $10,000 to $49,999 Val A. Browning Foundation Matthew B. Ellis Foundation Alan & Jeanne Hall Foundation Bob & Marcia Harris Richard K. & Shirley S. Hemingway Foundation $5,000 to $9,999 Joe & Billie Day Lawrence T. & Janet T. Dee Foundation Edith Dee Green Foundation John B. Goddard Rondel & Joyce Hanson William & Barbara Hughes Mr. & Mrs. Paul T. Kunz Shirley Mack Marriner S. Eccles Foundation Sorenson Legacy Foundation $1,000 to $4,999 Dwight & Cindy Baldwin Mr. & Mrs. Rex Bean Beaver Creek Foundation Evan & Geraldine Christensen Rosemary Conover & Luckey Heath Rick & Karen Fairbanks Doug & Shelley Felt

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Robert & Janet Mitchell Byron Naisbitt Dr. & Mrs. Noel Nellis Eleanor & Bob Newman Elizabeth & Scott Nielsen Mr. & Mrs. Claude H. Nix Geri O’Krepki Moose O’Krepki Cheryl Orme Donald Pantone Jerry and Penny Patterson Paul & Sandra Perkin Billee K. Petersen Mr. & Mrs. Robert Petersen Jim & Kay Philpott Matt & Cami Pollard JoAn & Paul Powell Myrth Priest Beverly Prothero Pat Rasband Russell & Phyllis Rogler Juergen Sass Sandefur Schmidt Shane & Pamela Schvaneveldt Blaine & Justine Seamons Sempre Musical Society Sterling & Barbara Sessions Jasmine Sharifan Greg & Susan Shreeve Lawanna & Robert Shurtliff Dodie & Pat Stallcup Edward & Mari Lou Steffen Jonathan Sterzer Darlene Stoddard Scott & Claire Swift Evalyn & Joe Terry Charles and Carol Thomas Darin & Tina Thompson

801.399.9214 | symphonyballet.org

Stephen Thomson Bob & Irene Thurston Karen Trewet Shauna & Dave Turner Patti Van Aarle Ralph & Judy VanderHeide Dixie VanDyke Ed & Jeannie Vendell Charlie & Audrey Vogt Hans Von Gortler Lucinda & Phillip Wagner Andrew & Suzanne Wall Bruce Wallace Juanita & Charles Watts Suzanne Wayment Roberta & Kent West Enid Wilde Kenna F. Williams Glenn & Connie Wimer James & Carolyn Wold Venita Wood Harry & Marilyn Woodbury Larry W. Zaugg Jolene Zito Memorial Donations Val Bielecki Marlene Barnett Evan & Geraldine Christensen Rosemary Conover & Luckey Heath Lara Deppe Donna & Ralph Friz Bob & Marcia Harris Russ & Jane King Sharon Macfarlane Thomas & Stephanie Moore Melissa Seamons

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BRINGING THE ARTS HOME

ASSOCIATION MEMBERSHIP

Dr. Robert F. Bitner Arthur & Marian Budge

Hetty Hammon Sly Denise Sly

Rowene Call Sharon Macfarlane

Opal Day Swindler Sharon Macfarlane

Jackie Hearn Crawshaw Jolene Zito

Bruce E. & Rella Wallace Bruce H. & Kay Wallace

Richard Curtis Edna Stratford

Donna Joy Walker Melvin Walker

Carmela Durbano Jolene Zito

In-Kind Donations Alphagraphics ALSCO Apple Spice Junction Kay & Mark Ballif Beans & Brews Beehive Cheese Glenn & Genette Biddulph Cohen & Steers Cross Action Computers DataZ.com Erz Animal Hospital Farr Jewelry Felt Auto Robert Fudge & Sylvia Newman Gibby Floral Gray Cliff Restaurant Hilton Garden Inn

Blanche Emerick Lori Metz Boyd Farr Arthur & Marian Budge Sharon Macfarlane Dr. Judith Mitchell Darlene Bitton Farr Arthur & Marian Budge Gene Jackson Susan & Carey Campbell Farrell & Lois Shepherd Arthur & Marian Budge

Ivy Funds Jimmy Johns Kaffe Mercantile Kapple, Brad KBZN & KLO Radio Kneaders London Connection Lucky Slice Mainstay Jim McBeth Merrill Lynch Mount Olympus Water Mountain Medical Ogden School Foundation Posy Place Robert Wood Photography Roosters Sandy’s Snowbasin Resort Standard Examiner Super Sonic Union Grill Val A. Browning Center Weber State Credit Union Wiggins & Co. Wood Richards & Associates Your Valet Cleaners Zions Bank Zucca

If your name is incorrectly spelled or listed, or has been left off of our Association Membership list, please contact our office at 801-399-9214 or email melissa@symphonyballet.org.

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