Ogden Symphony Ballet Association

2015–2016

Carmina Burana

BRINGING THE

ARTS HOME

Märkl Conducts Carmina Burana October 22, 2015 | 7:30 p.m.

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Welcome Dear Friends: Welcome to OSBA’s 2015-2016 season in the newly remodeled Browning Center! There’s nothing better than seeing one of these concerts or ballets LIVE. For 65 years we have presented these concerts in Ogden for northern Utah audiences. Thank you, thank you to the hundreds of people who have been instrumental in that longevity: the visionaries who saw the need beginning back in 1950; the faithful patrons; the donors who have contributed large and small amounts every year; and the volunteers who have given countless hours of service to OSBA. Look at all that is scheduled for this year: ♫ Utah Symphony Masterworks Series - four inspiring concerts ♫ Utah Symphony Entertainment Series - four diverse concerts sure to entertain ♫ Utah Symphony Family Series - entertainment for the entire family times three ♫ Ballet West - “The Nutcracker” with the entire troupe and “Beauty and the Beast” with Ballet West II dancers ♫ BYU Ballroom Dance Company is back by popular demand ♫ “5 Carols for Christmas and Jingle Jacks” written by Jim Christian and Ken Plain 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, OSBA also supports: 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

Help us fill the house at every concert by inviting your neighbors, family, 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

Marlene Barnett

DIRECTOR

President

Carol Brockman

Sharon Macfarlane

Paul C. Kunz

Karen Fairbanks Alan Hall

MARKETING

Robert Harris

MANAGER

John Starley

Sharon Lewis

Melissa Seamons

Vice President

Thomas Moore

President Elect

Jennifer Webb Secretary

Suzy Patterson

EDUCATION DEVELOPMENT

OSBA FOUNDATION

COORDINATOR

Tina Olsen

Russ King

Marianne Rohbock

Treasurer

Chair

Paul Sonntag

Marti M. Clayson

Past President/Nominating

Secretary

Melissa Bennett Brenda Burton

ACCOUNTING ASSISTANT Johnanne Seamons

Richard White

EMERGENCY

Treasurer

PROCEDURE Please identify the exits

Michael Call

Beth Baldwin

Russ King

Doug Holmes

McClain Lindquist

Andrea Lane

Scott Major

Robert E. Lindquist

Stephanie Moore

Paul C. Kunz

Robert Newman

Michael Malmborg

Elizabeth Nielson

Judith Mitchell

Shane Schvaneveldt

Meg Naisbitt

Susan Shreeve

Tina Olsen

Jan Slabaugh

Ellen Opprecht

Mark Stratford

Carolyn N. Rasmussen

Nancy Waterfall

Sherm Smith

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.

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. 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 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* 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 •• 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 Aubrey Woods †† Julie Wunderle

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Roberta Zalkind Associate Principal

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 Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn 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 PICCOLO Caitlyn Valovick Moore

OBOE Robert Stephenson

TROMBONE Mark Davidson

James Hall#

Sam Elliot††

Principal

Associate Principal

Titus Underwood††

Acting Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

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

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

Acting Principal

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

LIBRARIANS Clovis Lark Principal

Maureen Conroy

Jennifer Rhodes

ORCHESTRA PERSONNEL Llewellyn B. Humphreys

CONTRABASSOON Leon Chodos

Nathan Lutz

Associate Principal

HORN Bruce M. Gifford Principal

Acting Director of Orchestra Personnel

Orchestra Personnel Manager

STAGE MANAGEMENT Chip Dance

Edmund Rollett

Production & Stage Manager

Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser

Assistant Stage & Properties Manager

Associate Principal

TRUMPET Travis Peterson

Principal The Robert L. & Joyce Rice Chair

Mark Barraclough

• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Jeff Luke

Associate Principal

Peter Margulies Nick Norton

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Sponsor

The

OGDEN SYMPHONY BALLET ASSOCIATION would like to thank

Bob & Marcia Harris

For sponsoring tonight’s performance.

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Tour the British countryside. Be home by dinner.

The British Passion for Landscape

MASTERPIECES FROM NATIONAL MUSEUM WALES

August 29 - December 13, 2015 stage arts umfa.utah.edu/BritishLandscapes PRESENTING SPONSORS Katherine W. Dumke and Ezekiel R. Dumke Jr. Special Exhibition Endowment

John Constable, A Cottage in a Cornfield, 1817. Oil on canvas, 12 3/8 x 10 1/4 in. National Museum Wales (NMW A 486).

Courtesy American Federation of Arts.

This exhibition is organized by the American Federation of Arts and Amgueddfa Cymru–National Museum Wales. The exhibition tour and catalogue are generously supported by the JFM Foundation, Mrs. Donald M. Cox, and the Marc Fitch Fund. In-kind support is provided by Barbara and Richard S. Lane and Christie’s.

MARCIA AND JOHN PRICE MUSEUM BUILDING

Masterwork Series Märkl conducts Carmina Burana October 23–24 / 2015 / 7:30PM

DEBUSSY TAKEMITSU

/ ABRAVANEL HALL

JUN MÄRKL, Conductor ERIN MORLEY, Soprano MARK WOMACK, Baritone RYAN BELONGIE, Countertenor UTAH SYMPHONY CHORUS THE MADELEINE CHOIR SCHOOL UNIVERSITY OF UTAH CHAMBER CHOIR UNIVERSITY OF UTAH A CAPPELLA CHOIR

Clair de Lune Spirit Garden ­/ INTERMISSION /

ORFF

Carmina Burana Fortuna Imperatrix Mundi (Fortune, Empress of the World) O Fortuna (O Fortune) Fortune plango vulnera (I lament the wounds that Fortune deals) I. Primo Vere (In Spring)

Veris leta facies (The joyous faces of Spring) Omnia sol temperat (All things are tempered by the Sun) Ecce gratium (Behold the welcome)

Uf dem Anger (In the Meadow)

Tanz (Dance) Floret silva (The forest flowers) Chramer, gip die varwa mir (Monger, give me colored paint) Reie (Round dance) Swaz hie gat umbe (They who here go dancing around) Were diu welt alle min (If the whole world were but mine)

II. In Taberna (In the Tavern)

Estuans interius (Seething inside) Olim lacus colueram (Once I swam in lakes) Ego sum abbas (I am the abbot) In taberna quando sumus (When we are in the tavern)

III. Cour d’amours (Court of Love)

Amor volat undique (Love flies everywhere) Dies, nox et omnia (Day, night and everything) Stetit puella (There stood a girl) Circa mea pectora (In my breast) Si puer cum puellula (If a boy with a girl) Veni, veni, venias (Come, come, pray come) In trutina (On the scales) Tempus est iocundum (Time to jest) Dulcissime (Sweetest boy)

Blanzifor et Helena (Blancheflour and Helen)

Fortuna Imperatrix Mundi (Fortune, Empress of the World)

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Ave formosissima (Hail to the most lovely) O Fortuna (O Fortune)

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Artists’ Profiles Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of The French Impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich, and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005–11) and MDR Symphony Orchestra Leipzig (to 2012).

For the 2014–15 and 2015–16 seasons he is Principal Conductor of the Basque National Orchestra and Principal Conductor of Pacific Music Festival (Japan) for 2015. He guests with the world’s leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, and Tonhalle Orchester Zürich.

Jun Märkl Conductor 75 TH ANNIVERSARY MASTERWORKS SERIES GUEST CONDUCTOR SPONSOR

Mr. Märkl has been a regular guest at the State Operas of Vienna, Munich, and Semperoper Dresden, and was until 2006 Permanent Conductor of the Bavarian State Opera in Munich. He made his Royal Opera House debut with Götterdämmerung in 1996 and at the Metropolitan Opera with Il Trovatore in 1998, has conducted complete Ring Cycles at the Deutsche Oper and at the New National Theatre in Tokyo, and toured to Japan in 2007 with the Semperoper Dresden (Tannhäuser). Opera projects 2014-15 include Fidelio in Hamburg and in Cincinnati, Der Rosenkavalier in Budapest, and Idomeneo in Tokyo.

Born in Munich, his (German) father was a distinguished concertmaster and his (Japanese) mother a solo pianist. Mr. Märkl studied violin, piano, and conducting at the Musikhochschule in Hannover, going on to study with Sergiu Celibidache in Munich and with Gustav Meier in Michigan. In 1986 he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon afterwards he had a string of appointments in European opera houses followed by his first music directorships at the Staatstheater in Saarbrücken (1991–94) and at the Mannheim Nationaltheater (1994–2000).

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Artists’ Profiles

Erin Morley Soprano

Mark Womack Baritone

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Erin Morley was recently hailed by critics as “a major success” when she stepped in last minute to sing all performances of Sophie in Der Rosenkavalier at the The Metropolitan Opera this past fall. Recent concert highlights include Berg’s Lulu Suite with the Cleveland Orchestra and Franz Welser-Möst at Carnegie Hall; Mendelssohn’s A Midsummer Night’s Dream with the Chicago Symphony Orchestra and Bernard Haitink; Brahms’ Ein Deutsches Requiem with James Bagwell and the Collegiate Chorale in Carnegie Hall; and Webern’s Four Songs with pianist Ken Noda and Satie’s Socrate with James Levine and the Met Chamber Ensemble in Carnegie’s Zankel Hall. A 2010 graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Morley has sung several roles at the Met, including Echo in Ariadne auf Naxos, the Dew Fairy in Hansel and Gretel, and the Daughter in The Nose. Ms. Morley completed her Artist Diploma at the Juilliard Opera Center in 2007, where she received the Florence & Paul DeRosa Prize. She earned her Master of Music degree from The Juilliard School and her Bachelor of Music degree from the Eastman School of Music. She won 1st Place in the Licia Albanese—Puccini Foundation Competition in 2006, 3rd Place in London’s Wigmore Hall International Song Competition in 2009, and received the Richard Tucker Career Grant in 2013.

Critics have praised Mark Womack’s voice as “strikingly warm and gracefully honey toned” (Opera News). In recent seasons Mr. Womack has performed with Amarillo Opera, Knoxville Opera, Skylight Opera Theater, Amherst Symphony Orchestra, Utah Festival Opera, Syracuse Opera, and with Chatanooga Symphony and Opera. Mr. Womack made his Broadway debut as Marcello in Baz Luhrmann’s critically acclaimed production of La Bohème.

Since then Mr. Womack has performed the roles of Billy Bigelow in Carousel, Edward Rutledge in 1776, Sky Masterson in Guys And Dolls, Captain Von Trapp in The Sound Of Music, Curly in Oklahoma and Joseph Cable in South Pacific. Operetta credits include The Pirate King in Pirates Of Penzance, Captain Corcoran in H.m.s. Pinafore, Grosvenor in Patience, François Villon in The Vagabond King and The Red Shadow in The Desert Song. A native of Oklahoma, Mr. Womack attended The University of Tulsa where he received bachelor and master degrees in voice and education. He continued his vocal training with doctoral studies at The University of Connecticut followed by post-graduate work at Boston University’s Opera Institute.

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Artists’ Profiles

Ryan Belongie Countertenor

Barlow Bradford Symphony Chorus Director

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Ryan Belongie has recently made his debuts with Lyric Opera of Chicago and Canadian Opera Company. He returned to Canadian Opera Company and San Francisco Opera this season. Recent engagements include performing with St. Louis Symphony, Alabama Symphony, Kansas City Symphony, Seattle Symphony, Utah Festival Opera, Grand Rapids Symphony, The American Festival Chorus, Valparaiso University, The Grant Park Orchestra, the Pritzker Pavilion in Millenium Park, Berkeley West Edge Opera, and The Metropolitan Opera. Mr. Belongie is a graduate of the prestigious Merola Opera Program and Adler Fellowship at San Francisco Opera. In addition to being a two-time national semi-finalist in the Metropolitan Opera National Council Auditions he was the first place winner of the Igor Gorin Memorial Award, the recipient of a career grant from the Metropolitan Opera, a Shouse Career Grant, two Richard F. Gold Career Grants from the Shoshana Foundation, and the Lola Fletcher Award from the American Opera Society of Chicago. Mr. Belongie is a graduate of the Vocal Honors Program at Northwestern University.

Utah Symphony Chorus Director Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher.

As an orchestral and choral conductor, Dr. Barlow co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir.

Prior to that, he was Director of Orchestras at the University of Utah.

His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Bradford have been performed and recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/ Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Symphony Chorus Director, Dr. Bradford currently serves as the Ellen Nielsen Barnes Presidential Chair of Choral Studies at the University of Utah, where his work with the Chamber Choir lead to the Gran Prix in the Florilege International Competition for Choral Singing in 2014 and the European Gran Prix for Choral Singing in 2015. He also continues as Music Director of Utah Chamber Artists.

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Artists’ Profiles

music preparation: Melanie Malinka Director of Music, The Madeleine Choir School

Located in downtown Salt Lake City, The Madeleine Choir School is a mission of The Cathedral of the Madeleine, serving young people in Pre-Kindergarten through Grade Eight. Modeled after the historic cathedral schools in Europe, the Choir School offers a rigorous academic program in the humanities, mathematics and sciences, and the arts, as well as strong character formation. It provides every student an exceptional music education, including two years of violin study, music theory and history, and intensive vocal training. The choristers assist with the worship life of the Cathedral and participate in The Choir of the Cathedral of the Madeleine’s Annual Concert Series, performing over 9,000 hours of service annually. In addition, the choristers perform regularly with local arts organizations, including the Utah Symphony | Utah Opera, Ballet West, Utah Chamber Artists, The Mormon Tabernacle Choir, Helena Symphony, and the San Francisco Opera. They have five CD recordings available.

Performance tours are an integral part of every student’s experience at the Choir School. Past tours have encompassed performances in Rome, Florence, Madrid, Sevilla, Prague, Berlin, Leipzig, Munich, and Vienna—including St. Peter’s Basilica, and Notre Dame de Paris.

Please visit www.utmcs.org for more information on admissions and concert dates.

Choristers of The Madeleine Choir School Chloe Barrett Alexandra Burnett Chance Cannon Katherine Dailey Penelope Dalton Sofi Denton Emma Diazmontes Sophia Hickey Madeline Jones Clare Keeler Madeleine Klement Olivia Leonard Megan Lester Sophia Loose

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Claire Sophie Malinka-Thompson Roma Jane Maloney Gillian Mozdy Mara Murphy Reyna Murphy Hannah Nordhoff Hannah Ohman Mimi Pendergrast Sophia Purcell Claire Sparano Alison Sweney Kathryn Vargas Zosia Weglarz

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Program Notes Claude Debussy (1862–1918)

“Claire de lune” from Suite Bergamasque (arr. André Caplet) 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns; harpsichord; strings.

INSTRUMENTATION:

PERFORMANCE TIME:

time and movement—hardly the stuff of dance. It remains rooted in its opening key of D-flat major, budging only for an unexpected modulation into E major—distant in harmonic terms, but very close on the scale.

If you haven’t yet heard “Clair de Lune” in the concert hall or on recording, you may have heard it at the movies—in films such as Giant (1956), Casino Royale (1967) and Ocean’s Eleven (2001).

4 minutes.

Toru Takemitsu (1930–1996) BACKGROUND

With his compatriot Ravel, Claude Debussy is considered the father of Impressionism in music.

Where Impressionist paintings leave the world of objects behind, Impressionist music goes beyond earlier conventions of harmonic and rhythmic development, moving from one bar to the next in a spontaneous, organic flow.

Debussy started work on the Suite Bergamasque around 1890. It is a piano suite of four movements, of which the third—“Clair de Lune”—is by far the most popular and most often programmed.

Spirit Garden 3 flutes, 2nd doubling piccolo, 3rd doubling A-flat flute , 3 oboes, 2nd doubling A-flat oboe, 3rd doubling English horn, 3 clarinets, 2nd doubling E-flat clarinet, 3rd doubling bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones; vibraphone, antigue cymbals, crotales, glockenspiel, bass drum, chimes, steel drum, tam tam, suspended cymbal; strings.

INSTRUMENTATION:

PERFORMANCE TIME:

15 minutes.

BACKGROUND WHAT TO LISTEN FOR

Though music dictionaries trace the term “bergamasque” to rustic dances from the Italian town of Bergamo, the sound of “Clair de Lune” is anything but rustic. Its sound is elegant and luminous. Moonlight has been an irresistible subject for composers, and this movement is one of its most famous evocations—along with Beethoven’s “Moonlight” sonata for piano and the melody from Rachmaninoff’s second piano concerto which became the pop song “Full Moon and Empty Arms.” What we hear in these four beautiful minutes seems to suspend

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Born in Tokyo in 1930, Toru Takemitsu was a citizen of the world whose sources, influence, and artistic interests were global. As a composer he was largely self-taught. Though his musical education took place outside the traditional Western conservatory route, he worked his way through Western music theory from historical to challengingly modern, including the Second Viennese School composers Schoenberg and Berg, and French composers through the 20th century to Boulez. In all of this listening and learning, he integrated the rich cultural traditions of his native Japan, where he attended

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Program Notes the Keika Junior High School and resolved to become a composer at the age of 16. During the years after World War II, he heard Western music through radio broadcasts by the American occupying forces, including classical music by Debussy and Copland and even Schoenberg, along with the essential jazz staples of the time.

He made his debut as a composer at age 20 with the piano piece Lento in Due Movimenti.

WHAT TO LISTEN FOR

The name Spirit Garden is evocative of both sound and silence. This is especially appropriate for a title with a twofold meaning: Takemitsu named the piece as a descriptive metaphor for the sacred ground that serves as the home of the Hida Furukawa International Music Festival. It is also connected to the structure of the work itself: Spirit Garden is based on a twelve-note tone row divided into three chords of four notes each. We hear these three chords as a continuing undertone throughout the work, changing in tone color but providing what Takemitsu described for his publisher, Schott, as “an ever-present undercurrent vibrating at the fundamental, from which a musical garden is composed. The objects of sound placed about the garden are derived from the material of the twelvenote row, and aim by means of that material at a cosmological (musical) unity.”

Carl Orff (1895–1982)

Carmina Burana 2 flutes, 2nd and 3rd doubling piccolo, 3 oboes, 3rd doubling English horn, 3 clarinets, 3rd doubling bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, antique cymbals, bass drum, campane, cass chiare, castanets, chimes, crash symbal, gloskenspiel, raganella, sonagliera, suspended cymbal, INSTRUMENTATION:

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tam tam, tamburo, basco, triangle, xylophone, piano, celeste, strings.

PERFORMANCE TIME:

1 hour.

BACKGROUND

At least in part, classical musicians are known by the advocates they keep. For German composers of the 20th century including Carl Orff, the matter of public reputation is complicated by an inescapable question: What did you do during World War II? Carl Orff, an elemental musical talent who wrote operas and was an influential music educator, is remembered mainly for his amazing, traditionbusting oratorio Carmina Burana, which hit the music world like a thunderbolt.

Born in Munich to a distinguished Bavarian military family in 1895, Orff grew up steeped in German cultural traditions and demonstrated his musical talent early; at a young age he learned to play the piano, organ, and cello and composed songs. He graduated from the Munich Academy of Music when he was 18 with a portfolio of early compositions that showed the influence of Debussy’s innovations. He then turned to the more Viennese experiments of Schoenberg, Strauss, and Pfitzner. But the year of his graduation was 1914, and Orff was coming of age in the shadow of World War I. Jobs as Kapellmeister at the Munich Kammerspiele and at theaters in Darmstadt and Mannheim honed his gifts in performance practice and music drama. In 1917 and 1918, as the war drew to a close, Orff was in his early 20s and was engaged in military service.

The development of Carmina Burana wove together all the main threads of Orff’s early creative life: his gift for theatrical spectacle, his scholarly interest in medieval forms, and the

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Program Notes return to musical innocence of his work in music education with Dorothee Günther (whom he eventually married). The oratorio’s texts are the result of sympathetic work by an earlier scholar: a collection of lyrics dating from the 12th and 13th centuries discovered at a monastery in Upper Bavaria by the musicologist J.A. Schmeller in 1847. Schmeller applied the title Carmina Burana, referencing both the monastic order and the region of upper Bavaria where they were found. The obscure verses were mostly in Latin with some in early forms of German and even a bit of early French, but their content was about as far from academic dryness as you can get: these were lusty verses that celebrate the pleasures of loving and drinking, and that comment with ribald frankness on the vicissitudes of everyday life. Orff selected 24 of them for Carmina Burana. Written at a time when the church had a near-monopoly on music and poetry, these rambunctious verses pushed the boundaries of acceptable artistic expression in the Middle Ages.

They were produced by poets including defrocked priests and minnesingers who counterbalanced the austerity of religious tradition with the earthiness of the here and now. Their humor can seem startlingly modern today.

WHAT TO LISTEN FOR

The boisterous energy and all-consuming rhythms of Carmina Burana make hearing it a physical experience as much as an artistic one.

And who ever said classical music could be this much fun? (In fact, it was the irresistible sweep and popular appeal of this music that made it of particular interest to the Reich, which had repudiated many modern composers and musicians as “degenerate.”)

Billed as a “scenic oratorio,” Carmina Burana originally incorporated costumes for its vocalists as well as an elaborate set. This was a production

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concept that Orff intended for his subsequent oratorios as well, though his compositions rarely include these elements today. To analysts such as Hanspeter Krellmann and John Horton, this visual spectacle comports with Orff’s aural spectacle: driving, emphatic rhythms, gleaming orchestration, and declarative intensity of musical utterance.

Often startlingly explicit, the lyrics of Carmina Burana have at various times been strategically condensed and expurgated. Sexy descriptions, such as one lover’s removal of another’s underwear, share time with raunchy double entendres, such as the description of a knight’s lance rising at the sight of his lady. As is so often the case, censorship has accomplished less than nothing to desensitize these passages, only adding to their fascination.

The music, for its part, is not just brazen in shoving the poetry’s sensuality in our faces; it does so with glee, making everything it touches seem innocent.

Nowhere is this more apparent than in the “In taberna” chorale (In the Tavern), a drinking song that describes the raucous behavior in a local tavern where everyone is present, accounted for, and drinking lustily—the bumpkin, the sage, the pauper, the sick man, the bishop and the deacon, the old woman and the mother among them. The music proceeds with a naive, bouncy double-rhythm that acquires the momentum of an avalanche.

Proceeding through sections on springtime, drinking and love, Carmina Burana forms a perfect arch, ending where it began— addressing “Fortune, Empress of the World” and complaining melodramatically about her fickleness. But if fortune is indifferent to merit, at least it has spared Orff’s most celebrated composition—a work that has become, with Handel’s Messiah, one of the most widely performed oratorios ever written.

Notes By Michael Clive

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T HE I NTE R MO U N TA I N WE S T ’ S F I R S T A N D F I N E S T I N D E P E N D E N T S C H O O L

Stage Arts

WHERE MATHEMATICAL THINKING IS SPARKED AT AN EARLY AGE AND FUELED THROUGH HIGH SCHOOL

Research-based insights into the development of young children’s thinking stress the importance of providing high quality lessons in mathematics each day. Rowland Hall’s earliest learners regularly engage in innovative hands-on activities with blocks, robots, and other engineering materials. Visit to see Rowland Hall’s professional, intentional, and extraordinary Beginning School in action.

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Stage Arts

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BEST OF STATE (again) in Education andStage theArts Performing Arts SALT LAKE SCHOOL FOR THE PERFORMING ARTS is a fully accredited, no audition tuition-free, public charter high school, where students grades 9 through 12 receive rigorous training in MUSIC, DANCE, THEATRE, TECHNICAL THEATRE, FILMMAKING and ACADEMICS

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2013

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8/28/15 12:27 PM

Ivy House Weddings at Western Gardens Downtown

A timeless venue for all types of events featuring original paintings by Utah Artists.

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Donors Change dates at the to to October 8, 2014 to October 8, 2015

$50,000 + John B. & Geraldine W. Goddard Foundation Mrs. Telitha Lindquist Ogden Symphony Ballet Association Foundation RAMP Stewart Education Foundation $10,000–$49,999 Matthew B. Ellis Foundation Thomas & Stephanie Moore Bob & Marcia Harris Val A. Browning Foundation Alan & Jeanne Hall Foundation Richard K. & Shirley S. Hemingway Foundation $5,000–$9,999 Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation Edith Dee Green Foundation Mrs. Paul T. Kunz Shirley Mack Ogden City Corporation Sorenson Legacy Foundation Utah Division Of Arts & Museums $1,000–$4,999 Sally Arway America First Credit Union Mr. & Mrs. Dwight Baldwin Mr. & Mrs. Rex Bean Beaver Creek Foundation Evan & Geraldine Christensen Jenny & Danny Cole Rosemary Conover & Luckey Heath Elliot Hall Company Ron & Joyce Hanson Rick & Karen Fairbanks Dr. Doug & Shelley Felt Donna & Ralph Friz Mr. & Mrs. Kelly Goddard Bob & Marcia Harris Kenneth & Norine Holmgren

801.399.9214 [ symphonyballet.org ]

William & Barbara Hughes Intermountain McKay-Dee Hospital Michael & Zona Keyes Ed Kenley Ford Russ & Jane King Cindy & Paul Kunz Sharon Lewis Lindquist Mortuaries & Cemetaries Suzanne Lindquist Merrill Lynch Drs. Jean & Richard Miller Dr. Judith Mitchell Robert & Jelean Montgomery Ralph Nye Charitable Foundation Keith & Ellen Opprecht Marty & Carolyn Rasmussen Dr. Harry & Becky Senekjian Wells Fargo Bank Jason Wood Zions Bank $500–$999 ALSCO Marlene Barnett Dr. Glen & Genette Biddulph Boyer Company Dr. Ray & Lorraine Burdett Russ Carruth Mary & Lee Forrest Carter Jenny & Danny Cole Ken Cross Peter & Nancy D’Hulst Dr. Douglas Deis Peter Ellis Dean Hurst Greg Hyde Val Iverson Charles & Jerry Lindquist Val & Karen Lofgreen Logistic Specialities Jan & Jerome Luger Mountain Medical Dr. Mark & Meg Naisbitt Jim & Suzy Patterson Edward & Lorna Rich Snowbasin

Dr. Paul & Carol Sonntag Jonathan & Beverly Souder John & Colleen Starley Starley Family Dental Ulrich & Associates Utah Eye Center E. K. & Grace Walling Norma & Roger Wood Weber State University Hal Wheelwright JBT Aerotech $200–$499 Jon Adams Barbara Anderson Mr. & Mrs. William Bennett Phil & Melanee Berger Kathleen & Phillip Browning Dr. & Mrs. Arthur Budge Mr. & Mrs. Jeffry Burton Dr. Allen & Janis Christensen Dr. & Mrs. Fred Clayson Clark & Pat Combe Alan & Joanne Dayley Pete & Lynn DeHart DeLoris & Dale Dorius Ann Alene Dunn Elliott-Hall Company Ann & Peter Ellis Dr. Robert Fudge & Sylvia Newman Gerry & Dixie Funk Kim & Becky Hale John & Jeanne Hinchman Robert Igo Intermountain Healthcare Dr. Michael & Lori Jacobazzi Jeanne Kesler McClain & Emily Lindquist Lindquist Memorial Park Melba Lucas Ivaloo Lund Sharon Macfarlane Mr. & Mrs. Dwayne Manful Frank & Sharon Markos Sandy & Phillip Maxwell Renate Nebeker Sally & Bob Neill

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Donors Marilyn Nelson Gary & Marilyn Newman Arthur & Ruth Nielsen Scott & Pam Parkinson Debbie Perry William & Shirley Reese Juergen Sass Harlan & Lauralee Schmitt Mr. & Mrs. Howard Schuyler Shane & Pamela Schvaneveldt John Slack Joann Smith Keith & Marlys Sorbo Joyce & Charles Speak Ned & Sheila Stephens Joyce & Robert Stillwell Dr. Scott & Claire Swift Jeneile Tams Michael Tanner Jeane Taylor Karen Vanden Bosch Sandy Waite Dr. Sheldon & Janice Ward Scott & Nancy Waterfall Dr. Michael & Jennifer Webb Kenna Williams Glenn & Connie Wimer Carl & Helgard Wolfram $50–$199 Mr. & Mrs. A. George Adamson Jack & Shann Albretsen Jim Alvey Darlene Anderson Mr. & Mrs. Russell Ashment Kay Ballif Dr. & Mrs. Paul Bennion Vernon & Jacque Bergstrom Evelyn Bertilson Bart Blair Bob Blair Jeffrey & Piper Blankinship Mr. & Mrs. Chris Bolieau Ken Borchert Mr. & Mrs. Robert Bradford Dewayne & Carol Brockman Major & Mrs. Wendell Brumley Barry Burgon Michael & Corey Call

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Brad & Lynn Carroll Steven & Lynne Carter Kitty Chatelain Cathay Christiansen Julie Coley Frank & Ludene Dallimore Lynn & Natalie Dearden Golden & Sharon Decker Kirk Delaney Allan & Kellie Diersman Brent Dopp Kathy Douglas Drama Club of Ogden Joe & Evelyn Draper Sandra Ebarb Jerry Eddy Rod Egan Muriel Elzey Ronald & Georgia Erickson Judy Farr Mr. & Mrs. Thomas Fearn Kathryn Fisk Jill Flamm Mr. & Mrs. Christopher Ford Linda Forest Marie Francis Pat Fuller Bert & Karen Gall Dr. Greg & Caitlyn Gochnour Janice Grajek Nancy & Lawren Green Gridley Ward & Hamilton David & Joan Hadley Stephen & Pam Hall Gayle Halverson Tom & Diane Harding Mary Hargis David & Marlene Havertz Col. & Mrs. Douglas Holmes Louis & Ione Howell Robert & Rula Hunter Robert Irvine Gary Iverson Carol Jackson Eric & Becky Jacobson Mr. & Mrs. Steve Johnston Dorothy Jones Darlene & Brit Keenan Jan Kimber

Melba & Denis Kirby Pat Knight Dean & JoAnn Knighton Marilyn Konieczny Thom Kuehls Andrea Lane James & Deborah Lindstrom Jeanette Long Reed & Cheryl Loveland Eugene & Pat Low Diane Luke Roger Macfarlane Sam & Garrett Macfarlane Dr. Scott & Kirsten Major Corey Malan Charlene Mann Rand & Cynthia Mattson Earl & Carole McCain Andy & Susan McCrady Jennifer & James McGregor Wayne & Mrs. Nada Miller Karen Miner Robert & Janet Mitchell Dr. Judith Mitchell Dr. Robert & Suzanne Moesinger Dr. Paul & Maurine Naisbitt Dr. & Mrs. Noel Nellis Dr. Robert & Eleanor Newman Mr. & Mrs. Claude Nix Dallon Nye Joseph Oberuc Michael & Cindy Palumbo Donald Pantone Val & Marlene Parrish Jerry & Penny Patterson Paul & Sandra Perkin Billee Petersen Mr. & Mrs. Robert Petersen Rex Peterson Joann Phillips Jim & Kay Philpott Matt & Cami Pollard Sanford Poulsen Donna Poulter JoAn & Paul Powell Myrth Priest Beverly Prothero Bonnie Raleigh Pat Rasband

801.399.9214 [ symphonyballet.org ]

Donors Adeline Rhoton Russell & Phyllis Rogler Margaret Rostkowski Blaine & Justine Seamons Sterling & Barbara Sessions Greg & Susan Shreeve Lawanna & Robert Shurtliff Jan & Michael Slabaugh Smith’s Community Rewards Anne Sneddon Joyce & Charles Speak Edward & Mari Lou Steffen Darlene Stoddard Evalyn Terry John & Marcy Thaeler Jan Thurston Bob Tillotson Karen Trewet Patti Van Aarle Ralph & Judy Vanderheide Dixie Vandyke Ed & Jeannie Vendell Lucinda & Phillip Wagner Melvin Walker Eric Ward Juanita & Charles Watts Suzanne Wayment Val Weathers Lee Welch Roberta & Kent West Enid Wilde Davis Willis Marlin & Susan Winslow James & Carolyn Wold Venita Wood Harry & Marilyn Woodbury Larry Zaugg MEMORIAL DONATIONS Brent Baddley Dr. & Mrs. Arthur Budge William Beutler Dr. & Mrs. Arthur Budge Nancy Davidson Dr. & Mrs. Fred Clayson

801.399.9214 [ symphonyballet.org ]

Shirley Dunbar Mr. & Mrs. Kelly Goddard Sharon Macfarlane J. Laurence & Marian Shaw John B. Goddard Sharon Macfarlane Jim & Suzy Patterson Marian Lindquist Holbrook Sharon Macfarlane William & Lorna Kennedy Peggy Holmes Dr. & Mrs. Fred Clayson Mr. & Mrs. Kelly Goddard Sharon Lewis Sharon Macfarlane Drs. Jean & Richard Miller Jim & Suzy Patterson Harry & Becky Senekjian Carol Hurst Marlene Barnett Carolyn Brady Dewayne & Carol Brockman Dr. & Mrs. Arthur Budge Ruth Darrington Thomas Dee Lara Deppe Muriel Elzey William & Anita Ford Dr. & Mrs. Ralph Friz Greg & Caitlin Gochnour Marlan Haslam Robert & Rula Hunter Carol Jackson Val & Suzan Johnson William & Lorna Kennedy Russ & Jane King Joanne & David Layne Mrs. Telitha Lindquist Val & Karen Lofgreen Reed & Cheryl Loveland Sharon Macfarlane Mark & Meg Naisbitt Drs. Jean & Richard Miller Dr. Judith Mitchell Thomas & Stephanie Moore

Mr. & Mrs. Paul T. Kunz Jay & DeeAnn Nye Scott & Pam Parkinson Jim & Suzy Patterson Carolyn Rich-Denson Carol Salmon Melissa Seamons Sempre Musical Society J. Laurence & Marian Shaw Jan & Mike Slabaugh Sheldon & Janice Ward Stephanie Williams Ronald Wooden Jolene Zito Mary P. Jacobs Ann Alene Dunn Brit Keenan Mr. & Mrs. Kelly Goddard Paul T. Kunz Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Ann Alene Dunn Mr. & Mrs. Kelly Goddard Marlan Haslamn Robert & Leanne Hendricks William & Lorna Kennedy Russ & Jane King Ladies Literary Club Andrea Lane Charles & Jerry Lindquist Kathryn Lindquist Sharon Macfarlane Dr. Judith Mitchell Thomas & Stephanie Moore Mark & Meg Naisbitt Paul & Maurine Naisbitt Carolyn Parker Scott & Pam Parkinson Jim & Suzy Patterson Marty & Carolyn Rasmussen Brent & Diane Richardson Melissa Seamons Jan & Mike Slabaugh Stephanie Williams

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Donors Marie Irvine Zana Anderson Marvin Lewis Dr. & Mrs. Arthur Budge Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Dr. & Mrs. Ralph Friz Kay Hardy Carol Jackson Val & Suzan Johnson Mrs. Telitha Lindquist Sharon Macfarlane Dr. Judith Mitchell Thomas & Stephanie Moore Mark & Meg Naisbitt Paul & Maurine Naisbitt Jan & Mike Slabaugh Telitha Lindquist Barbara Anderson Marlene Barnett Dr. & Mrs. Fred Clayson Ann Alene Dunn Sue Ellis Mr. & Mrs. Kelly Goddard Beverly Goodwin Carol Jackson William & Lorna Kennedy Ladies Literary Club Andrea Lane Sharon Lewis Val & Karen Lofgreen Sharon Macfarlane Frank & Sharon Markos Dr. Judith Mitchell Mark & Meg Naisbitt Jim & Suzy Patterson Marty & Carolyn Rasmussen Brent & Diane Richardson Melissa Seamons Sheldon & Janice Ward

Georgia Lund Sharon Lewis Sharon Macfarlane Irene Parker Muriel Elzey Donna Richardson Ladies Literary Club Kathryn Lindquist Dr. Judith Mitchell Dr. Paul & Carol Sonntag Mary Nelson Schenck Sharon Macfarlane Candadai Seshachari Lara Deepe Val & Karen Lofgreen Sharon Macfarlane Melissa Seamons Norman Steele Sharon Lewis Hetty Hammon Sly Denise Sly Joe Terry Lara Deppe Sharon Macfarlane IN HONOR OF Sharon Mcfarlane Dee & Carol Brockman Genette Biddulph Destiny Karrington 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 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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801.399.9214 [ symphonyballet.org ]

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Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

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Ogden Main • 2389 Washington Blvd. • 801-626-9575 South Ogden • 3602 Washington Blvd. • 801-399-9881

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