Mozart & Haydn by Mills Publishing Inc.

MOZART & HAYDN February 1, 2018 — 7:30pm

2017–18 season

PREPRINT

POWER COMES IN HERDS.

xDRIVE INTELLIGENT ALL-WHEEL DRIVE. NOW ON MORE MODELS THAN EVER.

BMW xDrive offers performance in any condition with optimum traction, and torque that constantly adjusts to the subtle changes of every road. With a range of models as broad as the weather conditions they were built for, BMW’s intelligent all-wheel-drive system offers a superior driving experience, no matter where your GPS takes you.

22nd Annual

StoRyTelliNg PREPRINT

festival

Feb. 26 - 28, 2018

National, Regional and Student Storytellers

All events are FREE weber.edu/storytelling

801-626-7515

CONTACT

with Mary Dickson

Find out whatâ&#x20AC;&#x2122;s happening in the arts world and in the community.

Weeknights at 9:55PM kued.org/contact

WELCOME Last winter, I had the opportunity to see a string quartet play in New York City. Although quite young, these musicians were already brilliant technicians. However, their performance moved me for another reason. They played a challenging piece by Anton Webern. Before doing so, they explained that the piece was composed when Webern was still reeling from the loss of his mother. Having just lost someone close to me, this piece was especially poignant for me. Before that moment, I had been ambivalent towards Webern, but as I listened to the performance, I felt a connection with him. It was also cathartic because, at that concert, sitting among strangers, I was finally able to pause and to grieve. That is the power and the beauty of art. Pablo Picasso once said that “there is only one way to look at things until someone shows us how to look at them with different eyes.” Art can help us explore new perspectives, new worlds, and new pathways. It can help build bridges. It can also inspire goodness, motivate change, and help us better understand ourselves. Ultimately, this is why OSBA exists—to inspire, enrich and uplift our community. OSBA has a sixty-eight year tradition of uplifting our community through world-class performances. This year, we will continue this tradition with twenty stellar concerts. Our season includes elite talent like six-time Tony-award winner Audra McDonald, renowned pianist Louis Lortie, and internationally-acclaimed Parsons Dance. We will also present three Utah treasures—the Utah Symphony, Ballet West, and BYU Ballroom Dance. And for the first time ever, OSBA will present a full dance season, featuring dance companies from New York City, Los Angeles and Memphis, TN. Through it all, we hope you will find entertainment, joy, inspiration, virtuosity, and enchantment. But we also hope there will be moments of reflection, thoughtfulness, and understanding. After all, as Henry Miller said, “art teaches nothing, except the significance of life.”

Emily Jayne Kunz Executive Director 801.399.9214

symphonyballet.org

OSBA BOARD & STAFF

BOARD OF DIRECTORS Dr. Robert Fudge President

ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Sharon Lewis Thomas Moore Suzy Patterson

EXECUTIVE DIRECTOR Emily Jayne Kunz

Tina Olsen Treasurer

FOUNDATION Russ King Chair

OUTREACH & VOLUNTEER COORDINATOR Andrew Barrett Watson

Paul C. Kunz Past President/Nominating

Marti M. Clayson Secretary

Mark Stratford President Elect Melissa Bennett Vice President Jennifer Webb Secretary

Robbyn Dunn Dr. Ann Ellis Linda Forest John Gordon Dr. Val Johnson Russ King McClain Lindquist Dr. Scott Major Dr. David Malone Stephanie Moore Dr. Robert Newman Dr. Carolyn Rich-Denson Dr. Shane Schvaneveldt Jan Slabaugh

DEVELOPMENT DIRECTOR Melissa Klein MARKETING MANAGER Abby Payne-Peterson

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

symphonyballet.org

801.399.9214

ABOUT OSBA

Under the direction of numerous dedicated Board Members and longserving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), OSBA has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area. Since its inception, OSBA has presented over 800 performances. In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbandsâ&#x20AC;&#x2122; 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.

801.399.9214

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 year, we will also present our second Youth Benefit Concert, featuring Young Concert Artist Xavier Foley and young aspiring musicians from our very own community. The proceeds from this concert will go to fund music education scholarships for local children. If you would like to know more about any of these programs, please do not hesitate to call our office!

symphonyballet.org

OSBA 2017–18 SEASON ENTERTAINMENT

DANCE

OCTOBER 26 Broadway Divas

OCTOBER 13 BODYTRAFFIC

DECEMBER 14 Broadway Christmas with Brain Stokes Mitchell

NOVEMBER 4 BYU Ballroom Dance JANUARY 25 Collage Dance Collective

FEBRUARY 8 Dancing & Romancing

MARCH 3 Parsons Dance

MARCH 22 Audra McDonald

SPECIAL EVENTS

MASTERWORKS NOVEMBER 2 Rachmaninoff & Ravel

JUNE 30 Utah Symphony - Patriotic Pops at Snowbasin

DECEMBER 7 Saint-Saëns

NOVEMBER 24&25 Ballet West - Nutcracker

FEBRUARY 1 Mozart & Haydn

MARCH 13 Utah Symphony - Dr. Seuss’ Green Eggs & Ham

APRIL 26 Shostakovich

APRIL 12 Utah Symphony - Scheherazade at Peery’s Egyptian Theater MAY 5 Ballet West II - Aladdin MAY 10 Youth Benefit Concert Allred Theater at the Browning Center Arts

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

symphonyballet.org

801.399.9214

Start Early. Start Right.

stage arts

Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence. The results are unmatched at any price! Come see for yourself! Observe our classrooms any timeâ&#x20AC;&#x201D;no appointment needed.

An independent private school offering preschool through eighth grade Farmington (801) 451-6565 1089 Shepard Creek Parkway

Sandy (801) 572-1910 10685 South 1000 East

Holladay (801) 278-4797 4555 South 2300 East

Lehi (801) 407-8777 3920 N. Traverse Mountain Blvd.

Salt Lake (801) 487-4402 1325 South Main Street

West Jordan (801) 565-1058 2247 West 8660 South

Inspiring Children to Achieve Since 1963 ÂŠ 2017, Challenger Schools. Challenger School admits students of any race, color, and national or ethnic origin.

SEASON PACKAGES ON SALE NOW! stage arts STARTING AT JUST $69 2018 BROADWAY SEASON

TUACAHN.ORG/SUMMER

(866) 321-8072

IT ALL HAPPENS HERE stage arts

LIVE DISCOVER

HERE

Live in the heart of downtown, and discover the best of Salt Lake City. World-class shopping, fine dining, NBA basketball, theater and fine arts are within minutes of your City Creek home. Urban living like you’ve never seen it before. Call today to schedule a tour. CityCreekLiving.com 801.240.8600

99 WEST

•

RICHARDS COURT

•

THE REGENT

stage arts

Stunning design is all in the details.

801-892-3444

Our expert Interior Designers will help you find style you will love at prices you can trust. We are Hamilton Park Interiors, and we deliver design beyond exceptional.

174 E Winchester, Salt Lake City, UT 84107

hamiltonparkinteriors.com

Open Monday through Saturday 10am to 6pm, Friday open until 9pm. Closed Sunday.

MASTERWORKS SERIES

MOZART & HAYDN FEBRUARY 1, 2018 / 7:30PM / VAL A. BROWNING CENTER PATRICK DUPRÉ QUIGLEY, conductor RONALD BRAUTIGAM, piano

SPONSORED BY

RICHARD K. AND SHIRLEY S. HEMINGWAY FOUNDATION

MOZART

Overture to Così fan tutte, K. 588

MOZART

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 “Jeunehomme” I Allegro II Andantino III. Rondo: Presto RONALD BRAUTIGAM, piano

/ INTERMISSION /

MOZART

Eine kleine Nachtmusik, K. 525

HAYDN

Symphony No. 99 in E-flat Major

801.399.9214

I. Allegro II. Romanze: Andante III. Menuetto: Allegretto IV. Rondo: Allegro I. Adagio - Vivace assai II. Adagio III. Menuetto: Allegretto IV. Vivace

symphonyballet.org

ARTISTS’ PROFILES

Conductor Patrick Dupré Quigley is the founder and artistic director of the internationally-acclaimed ensemble Seraphic Fire. He frequently collaborates with the Cleveland Orchestra, the San Francisco Symphony, and the New World Symphony. He was nominated for a GRAMMY Award for his recording of Brahms’ German Requiem. This season, Quigley takes the podium with the Cleveland Orchestra in Mozart, the Utah Symphony in Haydn, and Seraphic Fire in masterworks of Bach, Monteverdi, Pärt, and the Pulitzer Prize-winning composer David Lang. Mr. Quigley is a music director finalis t for the Spartanburg Philharmonic, leading that ensemble in Sibelius’ Symphony No. 2, along with music of Glière and Mozart.

Patrick Dupré Quigley Conductor

In addition to his busy guest conducting schedule, Quigley regularly leads Seraphic Fire on criticallyacclaimed tours. His performances have been described by the press as “extraordinary” (Gramophone Magazine), “authoritative” (The Philadelphia Enquirer), “inspirational” (The Chicago Sun-Times), “vivid, sensitive” (The Washington Post), and displaying “transformative brilliance” (New York Lucid Culture). He is the recipient of the Robert Shaw Conducting Fellowship, the ASCAP Adventurous Programming Award, and the Louis Botto Award for his entrepreneurial leadership of Seraphic Fire. Quigley holds degrees from the Yale University School of Music and the University of Notre Dame. He lives with his husband in Washington, D.C. where they are restoring a turn-of-the-century row home.

symphonyballet.org

801.399.9214

ARTISTS’ PROFILES

Ronald Brautigam has earned a reputation as one of Holland’s most respected musicians, remarkable not only for his virtuosity and musicality but also for the eclectic nature of his musical interests. He has received numerous awards, including the Dutch Music Prize and a 2010 MIDEM Classical Award for Best Concerto Recording, recognizing his reconstruction of Beethoven’s Piano Concerto WoO 4 (also known as Piano Concerto No. 0).

Ronald Brautigam Piano

A student of the legendary Rudolf Serkin, Ronald Brautigam performs regularly with leading orchestras including the Royal Concertgebouw, London Philharmonic, BBC Philharmonic, City of Birmingham Symphony, Hong Kong Philharmonic, Sydney Symphony, Japan Philharmonic, Budapest Festival Orchestra, Orchestre National de France, Gewandhausorchester Leipzig, and the Rundfunk-Sinfonieorchester Berlin. He has performed alongside a number of distinguished conductors including Riccardo Chailly, Bernard Haitink, Frans Brüggen, Sir Simon Rattle, Christopher Hogwood, Marek Janowski, Sir Roger Norrington, Marin Alsop, Ivan Fischer, and Sir Mark Elder. Recent highlights also include appearances with Gulbenkian Symphony Orchestra and the Prague Symphony Orchestra; a concert tour of Japan and New Zealand; and most recently, performances of all the Beethoven Piano Concertos in one week (three concerts with the Oulu Symphony Orchestra in Finland). Besides his performances on modern instruments, Ronald Brautigam has established himself as a leading exponent of the fortepiano, working with orchestras such as the Orchestra of the Age of Enlightenment, Orchestra of the Eighteenth Century, the Freiburg Baroque Orchestra, the Hanover Band, Tafelmusik, Concerto Copenhagen, l’Orchestre des Champs-Elysées, and the Wiener Akademie. Ronald Brautigam is Professor at the Musikhochschule in Basel, Switzerland.

801.399.9214

symphonyballet.org

NOTES ON THE PROGRAM Wolfgang Amadeus Mozart (1756–1791)

Overture to Così fan tutte, K. 588 PERFORMANCE TIME:

4 minutes

BACKGROUND

The collaboration between Mozart and librettist Lorenzo da Ponte is considered one of the great partnerships in Western art. Da Ponte, who was perhaps the greatest Italian poet of his generation—his principal rival was the legendary lover and memoirist Giacomo Casanova— worked with Mozart on three of his greatest operatic masterpieces: Don Giovanni, Le nozze di Figaro, and Così fan tutte. It’s fair to say that the first two entries in the Mozart-da Ponte collaboration were more innovative than Così. Like Nozze, it is an opera buffa—that is, a comic opera in the Italian language bearing standard hallmarks of the form. But where the story of Nozze was based on the radically modern plays of Beaumarchais and was politically subversive, Così was conventional for its day, a romantic farce based on a prank. The story had been kicking around for years, and a setting had even been attempted by Mozart’s contemporary Antonio Salieri, though he never completed it. Controversy arose later on. A story line that seemed like sophisticated, titillating comedy in 1790, when Così premiered at the Burtheater in Vienna, seemed vulgar and morally questionable in the decades that followed. Today it could be the basis for a movie bromance by Judd Apatow: Two beset buddies get lured into a bet that they can seduce

each other’s girlfriend, don disguises, and complications ensue. But despite the opera’s steady stream of fabulous solo arias, duets, and a magnificent trio and quartet, it is still less frequently performed than Nozze and Don Giovanni. But for today’s opera companies, the problem is not the story’s raciness, but its misogyny: When the girlfriends give way to temptation and are exposed, the moral lesson put forward is the one we learn in the title, usually translated as “Women are like that.” And boys will be boys. WHAT TO LISTEN FOR

Mozart’s thrillingly beautiful opera overtures do not generally quote the melodies that will come later in the opera. But they do more than merely set the mood for the drama to come; they wordlessly bring us into the heart of the story, providing a context for the drama. In the case of Così fan tutte, we hear boisterous energy that rolls along gleefully, telling us that we should enjoy the action with a clear conscience. But as always in Mozart opera overtures, we must pay special attention when the tempo shifts gears. In this case, when the overture reaches an emotional climax nearly at its end, the pace changes from rollickingly fast to portentously slow, and where themes have been tossed playfully from one orchestral section to another, suddenly we hear an emphatic tutti. It’s as if Mozart is making a grave, portentous announcement. And that is, in fact, what happens. The entire orchestra joins in the emphatic chords that are not heard again until the opera is almost over, when the two sadder-but-wiser buddies sing in unison, not once, but twice: “Così fan tutte.” Yes, women are like that—at least according to Mozart and da Ponte, who preview this message in the overture’s whirlwind of a finale.

symphonyballet.org

801.399.9214

NOTES ON THE PROGRAM Wolfgang Amadeus Mozart (1756–1791)

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 “Jeunehomme” PERFORMANCE TIME:

31 minutes

reference to Victoire Jenamy, an accomplished pianist who was in Salzburg during the winter of 1776–77. Daughter of the esteemed ballet master Noverre, Victoire was only seven years older than Mozart (28 at the time) and is thought to have performed the concerto’s premiere. It’s hard to resist speculating why the amorous young Mozart would have dedicated this remarkable concerto to a young woman who was probably trained as a dancer as well as a musician.

BACKGROUND

WHAT TO LISTEN FOR

Mozart did everything early. As the satirist and music commentator Tom Lehrer quipped at age 40, “By the time Mozart was my age, he’d been dead for five years.”

Listen carefully—are those portents of Beethoven concertos to come? Rather than beginning this concerto with a thenstandard roundup of melodies from later in the concerto, Mozart introduces the music with an abbreviated introduction that is nosed out by the eager entrance of the soloist. This truncated opening is a structure we also hear in Beethoven’s fourth and fifth concertos, which plunge us into the action without delay; Beethoven learned much from Mozart’s concertos, and may have been inspired by the way Mozart brings the piano’s solo voice into play with utter freedom in this one.

When did young Mozart make the transition from young prodigy to mature genius? Enthusiasts can argue about anything, including this unprovable point. But it’s widely agreed that his Piano Concerto No. 9, the “Jeunehomme,” is a milestone. Managing his son Wolfgang’s early career as a kind of musical novelty act, Leopold Mozart began the tradition of musikalischen Kinder— young musical prodigies—that continued into the 20th century, typically with violin and piano soloists who were groomed to look even younger than they actually were. But as much as he loved and depended upon his father, Wolfgang was constantly sprinting ahead rather than looking back. As a child he possessed a virtuoso’s skill on the violin and other instruments, but the piano held a special place for him. It might seem especially fitting that a concerto written by a prodigy at the brink of adulthood—a young man—would be nicknamed the “Jeunehomme.” But the name is actually a

801.399.9214

Throughout the first movement, the mood might be described as cozy. But then, in the second movement, Mozart boldly switches to a minor key: C minor, the relative minor of the concerto’s home key of E-flat Major. Suddenly the concerto expresses a sense of light and shadow. Musicologists tell us that only 5 of Mozart’s 27 piano concertos are composed with central movements in the minor; in this case, the mood is elegiac and the sound is songlike. It reaches a level of expressiveness beyond Mozart’s previous concertos. The fast-paced final movement is in rondo form, allowing a call-and-response pattern between orchestra and soloist. Mozart (and many other composers of concertos) relied on the

symphonyballet.org

NOTES ON THE PROGRAM rondo form, with its escalating repetitions of an initial theme, to showcase the soloist’s virtuosity and build a sense of mounting drama in the final movement. In this case, the increasing tension is dramatically broken twice: at a late cadenza that prefaces the concerto’s vigorous conclusion, and earlier in the movement, when a brief cadenza introduces a courtly minuet. It seems likely that this dance passage is a musical tribute to Victoire Jenamy and her father. Wolfgang Amadeus Mozart (1756–1791)

Eine kleine Nachtmusik PERFORMANCE TIME:

15 minutes

BACKGROUND

There’s a strong case to be made for saying nothing at all about Eine kleine Nachtmusik, and simply letting the music speak—or sing—for itself. Everything a critic or analyst can tell you about this work is something you already know, or—on the off chance you have never heard it before— you can tell just by enjoying it once through. The most important fact about this serenade for strings is that it was written with no other purpose than to delight the ear. Its success in doing just that has made it one of the most popular musical works of any kind ever composed. Considering its phenomenal appeal, we know surprisingly little about the circumstances of Eine kleine Nachtmusik’s composition. It’s fortunate that Eine kleine Nachtmusik is so beautiful, because its sprightly melodies pop up everywhere. On Broadway and in the movies it has suggested romance, inspiring Ingmar Bergman’s Smiles of a Summer Night, which Stephen Sondheim adapted as A Little Night Music. As the musicologist Wolfgang Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.” On every street corner? Now, there’s an idea.

WHAT TO LISTEN FOR

Enthusiasts will note that Eine kleine Nachtmusik, like the “Jeunehomme” Concerto, is in E-flat Major, a key that Mozart is thought to have chosen when he wanted an especially bright sound. In this case, the suite begins with an emphatic statement that combines mellowness and vigor through its emphatic upward arpeggio, a musical gesture known as a “Mannheim rocket.” The term is not as important as its effect, which here is energetic, yet airy. As the first movement proceeds in all its familiarity, the vigor of the opening gives way to a graceful development section. Although the feeling of this suite is nothing like a symphony, it does unfold in four movements, with the outer movements quicker and more energetic than the courtly interior sections, which are more romantic in feeling—the second movement a romanze (a songlike movement) in C Major, and the third movement a danceable minuet in G Major. The final movement is an effervescent rondo. Marked “allegro,” its bubbling development and recapitulation sections are followed by a long coda. Throughout the suite, but especially in this movement, it is impossible to listen without grinning. Joseph Haydn (1732–1809)

Symphony No. 99 in E-flat Major PERFORMANCE TIME:

25 minutes

BACKGROUND

It’s common to think of the last of Haydn’s 104 symphonies—his “London” Symphonies—as the glory and valediction of his long career. But it may be more accurate to view these wonderful symphonies, which he wrote in two sets of six for two London tours, as the great works he composed to secure his retirement. Haydn was about 60

symphonyballet.org

801.399.9214

NOTES ON THE PROGRAM when he composed them for performance in London, a city that had always been enormously appreciative of his talent. He was acclaimed in the press, treated as an A-list celebrity, and extremely well paid there. Johann Peter Salomon, the industrious German musician and impresario who made the arrangements for both London engagements, knew of the Londoners’ receptivity to Haydn’s music, and he arranged commissions not only for the symphonies, but for many other works, including an opera. The Symphony No. 99, which was the first entry in the second of two sets of “London” Symphonies, took shape when Haydn was 61. He wrote it in Vienna, the city where he lived and had deep musical roots, and where his friend Mozart was a neighbor. The younger composer died in 1791, two years before Haydn wrote No. 99. The symphony was a commission for performance at the King’s Theatre in London, where it premiered in 1794. WHAT TO LISTEN FOR

Haydn was open and unstinting in his admiration of Mozart, whom he called the greatest composer he knew of. The older composer also never stopped listening and learning, and more than one commentator has noted that when it came to symphonies, Haydn—the most esteemed rolemodel for the junior composers of his day—was more influenced by the younger, bolder Mozart than the other way around. We hear this especially in late symphonies such as the No. 99. Here Haydn, composing in a form he nearly invented, was testing new ideas, such as the inclusion of the clarinet in his orchestra, which he likely heard in much of Mozart’s music. For context, Haydn was a mature composer when he began work on his first symphony, when Mozart was about 5. The form of the No. 99 is an elegant example of the symphonic tradition that Haydn himself fashioned, with its four movements designed as a unified arc and the orchestra framed as a unified ensemble, rather than the Baroque convention of a suite of contrasting

801.399.9214

movements proceeding as a discourse between foregrounded and backgrounded players. We are drawn in with an adagio announcement that builds expectation, then greeted with the energy and verve of the brisker themes that dominate the movement. The second movement, a lustrous adagio, sings with Haydn’s gift for melody. In the third movement, Haydn adds a danceable minuet, pauses for dramatic effect—a trick he loved—and occasional bursts of unexpected energy. The finale is a delight, full of wit and whimsy. What should we make of the fact that this symphony, like Eine kleine Nachtmusik and Mozart’s “Jeunehomme” Concerto, has a home key of E-flat Major? That’s up to you and the conductor. In his book This Is Your Brain on Music, the musician and neuroscientist Daniel J. Levitin demonstrates that the well-tempered tuning we hear in today’s orchestras treats all keys equally, so the descriptors sometimes associated with individual keys—dark, bright, closed, open, monumental, intimate—are meaningless in a modern context. But there are exceptions. For composers and others with rare mental traits, individual keys can have their own emotional associations. These traits include absolute pitch (an extreme form of sense memory) and synesthesia (in which a musical tone can trigger another sensory effect, such as color). And in Haydn’s day, when the modern conventions of tuning hadn’t quite been worked out yet, there were still some lingering differences in individual keys, and all were slightly lower—or “darker”— than we hear them today. Finally, there was Haydn’s abiding consideration for his players: He knew that for every choir in the orchestra, some keys were virtually unplayable, and some keys simply fit the instruments more comfortably than others. This is why, if you have plans for composing a violin sonata in C-sharp Major, you should drop them.

symphonyballet.org

UTAH SYMPHONY Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor

Roberta Zalkind# Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Acting Associate Principal

VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas

Robert Stephenson Associate Principal

Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

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

Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt 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 James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Lissa Stolz 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 Edmund Rollett Acting Principal

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler† David Hagee†† 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† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

Alexander Love†† Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Jeff Herbig Properties Manager & Assistant Stage Manager

TRUMPET Travis Peterson Principal

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

Jeff Luke Associate Principal Peter Margulies Gabriel Slesinger††

symphonyballet.org

801.399.9214

MAGNOLIA

stage HOME COLLECTION arts

MAGNOLIA HOME BY JOANNA GAINES

MAGNOLIA HOME

BY JOANNA GAINES

MAGNOLIA HOME

HORIZONTAL

VERTICAL

Furniture | Electronics | Appliances | Flooring | Mattresses Open 11 Hours A Day • 6 Days A Week Monday-Saturday 10am – 9pm • Closed Sundays Shop online at rcwilley.com.

THE ONLY

stage arts

CARD...

...THAT OFFERS

5X REWARDS ON U OF U CAMPUS PURCHASES!*

*Third-party vendors not included

UcreditU.com

W H Y T U R N C O R N E R S, W H E N YO U C A N T U R N H E A D S.

E X P E R I E N C E T H E C AD I L L AC X T 5

Look Great... stage arts

after being out all night. Introducing the Comfort sleeperÂŽ. With no bars and no springs, the convertible sofa bedâ&#x20AC;&#x2122;s patented Tiffany 24/7 platform sleep system will provide the ultimate comfort, day or night.

Salt Lake

(801) 467-2701 2970 Highland Dr.

www.sanfrandesign.com

Park City

(435) 645-7072 1890 Bonanza Dr.

801.399.9214

symphonyballet.org

FRIENDS OF OSBA Thank you to all our donors! This concert would not have been possible without you. Includes Donations Received April 1, 2017–March 31, 2018

Sustaining Donors ($50,000+) OSBA Foundation Stewart Education Foundation Season Sponsors ($10,000+) Alan & Jeanne Hall Foundation Robert & Marcia Harris Matthew B. Ellis Foundation

Norman & Barbara Tanner Charitable Trust Lawrence T. & Janet T. Dee Foundation

Concert Sponsors ($5,000+) George S. & Dolores Doré Mrs. Paul T. Kunz Eccles Foundation Marriner S. Eccles Foundation Guest Artist Sponsors ($2,500+) Beaver Creek Foundation Sharon R. Lewis Dr. William & Barbara Hughes Ogden City Arts Walter & Karen Kunz Benefactors ($1,000–$2,499) Dwight & Cindy Baldwin Mr. & Mrs. Kelly Goddard Dr. Glen & Genette Biddulph John & Heather Gordon Bean Family Foundation Dr. Val Johnson Evan & Geraldine Paul C. & Cindy Kunz Christensen Dr. & Mrs. Seth Lewis Dr. & Mrs. Fred Clayson Lindquist Memorial Parks Dr. Rosemary Conover & Shirley Mack Luckey Heath Jean & Richard Miller Rick & Karen Fairbanks Dr. Judith Mitchell Dr. Doug & Shelley Felt Robert & Jelean Montgomery Ralph & Donna Friz Keith & Ellen Opprecht Supporters ($500–$999) Barbara Anderson Sally Arway Marlene Barnett Bill & Melissa Bennett Russ Carruth Mary & Lee Forrest Carter Allen & Janis Christensen Dr. Douglas Deis Drs. Ann & Peter Ellis George & Mary Hall Dean Hurst 26

Kier Construction Suzanne Lindquist Val & Karen Lofgreen Jerome & Jan Luger David Malone & Madonne Miner Rand & Cynthia Mattson McKay Dee Foundation Thomas & Stephanie Moore Mark & Meg Naisbitt

symphonyballet.org

Weber County RAMP

Richard K. & Shirley Hemingway Foundation Val A. Browning Foundation

Utah Division of Arts & Museums

Michael & Cindy Palumbo Marty & Carolyn Rasmussen

Dr. Harry & Becky Senekjian Dr. Paul & Carol Sonntag Ralph Nye Charitable Foundation Val A. & Edith Dee Green Foundation E. K. & Grace Walling Dr. Michael & Jennifer Webb Glenn & Connie Wimer

Dr. Robert & Eleanor Newman Jim & Suzy Patterson Eloise Runolfson Shane & Pamela Schvaneveldt Jan & Mike Slabaugh Jonathan & Beverly Souder Bob & Janet Wallace Hal Wheelwright Derek Wright 801.399.9214

FRIENDS OF OSBA Partners ($100â&#x20AC;&#x201C;$499) Jon Adams Jack & Shann Albretsen Lyle & Lavon Allen America First Credit Union Kay Ballif Rich & Kristin Bauter Robert & Audrey Beishline Paul & Georgia Bennion Phil & Melanee Berger Bob Blair The Boyer Company Kathleen P. Browning Arthur & Marian Budge Janice Burk Mr. & Mrs. Jeffry Burton Brad & Lynn Carroll Lynne & Steven W. Carter Kitty Chatelain Peter & Dianne Christensen Cathay Christiansen Ellie Cole Clark & Pat Combe Joelle & Brian Creager Kim & Becky Crumbo Lynn & Natalie Dearden Allan & Kellie Diersman DeLoris & Dale Dorius Kathy Douglas Ann Alene Dunn David & Robbyn Dunn Jennifer & Jonathan Earl Sandra Ebarb Lisa Edwards Madelon Fallows Farrâ&#x20AC;&#x2122;s Jewelers Mr. & Mrs. Thomas Fearn Rick & Angela Flamm Jill Flamm Mr. & Mrs. Christopher Ford William & Anita Ford Linda Forest Franklin & Elizabeth Alex Charitable Foundation Dr. Robert Fudge & Sylvia Newman Pat Fuller Bert & Karen Gall Dr. Greg & Caitlin Gochnour Janice Grajek Nancy & Lawren Green David & Joan Hadley 801.399.9214

Mardee Hagen Kim & Becky Hale Kimberly Hearn Jeanne Hinchman Robert & Rula Hunter Greg & Kris Hyde Robert Irvine Val & Marlene Iverson Shawn Iverson Carol Jackson Dr. Michael & Lori Jacobazzi Eric & Becky Jacobson Kevin Johnson Steve Johnston Amelia Jones Dorothy Johnson Melba & Denis Kirby Paul & Terry Kriekard Thomas Kuehls Emily Jayne Kunz Andrea Lane Jody & Blake Leatham Robert Lindquist William & Sarah Lindsay Jeanette Long Eugene & Pat Low Melba Lucas Ivaloo Lund David & Linda Lundstrom Macdowell Ensemble Ogden Chapter Sharon Macfarlane Dr. Scott & Kirsten Major Corey Malan Mr. & Mrs. Dwayne Manful Frank & Sharon Markos Erika Martin Sandy & Phillip Maxwell Andy & Susan Mccrady Willis McCree & John Fromer Patrick McGarry James & Jennifer Mcgregor Wayne & Nada Miller Karen Miner Brad Mortensen Paul & Maurine Naisbitt Bob & Sally Neill Dr. & Mrs. Noel Nellis Marilyn Nelson Gary & Marilyn Newman Arthur & Ruth Nielsen symphonyballet.org

Mr. & Mrs. Claude Nix Cheryl Orme Donald Pantone Scott & Pam Parkinson Val & Marlene Parrish Jeff Paulson Paul & Sandra Perkin Kent & Nyla Peterson Jim & Kay Philpott Matt & Cami Pollard Sanford Poulson Myrth Priest Juergen Sass Harlan Schmitt Mr. & Mrs. Howard Schuyler Greg & Susan Shreeve Sempre Musical Society Lawanna & Robert Shurtliff Joann Smith Mr. & Mrs. Sherman H. Smith Forrest & Rolyane Staffanson Dr. John & Colleen Starley Edward & Mari Lou Steffen Dan & Dotty Steimke Ned & Sheila Stephens Shelley Stevens Joyce & Robert Stillwell Darlene Stoddard Cobalt Stromberg Jeneile Tams Jeane Taylor Joann Taylor Darcie Trimble Michael Ulrich Karen Vanden Bosch Melvin Walker Andrew & Suzanne Wall Bruce Wallace Brent & Gloria Wallis Sheldon & Janice Ward Wasatch Peaks Credit Union Suzanne Wayment Lee & Carol Welch Linda Weiskopf Barbara & Gerald West Kent & Roberta West Carolyn & James Wold Carl & Helgard Wolfram Larry Zaugg Jan Zehner Jolene & Chad Zito 27

FRIENDS OF OSBA In-Kind Donors Jon Adams Ailulio ALSCO Marsha Ashby Ballet West Beehive Cheese Dr. Glen & Genette Biddulph Chris Bolieau Bigelow Hotel Bill & Kathie Bone Charlene Burnett CenterPoint Legacy Theatre Sandy Crosland CrossAction Computers Eccles Community Art Center Dr. Peter Ellis Dr. Ann Ellis Estate of Dan & Margaret Hunter Lou Jean Flint Linda Forest Allison Francis Sarah Francis Dr. Robert Fudge & Sylvia Newman Hale Center Theater George & Mary Hall

Betty-Jo Handy Terry Hartman-Smith Deborah Heaney Dr. William & Barbara Hughes Craig & Justine Hazen Industrial Art & Design Kaffe Mercantile Kappels & Premium Creamies Emily Jayne Kunz Paul C. & Cindy Kunz Walter & Karen Kunz Maria’s Mexican Restaurant Bud Mitchell Thomas & Stephanie Moore Merrill Lynch Meg Naisbitt Natural Grocers Dr. Robert & Eleanor Newman Sally Neill Ogden Nature Center Ogden School Foundation Ogden’s Own Distillery Olive & Dahlia Tina Olsen Ben Pintaric & Symetra Pioneer Theater Company

Marty & Carolyn Rasmussen Repertory Dance Theater Carolyn Rich-Denson Carey & Wendy Roberts Rooster’s Brewing Jan & Mike Slabaugh Dr. Paul & Carol Sonntag Mark & Elizabeth Stratford Talisman Brewery Uinta Golf Utah Symphony | Utah Opera Andrew Wall Watson Chevrolet Utah Jazz Utah Presents at Kingsbury Hall Val A. Browning Center Valley Office Systems Walmart Michael & Jennifer Webb Michael & Cynthia Webb Weber State University Wiggins & Co. Ye Olde Cupcake Shoppe Tom Zampedri Jan Zehner

MEMORIAL DONATIONS Dot Bolieau Jan Thurston

John Hinchman Jan Thurston

Hetty Hammon Sly Denise Sly

Charles A. Combe Phyllis & Charles Combe

Suzan Johnson Val Johnson

Katie Stratford Sharon Macfarlane

Shauna Smith Eccles Arthur & Marian Budge

Paul T. Kunz Rachel Kunz Lingmann

Valeen Wood William & Anita Ford

Joseph H. Forence Arthur & Marian Budge

Jim Patterson Dr. & Mrs. Fred Clayson

IN HONOR OF DONATIONS Dr. Robert Fudge Frank & Kathleen Newman 28

symphonyballet.org

801.399.9214

PREPRINT

TOURS, TASTINGS & RETAIL SALES SITE-DISTILLED AGAVE SPIRITS, GIN, VODKA, WASATCH BLOSSOM TART CHERRY LIQUEUR AND SPECIAL RELEASES AVAILABLE IN STATE LIQUOR STORES AND AT THE DISTILLERY.

newworlddistillery.com facebook.com/newworlddistillery @newworlddistill

4795 East 2600 North

Eden, Utah

Open Tues-Sat 11-6

PREPRINT

2018 Plays

– June 28 to Oct. 20

Henry VI Part One The Merchant of Venice The Merry Wives of Windsor Big River The Foreigner The Liar Othello Pearl’s in the House The

Greater Escape.

800-PLAYTIX • bard.org • #utahshakes

PREPRINT

Itâ&#x20AC;&#x2122;s Time For You To Enjoy The Life You Deserve

MOUNTAIN RIDGE OFFERS ASSISTED LIVING, MEMORY CARE, RESPITE, DAILY EXERCISES & ACTIVITIES AND DAY STAY PROGRAMS.

Receive your 3rd month

FREE

when you mention this ad (some restrictions apply)

1885 E. SKYLINE DR. SOUTH OGDEN

801-896-8459

MOUNTAINRIDGEAL.COM

PREPRINT

For whatever and wherever you play. No matter your sport or activity, we can help you get back to doing it at your highest level. With our skilled experts, you can have confidence in the treatments you receive as we get you back to doing whatever it is you do, wherever it is you do it. Call 801.38.SPORT to make an appointment today.

McKayDeeSportsMedicine.org | 801.38.SPORT |

/mckaydee