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PICTURES AT AN EXHIBITION APRIL 6, 2017 | 7:30 P.M.
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WELCOME
We are thrilled that you are joining us for our 2016– 2017 Season.You are now part of an Ogden cultural tradition going back sixty-seven years! Speaking of traditions, I feel blessed that music and dance have been central to so many of my own personal traditions. As a child, I attended Kansas City Symphony performances with my parents. I confess that I did not always manage to stay awake for the entire performance. (In my defense, the concerts ended well after my regular bedtime). Still, I always looked forward to these concerts. They were an event—a special treat. Not only did I get to dress up and spend quality time with my parents, but I also loved to watch the musicians. And I marveled at the composers who crafted brilliant masterpieces using some of the very same chords I struggled to play. Recently, I had the chance to share a similar experience with another younger generation when I brought my nephews to last seasons’ Utah Symphony Family Shows. I loved introducing them to something I love. One nephew could not stop asking questions afterwards, and several have since asked me when the next performance is. They are all coming back again this season, so I count it as a huge success! I am sure you have similar stories as well. Each of us has been inspired and touched by live arts performances. This is why the Ogden Symphony Ballet Association exists. We want to continue to inspire, to engage, to educate, and to uplift our community. So again, we are thrilled you are joining us this season. And we hope you make some new, amazing memories with us this year.
Emily Jayne Kunz Executive Director
801.399.9214 [ symphonyballet.org ]
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OSBA BOARD & STAFF
BOARD OF DIRECTORS Paul C. Kunz President Robert Fudge President Elect Robert Newman Vice President Jennifer Webb Secretary Tina Olsen Treasurer Genette Biddulph Past President/Nominating Melissa Bennett Brenda Burton Linda Forest John Gordon Russ King McClain Lindquist Scott Major Stephanie Moore Shane Schvaneveldt Jan Slabaugh Paul Sonntag John Starley Mark Stratford
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ADVISORS Marlene Barnett Karen Fairbanks Alan Hall Robert Harris Sharon Lewis Thomas Moore Suzy Patterson
EXECUTIVE DIRECTOR Emily Jayne Kunz MARKETING MANAGER Abby Payne-Peterson
FOUNDATION Russ King Chair Marti M. Clayson Secretary Richard White Treasurer Beth Baldwin Paul C. Kunz Andrea Lane Robert E. Lindquist Michael S. Malmborg Judith Mitchell Meg Naisbitt Tina Olsen Ellen Opprecht Carolyn N. Rasmussen Sherm Smith
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ABOUT OSBA Under the direction of numerous dedicated Board Members and longserving Executive Directors like Jean Pell (27 years) and Sharon Macfarlane (14 years), OSBA has expanded its programming but remains committed to its mission to enrich the lives of people in northern Utah by sponsoring world-class classical music and dance programming in the Greater Ogden Area. Since its inception, OSBA has presented over 800 performances.
In 1949, Beverly Lund and Ginny Mathei decided they wanted to add even more culture to Weber County, so, with the help of a few friends and their husbands’ checkbooks, they brought the Utah Symphony to Ogden for a single performance.The total cost was $400, and three hundred people attended the concert. This 1949 concert was a big success, so the women decided to present even more concerts in Ogden. They organized a committee within the Welfare League (later the Junior League) to raise funds for the Symphony Concerts. Then, in 1957, this committee reformed and incorporated as the Ogden Guild. After a few more name changes and the addition of Ballet West performances in 1982, the organization became the Ogden Symphony Ballet Association.
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In addition, OSBA actively works to engage and educate younger patrons. For example, our Youth Guild has provided generations of high school students with opportunities to serve and socialize. We also offer a variety of music education classes, from Masterworks Music Detectives to Symphony Summer Camps. And we are partnering with several local community organizations to expand these programs to reach even more kids, especially children in under-served communities. This year, we will also be holding our first Youth Benefit Concert, featuring Young Concert Artist Gleb Ivanov and young aspiring musicians from our very own community. The proceeds from this concert will go to fund music education scholarships for local children. If you would like to know more about any of these programs, please do not hesitate to call our office!
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OSBA 2016 –17 SEASON Emanuel Ax plays Beethoven’s “Emperor” September 15, 2016 | 7:30 p.m.
Brahms’ Symphony No. 2 February 2, 2017 | 7:30 p.m.
Soul Unlimited featuring Ellis Hall September 22, 2016 | 7:30 p.m.
Jerry Herman: The Broadway Legacy Concert February 9, 2017 | 7:30 p.m.
Rachmaninoff’s Piano Concerto No. 3 October 20, 2016 | 7:30 p.m. Brahms & Tchaikovsky November 10, 2016 | 7:30 p.m. The Nutcracker November 25, 2016 | 7:00 p.m. November 26, 2016 | 2:00 p.m. & 7:00 p.m. Cirque Musica Holiday Spectacular! December 8, 2016 | 7:30 p.m. Here Comes Santa Claus! December 13, 2016 | 7:00 p.m.
BYU Noteworthy March 4, 2017 | 7:30 p.m. Pictures at an Exhibition April 6, 2017 | 7:30 p.m. Gershwin’s Magic Key from Classical Kids Live! April 18, 2017 | 7:00 p.m. The Spy Who Loved Me April 20, 2017 | 7:30 p.m. The Little Mermaid April 22, 2017 | 2:00 p.m.
BYU Vocal Point January 21, 2017 | 7:30 p.m.
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.
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MASTERWORKS SERIES Pictures at an Exhibition APRIL 6, 2017 / 7:30PM / VAL A. BROWNING CENTER THIERRY FISCHER , C onduct or FUMIAKI MIURA , Violin
SPONSORED BY
MATTHEW B. ELLIS FOUNDATION
ELGAR
Military March No. 1 in D Major from Pomp and Circumstance, Opus 39
ELGAR
Concerto in B minor for Violin and Orchestra, Opus 61 I. Allegro II. Andante III. Allegro molto FUMIAKI MIURA, Violin
/ INTERMISSION / RAVEL ARR. BOULEZ MUSSORGSKY ARR. RAVEL
Frontispice Pictures at an Exhibition Promenade Gnomus Promenade The Old Castle Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges: The Market Catacombae – Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba Yaga) The Great Gate of Kiev
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ARTISTS’ PROFILES Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season. Thierry Fischer Music Director
In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning. In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included the Boston, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducted the Sao Paulo Philharmonic—his first visit to South America. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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ARTISTS’ PROFILES Fumiaki Miura is not only the youngest ever winner of the Joseph Joachim Hannover International Violin Competition (2009) but also the one with the most prizes—having also been awarded both the Music Critics’ and the Audience Prize. The young Japanese violinist is already proving himself to be one of the most accomplished of his generation.
Fumiaki Miura Violin
At only 23 years old, Fumiaki has performed with several of the world’s leading orchestras, including NDR Sinfonieorchester Hamburg, NDR Radiophilharmonie Hannover, Radio-Sinfonieorchester Stuttgart des SWR, Sinfonieorchester Basel,Wiener KammerOrchester, Orchestre de Chambre de Lausanne, and Hong Kong Sinfonietta, and has played under conductors including Kazushi Ono, Christopher Warren-Green, Pietari Inkinen, Stéphane Denève, Kazuki Yamada, Kristjan Järvi and Rafael Payaré. Recent highlights include debut performances with Warsaw Philharmonic (Eiji Oue), Jacksonville Symphony Orchestra and Orquesta Sinfónica Nacional de Colombia, a tour of Japan with the Prague Philharmonia (Jakub Hrůša), and a performance of Penderecki’s Double Concerto with Julian Rachlin, conducted by the composer himself in his 80th anniversary concert, where Fumiaki played the viola. 2016–17 season highlights include debut performances with the NAC Orchestra (Pinchas Zukerman) in Ottawa, and returns to Yomiuri Nippon Symphony (Tatsuya Shimono), Utah Symphony (Thierry Fischer) and Japan Philharmonic (Kenichiro Kobayashi) orchestras. In autumn 2016, Fumiaki was invited to be part of the One Asia Festival in Busan, South Korea. Fumiaki’s debut recording was a disc of both of Prokofiev’s Violin Sonatas with Itamar Golan for Sony Japan. In autumn 2015, Fumiaki’s second album, of Mendelssohn and Tchaikovsky’s Violin Concertos with Deutsches Symphonie-orchester Berlin and Hannu Lintu, was released by Avex-classics. Fumiaki recently played an important role in recording the theme music for NHK’s historical drama, Sanadamaru—one of the most popular television drama series in Japan—with NHK Symphony Orchestra. Miura performs the violin on the J.B. Guadagnini (1748) on loan from Yellow Angel Foundation and the viola on the Storioni school “ex-Julian Rachlin” (1780) on loan from Nippon Violin.
801.399.9214 [ symphonyballet.org ]
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NOTES ON THE PROGRAM Notes by Michael Clive Edward Elgar (1857–1934) Military March No. 1 in D Major from Pomp and Circumstance, Opus 39 INSTRUMENTATION: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba; strings; 2 harps, organ; percussion PERFORMANCE TIME: 6 minutes Edward Elgar (1857–1934) Concerto in B minor for Violin and Orchestra, Opus 61 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones, tuba; strings; timpani PERFORMANCE TIME: 45 minutes BACKGROUND Robert Sherman, the trailblazing classical music commentator who was a programmer and host on classical radio for almost six decades, came up with some surprising features for station WQXR. One of the oddest, dating from the 1970s, was a contest challenging listeners to come up with descriptive anagrams based on the initials of their favorite composers—a threeword phrase that would match the composer’s three-letter monogram. He cited this one as a particular favorite: Edward William Elgar
Elgar Was Enigmatic
Sherman’s delight hung on one word, “enigmatic,” that cleverly referenced one of Elgar’s most famous compositions—the Enigma Variations, which Elgar composed in 1898 and 1899. While this set of biographical sketches in music is replete with mysteries, in a sense the real enigmas are Elgar himself and England’s oddly isolated position in the tradition of European classical music.
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Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland. Who are the great British composers? Of course there are Purcell and the German-born Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group. But Elgar felt that his own compositional style was more aligned with European influences. Born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and suspicious of his Roman Catholic faith. But in the most famous photographic portrait of Elgar he appears every inch the English country squire—impeccably groomed, spectacularly mustachioed and posed as if to take his place on Mount Rushmore. Elgar is far from a one-hit wonder, but his March No. 1 from Pomp and Circumstance is the one tune he wrote that virtually everyone knows. In fact, most of us have marched to its heroic strains in at least one or two graduation ceremonies. It is the best known of the six Pomp and Circumstance marches, and though it was originally intended as a military march and was dedicated to Elgar’s friend Alfred Rodewald and the Liverpool Orchestral Society, it soon took on national and international stature as the expression of “hope and glory” played during the coronation of King Edward VII—and eventually at commencement ceremonies throughout the English-speaking world. Among professional musicians and fans of classical music, Elgar’s concertos for violin and cello are equally valued, but his violin concerto had a particularly long and effortful gestation. He began working on a violin concerto as early as 1890, when he was only 33, but—in keeping with his reputation as an independent spirit who answered only to himself and his craft—he destroyed early sketches that he deemed unsatisfactory.
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NOTES ON THE PROGRAM When London’s Royal Philharmonic Society commissioned a violin concerto in 1909, he began anew, now armed with the knowledge gained from his first attempt. The assignment seemed to be a fulfillment of the wishful prophecy expressed by Fritz Kreisler, the beloved composer of short concert works for violin and one of the greatest violinists of his time. In 1907, two years before the concerto’s commission, Kreisler had told an interviewer: If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar... I say this to please no one; it is my own conviction…I place him on an equal footing with my idols, Beethoven and Brahms. He is of the same aristocratic family. His invention, his orchestration, his harmony, his grandeur, it is wonderful. And it is all pure, unaffected music. I wish Elgar would write something for the violin. Not surprisingly, Kreisler was the concerto’s dedicatee and soloist at its premiere with the Royal Philharmonic Society in November 1910. WHAT TO LISTEN FOR In both the relatively brief space of a sixminute march and the unusually expansive (45-minute) violin concerto, we can hear in Elgar a composer who takes all the time he needs to develop his ideas, putting us at our leisure. In the march, he ratchets up the drama by foreshadowing repeats of the main theme; we wait for them expectantly, then enjoy them all the more when they finally, climactically, arrive. In the concerto, the expansive and formally structured opening movement exposes no fewer than six related themes in differing but related keys; “expansive” is a descriptor often seen in commentaries. But the movement also blooms with lyricism, especially in the violin’s solo voice, with its gorgeous “Windflower” theme—thought to be emblematic of Elgar’s beautiful friend Alice Stuart-Wortley. The central movement takes a slower pace and begins more quietly, as in a traditional Romantic concerto; but as it proceeds, the drama builds, leading to a dramatically 801.399.9214 [ symphonyballet.org ]
virtuosic final movement with all the energy and pace we could ask for. The violin concerto was the last of Elgar’s compositions to achieve public acceptance; its success was immediate and rapturously enthusiastic. None of his other works so fully combine a characteristically English, pastoral style with bursts of passion—and, of course, meticulous craftsmanship, abetted in this case by helpful advice Elgar received from fellow violinist W.H. Reed of the London Symphony Orchestra, and from Fritz Kreisler. Even the reticent composer was outspoken in praising the result, admitting “It’s good! Awfully emotional…too emotional, but I love it.” And so do concertgoers around the world. Maurice Ravel (1875 – 1937), arr. Pierre Boulez (1925 – 2016) Frontispice INSTRUMENTATION: piccolo, alto flute, oboe, English horn, clarinet, E-flat clarinet, bass clarinet, 2 bassoons; 2 horns, 2 trumpets, 2 trombones, tuba; strings; harp, celeste, piano; percussion PERFORMANCE TIME: 2 minutes BACKGROUND Listeners who are lucky enough to encounter Ravel’s Frontispice in the concert hall are well advised to pay attention: Like a comet, its appearances are rare and brief. Ravel composed this two-minute vignette in 1918, the year following his mother’s death. Depressed by her loss and also suffering from tuberculosis—not to mention the dark shadow that World War I still cast over Europe—he completed only one other work in that year, the orchestration of the “Alborada del gracioso” movement from Miroirs. Ravel composed Frontispice at the request of Ricciotto Canudo, an Italian surrealist poet. It was published in Les feuillets d’art in 1919, but may not have been publicly performed until 1954, when it was revived and arranged by Pierre Boulez.
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NOTES ON THE PROGRAM WHAT TO LISTEN FOR Frontispice has been described as “tiny” and “enigmatic.” But in spite of its brevity, this little song intertwines three melodic lines with Ravel’s consummate craftsmanship and elegance, and the Boulez scoring presents it with an appropriate, translucent elegance. Oddly, Ravel’s original scoring was for two pianos and five hands—a seeming guarantee of non-performance. Modest Mussorgsky (1839 – 1881), orch. Maurice Ravel (1875 – 1937) Pictures at an Exhibition INSTRUMENTATION: 3 flutes, 2nd and 3rd doubling piccolo, 3 oboes, 3rd doubling English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; strings; 2 harps, celeste; percussion PERFORMANCE TIME: 30 minutes BACKGROUND The Mighty Five who emerged as founding fathers of the Russian tradition in classical music had widely divergent composing styles—from the glittering, elegant craft of Rimsky-Korsakov to the boundless melodic richness of Tchaikovsky. But they shared a reverence for the piano and for pianistic virtuosity. In his day and ours, Modest Mussorgsky’s reputation among these giants has been as the wild man of Russian music, a composer of raw power who was heedless and unrefined in executing his ideas. But he shared his compatriots‘ respect for the keyboard, and in Pictures at an Exhibition he created what is unquestionably one of the piano’s greatest solo works—later famously orchestrated by Maurice Ravel, one of the greatest of all orchestral colorists. Today, the lack of technical polish that Rimsky and others detected in Mussorgsky’s Pictures and in his other masterpiece—Boris Godunov, the supreme operatic expression of Russian nationalism—is being reconsidered by music scholars. But in considering Mussorgsky’s
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background and in listening to the thundering climaxes that we hear again and again in Pictures at an Exhibition, we can certainly understand how this impression arose. Although the mysterious Mussorgsky seemed to shun formal conservatory studies (training as a composer primarily through personal association with other composers and self-teaching), he was well-born and musically disciplined. If his compositions are moody and steeped in Russian folk traditions, that description could fit almost any of his peers. Still, Mussorgsky’s voice is well-nigh unmistakable. His Pictures at an Exhibition is a landmark example, popular as a virtuoso showpiece in both its many orchestral versions and in the original solo piano form. Led by his passions and ardent, if mercurial, in his beliefs, Mussorgsky left a relatively small body of work, some of it remaining unfinished. All of it is marked by high drama, dark textures and boldly innovative harmonies. The exposed emotion and vividness of Mussorgsky’s expression suggests a visual component in almost everything he wrote— but most markedly in Pictures at an Exhibition, which was written both to create a musical evocation of a series of paintings and to memorialize the lost artist who painted them: Viktor Hartmann. Mussorgsky had met and befriended Hartmann, a painter and architect, probably in 1870. Both were emerging artists; Hartmann, at 36, would have been five years older than Mussorgsky. Only three years later Hartmann died of an aneurysm, an unexpected loss that shook the highly emotional Mussorgsky and the entire Russian art world. Hartmann’s tragically early death and the retrospective exhibition that followed it so moved Mussorgsky that he wrote the piano score for Pictures at an Exhibition in about six weeks of passionate inspiration that gave us one of the great showpieces of the piano literature. WHAT TO LISTEN FOR In form, Pictures is novel, even unique.
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NOTES ON THE PROGRAM Structurally, there is nothing in the classical repertoire that resembles this suite, which is built as a series of musical paintings separated by promenades that combine to simulate the experience of walking through a gallery. The pictures on which it is based are mostly lost to history, but the surviving paintings by Hartmann seem rather academic and subdued compared to Mussorgsky’s music, which is full of bold dynamics and innovative harmonies. Experts who have analyzed both Mussorgsky’s score and Hartmann’s few surviving paintings suggest that the following program could serve as a loose “gallery guide” for Mussorgsky’s tour of Hartmann’s work: • Promenade (as we enter the gallery and walk from one picture to the next) • Gnomus - The Gnome (Picture 1) • Promenade (the promenade resumes) • The Old Castle (Picture 2) • Promenade (third promenade) • Children’s Quarrel after Games (Picture 3, a painting set in the Tuileries Gardens of Paris) • Bydlo - Cattle (Picture 4, perhaps oxen pulling a cart) • Promenade (the promenade theme in its fourth iteration) • Ballet of the Chicks in Their Shells (Picture 5—probably a watercolor Hartmann executed to demonstrate designs for a ballet) • Samuel Goldenberg and Schmuyle (Picture 6) • Promenade (fifth iteration) • The Market at Limoges: Great News (Picture 7) • Catacombs: The Roman Tomb (Picture 8: With the Dead in a Dead Language) • The Hut on Fowl’s Legs: Baba Yaga (Picture 9) Baba Yaga, the fascinating supernatural crone of Russian and Slavic folk tales, traditionally dwelled in a forest hut built on fowl’s legs—and this is the source of the witch and her dwelling in Hansel and Gretel. • The Great Gate of Kiev (Picture 10). One of Mussorgsky’s most celebrated themes is the principal surviving relic of what was to be Hartmann’s masterpiece—a large gated monument to memorialize heroes in the city of Kiev. 801.399.9214 [ symphonyballet.org ]
Stylistically, there is an apparent disconnect between Hartmann’s surviving watercolor study of his architectural proposal for the heroes’ gate in Kiev—academic and conservative but significant as an expression of vernacular, nonEuropean architectural style—with Mussorgsky’s monumental sounding and intensely emotional “Great Gate of Kiev,” which seems to celebrate an epic history in its notes. Another contrast between source and score is in the comical musical depictions of scurrying unhatched chicks (their legs stick out from their eggs), based on static costume designs for a Russian ballet. One further stylistic note cannot go unmentioned in a modern, Western program annotation of Pictures at an Exhibition, and that is the specter of anti-Semitism in the music. More than just a prevailing cultural attitude, anti-Semitism in the czarist Russia of Mussorgsky was institutionalized, extreme and often violent. A number of Hartmann’s images were watercolor studies of Jews, seemingly sympathetic when viewed alongside Mussorgsky’s music. The composer’s routine use of anti-Semitic epithets in his correspondence is an established fact of music history, and the musical evidence lies in the musical treatments of Hartmann’s subjects Samuel Goldenberg and Schmuyle. It seems to ridicule Talmudic scholars by rendering them as a commonly held stereotype: Bickerers engaged in a meaningless exegetical debate that dismisses the rest of the world’s values. If this stereotype is in the notes of Pictures at an Exhibition, that is hardly its sole place in classical music. Richard Strauss, for one, paints a very similar picture in his representation of five nattering Jews in his opera Salome—in the cast, they are numbered like Hollywood extras—but prevailing scholarly opinion has absolved Strauss of holding Nazi sympathies. What you hear of Samuel Goldenberg and Schmuyle in tonight’s Pictures, and in their overall impact on a great work of music, is ultimately a matter for your own ears, brain and heart.
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UTAH SYMPHONY Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle
Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
CLARINET Tad Calcara Principal The Norman C. & Barbar Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
Erin Svoboda Associate Principal
Eric Hopkins Associate Principal
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Corbin Johnston Associate Principal
Leon Chodos Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#
CONTRABASSOON Leon Chodos
HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal
Jennifer Rhodes
HORN Edmund Rollett Acting Principal Alexander Love Acting Associate Principal ††
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy STAGE MANAGEMENT Chip Dance Production & Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
TRUMPET Travis Peterson Principal
Caitlyn Valovick Moore
Jeff Luke Associate Principal
PICCOLO Caitlyn Valovick Moore
Peter Margulies Nick Norton
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair
OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair
TROMBONE Mark Davidson Principal
Roberta Zalkind Associate Principal
James Hall Associate Principal
Sam Elliot†† Acting Associate Principal
Lissa Stolz
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OSBA Depends On You To He(p Us Make A Dgference Did you know that ticket sales generally cover only 40% of our programming costs? Without support from our generous donors, OSBA would not be able to present our world-class concerts or continue our outreach efforts.
We invite you to considerjoining this special group of art lovers! We accept donations in person, over the phone, by mail, and even on-line. We are also always happy to speak with you about planned giving options. If you have any questions, our Executive Director Emily Jayne Kunz is always happy to assist.
Membership Levels & Benefits Partner ($100-$499)
Supporter ($500-$999)
- One complimentary ticket to any Masterworks concert
Includes all Partner Benefits plus:
- One complimentary family pass to
a Utah Symphony Family Concert
- Invitations to Association events
Benefactor ($1,000-$2,499) Includes all Partner and Supporter Benefits plus:
- Invitation to mulitple Meet the Artist Receptions
- Exclusive access to VIP Seat upgrades on the night of the concert (based upon availability)
801.399.9214 [ symphonyballet.org ]
- A second complimentary ticket to any Masterworks concert - Invitation to one Meet the Artist Reception
Sponsor ($2,500+) Includes all preceding Benefits plus: - Sponsorship Recognition - Complimentary tickets for sponsored concert - Invitations to special Donor Appreciation Events
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FRIENDS OF OSBA Includes Donations Received April 1, 2016–March 31, 2017
Thank you to all our donors! This concer t would not have been possible without you. SUSTAINING DONORS ($50,000+) Stewart Education Foundation Weber County RAMP Grant Ogden Symphony Ballet Foundation SEASON SPONSORS ($10,000+) Alan & Jeanne Hall Foundation Lawrence T. & Janet T. Dee Foundation Robert & Marcia Harris The Norman C. Tanner & Barbara L. Tanner Charitable Support Trust Matthew B. Ellis Foundation Richard K. & Shirley S. Hemingway Foundation Pinto Foundation CONCERT SPONSORS ($5,000+) Edith Dee Green Foundation George S. & Delores Dore Eccles Foundation Mrs. Paul T. Kunz The London Connection State of Utah, Division of Arts & Museums GUEST ARTIST SPONSORS ($2,500+) Beaver Creek Foundation Paul & Cindy Kunz Sharon Lewis Merrill Lynch Ogden City Corporation through Ogden City Arts Carolyn Nebeker Rasmussen Dr. Paul & Carol Sonntag BENEFACTORS ($1,000–$2,499) Dr. Nelson L. & Carole W. Astle Dwight & Cindy Baldwin Bean Family Foundation Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Rick & Karen Fairbanks
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Farr’s Jewelry Erin Gilbert Mr. & Mrs. Kelly Goddard Kenneth & Norine Holmgren Jewel Lee Kenley Mike & Zona Keyes Dr. & Mrs. Seth Lewis Merrill Lynch Drs. Jean & Richard Miller Dr. Judith Mitchell Robert & Eleanor Newman Keith & Ellen Opprecht Nancy & Brian Pinto Ralph Nye Charitable Foundation Carolyn Rich-Denson Junior E. & Blanche B. Rich Trust Harry & Becky Senekjian E.K. & Grace Walling Michael & Jennifer Webb Weber State University Glenn & Connie Wimer SUPPORTERS ($500–$999) Jon & Jenelle Adams America First Credit Union Marlene Barnett Bert L. & Lulu M. Neal Foundation Dr. & Mrs. Arthur Budge Russ Carruth Mary & Lee Forrest Carter Elliot-Hall Company Rosemary Conover & Luckey Heath CrossAction Computers Dr. Douglas Deis Doug & Shelley Felt Dr. & Mrs. Ralph Friz Robert Fudge & Sylvia Newman Gerry & Dixie Funk Greg & Caitlin Gochnour Heather & John Gordon Dean Hurst Carol Jackson Val Johnson Kier Construction Lindquist Memorial Parks Suzanne Lindquist Val & Karen Lofgreen Jan & Jerome Luger
Scott & Kirsten Major Jim & Suzy Patterson Eloise Runolfson Mr. & Mrs. Howard Schuyler Shane & Pamela Schvaneveldt Jonathan & Beverly Souder John & Colleen Starley Starley Family Dental Craig & Emilyn Umbrell Richard & Judy Webber Hal Wheelwright PARTNERS ($100–$499) Barbara Anderson Sally Arway Clyde Baker Kay Ballif Mark Ballif Rich & Kristin Bauter Robert Beishline Bill & Melissa Bennett Dr. & Mrs. Paul C. Bennion Phil & Melanee Berger Jeffrey & Piper Blankinship Mr. & Mrs. Chris Bolieau The Boyer Company Kathleen & Phillip Browning Maj. & Mrs. Wendell Brumley Janice Burk Mr. & Mrs. Jeffry Burton Brad & Lynn Carroll Kitty Chatelain Allen & Janis Christensen Cathay Christiansen Kent Collins Clark & Pat Combe Becky Crumbo Frank & Ludene Dallimore Alan & Joanne Dayley Lynn & Natalie Dearden Golden & Sharon Decker Pete & Lynn Dehart Kellie & Allan Diersman Deloris & Dale Dorius Kathy Douglas Mr. & Mrs. Joseph Draper Ann Alene Dunn David & Robbyn Dunn Jennifer Earl Sandra Ebarb Jerry Eddy
801.399.9214 [ symphonyballet.org ]
FRIENDS OF OSBA Rodney Egan Ann & Peter Ellis Brandon Erlacher Madelon Fallows Mr. & Mrs. Thomas Fearn Angela Flamm Jill Flamm Mr. & Mrs. Christopher Ford William & Anita Ford Linda Forest Monica Fridberg Pat Fuller Bert & Karen Gall Janice Grajek Nancy Granducci Lawren & Nancy Green Kim & Becky Hale Gwen Haycock Kimberly Hearn Angie Henderson John & Jeanne Hinchman Col. Douglas Holmes Robert & Rula Hunter Greg Hyde Intermountain Healthcare Robert W. Irvine Val Iverson Michael & Lori Jacobazzi Eric & Becky Jacobson John Watson Chevrolet Dr. & Mrs. Paul H. Johnson Kevin Johnson Steve Johnston Jeanne Kesler Melba & Denis Kirby Thomas Kuehls Emily Jayne Kunz Kathryn Lindquist Robert Lindquist Jeanette Long Rick & Nikki Lovell Eugene & Pat Low Ivaloo Lund Macdowell Ensemble - Odgen Chapter Sharon Macfarlane Corey Malan Victoria & Michael Malmborg Mr. & Mrs. Dwayne Manful Debra Marin Frank & Sharon Markos Erika Martin Rand & Cynthia Mattson
Sandy & Phillip Maxwell Evalyn McBurnie Andy & Susan Mccrady Jennifer & James Mcgregor Mary Ann Miller Nada Miller Matt Montague Mark & Meg Naisbitt Paul & Maurine Naisbitt Sally & Bob Neill Noel Nellis J. David Nelson Marilyn Nelson Wendy Nelson Gary Newman Arthur & Ruth Nielsen Peggy Nielsen Ogden School Foundation Cheryl Orme Donald Pantone Scott & Pam Parkinson Val & Marlene Parrish Paul & Sandra Perkin Janet Petersen Jim & Kay Philpott Matt & Cami Pollard Sanford Poulsen Paul & Joan Powell Marty & Carolyn Rasmussen Rory Rich Margaret Rostkowski Mr. Juergen Sass Harlan & Lauralee Schmitt Blaine & Justine Seamons Sempre Musical Society Greg & Susan Shreeve Lawanna & Robert Shurtliff Susan Skordos Jan Slabaugh Mr. & Mrs. Sherman Smith Keith & Marlys Sorbo Edward & Mari Lou Steffen Ned & Sheila Stephens Jonathan Sterzer Mr. & Mrs. Robert Stillwell Jeneile Tams Jeane Taylor Joann B. Taylor John & Marcy Thaeler Ulrich & Associates Utah Eye Centers Patti Van Aarle Robert Van Dyke
801.399.9214 [ symphonyballet.org ]
Karen Vanden Bosch Kathleen Vegh Jack Wahlen Melvin Walker Bruce Wallace Sheldon & Janice Ward Wasatch Peaks Credit Union Nancy Waterfall Suzanne Wayment Matthew Webb Lee & Carol Welch Roberta & Kent West Richard White Kenna Williams Carl & Helgard Wolfram Venita Wood Harry & Marilyn Woodbury Larry Zaugg Jan Zehner Jolene & Chad Zito IN-KIND DONORS Jonathan Adams ALSCO Alvey Media Productions Amethyst String Quartet Apple Spice Junction Dwight Baldwin Beehive Cheese Bell Janitorial Supply Bill & Melissa Bennett Dr. Glen & Genette Biddulph Big O Tires Booked on 25th Kate Bruce Brenda Burton Cafe Rio Centerpoint Legacy Theater Clifton’s Ladies Apparel Crossaction Computer Specialists Dartside Daynes Music Company Eccles Community Art Center Farr’s Jewelry Fat Cats Fun Center Linda Forest Robert Fudge & Sylvia Newman Francisco de Galvez George S. Eccles Dinosaur Park Gibby Floral Gibby Studios, Inc. Grounds for Coffee
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FRIENDS OF OSBA John Gordon George and Mary Hall George B. and Betty Jo Handy Brenn Hill Hill Aerospace Museum Iggy’s Julie Johnson Suzanne Lindquist Kaffe Mercantile Kangaroo Zoo Kier Construction KLO Radio Lifetime Products Scott & Kirsten Major Megaplex Theaters Mineral Reflections Ralph W. (Bud) Mitchell Thomas & Stephanie Moore Mountain Medical Imaging Robert & Eleanor Newman Next Ensemble Now 97.9 Ogden Nature Center Ogden Union Station Olive & Dahlia Philip & Company Recreation Outlet Rocky Mountain Water Roosters Schneiter’s Riverside Golf Jan & Mike Slabaugh Smith’s Snowbasin Dr. Paul & Carol Sonntag Standard Examiner Starley Family Dental Sun Valley Sunny 103.1 SuperSonic Car Wash Thai Curry Kitchen The Mumford Group The Timbermine Toad’s Fun Zone Treehouse Museum Craig Umbrell Brad Waddoups Bob Wallis Jennifer Webb Ziegfeld Theatre Zions Bank
MEMORIAL DONATIONS Dr. Gordon Thatcher Allred Robert & Eleanor Newman Rodney H. Brady Jan & Mike Slabaugh Carol Brockman Andrea Lane Sharon Macfarlane Frank & Sharon Markos Dr. Judith Mitchell Jim & Suzy Patterson Carolyn & Marty Rasmussen Glen Eliason Robert & Eleanor Newman Telitha Greiner Dr. & Mrs. Arthur Budge Val Johnson
Geraldine (Jerry) Taylor Lindquist Dr. & Mrs. Arthur Budge Mrs. Paul T. Kunz Sharon Macfarlane Drs. Jean & Richard Miller Dr. Judith Mitchell Kent Nichols Carolyn & Marty Rasmussen Mary McKenna Sharon Macfarlane Dr. Paul Naisbitt Dr. & Mrs. Fred Clayson Scott & Pam Parkinson Stephen Kent Paskins Mark & Shelley Geddes Claire Pinto Nancy & Brian Pinto
John R. Hinchman Ann Alene Dunn Phillip & Merlene Petty Connie Stevens
Bonnie Raleigh Andrea Lane Gerald Richardson Robert & Eleanor Newman
M. Margaret Hunter Emily Jayne Kunz Ladies Literary Club Sharon Lewis & Family Sharon Macfarlane Judith Mitchell Jan & Mike Slabaugh Marty & Carolyn Rasmussen Carol Hurst Robert & Eleanor Newman
Monte Shupe Mark & Shelley Geddes Hetty Hammon Sly Denise Sly Mel Sowerby Glenn & Connie Wimer Diane Cook Taylor Florence Stowe
Suzan Johnson Dr. & Mrs. Arthur Budge Val Johnson
Ed Vendell Dr. Judith Mitchell
Paul T. Kunz Robert & Eleanor Newman
IN HONOR OF DONATIONS
Marvin Lewis Robert & Eleanor Newman
Marjorie Funk Bud Funk Sharon Macfarlane Robert & Eleanor Newman Maryonne Wilson
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801.399.9214 [ symphonyballet.org ]
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