Rachmaninoff & Ravel

RACHMANINOFF & RAVEL November 2, 2017 — 7:30pm

2017–18 season

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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

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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 David Malone Stephanie Moore Dr. Robert Newman Dr. Carolyn Rich-Denson Shane Schvaneveldt Jan Slabaugh

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DEVELOPMENT DIRECTOR Melissa Klein MARKETING MANAGER Abby Payne-Peterson

Richard White Treasurer Paul C. Kunz Andrea Lane Michael S. Malmborg Judith Mitchell Meg Naisbitt Tina Olsen Ellen Opprecht Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag

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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. 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!

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OSBA 2016–17 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.

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PHOTO © IAN SHIVE

MASTERWORKS SERIES

RACHMANINOFF & RAVEL NOVEMBER 2, 2017 / 7:30PM / VAL A. BROWNING CENTER

SPONSORED BY

ROBERT & MARCIA HARRIS

MATTHIAS PINTCHER, conductor WILLIAM HAGEN, violin

RAVEL

Ma Mère l’Oye (Mother Goose) Prélude

SAINT-SAËNS

I. II. III. IV. V. VI.

Danse du rouet et scène Pavane de la belle au bois dormant Les entretiens de la belle et de la bête Petit Poucet Laideronnette, impératrice des Pagodes Le jardin féerique

Introduction and Rondo capriccioso in A minor for Violin and Orchestra, Op. 28 WILLIAM HAGEN, violin

RAVEL

Tzigane WILLIAM HAGEN, violin

/ INTERMISSION /

RACHMANINOFF

Symphonic Dances, Op. 45

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I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai - Allegro vivace

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ARTISTS’ PROFILES Matthias Pintscher is the Music Director of the Ensemble Intercontemporain and became Principal Conductor of the Lucerne Festival Academy Orchestra at the start of the 2016–17 season. He is currently in his eighth year as Artistin-Association with the BBC Scottish Symphony Orchestra.

Matthias Pintscher conductor

In the 2017–18 season, Pintscher makes several significant debuts including with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony, and the Gulbenkian Orchestra in Lisbon. Pintscher and the Ensemble Intercontemporain recently brought an ambitious presentation of Pierre Boulez’ Répons to the Park Avenue Armory in New York and perform a number of concerts on tour in London (Royal Festival Hall), Vienna (Konzerthaus), and Cologne (Philharmonie).

In addition, they will be joined by alumni of the Lucerne Festival in a special multi-media Messiaen project which will be performed in four cities. Return guest engagements this season include the Los Angeles Philharmonic in both a subscription week and at the Hollywood Bowl, Atlanta Symphony Orchestra, Utah Symphony, Saint Paul Chamber Orchestra (where he premieres Salvatore Sciarrino’s new piano concerto with Jonathan Biss), Orchestre de la Suisse Romande, Frankfurt Radio Symphony, and the Mahler Chamber Orchestra conducting Beethoven’s Ninth Symphony. An enthusiastic supporter of and mentor to students and young musicians, Pintscher will also work with the Karajan Academy of the Berlin Philharmonic, culminating in a concert at the Philharmonie.

Matthias Pintscher began his musical training in conducting, studying with Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. He began to divide his time equally between conducting and composing, rapidly gaining critical acclaim in both areas of activity. As a composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris. Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014.

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ARTISTS’ PROFILES The riveting 24-year-old American violinist William Hagen was the third-prize winner of the 2015 Queen Elisabeth International Music Competition, making him the highestranking American since 1980. Already a seasoned international performer, William has been hailed as a “brilliant virtuoso…a standout” (The Dallas Morning News) with “an intellectual command of line and score, and just the right amount of power” (violinist.com). He recently received the 1735 “Sennhauser” Guarneri del Gesú on a long-term loan from the Stradivari Society.

His 2017–18 season features performances of Korngold with Christoph Eschenbach and the Frankfurt Radio Symphony, Saint-Saëns and Ravel with Matthias Pintscher and the Utah Symphony, Brahms with Andrew Gourlay and the Fort Worth Symphony, and Prokofiev No. 1 with Pablo Rus Broseta and the Seattle Symphony.

William Hagen violin

Since his professional debut at age nine with the Utah Symphony, with Keith Lockhart conducting, William has performed with conductors Marin Alsop, Christian Arming, Placido Domingo, Miguel Harth-Bedoya, Fabio Mechetti, Ward Stare, Michel Tabachnik, Arie van Beek, and Hugh Wolff; and with the symphony orchestras of Albany, Buffalo, Fort Worth, Jacksonville, St. Louis, Utah, and with the Aspen Philharmonic at the Aspen Music Festival.

Abroad, he has performed with the Brussels Philharmonic, the National Orchestra of Belgium, the ORF RadioSinfonieorchester and with the Orchestre Philharmonique Royal de Liège in a tour of Belgium. He has also performed in Japan with the Yokohama Sinfonietta and the Sendai Philharmonic.

A native of Utah, William first heard the violin at the age of three and began lessons at four. At age 10 he entered the studio of Robert Lipsett at the Colburn Community School of Performing Arts, commuting to Los Angeles every week for lessons. After studying with Itzhak Perlman at the Juilliard School for two years, William returned to Los Angeles in 2012 to continue studying with Robert Lipsett at the Colburn Conservatory of Music. He is an alumnus of the Verbier Academy and the Perlman Music Program, and spent many summers at the Aspen Music Festival and School.

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NOTES ON THE PROGRAM Notes by Michael Clive Maurice Ravel (1875–1937)

child believe it? Ah, but if it can persuade a child, the loveliness of the telling will fairly break our hearts as adults.

Ma Mère l’Oye (Mother Goose) 2 flutes, 2nd doubling piccolo, 2 oboes, 2 doubling english horn, 2 bassoons, 2nd doubling contrabassoon; 2 horns; strings; percussion; celeste, strings.

INSTRUMENTATION: nd

PERFORMANCE TIME: 28

minutes.

BACKGROUND

The fairy tales of Ravel’s musical narratives are drawn from the traditional French Ma Mère l’Oye as edited by Charles Perrault in 1697. Though these became associated with the English phrase “Mother Goose,” the literal “Mother Egg” seems more closely related to the image of the Russian nesting Matryushka dolls and the folk tales of Baba Yaga that eventually made their way throughout Europe and across the Atlantic.

With Baba Yaga in mind, it is appropriate for us to think of the tales she inspired that we’ve grown up with on this side of the Atlantic—tales such as Hansel and Gretel, and Little Red Riding Hood—as we listen to the movements of Ma Mère l’Oye. While the poetry of the music enchants us, the Mère l’Oye stories can jolt us with their bluntness.

For example, the movement we choose to know as “The Princess of the Pagodas” is more accurately translated as “Little Ugly Girl, Empress of the Pagodes.” The sound is mysterious and exotic; the prevailing tone is not darkness, but wonder. And the glorious orchestration bears all the hallmarks that have placed Ravel among the greatest of orchestral colorists: elegance, translucency, and surprise.

From Perrault’s more expansive text, Ravel chooses five episodes:

WHAT TO LISTEN FOR

When we listen to Ravel’s Ma Mère l’Oye, or to other transcendent works categorized as child-appropriate—such as Janáček’s opera The Cunning Little Vixen, Mozart’s The Magic Flute, the early books of Bartók’s piano course Mikrokosmos, Ravel’s own L’enfant et les sortilèges—we hear music that communicates with a degree of emotional purity and directness that all music aspires to achieve. In writing music for children, great composers like Benjamin Britten and Sergei Prokofiev knew that nothing is more difficult than simplicity, and that their “children’s music” must be uncompromising in its appeal to adult listeners. If a fairy tale or an adventure story fails to convince a grownup, why should a 16

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The Pavane of the Sleeping Beauty.

The pavane’s slow, stately tempo seems to convey a sense of antiquity, as in Ravel’s earlier Pavane for a Dead Princess. But in this suite the Pavane conveys sweetness and delicacy.

Tom Thumb. This section of the suite is programmatic, narrating Tom’s comically catastrophic walk through the woods, with twittering birds eating the breadcrumbs with which Tom marked his way home.

The Princess of the Pagodas. Here the pagodas are not structures but “pagodes,” little people whom the princess encounters in a distant land after she’s been rendered ugly

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NOTES ON THE PROGRAM

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by a wicked witch whose spell is ultimately reversed. Are those rapidly repeated pairs of notes the mincing footsteps of the pagodes? And are those bewitching four final chords the declaration of the princess’ beauty now returned to her?

Beauty and the Beast, or Conversations of Beauty and the Beast. Many fairy tales exalt the virtue of abstaining from lying and the courage of speaking the truth.

But this quintessentially French tale, set in Ravel’s gently blossoming musical narrative, goes further—making the moral courage of truth-telling a means of achieving an intimacy that eventually transcends the body’s physical defects and grows into love. Of course, its time signature is waltz tempo, the most intimate of dances.

The Fairy Garden. Though this section is not specifically programmatic, it vividly depicts a setting that would merit quite a story—a miraculous garden of blessed souls and beautiful flowers, where the sun never sets and life is eternally happy.

Camille Saint-Saëns (1835–1921)

Introduction and Rondo capriccioso in A minor for Violin and Orchestra, Op. 28 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings; solo violin.

INSTRUMENTATION:

PERFORMANCE TIME: 9

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minutes.

BACKGROUND

Born in 1835, when the Romantic era was still young, the spectacularly gifted Saint-Saëns lived through one of the most turbulent periods in music history.

The magisterial music critic Harold C. Schonberg, who reigned for two decades at The New York Times, described him as the greatest of all music prodigies, outpacing even Mozart and Mendelssohn.

As an adult, Saint-Saëns recalled experiencing the aleatoric sounds of early childhood as music; his description of a two-year-old’s overheard “symphony of the kettle,” with its slow, eventful crescendo, is vivid. He began composing at age 3, and performed one of Beethoven’s violin sonatas in a Paris salon at age 4; by age 10, in a legendary concert at the Salle Pleyel, he followed his performance of a movement from Beethoven’s C minor piano concerto with an offer to play any of Beethoven’s 32 piano sonatas from memory. “This young man knows everything, but he lacks in experience,” noted Berlioz—not a surprising observation, considering the age of the “young man” in question.

WHAT TO LISTEN FOR

Saint-Saëns was born into the great age of instrumental showmanship, when charismatic pianists and violinist created the template for today’s rock stars, complete with rioting, blissed-out audiences. By the time Paganini died, Saint-Saëns was five, well aware of the Paganini legend, and already giving concerts of his own. Liszt, a magician of the keyboard who was 24 years Saint-Saëns’ senior, was a longtime friend and mentor.

Saint-Saëns was 28 when he created the Introduction and Rondo capriccioso for a

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NOTES ON THE PROGRAM third superstar, the Spanish violinist Pablo de Sarasate. We can hear this cultural context in every bar of the work, which is a superbly constructed showcase for superstar violin playing. To call it a vehicle for virtuosity does not diminish the sheer joy of listening.

But the Rondo is, in fact, much more than that. Saint-Saëns originally intended it as the finale of his first violin concerto, and its structure—a tension-building, slow initial theme leading to dramatic and showy main theme—is beautifully detailed and concerto-ready. It also happens to meet the primary requirements of the musical caprice: a portentous introduction, a shift in tempo, a change of mood, and a sense of emotional spontaneity, all couched in virtuoso playing.

The “introduction” section is slow and lyrical, with upward-arching arpeggios for the violin exposed against block chords in the orchestra. When the pace of the playing shifts for the first time, it’s not tempo so much as the note values that change, from flowing to peppery solo playing against a thumping andante in the orchestra. Then, as the finish line comes into view, the tempo accelerates to animato and we hear the rousing finale for which Saint-Saëns has primed us, complete with fingerwork of dazzling rapidity.

Maurice Ravel (1875–1937)

Tzigane 2 flutes, 2nd doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, trumpet; percussion; harp; celeste; strings; solo violin.

INSTRUMENTATION:

PERFORMANCE TIME: 10

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BACKGROUND

In his great early novella Tonio Kröger, the Nobel Prize-winning writer Thomas Mann invokes a theme that we hear again and again in French music of Ravel’s era: the dangerous lure of Gypsy culture. Wir sind nicht Zigeuner im grünen Wagen! is the insistent motto of Tonio’s father.

“We are not Gypsies in a green wagon!”

What could be worse? No, the Krögers were the opposite—a respectable family, descendants of the eminent Consul Kröger. Gypsies represented not only a wanton way of life, but also the temptation to reject rules and bourgeois convention.

A wary fascination with southern European and Gypsy culture was one of the few points of commonality between German and French arts of the late 19th and early 20th centuries. German and Austrian composers had their formal rigor, discipline and precision; the French had their elegance, refinement and irony. But for both cultures, the Gypsy represented the dangerous “other”: heedless sensuality, overt passion, unchecked emotional expression. This was catnip for composers such as Edouard Lalo in his Symphonie espagnole, Georges Bizet in Carmen, and Massenet in his rejoinder to Carmen, called La Navarraise. The same GypsySpanish elements crop up in every phase of the works of Mann and Ravel, who both had deeper links than their compatriots to Spanish and Gypsy culture. Like Mann, Ravel was influenced by a mother who was of Spanish ancestry. He grew up three miles from the French-Spanish border, and his lullabies were traditional Spanish songs.

When he used Spanish forms such as the Bolero and the Pavane, he did so as a native, not a tourist.

minutes.

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NOTES ON THE PROGRAM The heat, the sun, the light, the overt sensuality—French composers conflated these elements of Spanish culture with Romani and Magyar musical traditions that fascinated composers from Haydn to Brahms. The “Gypsy violin” was the essence of this tradition, and its flamboyance was of special fascination to the great violinists and violin composers of the late 19th and early 20th centuries. This is where the Spanish and Hungarian musical folkways irresistibly combine.

Pablo de Sarasate, Niccolò Paganini and Fritz Kreisler were among the composers in whose virtuoso showpieces we can recognize Thomas Mann’s Zigeuner: Sarasate’s catalog includes Zigeunerweisen (“Gypsy Airs”), and Kreisler gave us his Zigeuner Capriccio. To this list we can add Ravel and his Tzigane. Mainstream composers did not use such terms lightly; Brahms and Haydn before him revered “Gypsy music,” and Brahms’ Hungarian Rhapsodies are among his most enduringly popular compositions. Tzigane means Gypsy, as do the German Zigeuner and the Hungarian Cigány. But the vocabulary used for describing compositions such as Ravel’s spectacular violin showpiece Tzigane has been changing in recent years to reflect greater sensitivity to the Roma people that were formerly identified with the vague and pejorative term “Gypsy.”

WHAT TO LISTEN FOR

Tzigane belongs to a popular genre of violin solo modeled on Romani traditions of violin playing, characterized by passionate emotionalism, vigorous bowing, a willingness to let the strings growl, and technical daring. A sense of perilously freewheeling improvisation prevails—we can imagine the fiddler almost dancing, eyes closed, hair flying. When we listen to 801.399.9214

Romani music, we intuitively know that is not based on a written musical score, but rather on generations of tradition and the feelings of the moment. Yet Ravel creates this effect in a written score that is typically and dauntingly precise. This is the sound of unplanned, passionate expression we expect in a piece called Tzigane, but crafted to a level beyond our expectations.

Ravel composed Tzigane on commission from the Hungarian violinist Jelly d’Arányi, the great-niece of legendary violinist Joseph Joachim. It is almost never performed as originally scored, for violin and piano with luthéal, a mechanical attachment for piano that has all but disappeared. Developed in Belgium, the luthéal was available to Ravel on pianos by the French maker Pleyel, and he used it to add a tangy, zither-like texture to the piano accompaniment in Tzigane; a few months after completing this version early in 1924, he orchestrated the piano part, and in this scoring it has secured a place as one of the most brilliant and popular of violin showpieces.

This is no-holds-barred music, affectionate and idiomatically correct, yet with a hint of parody in its extreme virtuosity—as with Mozart’s arias for the Queen of the Night in The Magic Flute, Richard Strauss’ stunner for the coquette Zerbinetta in Ariadne auf Naxos, and Broadway songs like “Hernando’s Hideaway” and “Whatever Lola Wants,” which are affectionate parodies of formal Argentinian tangos. More than one interpreter of Tzigane has expressed astonishment at Ravel’s understanding of just how far it was possible to push an instrument he did not himself play. Like the Mozart and Strauss examples, it seems like an ultimate statement of its genre.

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NOTES ON THE PROGRAM Sergei Rachmaninoff (1873–1943)

the sweeping lyricism of the concerto and symphony melodies. “Taut” or “lean” might be better descriptors.

Symphonic Dances, Op. 45 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; percussion; harp; piano; strings.

INSTRUMENTATION:

PERFORMANCE TIME: 35

minutes.

BACKGROUND

To many American listeners, critics’ insistence that Rachmaninoff was an “old-fashioned” composer simply doesn’t compute. And this apparent disconnect may have an ironic explanation: Though he was considered even in his lifetime to be the last composer clinging to the style and traditions of the Russian Romantics, he did so with melodies and harmonies that were became influential in the popular sphere. At the end of his life he was a Los Angeles neighbor of Igor Stravinsky, a compatriot who was far more modern and influential in the classical realm. But it was Rachmaninoff whose music we hear today in Hollywood and Broadway productions.

His compositions were adapted as pop songs and inspired others. In the concert hall, with compositions such as the Symphonic Dances, we hear a style of musical presentation that is unmistakably and thrillingly Romantic.

WHAT TO LISTEN FOR

Thrilling, yes—in the opulence of its instrumental textures, its orchestral depth, its dramatic contrasts. But Symphonic Dances has also been termed “Rachmaninoff Lite” in its departure from

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Whether it was homesickness or the introspection of a man nearing the end of his life (Rachmaninoff tended to look on the dark side), the composer chose relatively austere themes as the basis for the three movements of Symphonic Dances. Listening, we can infer at least a suggestion of an autumnal backward glance in its religious sources and especially in its first movement, when Rachmaninoff returns to his life’s watershed moment. Here he quotes a theme from his first symphony, the calamitous failure that triggered a paralyzing depression that threatened to end his composing career. He followed three years of “composer’s block” with his phenomenally successful Piano Concerto No. 2, turning disaster into triumph.

In the second movement, marked tempo di valse, we hear hints of characteristic lyricism, but these are contrasted with austere rhythmic passages. The third movement confirms the serious and even religious nature of this composition, with its quotation of a 13th-century Dies irae chant.

As we listen, we can only wonder how the Symphonic Dances might have fared on stage if its composer and prospective choreographer, Michel Fokine, had survived to realize their original vision for the music as a ballet score. (Fokine predeceased Rachmaninoff by a year.) The music was later choreographed by Peter Martins as the ballet Symphonic Dances, which premiered in 1994. It also exists in a sparkling two-piano version.

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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 Weber County RAMP Season Sponsors ($10,000+) Alan & Jeanne Hall Foundation Robert & Marcia Harris Matthew B. Ellis Foundation Norman & Barbara Tanner Charitable Trust Richard K. & Shirley Hemingway Foundation Val A. Browning Foundation Concert Sponsors ($5,000+) George S. & Delores Dore Eccles Foundation Mrs. Paul T. Kunz Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation Utah Division of Arts & Museums Guest Artist Sponsors ($2,500+) Beaver Creek Foundation Walter & Karen Kunz Ogden City Arts Michael & Cindy Palumbo

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Ralph Nye Charitable Foundation Marty & Carolyn Rasmussen Benefactors ($1,000-$2,499) Dr. Glen & Genette Biddulph Evan & Geraldine Christensen Dr. & Mrs. Fred Clayson Dr. Rosemary Conover & Luckey Heath Rick & Karen Fairbanks Dr. Doug & Shelley Felt Ralph & Donna Friz Mr. & Mrs. Kelly Goddard Paul C. & Cindy Kunz Dr. & Mrs. Seth Lewis Lindquist Memorial Parks Shirley Mack Jean & Richard Miller Robert & Jelean Montgomery Keith & Ellen Opprecht Dr. Harry & Becky Senekjian Dr. Paul & Carol Sonntag Val A. & Edith Dee Green Foundation E. K. & Grace Walling Dr. Michael & Jennifer Webb Glenn & Connie Wimer Supporters ($500-$999) Barbara Anderson

symphonyballet.org

Marlene Barnett Bill & Melissa Bennett Russ Carruth Mary & Lee Forrest Carter Allen & Janis Christensen Dr. Douglas Deis Drs. Ann & Peter Ellis George & Mary Hall Dr. William & Barbara Hughes Dean Hurst 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 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

Partners ($100-$499) Jon Adams Jack & Shann Albretsen

801.399.9214

FRIENDS OF OSBA 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 Cathay Christiansen Ellie Cole Clark & Pat Combe Kim & Becky Crumbo Lynn & Natalie Dearden DeLoris & Dale Dorius Kathy Douglas Ann Alene Dunn David & Robbyn Dunn Jennifer & Jonathan Earl Madelon Fallows Farr’s Jewelers Mr. & Mrs. Thomas Fearn Rick & Angela Flamm Jill Flamm Mr. & Mrs. Christopher Ford Linda Forest Dr. Robert Fudge & Sylvia Newman Pat Fuller Bert & Karen Gall Dr. Greg & Caitlin Gouchnour

801.399.9214

Janice Grajek Nancy & Lawren Green Kim & Becky Hale Kimberly Hearn Jeanne Hinchman 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 Melba & Denis Kirby Paul & Terry Kriekard Thomas Kuehls Andrea Lane Jody & Blake Leatham Robert Lindquist Jeanette Long Eugene & Pat Low Ivaloo Lund Corey Malan Mr. & Mrs. Dwayne Manful Frank & Sharon Markos Sandy & Phillip Maxwell Andy & Susan Mccrady Willis McCree & Jon 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

symphonyballet.org

Gary & Marilyn Newman Arthur & Ruth Nielsen 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 Lawanna & Robert Shurtliff Joann Smith Mr. & Mrs. Sherman H. Smith Edward & Mari Lou Steffen Ned & Sheila Stephens Shelley Stevens Joyce & Robert Stillwell Darlene Stoddard Cobalt Stromberg Jeneile Tams Jeane Taylor Michael Ulrich Karen Vanden Bosch Melvin Walker Andrew & Suzanne Wall Bruce Wallace Brent & Gloria Wallis Sheldon & Janice Ward Wasatch Peaks Credit Union Suzanne Wayment

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FRIENDS OF OSBA Lee & Carol Welch Linda Weiskopf Kent & Roberta West Carolyn & James Wold Carl & Helgard Wolfram Larry Zaugg Jan Zehner Jolene & Chad Zito

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 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

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George & Mary Hall Betty-Jo Handy Terry Hartman-Smith Deborah Heaney Dr. William & Barbara Hughes Craig & Justine Hazen Kaffe Mercantile Kappels & Premium Creamies Emily Kunz Paul & 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

symphonyballet.org

Uinta Golf Utah Symphony | Utah Opera Andrew Wall Watson Chevrolet Utah Jazz Utah Presents at Kingsbury Hall Walmart Michael & Jennifer Webb Michael & Cynthia Webb Ye Olde Cupcake Shoppe Tom Zampedri Jan Zehner Memorial Donations Suzan Johnson Val Johnson Charles A. Combe Phyllis & Charles Combe Hetty Hammon Sly Denise Sly John Hinchman Jan Thurston Dot Bolieau Jan Thurston In Honor of Donations

Dr. Robert Fudge Frank & Kathleen Newman

801.399.9214

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.

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4795 East 2600 North

Eden, Utah

Open Tues-Sat 11-6

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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

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It’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.

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1885 E. SKYLINE DR. SOUTH OGDEN

801-896-8459

MOUNTAINRIDGEAL.COM

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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.

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