Utah Symphony April/May 2023

WELCOME

STEVEN BROSVIK President & CEO

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Maurice Abravanel Hall and today’s performance. We are so pleased that you have joined us for one of the finale concerts of Thierry Fischer’s remarkable 14-year tenure as Music Director of this outstanding orchestra. From collaborations with this year’s Artist-in-Association Emmanuel Pahud and our very own Tad Calcara and Lori Wike to stand-alone orchestral masterpieces by Messiaen and Mahler, these concerts are designed to showcase the excellence that Thierry and the musicians of the orchestra have achieved through their work together.

Under Maestro Fischer’s leadership, the Utah Symphony has become increasingly recognized as one of the nation’s top orchestras, offering artistic and educational experiences at the highest level. We are proudly part of the economy, artistic fabric, and cohesiveness of our growing community. Guided by our mission and values, we endeavor to build upon this great work of the past to invigorate and excite our audience members, expand our impact across our communities, and reach ever more people through the art we create.

BRIAN GREEFF Board of Trustees Chairman

p.s. If you haven’t already subscribed to the 2023–24 Season, be sure to check out the full line-up of concerts and benefits—including exclusive first access to tickets to our October 14th concert with violin virtuoso Itzhak Perlman! utahsymphony.org/ tickets/subscriptions/

This summer we hope you will “Escape into the Music” with USUO at the Deer Valley® Music Festival. The six-week summer concert series, which runs from June 30 through August 4, showcases the versatility of our orchestra musicians as they perform music ranging from classical to alternative rock alongside popular guest artists. Also watch for the Utah Symphony at outdoor community venues along the Wasatch Front in June and throughout the state during our Music Elevated Tour, August 7–12, and join us to enjoy free outdoor concerts set to backdrops of our state’s breathtaking landscapes.

Thank you again for being part of tonight’s musical experience. Your presence matters and we look forward to seeing you outdoors this summer and once again in the marvelous setting of Maurice Abravanel Hall for our 2023–24 Season.

Sincerely,

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MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009, has held the same position with the São Paulo Symphony since 2020, and took up his post as Music Director of the Orquesta Sinfónica de Castilla y León in September 2022.

In recent seasons he has conducted orchestras across the globe, notably the Cleveland Orchestra—where he returned this past autumn—also the Boston, Atlanta, and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic; and Maggio Musicale Firenze among others.

THIERRY FISCHER Music Director

Maurice Abravanel Chair,

Fischer closes his tenure in Utah with Mahler’s allembracing 3rd Symphony, featuring the women of the Tabernacle Choir. This follows on their recording together of Mahler’s 8th symphony (released in 2017 on Reference Records, after Mahler 1 in 2015 and a disc of newly commissioned works by American composers in 2015). In this farewell season he has also chosen to celebrate Messiaen’s music with a performance of Turangalîla and the release on Hyperion in 2023 of his Des canyons aux étoiles (directly inspired by the breathtaking landscape of Utah). After a transformative 14 years in Utah, including the orchestra’s visit to Carnegie Hall for the first time in 40 years, a Saint-Saëns cycle on Hyperion and many other highlights, Fischer becomes Music Director Emeritus in the 2023–24 Season.

While Principal Conductor of the BBC National Orchestra of Wales 2006–12, Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum, and Orfeo. In 2012 he won the ICMA Award for his Hyperion recording of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. His discography also includes a Beethoven disc with the London Philharmonic on the Aparté label.

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 was Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Principal Guest of the Seoul Philharmonic 2017–20 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–11.

Thierry Fischer is represented by Intermusica.

The

endowed by the George S. and Dolores Doré Eccles Foundation

Dear Friends,

When I arrived in Utah in 2009, I could never have imagined the many exciting and fulfilling experiences the next 14 years would bring. I look back on playing my part in Utah’s rich cultural heritage with much gratitude: I remember the warm welcome you gave me and my wife Catherine as soon as we arrived; I commend the fantastic musicians of the Utah Symphony who have consistently surpassed my expectations and inspired me with their artistry; and I thank the Board and staff who unfailingly lead us to our greatest aspirations; and last but certainly not least, I want to express my appreciation for you, our audiences, who make our work possible and meaningful. Without you, our light would not shine as brightly as it does throughout the state.

It’s impossible to highlight only a few of the many rewarding projects we have done in the last 14 years. I’m proud of our commitment to commissioning and showcasing new works; proud of our state-wide education programs; and proud of the world-renowned artists we feature on our stages. I will never forget the opportunity to play music against the backdrop of some of Utah’s most spectacular scenery on our statewide tours, or the legacy we leave through our recordings. These memories will always be a source of great joy for me.

I encourage you to continue to support this marvelous institution. You have a community treasure in the Utah Symphony | Utah Opera, and I could not be prouder of the artistic heights we’ve reached together; they deserve to grow and blossom with new leadership on the podium and new experiences that will add to USUO’s legacy. I certainly cannot wait to return for more incredible music making with you in the 2024–25 season.

It’s been an honor to serve as Utah Symphony’s seventh Music Director. I look forward to cheering you on from afar. A part of Utah and my experience here will accompany me on all of my journeys and wherever my musical adventures take me.

Until we meet again,

Thierry Fischer

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis*

Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead*

Dr. Stewart E. Barlow

Judith M. Billings

George Cardon-Bystry

Gary L. Crocker

John D’Arcy

David L. Dee*

Barry L. Eden*

Senator Luz Escamilla

Theresa A. Foxley

Brandon Fugal

Dr. Julie Aiken Hansen

Daniel Hemmert*

Stephen Tanner Irish

Thomas N. Jacobson

Abigail E. Magrane

Brad W. Merrill

Judy Moreton

Dr. Dinesh C. Patel

Frank R. Pignanelli

Gary B. Porter

Shari H. Quinney

Miguel R. Rovira

Stan Sorensen

Dr. Shane D. Stowell

Naoma Tate

Thomas Thatcher

W. James Tozer

David Utrilla

Kelly Ward

Kim R. Wilson

Thomas Wright*

Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt*

Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb

Onstage Ogden

LIFETIME BOARD

William C. Bailey

Kem C. Gardner*

Jon Huntsman, Jr.

G. Frank Joklik

Clark D. Jones

Herbert C. Livsey, Esq.

Thomas M. Love*

David T. Mortensen

Scott S. Parker

David A. Petersen

Patricia A. Richards*

Harris Simmons

David B. Winder

TRUSTEES EMERITI

Carolyn Abravanel

Dr. J. Richard Baringer

Howard S. Clark

Kristen Fletcher

Richard G. Horne

Ronald W. Jibson

E. Jeffery Smith

HONORARY BOARD

Jesselie B. Anderson

Kathryn Carter

R. Don Cash

Raymond J. Dardano

Geralyn Dreyfous

Lisa Eccles

Spencer F. Eccles

Dr. Anthony W. Middleton, Jr.

Edward Moreton

Marilyn H. Neilson

Stanley B. Parrish

Marcia Price

Jeffrey W. Shields, Esq.

Diana Ellis Smith

* Executive Committee Member

UTAH SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis

Associate Conductor

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

Laura Ha

Second Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu#

Associate Principal Second

Evgenia Zharzhavskaya

Assistant Principal Second

Karen Wyatt••

Sara Bauman~

Erin David

Joseph Evans

Lun Jiang

Rebekah Johnson••

Tina Johnson~

Amanda Kofoed~

Jennifer Kozbial Posadas~

Veronica Kulig

David Langr

Shengnan Li

Hannah Linz••

Yuki MacQueen

Alexander Martin

Rebecca Moench

Hugh Palmer•

David Porter

Lynn Maxine Rosen

Barbara Ann Scowcroft

Ju Hyung Shin•

Bonnie Terry

Julie Wunderle

VIOLA*

Brant Bayless

Principal

The Sue & Walker

Wallace Chair

Yuan Qi

Associate Principal

Julie Edwards

Joel Gibbs

Carl Johansen#

Scott Lewis

John Posadas

Whittney Sjogren

Leslie Richards~

CELLO*

Matthew Johnson

Acting Principal

The J. Ryan Selberg Memorial Chair

Andrew Larson

Acting Associate Principal

John Eckstein

Walter Haman

Anne Lee

Louis-Philippe Robillard

Kevin Shumway

Hannah Thomas-Hollands~

Pegsoon Whang

BASS*

David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn

Andrew Keller

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

Zachary Hammond

Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN

Lissa Stolz

CLARINET

Tad Calcara

Principal

The Norman C. & Barbara Lindquist

Tanner Chair, in memory of Jean Lindquist Pell

Erin Svoboda-Scott Associate Principal

Lee Livengood

BASS CLARINET

Lee Livengood

E-FLAT CLARINET

Erin Svoboda-Scott

BASSOON

Lori Wike Principal

The Edward & Barbara Moreton Chair

Leon Chodos Associate Principal

Jennifer Rhodes

CONTRABASSOON

Leon Chodos

HORN

Jessica Danz

Principal

Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~

Stephen Proser

TRUMPET

Travis Peterson Principal

Jeff Luke

Associate Principal

Peter Margulies

Paul Torrisi

TROMBONE

Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE

Graeme Mutchler

TUBA

Alexander Purdy 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

Claudia Restrepo

ORCHESTRA PERSONNEL

Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

• First Violin

•• Second Violin

* String Seating Rotates

** On Leave

# Sabbatical ~ Substitute Member

SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

2022-23 UTAH SYMPHONY SEASON SPONSOR

Saluting

Maestro Thierry Fischer for his inspiring passion for excellence … and his lasting impact in Utah!

George S. and Dolores

Doré Eccles Foundation

Board of Directors (l to r):

Robert M. Graham , Spencer F. Eccles, Lisa Eccles

WITNESS THIERRY FISCHER’S FINAL PERFORMANCES AS

MUSIC DIRECTOR

MESSIAEN’S TURANGALÎLA SYMPHONY

MAY 19-20 / 7:30PM

JASON HARDINK, PIANO

MAHLER’S SYMPHONY NO. 3

MAY 26-27 / 7:30PM

ANNA LARSSON, MEZZO-SOPRANO SOPRANOS AND ALTOS OF THE TABERNACLE CHOIR AT TEMPLE SQUARE CHORISTERS OF THE MADELEINE CHOIR SCHOOL

SIBELIUS’ SYMPHONY NO. 5

APRIL 21, 2023 / 7:30 PM

APRIL 22, 2023 / 5:30 PM

Maurice Abravanel Hall

THIERRY FISCHER, conductor

EMMANUEL PAHUD, flute (Artist-in-Association)

SIBELIUS

ERKKI-SVEN TÜÜR

Finlandia, Op. 26

Lux Stellarum (U.S. Premiere)

I. Fading Stardust

II. Dancing Asteroids

III. Litany of the Dying Stars

IV. Floating Galaxies

Emmanuel Pahud, Flute

INTERMISSION

SIBELIUS

Symphony No. 5 in E-Flat Major, Op. 82

I. Tempo molto moderato - Allegro moderatoPresto

II. Andante mosso, quasi allegretto

III. Allegro molto

CONDUCTOR SPONSOR

CONCERT SPONSOR GUEST ARTIST SPONSOR

PRICE FAMILY FOUNDATION

ARTIST’S PROFILE

EMMANUEL PAHUD Flute

French and Swiss flautist

Emmanuel Pahud began studying music at the age of six. He graduated in 1990 with the Premier Prix from the Paris Conservatoire and went on studying with Aurèle Nicolet. He won 1st Prize at the Duino, Kobe, and Geneva Competitions, and at age 22 Pahud joined the Berliner Philharmoniker as Principal Flute under Claudio Abbado, a position which he still holds today. In addition, he enjoys an extensive international career as soloist and chamber musician.

In 1993, Pahud founded the Summer Music Festival in Salon de Provence together with Eric Le Sage and Paul Meyer, which is still a unique chamber

See page 6 for Thierry Fischer’s profile…

music festival today. He also continues chamber music performances and recordings with Les Vents Français, one of the premiere wind quintets featuring François Leleux, Paul Meyer, Gilbert Audin, and Radovan Vlatković.

He is committed to expanding the flute repertoire and commissions new flute works every year from composers such as Elliott Carter, Marc-André Dalbavie, Thierry Escaich, Toshio Hosokawa, Michael Jarrell, Philippe Manoury, Matthias Pintscher, Christian Rivet, Eric Montalbetti, Luca Francesconi and Erkki-Sven Tüür.

Emmanuel Pahud was honoured to receive the Chevalier dans l’Ordre des Arts et des Lettres for his contribution to music, and is HonRAM of the Royal Academy of Music. He also is an Ambassador for Unicef.

HISTORY OF THE MUSIC

By Jeff Counts

Finlandia, Op. 26

Duration: 8 minutes.

THE COMPOSER – JEAN SIBELIUS

(1865–1957) – Just before the turn of the 20th century, Sibelius was working hard to establish a stable life as a musician. He had failed in 1896 to secure a permanent teaching position at Helsinki University and was regularly spending beyond his means. In 1899, Sibelius wrote and premiered his first symphony, an important event that announced the arrival of a potentially powerful new contributor to the genre, but it didn’t pay the bills. The small lifetime pension he received from the Finnish government that same year helped steady the young Sibelius family a bit, but international fame was still a year away for the composer.

THE HISTORY – Running in the background behind Sibelius’ personal and professional striving in the 1890s was a great deal of discontent for his country. On paper, Finland was an autonomous grand duchy of the Russian Empire. In reality, the Tsar was consistently nibbling away at Finnish self-government with decrees designed to bring the people more fully under Russian dominion. The Finns, Sibelius very much included, reacted with pride and occasional boldness. The composer did his part by celebrating his culture on the concert stage. Works like En Saga, The Swan of Tuonela, and the Karelia Suite put Finland front and center and, in their subtle way, confirmed Sibelius’ commitment to the cause of

self-determination. “I now grasp those purely Finnish tendencies in music… more truthfully than before” he wrote to his wife Aino. But he wanted to contribute more. The chance to do so came with a request to write a new work for a press pension fund event in 1899. Sibelius wrote a fetching anthem for the performance (which had a strong but carefully managed political subtext) called Finland Awakes that put his name on the lips of every Finn. He revised it a year later and changed the title to Finlandia. The piece featured prominently on the Helsinki Philharmonic’s first big tour and Sibelius’ reputation finally began to take hold beyond his homeland borders. The patriotism of Finlandia is pan-national too, and it still stirs the souls of every open-hearted listener, regardless of their country of origin. Reflecting back on the work after Finland achieved its independence from Russia, Sibelius said, “We fought 600 years for our freedom and I am part of the generation which achieved it. Freedom! My Finlandia is the story of this fight. It is the song of our battle, our hymn of victory.”

THE WORLD – Elsewhere in 1899, the Philippine-American War began, the Spanish-American war ended, Aspirin was patented by the Bayer Company in Germany, and Phoebe, a moon of Saturn, was discovered.

THE CONNECTION – Finlandia has not been performed on a Utah Symphony Masterworks concert since 2010. Guest Conductor Mario Venzago was on the podium.

HISTORY OF THE MUSIC

Flute Concerto Lux Stellarum

Duration: 25 minutes in four movements.

THE COMPOSER – ERKKI-SVEN TÜÜR

(b. 1959) – Estonian composer Erkki-Sven Tüür got his start in music as the front man of a progressive rock band in the 1970s and made his mark in the Baltic as a classical music composer ten years later. Decades now into his celebrated career, Tüür still tries to raise existential questions with his music. “What is our mission?” he writes, “One of my goals is to reach the creative energy of the listener. Music as an abstract form of art is able to create different visions for each of us, for each and every individual being, as we are all unique.” Tüür has composed nine symphonies, an opera, numerous works for chamber ensemble, and ten instrumental concertos.

THE HISTORY – The most recent of those ten concertos is the Lux Stellarum for flute and orchestra. Written for renowned virtuoso Emmanuel Pahud in 2021, the work was a co-commission of the Berlin Philharmonic and Zurich Tonhalle Orchestra. In Tüür’s own program note for the piece, he admits that the title (“Starlight”, roughly) is, like all of his titles, only intended to “guide the listener’s train of thought onto certain paths.” The concerto is not expressly programmatic, therefore, but rather an opportunity to consider “new unfathomable dimensions” through sound. Where better to encounter such expansive possibility than the cosmos itself? Later in his note, Tüür

recalls a thrilling moonless night he once experienced in Namibia where “the Milky Way glimmered…like a blue cloud” across the sky. “In these moments,” he continues, “the inability of man to actually grasp the scope of the universe, both in time and space, becomes particularly obvious. This emotion, the sense of solemn awe and wonder, and also a sort of eeriness is what Lux Stellarum is about.” The role in the flute in this colorful timbral study of the “unfathomable” is as our proxy, a “lonely spiritual voyager” like us, who is “trying to penetrate the borders of perception.” To appropriately set the stage for that voyage, Tüür used evocative movement titles (Fading Stardust, Dancing Asteroids, Litany of the Dying Stars, Floating Galaxies) to highlight the various celestial processes that are converted in Lux Stellarum into mysterious orchestral vibration. “All great civilizations have interpreted the starlit sky,” Tüür’s commentary concludes, “even our veins are full of ‘stardust’ and the notion that we are part of all this should increase our responsibility to this magnificent planet we are lucky to live on. It should make us humble in the profoundest sense of the word.”

THE WORLD – Elsewhere in 2021, the United States began its full military withdrawal from Afghanistan, Alexei Navalny was jailed in Russia, record floods devastated Belgium and Germany, and the Summer Olympics were held in Tokyo.

THE CONNECTION – These concerts represent the United States Premiere of Erkki-Sven Tüür’s Flute Concerto (Lux Stellarum).

Continued on page 23…

Unmatched Academic Results

Symphony No. 5 in E-Flat Major, Op. 82

Duration: 30 minutes in three movements.

THE COMPOSER – JEAN SIBELIUS (1865-1957) – Sibelius was confronting a crisis of compositional faith in the middle 1910s. Though he had never intentionally aligned himself with either side of the conservative/progressive debate, the progressives had essentially decided the matter for him and often made him the model-opposite of their preferred “modern” sound. For his part, Sibelius was changing as an artist but not in a way that would register quickly to either side. None of this mattered much by the end of the decade. Europe was a smoldering wreck and Finland fought its own brief civil war after gaining independence from the Russian Empire in 1917.

THE HISTORY – During what would turn out to be the last meaningfully productive period of his career, Sibelius was focused on finding a deeper connection between music and nature. Many of his late creations shared an earthbound spirituality that, according to biographer James Hepokoski, reflected the composer’s secluded forest retreat at Ainola. Predominate among the works that came out of that meditative reverie was the 5th Symphony. It was commissioned for the celebration of Sibelius’ 50th birthday which, given his status as the most importantly “international” Finn artist alive, promised to be a big event. Much like Mozart had done with his 24th Piano Concerto, Sibelius had courted disfavor with his dark and misunderstood 4th Symphony.

But also just like Mozart, the next link in the Sibelius chain provided some welcome triumphal medicine. Symphony No. 5 suffered through three iterations before Sibelius considered it done, the first dating from 1915. 1915 was a Great War year and Sibelius was depressed by the loss of life and financially stricken by the loss of access to his German publishers. His diary entries from the time reveal a decidedly gloomy mood but also make mention of the hopeful “mountain [he would] surely ascend” with the 5th. The symphony was completed in time for the 1915 birthday concert but then almost immediately withdrawn. He revised it in 1916 and then again for a final time in 1919. This is the version we know today. The gorgeous opening sunrise of the first movement has been best described by Sibelius himself: “…God opens His door for a moment and His orchestra plays the 5th Symphony.” This was no boast. Well, it was a boast, of course, but not a harmful one. Just like the absolutely transcendent sounds of the “swan hymn” in the finale, Sibelius was merely acknowledging his fortunate ability to gather the mysterious world around him into music. As an experience, Sibelius 5 is neither modern nor quaint, only lasting.

THE WORLD – Elsewhere in 1919, “The Tragic Week” of anarchist riots erupted in Argentina, as did the Spartacist Uprising in Germany, and the 18th Amendment of the U.S. Constitution (Prohibition of Alcoholic Beverages) was ratified.

THE CONNECTION – Sibelius 5 was last performed on a Utah Symphony Masterworks concert back in 2013. Guest Conductor Yan Pascal Tortelier was on the podium.

Season Sponsor

RAVEL, RACHMANINOFF & STRAUSS

APRIL 28 & 29, 2023 / 7:30 PM

Maurice Abravanel Hall

KEVIN JOHN EDUSEI, conductor

TAD CALCARA, clarinet

LORI WIKE, bassoon

RAVEL

RACHMANINOFF

La Valse

Isle of the Dead, Op. 29

INTERMISSION

STRAUSS

Duet-Concertino for Clarinet and Bassoon with String Orchestra and Harp

I. Allegro moderato

II. Andante

III. Rondo

STRAUSS

Suite from Der Rosenkavalier, Op. 59

CONCERT SPONSOR

CONDUCTOR SPONSOR

ANNETTE W. & JOSEPH Q. JARVIS

ARTISTS’ PROFILES

German conductor Kevin John Edusei is sought-after worldwide, dividing his time equally between the concert hall and opera house. He is praised repeatedly for the drama and tension that he brings to his music-making, for his attention to detail, sense of architecture, and the fluidity, warmth, and insight that he brings to his performances. In recent seasons he has conducted many of the major orchestras

across the UK, Germany and the US, and this season will make his debut with the London Philharmonic, Cincinnati Symphony, and National Symphony (Washington) among others, as well as return to the London Symphony, Baltimore and Colorado Symphony orchestras. He is the former Chief Conductor of the Munich Symphony Orchestra and 2022–23 marks the start of his tenure as the Principal Guest Conductor of the Fort Worth Symphony Orchestra. During his time as Chief Conductor of Bern Opera House, he led many new productions.

Tad Calcara has been Principal Clarinet of the Utah Symphony since 1998. Born in Oceanside, California his musical career has encompassed the worlds of classical music and jazz. In addition to his position with the Utah Symphony he has served as Principal Clarinet of the Grand Teton Festival Orchestra, New World Symphony, and was a frequent performer with the Cleveland Orchestra. He is active

in chamber music having performed at La Jolla Summer Festival, Kol Ami Concert series, and the Nova and Intermezzo Chamber Music Series. As a specialist in early jazz and the Big Band/Swing Era he established the New Deal Swing Orchestra in 2003 which has performed with the Utah Symphony, Salt Lake Jazz Festival, and Excellence in the Community. During the pandemic he created a series of “one-man-band” music videos that were seen by millions in which he plays multiple instruments in his own elaborate arrangements.

Lori Wike joined the Utah Symphony as Principal Bassoon in 2005. Originally from North Carolina, she holds a Bachelor of Music degree and Performer’s Certificate from the Eastman School of Music and a Master of Arts degree from the University of California, Irvine. A former member of the Louisville Orchestra, Wike has also performed with the Rochester Philharmonic Orchestra,

the Moscow Chamber Orchestra, the Saint Paul Chamber Orchestra, and the Aspen Festival and Chamber Orchestras. Prior to joining the Utah Symphony, she performed for three seasons with the New World Symphony under the direction of Michael Tilson Thomas. She is a frequent performer on both the Nova and Intermezzo Chamber Music series and is also a member of Three Fish and a Scorpion woodwind quartet. Wike is currently Adjunct Professor of Bassoon at the University of Utah and Instructor of Bassoon at Westminster College.

KEVIN JOHN EDUSEI Conductor

TAD CALCARA Clarinet

LORI WIKE Bassoon

Electricity is in the air. And under the hood.

The

By Jeff Counts

HISTORY OF THE MUSIC La Valse

Duration: 12 minutes.

THE COMPOSER – MAURICE RAVEL (1875-1937) – When Debussy died in 1918, Ravel found the throne of French concert music unguarded, and the unobstructed path did not suit him. For years, the two men had been set up as rivals in Paris and though neither of them gave the topic any oxygen, it led to a cooling between them. Neither man liked being called an Impressionist (which they were then and still are today) and likely resented how the superficiality of the word masked their individuality as artists. In any case, Ravel had never wanted to be the top man of Parisian musical letters and when that became suddenly inevitable, he demurred and moved away from the city.

THE HISTORY – Ravel reportedly believed that every composer, himself included, secretly wished they could write an excellent waltz, but most were scared off by the difficulty and the wealth of enviable examples already in the repertory. For years, Ravel had entertained the idea of creating an homage work to Johann Strauss, Jr. entitled Wien (Vienna). When Serge Diaghilev approached him after World War I to write a new ballet, he thought he had finally found reason to see it through. Diaghilev’s name is synonymous with so many of the 20th century’s great orchestral scores it is easy to forget the ones he rejected. Ravel gave the impresario a twopiano sneak peek of Wien in the spring of 1920. Poulenc and Stravinsky were in attendance as well and Poulenc recalled the disastrous tension when Diaghilev

referred to the music as “genius” but “not a ballet.” Ravel was highly offended and broke ties with Diaghilev on the spot. So enduring was the animosity between them, it is believed Diaghilev challenged Ravel to a duel a few years later. Thankfully, cooler heads prevailed. La Valse (instead of Wien) premiered as an orchestral work later in 1920 and was finally produced as a ballet in 1928 by none other than Ida Rubenstein (yes, the same competitor of Diaghilev that had commissioned both Boléro and Stravinsky’s The Fairy’s Kiss—which led to the latter’s own permanent split with the Ballets Russes). The grey, brooding mood of La Valse has been popularly attributed to Ravel’s impressions of the Great War and its numberless atrocities, but he remained ever resistant to that interpretation. Certainly, Ravel was unearthing something of a quaint relic with his waltz, in that the war had fully killed the 19th century and all such confectionary comforts. Waltzes were just one among many things of the past, a memory of a time before trenches and gas clouds and mechanized slaughter. It’s all in there, though, just beneath the surface. Whether or not Ravel wants us to think so.

THE WORLD – Elsewhere in 1920, the American Civil Liberties Union was created, legendary explorer Robert Peary died, the Ottoman Empire’s dissolution began, the very first “Ponzi” scheme was attempted, and Joan of Arc was canonized.

THE CONNECTION – La Valse has been programmed frequently by the Utah Symphony. The most recent Masterworks performance was just last season with Maestro Thierry Fischer conducting.

Isle of the Dead, Op. 29

Duration: 19 minutes.

THE COMPOSER – SERGEI

RACHMANINOFF (1873-1943) – From 1890 until his final departure from Russia in 1917, Rachmaninoff spent his summers at a bucolic estate called Ivanovka in the Tambov Oblast (region) 450 kilometers southeast of Moscow. It was the country home of his aristocratic relatives, the Satin family, and the composer wrote many important works (Symphony No. 2 and Piano Concerto No. 3 among them) while in residence there. As political unrest continued to fester in Russia during the first decade of the 20th century, Rachmaninoff found the Ivanovka sojourns more necessary than ever. In fact, after moving to Dresden in 1906 to briefly escape the turmoil, the summer retreats in the Tambov were his only connection to Russia for three years.

THE HISTORY – Rachmaninoff was in Paris in 1907 for a performance of his 2nd Piano Concerto. While there he had occasion to see a black-and-white reproduction of Arnold Böcklin’s painting

Die Toteninsel (The Isle of the Dead). The Swiss symbolist artist had died just six years before and his work, especially The Isle of the Dead, was in vogue throughout Central Europe. Vladimir Nabokov wrote in 1936 that prints of the painting could be “found in every Berlin home” during the first years of the 20th century, and Böcklin had certainly made the most of its popularity and effectiveness by creating no less than six versions between 1880 and 1901. Every version depicts a semi-

circle of imposing rocks as seen from across an expanse of still, dark water. The partial ring of spires surrounds a stand of cypress trees and a low stone water gate. Approaching from just left of center is a small boat with a seated oarsman and a standing, white-robed figure. With them is the simple coffin they must deliver to the tombs. The colors Böcklin used in each version of his “dream image” are muted but significant. We don’t know which iteration Rachmaninoff saw reproduced in Paris, only that it was rendered without the artist’s original palette. The composer was immediately and powerfully moved by what he saw, with the music for his own Isle of the Dead coming in an unbidden rush. “It came up within in me,” he said, “was entertained, written down.” Not right away, it turned out, but soon enough. He began work on it during one of his Ivanovka visits and completed the score in Dresden in 1909. Interestingly, Rachmaninoff was able to view the fifth version of Die Toteninsel later in Leipzig and admitted that the color threw him off. “I like it in black and white,” he said, adding that if he had seen it as Böcklin intended back in 1907, he probably would not have felt so compelled to write his highly dramatic tribute piece.

THE WORLD – Elsewhere in 1909, the city of Tel Aviv was founded, Joan of Arc was beatified by Rome, Ernest Shackleton claimed the South Magnetic Pole, and British Petroleum had its beginnings as the Anglo-Persian Oil Company.

THE CONNECTION – Rachmaninoff’s Isle of the Dead has not been programmed on a Utah Symphony Masterworks concert since 2008. Keith Lockhart was on the podium.

HISTORY OF THE MUSIC

Duet-Concertino

Duration: 19 minutes in three movements.

THE COMPOSER – RICHARD STRAUSS

(1864-1949) – Blessed with long life and endless intellectual stamina, Richard Strauss was prolific in the genres of opera, lieder, and the orchestral tone poem. His contributions in those areas are legendary and peerless. He was, however, surprisingly silent in the standardized compositional categories that inspire comparisons across borders and time. He wrote only two symphonies, one string quartet, and very few concertos. In the latter group are the two horn concertos, an oboe concerto, the Burleske for piano and orchestra, and a rarely heard violin concerto he completed as a teenager. That would have been it for orchestral soloists, if not for a very special commission Strauss received near the end of his life.

THE HISTORY – The piece written in fulfilment of that commission would be the last purely instrumental music of Strauss’ career, with only the Four Last Songs still left to be said. In 1947, about the time he began to conceive of the Duet-Concertino for Clarinet and Bassoon, Strauss was asked by a London journalist about what was next for him. “Well, to die, of course!” said the composer, and he wasn’t far off the mark. Within two years it would be so, but there was work to do in the meantime. The commission came from the Orchestra of Italian Switzerland in Lugano and their conductor Otmar Nussio, but Strauss had a specific friend in mind when he put pen to paper. Hugo Burghauser was Principal Bassoon of the Vienna Philharmonic and

one of Strauss’ oldest mates. Burghauser heard about the piece in a letter from the composer. “I am occupied with the idea for a double concerto for clarinet and bassoon,” Strauss wrote, “and I am thinking of your marvelous sound. Perhaps it will interest you.” Perhaps indeed. Bassoonists, even the ones with famous friends like Richard Strauss, don’t get this kind of letter every day. There were early indications that Strauss intended to follow a programmatic design for the Duet-Concertino based on a Hans Christian Andersen tale. In the story of The Swineherd, a prince (the bassoon) pretends to be the pig handler in the palace of the princess (the clarinet) in order to get close to her. Strangely, Strauss told Burghauser a completely different story about a princess (still the clarinet) who is startled by a bear (the bassoon) which later transforms into a prince after they dance. In the end, it seems that neither scenario was followed to the letter, so the duo-concerto should probably be enjoyed as a purely musical experience. It works perfectly well without the pigs and bears and is a lovely example of the lean, retrospective voice Strauss often used in his final years.

THE WORLD – Elsewhere in 1948, Mahatma Gandhi was assassinated, Israel was established as an independent nation, the World Health Organization was founded, and the first Polaroid cameras went on sale in Boston.

THE CONNECTION – The Utah Symphony has performed the music of Strauss quite frequently during its long history, but this is the first time it has presented the Duet-Concertino.

Suite from Der Rosenkavalier, Op. 59

Duration: 22 minutes in six movements.

THE

COMPOSER

– RICHARD STRAUSS

(1864-1949) – By 1909, Strauss had securely established himself as a bona fide modernist thanks to the deadly operatic sisters Salome and Elektra. Salome had already shocked the world in 1906 with its scandalous disruption of the operatic status quo (it was immediately banned in Austrian and English houses) when Elektra followed as confirmation that something subversive and special was afoot in the German-language stage music. Celebrated Austrian author Hugo von Hofmannsthal had adapted the German dramatic version of Elektra in 1903 and the operatic treatment he worked on with Strauss in 1909 was the beginning of an important friendship. But, after so much blood and fire, where would Strauss go next?

THE HISTORY – There would be no third sister. Strauss had apparently walked a bit too far down the avant garde path for his own comfort. After the lurid darkness of his back-to-back contemporary masterpieces, the composer was ready to look to music history’s past, not its future, for inspiration. For their second collaboration, Strauss asked Hofmannsthal to consider the more civilized possibilities of an 18th century comedy à la Mozart. Salome and Elektra had essentially been plays set to music, but for his next opera Strauss was determined to co-create a libretto from scratch. The highly literary and successful Der Rosenkavalier (1911) was the result. In terms of structure and style, Rosenkavalier

was different from the previous two operas in almost every possible way. It was cast in the customary three acts and employed a much more conventional musical language that even included waltzes, an out-offashion reminder of simpler times. It was all designed to fit the plot, which was in fact a wonderful echo of the traditional Mozartean farce set in the golden age of Viennese high society, filled to its limits with courtly intrigue, amorous entanglements, and cross-dressing hijinks. It arguably remains the most popular of Strauss’ operas and is certainly the best loved of the Hofmannsthal partnerships. Strauss was initially reluctant to excerpt a suite from the score, even though parts of it (the waltzes in particular) seemed perfect for concert performance. After first working with Hofmannsthal on an ultimately unsuccessful film version in 1925 and later creating his own waltz sequences, Strauss finally consented to a suite of key moments from the opera in 1945. The six movements make no attempt to trace linear highlights of the story as Strauss’ selected scenes were not assembled with regard for narrative legibility, but they hold together quite nicely as a compact and musically sensible concert experience.

THE WORLD – Elsewhere in 1911, George V was crowned King of England, the Mona Lisa was stolen by a Louvre employee, Machu Picchu was rediscovered by Hiram Bingham, and Norwegian explorer Roald Amundsen reached the South Pole.

THE CONNECTION – The Rosenkavalier Suite has been programmed rarely on the Utah Symphony Masterworks Series, but it was performed as recently as 2019 under Xian Zhang.

DEER VALLEY MUSIC FESTIVAL JUNE 30–AUGUST 4 IN PARK CITY

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Summer Symphony Sponsor

MESSIAEN’S TURANGALÎLA

MAY 19 & 20, 2023 / 7:30 PM

Maurice Abravanel Hall

THIERRY FISCHER, conductor

JASON HARDINK, piano

AUGUSTIN VIARD, ondes Martenot

MESSIAEN Turangalîla-Symphonie for Piano, Ondes

Martenot, and Orchestra

I. Introduction

Modéré, un peu vif

II. Chant d’amour 1

Modéré, lourd

III. Turangalîla 1

Presque lent, rêveur

IV. Chant d’amour 2

Bien Modéré

V. Joie du sange des étoiles

Un peu vif, joyeux et passionné

VI. Jardin du sommeil d’amour

Très modéré, très tendre

VII. Turangalîla 2

Piano solo un peu vif: orchestre modéré

VIII. Développement de l’amour

Bien modéré

IX. Turangalîla 3

Modéré

X. Final

Modéré, avec une grande joie

Jason Hardink, piano

Augustin Viard, ondes Martenot

CONDUCTOR SPONSOR ORCHESTRA SPONSOR

MICHAEL & DIANE HARDINK

in Music They Ventured into the Unknown...

fufillment or tragedy? in the opening measures.

hopeful or foreboding?

Symphony No. 6 Track 03

“Mountain Meadows”

ARTISTS’ PROFILES

JASON HARDINK piano

A fearless interpreter of large-scale piano works both modern and historical, pianist Jason Hardink’s recent debut at Weill Recital Hall was lauded for its audacious programming and pianism demonstrating “abandon and remarkable clarity” and a “capacity for tenderness and grace” (Anthony Tommasini, The New York Times).

Concerts during the 2022–23 season include Michael Hersch’s The Vanishing Pavilions as Part I of the US premiere of his cycle, sew me into a shroud of leaves (National Sawdust, May 2023) and recitals with Utah Symphony

See page 6 for Thierry Fischer’s profile…

Concertmaster Madeline Adkins (January/ February, 2023).

As Artistic Director of the NOVA Chamber Music Series for nine seasons, Hardink’s programming vision regularly juxtaposed the standard works of the canon with music by living composers. While NOVA devoted a great deal of space to recent and commissioned works by Utah composers, the series also featured several multi-season cycles of music by important American composers.

Jason Hardink resides in Salt Lake City, Utah, where he holds the position of Principal Keyboard with the Utah Symphony. He is married to pianist Kimi Kawashima, and they are parents of twin boys, Luc and Derek.

AUGUSTIN VIARD

ondes Martenot

Born in Provence, France, Augustin Viard started his musical learning journey through eclectic contemporary styles such as rock music and blues. In 2004, he joined the ondes Martenot class at the Conservatoire de Boulogne-Billancourt, headed by Pascale Rousse-Lacordaire. Five years later, he was admitted to the Conservatoire National Supérieur de Musique de Paris, studying in the ondes Martenot class of Valérie HartmannClaverie, and performing Messiaen’s Turangalîla-Symphonie. He graduated in 2013 with a masters degree.

His eagerness to explore new creative horizons allowed him to be involved in numerous contemporary premieres, to collaborate with several chamber music groups (Hendricks’ Quartet, Ensemble

Vecteurs ondes, Ensemble Volta, Ensemble Traces d’Aujourd’hui) and to execute improvised music.

Augustin Viard plays Evgeni and Sacha Galverine’s film score for string quartet, piano and ondes Martenot on Andreï Zviaguintsev’s Oscar nominated film Loveless which received the Prix du Jury du Festival de Cannes 2017 and the César du meilleur film étranger (best foreign film) 2018. In 2021 he composed the original theme for Earwig a full-length film directed by Lucile Hadzihalilovic, which won the Special Jury Prize at the San Sebastian International Film Festival and was nominated at the 2021 BFI London Film Festival. In January 2022 he performed the score live for a cinema screening at the Arvor Cinema in Rennes, France.

He is Professor of ondes Martenot at the Conservatoire de Boulogne Billancourt.

HISTORY OF THE MUSIC

Turangalîla-Symphonie

Duration: 76 minutes in ten movements.

THE COMPOSER – OLIVIER MESSIAEN (1908–1992) – For Messiaen, the 1940s began with war in Europe and ended with a concert in the United States. He was captured by the Germans in 1940 and imprisoned at Stalag VIII-A in Görlitz. The year he spent there contained both hunger and inspiration, as the Quartet for the End of Time, perhaps still Messiaen’s most-performed work, was born inside those fences. Almost immediately upon his release in 1941, Messiaen was appointed to the Paris Conservatory faculty and continued his steady march towards the astonishing compositional individuality that would mark his career and legacy. His developing musical philosophy, discernable through manipulations of duration, dynamics and rhythm, was reflected in the new “symphony” that premiered in America during the last days of 1949.

THE HISTORY – “Symphony” appears in quotes above because, in the context of Turangalîla, the application is decidedly non-traditional. Written from 1946–1948, the TurangalîlaSymphonie was commissioned by Serge Koussevitzky for his Boston Symphony (Bernstein conducted the premiere when Koussevitzky fell ill). It has a 10-movement plan that, with enough observational generosity, could be forced to trace the standard tripartite arc of a symphony, but Turangalîla is too large and too ambitious to be bound by that, or any other formal contrivance. In fact, Messiaen required a huge orchestra

to bring his unwieldy vision for the Turangalîla-Symphonie to life, including prominent parts for solo piano and ondes Martenot (an electronic keyboard instrument that produces a sound like a theremin). Fixed between Harawi: Chants d’amour et de la mort (1945) and Cinq rechants (1948), Turangalîla helped form a trilogy of works based on Messiaen’s fascination with the Tristan and Isolde story. Turangalîla then is an epic exploration of love in all its many guises—emotional, physical, even metaphysical. The title of the piece comes from two Sanskrit words that translate roughly to “time” (as viewed in motion through the speed of a galloping horse) and “play” (as in the “game” of creation, life and death). Those concepts, when paired with the central feature of the Tristan mythology, give us what Messiaen himself called “a love song; a hymn to joy” that is “superhuman, overflowing, blinding, unlimited”. Truly, those last four words do more to describe Turangalîla than even the most thorough investigations of its ingredients. Messiaen knew the structural ingenuity and kaleidoscopic orchestral coloration of the score would resist intellectual interpretation and, like love, would need to be experienced to be believed.

THE WORLD – Elsewhere in 1948, the modern state of Israel was declared, Mahatma Gandhi was assassinated and the famously wrong headline “Dewey beats Truman” appeared in the Chicago Daily Tribune.

THE CONNECTION – This week’s concerts represent the Utah Symphony premiere of Messiaen’s Turangalîla-Symphonie.

FISCHER’S FAREWELL MAHLER’S SYMPHONY NO. 3

MAY 26 & 27, 2023 / 7:30 PM

Maurice Abravanel Hall

Thierry Fischer, conductor

Anna Larsson, mezzo-soprano

Sopranos & Altos of The Tabernacle Choir at Temple Square

Mack Wilberg, chorus director (The Tabernacle Choir)

Choristers of The Madeleine Choir School

Melanie Malinka, chorus director (The Madeleine Choir School)

MAHLER Symphony No. 3 in D minor (1906 revision)

I. Kräftig; Entschieden

II. Tempo di menuetto; Sehr mässig

III. Comodo; scherzando; ohne Hast

IV. Sehr langsam; misterioso

V. Lustig im Tempo und keck im Ausdruck

VI. Sehr langsam; ruhevoll; empfunden

Anna Larsson, mezzo-soprano

Sopranos & Altos of The Tabernacle Choir at Temple Square

The Madeleine Choir School

CONCERT SPONSOR

KEM & CAROLYN GARDNER

CONDUCTOR SPONSOR

ORCHESTRA SPONSOR

ARTISTS’ PROFILES

Anna Larsson graduated from the University College of Opera in Stockholm in 1996. Her international debut followed immediately in Mahler Symphony No. 2 with the Berliner Philharmonic Orchestra and Claudio Abbado, and her opera debut as Erda in Wagner’s Das Rheingold at the Deutsche Staatsoper Berlin conducted by Daniel Barenboim. Among her many roles are Kundry in Wagner’s Parsifal, Herodias

THE TABERNACLE CHOIR AT TEMPLE SQUARE

For more than a century, The Tabernacle Choir has given voice to the hopes, joys, trials, and triumphs of people around the world.

This 360-member chorus of men and women, all volunteers, has performed at World’s Fairs and expositions, at inaugurations of U.S. presidents, in acclaimed concert halls from Australia

See page 6 for Thierry Fischer’s profile…

in Massenet’s Hérodiade, Erda in Wagner’s Siegfried and Fricka in Die Walküre, Delilah in Saint-Saëns’ Samson and Delilah and Genevieve in Debussy’s Pelleas et Mélisande at theatres including Teatro alla Scala, Vienna State Opera, Bayerische Staatsoper, Salzburg and Aix-en-Provence Festivals, the Opéra de Paris, the Royal Opera House in London, Teatro Maggio Musicale in Florence, La Monnaie Brussels, Palau des Arts

Valencia, Royal Opera Copenhagen, Finnish National Opera and the Swedish Royal Opera.

and Europe to Asia and the Middle East, on television broadcasts, and now on YouTube and Facebook. The choir has even been referred to as “America’s Choir,” as a result of their high standard of popular choral music.

Known from its beginnings as the Mormon Tabernacle Choir, the Choir changed its name in October 2018 to more closely align with its sponsoring organization, The Church of Jesus Christ of Latter-day Saints. The Choir is now called “The Tabernacle Choir at Temple Square.”

Mack Wilberg was appointed music director of The Tabernacle Choir at Temple Square on March 28, 2008, having served as associate music director of the Choir since May 1999. Dr. Wilberg is responsible for all musical and creative aspects of the Choir and Orchestra at Temple Square in rehearsals, concerts,

tours, and recordings, as well as the weekly broadcast of Music & the Spoken Word. He is a former professor of music at Brigham Young University and is active as a composer, arranger, guest conductor, and clinician throughout the United States and abroad. Dr. Wilberg received his bachelor’s degree from Brigham Young University and his master’s and doctoral degrees from the University of Southern California. He and his wife, Rebecca, are the parents of four children and have one granddaughter.

ANNA LARSSON Mezzo-Soprano

MACK WILBERG Chorus Director (The Tabernacle Choir)

THE MADELEINE CHOIR SCHOOL

Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age appropriate learning. MCS music curriculum is unmatched and also provides outstanding instruction in the

ARTISTS’ PROFILES

humanities, mathematics and the sciences, as well as foreign languages, visual arts, theology, and athletics. The choristers in Grades Five through Eight regularly assist with the worship life at the Cathedral of the Madeleine and participate in the Annual Concert Series. The Choristers of the Madeleine Choir School regularly collaborate with the Utah Symphony and Utah Opera and other arts organizations, including the Grand Teton Music Festival.

Melanie Malinka is a native of Stuttgart, Germany and has served as Director of Music at The Madeleine Choir School in Salt Lake City, UT since 2001. She regularly conducts the Cathedral Choir of The Cathedral of the Madeleine and has served as interim chorus master for several opera productions of the Utah Opera. She also

regularly serves as guest conductor and clinician at choral festivals and workshops around the country. In addition, she also maintains a private voice studio focusing on boy sopranos and young adolescent voices. Melanie received a Bachelor of Music in Voice Performance from Westminster Choir College of Rider University in Princeton, New Jersey and a Master of Music in Choral Conducting from the University of Utah where she studied with Dr. Barlow Bradford.

Continued on page 46…

MELANIE MALINKA Chorus Director (The Madeleine Choir School)

2022–23 SEASON!

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FEAT. TYLER SWICK

APR 25

FINE ART PHOTO EXHIBITION

Apr 25–May 5

ILLUSTRATION BFA EXHIBITION

Apr 25–May 5

SYMPHONY ORCHESTRA

Apr 26

BALLROOM DANCE COMPANY: GLITZ & GLAM

Apr 28–29 OPENING MAY 2023! FOR MORE INFORMATION, VISIT www.uvu.edu/museum/

HISTORY OF THE MUSIC Symphony No. 3 in D minor

Duration: 92 minutes in six movements.

THE COMPOSER – GUSTAV MAHLER (1860-1911) – Already well established as a busy and highly-regarded opera conductor, Mahler’s first real success as a composer came in December 1895. The reception of his Symphony No. 2 proved that his maximalist vision for the future of orchestral music could work and gave him the confidence to pursue his other dream—a conducting position in Vienna at the Hofoper. Mahler’s letters from the time reveal no small measure of concern that his candidacy could be undermined by either his “craziness” or his Jewishness. To forestall the latter, which the prevailing Austrian social climate would surely have confirmed, he converted to Catholicism in 1897.

that begins firmly on Earth but manages to slip its bonds by the end. The scenario underwent many revisions, but essentially described the symphony’s six movements as: 1. Pan awakes – Summer marches in; 2. What the flowers in the meadow tell me;

3. What the animals in the forest tell me;

THE HISTORY – If Symphony No. 2 was Mahler’s grand thesis on formal and emotional scale, Symphony No. 3 would take every element of it at least one step further. Program annotators and biographers frequently hold up No. 3 as the most complete fruition of Mahler’s two famous comments about how a symphony must contain an entire world (even though the second, more liberally quoted of these statements came over a decade later while he was writing No. 8). Indeed, his ambitions in 1895 were planetary in scope. No. 3, written mostly in 1895 and completed in 1896, is the longest of Mahler’s nine completed symphonies, with an epic first movement that would dwarf whole works by other composers. From the start, he had a programmatic conception in mind

4. What humanity tells me; 5. What the angels tell me; 6. What love tells me. No version of this plan was published at the premiere, however, indicating perhaps that these thoughts were meant only for friends and colleagues. Mahler, who was often reluctant to share his inspirations publicly, felt audiences would enjoy the experience better without a roadmap. Another meaningful omission was the intended finale based on “The Heavenly Life” from the Des Knaben Wunderhorn collection. That beautiful song would end up anchoring Symphony No. 4 but No. 3 does not suffer much for the loss. The closing Adagio focuses instead on simple love, not heaven (likely a complex and elusive concept at that time in Mahler’s religious life). It responds to the rigid time of the first movement with an untethered adoration of all that has come before and, with that, succeeds in fulfilling the promise of the Symphony’s staggering architecture. A world born. A world complete.

THE WORLD – Elsewhere in 1896, the first modern Olympic games were held in Athens, Utah became a state, Oscar Wilde’s Salome premiered in Paris and Italian inventor Guglielmo Marconi sought a patent for his wireless telegraph system.

THE CONNECTION – Mahler 3 has not been performed on a Utah Symphony Masterworks program since 2015 with Thierry Fischer himself.

BY WILLIAM SHAKESPEARE

BY WILLIAM SHAKESPEARE

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Thomas & Marilyn Sutton

The Christian V. & Lisa D. Young Family Foundation

Kathie Zumbro

INDIVIDUAL SUPPORT

ALLEGRO ($5,000 TO $9,999)

4Girls Foundation

Anonymous [10]

Alan, Carol, & Annie Agle

Douglas Anderson

Margaret & Grant Bagley

Kyle & Melissa Barnett

H. Brent & Bonnie Jean

Beesley

David Brown

Hannalorre Chahine

William & Patricia Child

John Clukey

Marc & Kathryn Cohen

LJJ Fund at the Community Foundation of Utah

Mr. & Mrs. Kenneth R. Cutler

Anne Daigle & Rich Heyman

Marian Davis & David Parker

Matthew B. Ellis Foundation

Jack & Marianne Ferraro

Rulon Gardner

Sarah Garrison

Diana George

Elaine Gordon

Barbara Greenlee

David & SandyLee Griswold**

Ray & Howard Grossman

Emma Hamilton & Brian

Casper

Diane & Michael Hardink

Chuck & Kathie Horman

Sunny & Wes Howell

Ronald & Janet Jibson

Jill Johnson

Allison Kitching

Howard & Merele Kosowsky

Michael & Peg Kramer

Gary & Suzanne Larsen

Daniel & Deena Lofgren

Dennis & Pat Lombardi

Heidi & Edward D. Makowski

Robert Marling

Christopher & Julie McBeth

Michal & Maureen Mekjian

W. C. Moeller & Joanne Moeller

Patricia Legant & Thomas

Parks

Dr. Dinesh & Kalpana Patel

Mr. & Mrs. James S. Pignatelli

Quinn Family Charitable Foundation

Brooks & Lenna Quinn

Joyce Rice

Kenneth Roach & Cindy Powell

Richard & Carmen Rogers

James & Anna Romano

Sandefur Schmidt

Barbara & Paul Schwartz

Brent & Lisa Shafer

Scott & Karen Smith

Sidney Stern Memorial Trust

Shane & Stacey Stowell

Craig Stuart

David O. Tanner

Paul Taylor

Tim & Judy Terrell

Brad E. & Linda P. Walton

Jaelee Watanabe

Dan & Amy Wilcox

Douglas Wood

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999)

Anonymous [2]

Craig & Joanna Adamson

Dr. & Mrs. Jeffrey L.

Anderson

Pam & Paul Apel

Drs. Crystal & Dustin Armstrong

Dr. Ann Berghout & Dennis

Austin

Tina & John Barry

Charles & Jennifer Beckham

Lowell Bennion

Dr. Melissa Bentley

Céline Browning

Michael & Vickie Callen

Mr. & Mrs. William D. Callister

Vincent Cannella

Dr.† & Mrs. Anthony Carter

Mark & Marcy Casp

Po & Beatrice Chang & Family

Blair Childs & Erin Shaffer

Doug Clark

Howard & Betty Clark

George & Katie Coleman

Debbi & Gary Cook

Dr. Thomas D. & Joanne A.

Coppin

Cindy Corbin

Ruth Davidson

Thomas D. Dee III & Dr.

Candace Dee

Michael & Sheila Deputy

Margarita Donnelly

John D Doppelheuer M.D. & Kirsten A. Hanson M.D.

Karey Dye

Carol & Greg Easton

Hans & Nanci Fastre

James Finch

Adele & James Forman

Linda Francis

Thomas Fuller

Joseph F. Furlong III

Robert & Annie-Lewis Garda

Dave Garside

Larry Gerlach

Jeffrey L. Giese, M.D. & Mary E. Giese

Bob & Mary Gilchrist

Shari Gottlieb

Susan Graves

Dr. & Mrs. John Greenlee

Ronald & Kaye Gunnell

Kenneth & Kate Handley

Jonathan Hart

INDIVIDUAL SUPPORT

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED

Jeff & Peggy Hatch

Nancy Ann Heaps

John Edward Henderson

Don Hendricks

Marian & Matt Hicks

Richard & Ruth Ann Hills

Robert & Dixie Huefner

Michael Huerta & Ann

Sowder

Jay & Julie Jacobson

Drs. Randy & Elizabeth Jensen

M. Craig & Rebecca Johns

Maxine & Bruce Johnson

James R. Jones & Family

Neone F. Jones Family

Dr. Michael A. Kalm

Dr. James & Carolyn

Katsikas

Michael & Amy Kennedy

Les Kratter

Jeffrey LaMora

Dr. Donald & Alice Lappe

Tim & Angela Laros

Harrison & Elaine Levy

Michael Liess

Abbot B & Joan M Lipsky

Fund

John & Kristine Maclay

Abigail Magrane

Shasha & Brian Mann

Peter Margulies & Louise

Vickerman

Kathryn & Jed Marti

Dale & Carol Matuska

David & Nickie McDowell

Ted A. McKay

Karen & Mike McMenomy

George & Nancy Melling

David B. & Colleen A. Merrill

John & Bria Mertens

Carol & Anthony W.

Middleton, Jr., M.D.

Cyrus & Roseann Mirsaidi

MJZR Charitable Trust

Dr. Louis A. Moench & Deborah Moench

Ashton Newhall

Vincent & Elizabeth Novack

Patrick O’Connell

Stanley B. & Joyce M.

Parrish

Elodie Payne

Ray Pickup

Lisa Poppleton & Jim

Stringfellow

W.E. & Harriet R. Rasmussen

Glenn Ricart

Gina Rieke

Mr. & Mrs. Robert Rollo

Rebecca Roof & Gary Smith

Royall Family Charitable Fund

Nathan Royall

Mark & Loulu Saltzman

Margaret P. Sargent

Nathan & Shannon Savage

Diana Scardilli

Dr. S. Brent & Janet

Scharman

James & Janet Schnitz

William G. Schwartz & Jo

Ann Givan

Lisa & Joel Shine

Gibbs† & Catherine W. Smith

Sheryl & James Snarr

Spitzberg-Rothman

Foundation

Ray & Ann Steben

Toni Stein

Douglas & Susan Terry

Sal & Denise Torrisi

Dr. Albert & Yvette Ungricht

Richard Valliere

Susan & David† Wagstaff

Gerard & Sheila Walsh

Susan Warshaw

Renee & Dale Waters

Betsey & Scott Wertheimer

Kelly Whitcomb

Cindy Williams

Barry & Fran Wilson

David & Jerre Winder

Bruce Woollen

E. Woolston† & Connie Jo

Hepworth-Woolston

Caroline & Thomas Wright

Peter Zutty

FRIEND ($1,000 TO $2,499)

Anonymous [5]

Marlene Abbott Barber

Carolyn Abravanel

Christine A. Allred

Margaret Anderson

Ian Arnold

Marlene Barnett

Tom & Carolee Baron

Sue Barsamian

Victoria Bennion

Sarah Bienvenue

Harvey & Donna Birsner

C. Kim & Jane Blair

Mr. & Mrs. Fred L. Carter, Jr.

Wan P. Chang

William J. Coles & Joan L. Coles

Community Trust of Utah

Dr. & Mrs. David Coppin

David & Carol Coulter

James Dashner

David & Karen Gardner Dee

Charles Deneris

Klancy & Noel† DeNevers

Dr. Paul Dorgan

Frank & Kathleen Dougherty

Eric & Shellie Eide

Karen Fletcher

Shawn Fojtik

Dr. Robert Fudge & Sylvia Newman

Heidi Gardner

Ralph & Rose Gochnour

Andrea Golding Legacy Foundation

Keith Guernsey

John & Ilauna Gurr

Dr. Elizabeth Hammond

Travis W. Hancock

Brad Hare MD & Akiko

Okifuji PhD

Mark O. Haroldsen

LeeAnn Havner

Lex Hemphill & Nancy Melich

Barbara Higgins

Connie C. Holbrook

Jennifer Horne-Huntsman

Stephen Tanner Irish

Gordon Irving

Eldon Jenkins & Amy Calara

Bryce & Karen† Johnson

Chester & Marilyn Johnson

Nicholas Johnson

John S. Karls

Umur Kavlakoglu

Susan Keyes & Jim Sulat

Lucinda L. Kindred

Mary Koch

Gary Lambert

Robert & Rochelle Light

Susan Loffler

Shannon & Kirk Magelby

Jerilyn McIntyre & David Smith

Gary McNally

Jeffrey McNeal

Warren K.† & Virginia G. McOmber

Brad & Trish Merrill

James & Nannette Michie

Jim & Nanette Michie

Dr. Nicole L. Mihalopoulos & Joshua Scoville

Richard & Robin Milne

Dan & Janet Myers

Marilyn H. Neilson

Maura & Serge Olszanskyj

Lee K. Osborne

Dr. S. Keith & Barbara Petersen

Megan A. Rasmussen

Frances Reiser

Marcia JS Richards

Diane & Dr. Robert

Rolfs, Jr.

Gail T. Rushing

Leona Sadacca

Janet Schaap

Grant H. Schettler

August L. Schultz

Gerald† & Sharon Seiner

Silver Fox

Barbara Slaymaker

Janette Smith

Dr. & Mrs. Michael

H. Stevens

Jim Swayze

Brent & Lissa Thompson

James Upchurch

Dr. Ralph & Judith

Vander Heide

Dr. James C. Warenski

Stephen Watson

Emily Weingeist

Frank & Janell Weinstock

David B. & Anne Wirthlin

Gayle & Sam Youngblood**

Laurie Zeller & Matthew Kaise

ENDOWMENT

DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT

Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.

Anonymous

Edward R. Ashwood & Candice A. Johnson

Gael Benson

C. Comstock Clayton Foundation

Estate of Alexander Bodi

The Elizabeth Brown

Dee Fund for Music in the Schools

Lawrence T. & Janet T. Dee Foundation

Thomas D. Dee III & Dr. Candace Dee

Hearst Foundation

Estate of John Henkels

Roger & Susan Horn

Carolyn T. Irish Revocable Trust

Estate of Marilyn Lindsay

The Right Reverend

Carolyn Tanner Irish† and Mr. Frederick Quinn

Loretta M. Kearns†

Vicki McGregor

Edward Moreton

Estate of Pauline C. Pace

The Linda & Don Price Guest Artist Fund

Perkins-Prothro Foundation

Kenneth† & Jerrie Randall

The Evelyn Rosenblatt

Young Artist Award

Bill & Joanne Shiebler

GIFTS MADE IN HONOR

Alex Martin

Carol Anderson

Doyle Clayburn

Anne & Ashby Decker

Thierry Fischer

Heather Weinstock

GIFTS MADE IN MEMORY

Danny Boy

Julie Lee Lawrence

Joan Coles

JoDeane Cruz

Jack Golden Edwards

Kathy Hall

John Husband

Karen Johnson

Scott Landvatter

Maxine & Frank McIntyre

Nancy & Gener Parry

Glade & Mardean Peterson

Steven P. Sondrop

Family Trust

James R. & Susan Swartz

Clark L. Tanner Foundation

Norman C. & Barbara L. Tanner Charitable Trust

Norman C. & Barbara L. Tanner Second Charitable Trust

O.C. Tanner Company

Estate of Frederic & Marilyn Wagner

M. Walker† & Sue Wallace

Jack & Mary Lois

Wheatley Family Trust

Edward & Marelynn†

Zipser

Leslie Peterson

Carol Zimmerman

Maria A. Proser

Dan Ragan

Robert C. Sloan

Jayme Terran

Laurie W. Thornton

INSTITUTIONAL DONORS

We thank our generous donors for their annual support of Utah Symphony | Utah Opera.

* in-kind donation ** in-kind & cash donation

$100,000 OR MORE

AHE/CI Trust

HJ & BR Barlow Foundation

C. Comstock Clayton Foundation

The Church of Jesus Christ of Latter-Day Saints Foundation

Lawrence T. & Janet T. Dee Foundation

$50,000 TO $99,999

Anonymous

BMW of Murray/BMW of Pleasant Grove

Dominion Energy

The Florence J. Gillmor Foundation

$25,000 TO $49,999

Arnold Machinery

Cache Valley Electric Deer Valley Resort*

The Kahlert Foundation

Marriner S. Eccles Foundation

George S. & Dolores Doré Eccles Foundation

Emma Eccles Jones Foundation

Frederick Q. Lawson Foundation

LOVE Communications**

Larry H. & Gail Miller Family Foundation

O.C. Tanner Company

S.J. & Jessie E. Quinney Foundation

Stowell Leadership Group, LLC*

Zions Bank

The Grand America Hotel & Little America Hotel*

The John C. Kish Foundation

Janet Q. Lawson Foundation

Perkins-Prothro Foundation

Sorenson Legacy Foundation

McCarthey Family Foundation

Charles Maxfield & Gloria F. Parrish Foundation

Joanne L. Shrontz Family Foundation

Simmons Family Foundation

Summit Sotheby’s

Nora Eccles Treadwell Foundation

INSTITUTIONAL DONORS

$10,000 TO $24,999

Altabank

B.W. Bastian Foundation

Brent & Bonnie Jean

Beesley Foundation

Bertin Family Foundation

R. Harold Burton Foundation

Caffé Molise*

Marie Eccles Caine FoundationRussell Family

Cultural Vision Fund

Gardner Company

$1,000 TO $9,999

Anonymous

Amazon

Black Physicians of Utah

Rodney H. & Carolyn

Hansen Brady Charitable Foundation

The Capital Group

David Dee Fine Arts

Spencer F. & Cleone P. Eccles Family Foundation

Henry W. and Leslie M. Eskuche Charitable Foundation

The Fanwood Foundation Western Office

Grandeur Peak

Global Advisors

City of Orem CARE Tax

National Endowment for the Arts

Salt Lake City Arts Council

Salt Lake County Zoo, Arts and Parks

Goldman Sachs & Co. LLC

Gorjana*

Greenberg Traurig

Richard K. & Shirley S. Hemingway Foundation

Johnson Foundation of the Rockies

Parr Brown Gee & Loveless

Raymond James & Associates

Regence BlueCross

BlueShield of Utah

The Val A. Green & Edith D. Green Foundation

The Helper Project

Victor Herbert Foundation

Holland & Hart**

Hotel Park City / Ruth’s Chris Restaurant

Hyatt Centric Park City**

The Marion D. & Maxine C. Hanks Foundation

Millcreek Coffee Roasters*

Pago on Main*

Parsons Behle & Latimer

Ray, Quinney & Nebeker Foundation

Red Rock Brewing Company*

The Joseph & Evelyn Rosenblatt Charitable Fund

Semnani Family Foundation

St. Regis Deer Valley

Stay Park City

The Swartz Foundation

W. Mack and Julia S. Watkins Foundation

WCF Insurance

Summit County Restaurant Tax / RAP Tax

Utah Department of Cultural & Community Engagement

Rocky Mountain Power Foundation

Ruth’s Chris Steak House*

Sea to Ski Premier

Home Management

Snell & Wilmer

Snow, Christensen & Martineau

Squatters Pub Brewery*

Summerhays Music Center

Summit Energy

Swire Coca-Cola, USA*

Victory Ranch & Conservancy

Young Electric Sign Co.*

Utah Division of Arts & Museums

Utah State Legislature

Utah State Board of Education

Utah Office of Tourism

Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.

ADMINISTRATION

ADMINISTRATION

Steven Brosvik

President & CEO

David Green

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

Executive Assistant to the Senior VP & COO and Office Manager

SYMPHONY ARTISTIC

Thierry Fischer

Symphony Music Director

Anthony Tolokan

Artistic Consultant

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Hannah Thomas-Hollands

Orchestra Personnel Manager

Morgan Moulton

Artistic Planning Manager

Isabella Zini

Artistic Planning Coordinator & Assistant to the Music Director

SYMPHONY OPERATIONS

Cassandra Dozet

Senior Director of Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Director of Production

Jen Shark

Operations Manager

Sarah Madany

Stage Manager

OPERA ARTISTIC

Christopher McBeth

Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson

Director of Production

Ashley Tingey

Production Coordinator

DEVELOPMENT

Leslie Peterson Vice President of Development

Jessica Proctor

Director of Institutional Giving

Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills

Development Database Manager

Maren Holmes

Manager of Special Events

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing Vice President of Marketing & Communications

Adia Thornton

Director of Marketing

Robert Bedont

Marketing Manager

Megs Vincent

Communications Manager

Nina Starling

Website Content Coordinator

Ellen Lewis

Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Toby Simmons

Patron Services Assistant Manager

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Ananda Spike

Val Tholen

Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles

Controller

Jared Mollenkopf

Patron Information Systems Manager

Bobby Alger

Accounts Payable Specialist

EDUCATION

Ben Kipp

Director of Education & Community Engagement

Dr. Jessica Wiley

Symphony Education Manager

Kevin Nakatani

Opera Education Manager

Beth Foley

Education Coordinator

OPERA TECHNICAL

Sam Miller

Technical Director

Kelly Nickle

Properties Master

JR Orr

Head Carpenter & Shop Foreman

Dusty Terrell

Scenic Charge Artist

COSTUMES

Cee-Cee Swalling

Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Tiffany Lent

Cutter/Draper & Costume Shop Foreman

Sophie Thom

First Hand

Iris Marshall

Costume Rentals & Stock Assistant

Manager

Maxwell Paris

Wardrobe Supervisor & Rentals

Assistant

Nyssa Startup

Stitcher

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

Leave a Legacy Ensure the Future

MAKE A PLANNED GIFT TODAY

“We took stock of what gifts we have in our power to grant to future Utahns and concluded that great live classical music will be one of the legacies we will support. We are grateful to the many generous donors who through thoughtful estate planning over the years have made it possible for us to be blessed by performances of the Utah Symphony | Utah Opera today. We are planning to help make this beautiful music a part of Utah forever.”

-Annette & Joe Jarvis

Annette W. Jarvis Vice Chair and Secretary USUO Board of Trustees Shareholder, Greenberg Traurig, LLP

Find out more: 801-869-9012 | usuo.org/planned-giving

Joseph Q. Jarvis M.D., M.S.P.H

TANNER & CRESCENDO SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000)

Anonymous (3)

Doyle Arnold & Anne Glarner

Edward R. Ashwood & Candice

A. Johnson

Dr. J. Richard Baringer

Haven J. Barlow†

Dr. Melissa J. Bentley

Marcy & Mark Casp

Shelly Coburn

Raymond & Diana Compton

Mahler Circle

Anonymous (3)

Eva-Maria Adolphi

Dr. Robert H.† & Marianne

Harding Burgoyne

Mr. & Mrs. Kenneth E. Coombs

Paul (Hap) & Ann† Green

Robert & Carolee Harmon

Richard G. & Shauna† Horne

Virginia A. Hughes

Turid V. Lipman

Anne C. Ewers

Annette W. & Joseph Q. Jarvis

Flemming & Lana Jensen

James Read Lether

Daniel & Noemi P. Mattis

Anthony & Carol W. Middleton, Jr., M.D.

Robert & Diane Miner

Glenn Prestwich

Kenneth A.† & Jeraldine S. Randall

Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols

Sharon & David† Richards

Harris H. & Amanda P. Simmons

E. Jeffery & Joyce Smith

G.B. & B.F. Stringfellow

Mr.† & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey

Dianne May

Jerry & Marcia McClain

Jim & Andrea Naccarato

Stephen H. & Mary Nichols

Mr. & Mrs. Scott Parker

Mr. & Mrs.† Michael A. Pazzi

Richard Q. Perry

Chase† & Grethe Peterson

Glenn H. & Karen F. Peterson

CRESCENDO SOCIETY OF UTAH OPERA

Anonymous

Mr. & Mrs. William C. Bailey

Judy Brady & Drew W. Browning

Dr. Robert H.† & Marianne

Harding Burgoyne

Shelly Coburn

Dr. Richard J.† & Mrs. Barbara N.† Eliason

Anne C. Ewers

Joseph & Pat Gartman

Paul (Hap) & Ann† Green

Annette W. & Joseph Q. Jarvis

Edward R. Ashwood & Candice A. Johnson

Clark D. Jones

Turid V. Lipman

Herbert C. & Wilma Livsey

Richard W. & Frances P. Muir

Thomas A. & Sally† Quinn

Dan† & June Ragan

Mr. Grant Schettler

Glenda & Robert† Shrader

Mr. Robert C. Steiner & Dr. Jacquelyn Erbin†

JoLynda Stillman

Joann Svikhart

Edward J. & Marelynn† Zipser

Marilyn H. Neilson

Carol & Ted Newlin

Patricia A. Richards & William K. Nichols

Mr.† & Mrs. Alvin Richer

Jeffrey W. Shields

G.B. & B.F. Stringfellow

Dr. Ralph & Judith Vander Heide

Edward J. & Marelynn† Zipser

~T.S. Eliot

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA

123 West South Temple Salt Lake City, UT 84101 801-533-5626

EDITOR

Megs Vincent

HUDSON PRINTING COMPANY

www.hudsonprinting.com

241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, llp Holland & Hart, llp Jones Waldo

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY Struck, Salt Lake City / Portland

The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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