Utah Symphony Jan/Feb 2022 by Mills Publishing Inc.

CONTENTS

UTAH SYMPHONY JANUARY/FEBRUARY 2022

Welcome

Board of Trustees

ROBERT TREVINO CONDUCTS WALKER, GRIEG & STRAVINSKY JANUARY 7, 2022 / 7:30 PM

JANUARY 8, 2022 / 5:30 PM (PRELUDE)

Season Sponsors

Utah Symphony

Music Director

Donors

THIERRY FISCHER CONDUCTS RACHMANINOFF, HONEGGER & NATHAN LINCOLN DE CUSATIS JANUARY 28 & 29, 2022 / 7:30 PM

Administration

Support USUO

Tanner & Crescendo Societies

THIERRY FISCHER CONDUCTS RAVEL, LISZT, AND JOHN ADAMS FEBRUARY 4 & 5, 2022 / 7:30 PM

Planned Giving

Acknowledgments

DANIEL LOZAKOVICH PLAYS TCHAIKOVSKY’S VIOLIN CONCERTO FEBRUARY 18, 2022 / 7:30 PM FEBRUARY 19, 2022 / 5:30 PM (PRELUDE)

Please scan this QR code with your phone’s camera if you would like to view the digital publication. @UtahSymphony

PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/ PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGN Ken Magleby UTAHSYMPHONY.ORG

Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

Purchase tickets at utahsymphony.org or call 801-533-6683 GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas EDITOR Melissa Robison

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801467-8833 Email: advertising@millspub. com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2022

WELCOME Welcome to Abravanel Hall and to a new year of exhilarating concerts of great live music played by the incomparable musicians of the Utah Symphony!

Steven Brosvik President & CEO

Thierry Fischer Music Director

Thomas M. Love Board of Trustees Chairman

In January and February, the orchestra will perform four inspiring and diverse Masterworks programs conducted by Thierry Fischer and guest conductor Robert Trevino—and featuring pianists Benjamin Grosvenor and Joyce Yang and violinists Daniel Lozakovich and our very own concertmaster Madeline Adkins. The concert programs will include music from beloved 19th and 20th century composers Stravinsky, Grieg, Rachmaninoff, Ravel, Liszt, Tchaikovsky, and Prokofiev, as well as lesser-known yet highly revered Pulitzer Prize winning composer George Walker. The programs also include music from living composers John Adams, Paulo Costa Lima, and Nathan Lincoln de Cusatis. On a lighter note, be sure not to miss A Rodgers and Hammerstein Celebration, led by our former Principal Pops Conductor Jerry Steichen and featuring Broadway stars and the Utah Opera Chorus, as well as the continuation of our Film in Concert series with a screening of Harry Potter and the Half Blood Prince with the score performed live by our orchestra. If that weren’t enough, did you know that in addition to the more than 100 subscription concerts and operas presented in our home venues, Utah Symphony | Utah Opera performs more than 200 education performances statewide in a typical academic year? And that nearly one-third of our total audience is comprised of students? For example, in February we will resume our in-person fifth-grade concerts where we anticipate as many as 20,000 fifth-grade students will attend special concerts in Abravanel Hall—an annual tradition for generations of our youth. These events are just a few of the many programs we offer free of charge to supplement the core music curriculum for Utah students. Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which funds over one-third of the cost of these programs. Credit also goes to our many donors who cumulatively match the state’s support two to one. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music! With sincere best wishes for a healthy and prosperous new year,

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry

Gary L. Crocker David L. Dee* Barry L. Eden Senator Luz Escamilla Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate

Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Dr. Richard B. Williams Kim R. Wilson Thomas Wright* Henry C. Wurts

Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards*

Harris Simmons Verl R. Topham David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price Jeffrey W. Shields, Esq. Diana Ellis Smith

MUSICIAN REPRESENTATIVES Kathryn Eberle* Hugh Palmer* EX OFFICIO Doyle Clayburn Utah Symphony Guild Jennifer Webb Onstage Ogden

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow

HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

*Executive *Executive Committee Committee Member Member † Deceased UTAHSYMPHONY.ORG

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SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

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2021-22 UTAH SYMPHONY SEASON SPONSOR

Enriching excellence in the arts in Utah for more than half a century.

George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. Eccles, Lisa Eccles

UTAH SYMPHONY Thierry Fischer, Music Director

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

Symphony Chorus Director

VIOLIN* Madeline Adkins

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

Kathryn Eberle

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

Bonnie Terry

Acting Associate Concertmaster

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

CLARINET Tad Calcara

BASS TROMBONE Graeme Mutchler

Acting Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang BASS* David Yavornitzky Principal

Corbin Johnston Associate Principal

James Allyn Andrew Keller Edward Merritt James Stroup†† Jens Tenbroek Thomas Zera† HARP Louise Vickerman

Principal

FLUTE Mercedes Smith

Associate Principal

Lissa Stolz

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

Erin Svoboda-Scott Associate Principal

Lee Livengood

Associate Principal

TIMPANI George Brown Principal

Eric Hopkins

Associate Principal

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda-Scott

KEYBOARD Jason Hardink

BASSOON Lori Wike

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal

Lisa Byrnes

Llewellyn B. Humphreys Brian Blanchard† Julia Pilant†† Stephen Proser

* String Seating Rotates † On Leave

Principal

Eric Hopkins Michael Pape

Edmund Rollett

Caitlyn Valovick Moore

TROMBONE Mark Davidson

BASS CLARINET Lee Livengood

Principal The Val A. Browning Chair Associate Principal

Peter Margulies Paul Torrisi

CELLO* Matthew Johnson

Andrew Larson

• First Violin •• Second Violin

Associate Principal

Sam Elliot

Wen Yuan Gu

Karen Wyatt•• Sara Bauman†† Joseph Evans LoiAnne Eyring Laura Ha•† Lun Jiang# Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Julie Wunderle

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Principal

ENGLISH HORN Lissa Stolz

Acting Principal The J. Ryan Selberg Memorial Chair

Assistant Principal Second

OBOE James Hall

Brooks Fisher††

Principal Second

Evgenia Zharzhavskaya

TRUMPET Travis Peterson

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

Claude Halter

Associate Principal Second

PICCOLO Caitlyn Valovick Moore

Principal

LIBRARIANS Clovis Lark Principal

Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Associate Principal

# Sabbatical †† Substitute Member

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MUSIC DIRECTOR

Thierry Fischer has been the Music Director of the Utah Symphony since 2009 and will become Music Director Emeritus in the summer of 2023. He has held the same position with the São Paulo Symphony since 2019. In recent seasons he has conducted orchestras across the globe, notably the Boston, Cleveland, Atlanta, and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; Orchestre de la Suisse Romande; and leading chamber orchestras such as Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment, Swedish Chamber, Ensemble Contemporain, and London Sinfonietta. He has performed and commissioned many world premieres.

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

Fischer was active throughout the pandemic conducting concerts for live and virtual audiences during his inaugural season in São Paulo including Stravinsky’s ballets, Beethoven’s symphonies, and his Missa Solemnis. Other highlights of 2020–21 included the London Philharmonic at the Royal Festival Hall and on Marquee TV, Mendelssohn’s Elijah with the Netherlands Radio Philharmonic Orchestra and Chorus, also return visits to the Bournemouth Symphony and Brussels Philharmonic orchestras.

During his tenure in Utah, Fischer has led the orchestra’s first appearance in Carnegie Hall in 40 years. He recorded for Reference Records a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas; and Mahler’s symphonies 1 and 8, the latter with the world-renowned The Tabernacle Choir at Temple Square. Most recently Hyperion Records have released the complete Saint-Saëns symphonies with Fischer and Utah Symphony, to critical acclaim; they also plan to record Messiaen’s Des Canyons aux étoiles, to be performed in the awe-inspiring canyons of Utah where it was composed. Whilst 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 CD of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte 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 became 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.

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MASTERWORKS SERIES

ROBERT TREVINO CONDUCTS

WALKER, GRIEG & STRAVINSKY JANUARY 7, 2022 / 7:30 PM JANUARY 8, 2022 / 5:30 PM ABRAVANEL HALL

ROBERT TREVINO, conductor BENJAMIN GROSVENOR, piano

WALKER Sinfonia No. 4, “Strands” GRIEG Concerto in A minor for Piano and Orchestra, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Benjamin Grosvenor, piano

INTERMISSION STRAVINSKY Pétrouchka (1947 revision) I. The Shrove-Tide Fair II. Petrouchka’s Cell III. The Moor’s Cell IV. The Shrove-Tide Fair (Towards Evening) CO N CER T S PO N SOR

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ARTISTS’ PROFILES

Robert Trevino has rapidly emerged as one of the most exciting American conductors performing today, as well as one of the most in-demand talents of the younger generation. The past three years have seen his appointments as Music Director of the Basque National Orchestra and Chief Conductor of the Malmö Symphony Orchestra.

Robert Trevino Conductor

Most recently, Trevino signed a multi-year recording contract with the leading classical label, Ondine, already resulting in the widely-praised release of a complete Beethoven Symphony cycle with the Malmö Symphony Orchestra. Upcoming Ondine recordings with the Basque National Orchestra will include a Ravel album and a selection of overlooked American masterpieces. In Malmö, Trevino will record works by Einojuhani Rautavaara (including some world premieres). His cycle of Bruch symphonies with the Bamberg Symphony was released by CPO in August 2020 with universally positive reviews. In recent seasons Trevino’s European engagements have included the London Symphony Orchestra, Munich Philharmonic, London Philharmonic Orchestra, Tonhalle Orchester Zurich, Gewandhausorchester, Wiener Symphoniker, Helsinki Philharmonic Orchestra, and Radio-Sinfonieorchester Berlin among many others. He has conducted the Cleveland Orchestra, the symphony orchestras of San Francisco, Toronto Symphony Orchestra, and Detroit. He has also led Washington National Opera’s new production of Eugene Onegin. Robert Trevino has commissioned, premiered, and worked closely with many leading composers, among them John Adams, Philip Glass, Sofia Gubaidulina, Jennifer Higdon, André Previn, Augusta Read Thomas, Shulamit Ran, and John Zorn.

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ARTISTS’ PROFILES

British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances, distinctive sound, and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making. Described as “one in a million...several million” by The Independent, his “astounding technical gifts, the freshness of his imagination, his intense concentration, the absence of any kind of show, and the unmistakable sense of poetic immersion directed solely at the realization of music” have been lauded by Süddeutsche Zeitung. Recent and forthcoming concerto highlights include engagements with the Boston and Chicago Symphony Orchestras, Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Gürzenich-Orchestra Cologne, Orchestre Philharmonique de Radio France, Hallé Orchestra, Orquesta Nacional de España, Filarmonica della Scala, Orchestra Benjamin Grosvenor della Svizzera Italiana, London Philharmonic Orchestra, Piano and the London, City of Birmingham, San Francisco, and Washington National Symphony Orchestras as well as a tour G U ES T A R TIST S PO N SOR of China with Britten Sinfonia. Grosvenor has worked with esteemed conductors such as Andrey Boreyko, Semyon LINDA & DON PRICE Bychkov, Riccardo Chailly, Elim Chan, Sir Mark Elder, GUEST ARTIST FUND Edward Gardner, Alan Gilbert, Manfred Honeck, Vladimir Jurowski, Andrew Manze, Ludovic Morlot, Kent Nagano, Sir Roger Norrington, Gianandrea Noseda, Andrés OrozcoEstrada, François Xavier Roth, Esa-Pekka Salonen, Leonard Slatkin, Nathalie Stutzmann, Michael Tilson Thomas, Krzysztof Urbański, and Kazuki Yamada. During his sensational career to date, Grosvenor has received Gramophone’s Young Artist of the Year and Instrumental Awards, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent, and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries—BBC Breakfast and The Andrew Marr Show—as well as in CNN’s Human to Hero series. The youngest of five brothers, Grosvenor began playing the piano at the age of six. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated in 2012 with the ‘Queen’s Commendation for Excellence’ and in 2016 was awarded a Fellowship from the institution. Grosvenor has been supported since 2013 by EFG International, the widely respected global private banking group.

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HISTORY OF THE MUSIC By Jeff Counts

Sinfonia No. 4, “Strands” Duration: 11 minutes.

THE COMPOSER – GEORGE WALKER (1922–2018) – There are many composers who suffer from a lack of appropriate recognition during their time, artists whose productivity and importance go unrewarded for far too long. George Walker is one such musician, and every American should endeavor to learn more about him. Even though his name is spoken more often today, thanks to good faith efforts across the classical music industry to finally reckon with representation, Walker’s contributions to this artform should be enumerated regularly and fully. Some stats: Walker started piano lessons at the age of 5; graduated high school at 14; entered Oberlin College that same year and graduated at 18; became the first ever black graduate of the Curtis Institute in 1945 with Artist Diplomas in piano and composition; toured Europe in 1954; won a Pulitzer in 1996; wrote over 90 works during his long life; and is currently among the most performed American composers of any race.

THE HISTORY – “I was taught in more universal terms,” stated Walker in an interview for State of the Arts New Jersey in 2012, “not just what is black, or what is American, but simply what has quality.” As an unintentional pioneer in a field already centuries old, Walker knew his music would be judged harshly for any perceived lack of seriousness and worked hard to create pieces that could exist independently of expectations based on his heritage. Sprinkled throughout Walker’s catalogue of 18

orchestral works are five Sinfonias, the last of the set being the final work he wrote before he died in 2018. Before that, however, came Sinfonia No. 4 in 2012 (which precipitated the interview quoted above). Commissioned by the New Jersey, Pittsburgh, Cincinnati, and National symphonies in celebration of the composer’s 90th birthday, Sinfonia No. 4 is subtitled “Strands”. This descriptive name refers to the interwoven melodic and thematic threads that course through the work’s 11-minute progress. Walker described the piece as “complex, intense and compact” and added that he wanted his Sinfonia No. 4 to be more than an “overture or extended fanfare”. To reinforce the music’s generally mosaic texture, two spirituals, “There is a Balm in Gilead” and “Roll, Jordan, Roll” are quoted, sometimes in a series of subtle instrumental handoffs. In a different interview, this one not of Walker but about him two years after his death, Sir Simon Rattle described Walker’s music as not “avant-garde” but “tough, strong, deeply felt, extraordinarily well put-together and absolutely his own voice.” Maestro Rattle was referring specifically to the Sinfonia No. 4 when he made this apt observation in 2020 and his relatively recent awareness of Walker’s music mirrors our own. Let’s join him and spread the word!

THE WORLD – Elsewhere in 2012, Queen Elizabeth celebrated her diamond jubilee, Hurricane Sandy rocked the US coast, the Transit of Venus occurred, and the Mayan Calendar ended without event.

THE CONNECTION – These concerts represent the Utah Symphony first performances of George Walker’s Sinfonia No. 4. UTAHSYMPHONY.ORG

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HISTORY OF THE MUSIC

Concerto in A minor for Piano and Orchestra, Op. 16 Duration: 30 minutes in three movements.

THE COMPOSER – EDVARD GRIEG (1843-1907) – Grieg was newly married (to his cousin) and only a few months into fatherhood in the summer of 1868 when he sought out some rural seclusion in Denmark. As a 25-year-old who was expected to give musical voice to the Norwegian culture, Grieg needed a little quiet. Norway’s other great hope for a champion, the composer Rikard Nordraak, had died young in 1866 so Grieg must have felt the full weight of the national expectations the two once shared. Nordraak’s influence would live on in Grieg. It was through their fleeting friendship that Grieg “first learned to know the northern folk tunes and my own nature.”

THE HISTORY – Grieg began work on his one and only piano concerto during that Danish summer in 1868 but made revisions to it in each of the next four decades, the last coming just weeks before his death in 1907. The premiere performance of 1869 did not occur in Grieg’s native Norway but rather in Denmark, and it wasn’t just because he wrote the piece there. Copenhagen at the time was a much more fertile environment for serious concert music than Oslo (then called Christiana) and it makes sense that Grieg was hoping to make a more international statement if he could. No one at home had much time to be upset though, as the concerto’s resounding success (with even the “critics applauding UTAHSYMPHONY.ORG

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with all their might”) would necessitate an Oslo performance just a few months later. It was an important moment in Grieg’s continuation of Nordraak’s march towards a nationalistic Norwegian musical identity. But however loyal and earnest, Grieg was not inclined to simply carry another man’s torch. His brief association with Nordraak left him with a renewed affinity for Norwegian folk songs, but he never became a regular “quoter” of them in his compositions. His instinct was to be suggestive of his history through textural reference and rhythmic allusion, an ideal most perfectly realized in the finale of his concerto. So simultaneously simple and sophisticated, this is possibly Grieg’s most popular work today and was, for a time, among the most treasured and performed piano concerti of any composer. Indeed, even Grieg’s peers (though Grieg may not have yet seen titans like Liszt and Tchaikovsky as peers per se) acknowledged the greatness of his creation. Thankfully, the music suffers little from its well-earned ubiquity and still proves fresh and vital in any setting. The piece itself nods respectfully to Robert Schumann in both structure and key, but also invokes the bravado of Franz Liszt with its brilliant and challenging flourishes.

THE WORLD – Elsewhere in 1869, War and Peace was published in book form, the Cutty Sark (the world’s last surviving clipper ship) was launched in Scotland, the “Golden Spike” was driven in Utah.

THE CONNECTION – Grieg’s Piano Concerto last appeared on the Masterworks Series back in 2018. Kazuki Yamada conducted and Alexandra Dariescu was soloist. 19

HISTORY OF THE MUSIC

Pétrouchka Duration: 34 minutes in four sections.

THE COMPOSER – IGOR STRAVINSKY (1882–1971) – If the half-decade before The Great War is viewed as a delayed but final sunset on the 19th century, its potency as an epochal shift is perhaps best revealed by the artists who responded to it. The Firebird was the piece that put Stravinsky on the international musical map back in 1910 but had another composer (Anatol Liadov) not declined the Ballets Russes commission, the opportunity would not have fallen to him. And had Stravinsky not been gifted with such a chance, the road to The Rite of Spring might not have been so open. In fact, the leap of personal faith for the composer that occurred between The Firebird and The Rite mirrored the global moment, in that one piece looked back while the other denied the past entirely. There was a step between these two landmarks, let us not forget, one that had its own messages for the new century.

THE HISTORY – Pétrouchka began life as what Stravinsky called “a sort of Konzertstück” in which “the piano would play the most important part”. The Firebird had only recently changed his life by making him a superstar, but he was anxious to throw off the old-fashioned chains of it. No longer content to reflect the sounds and habits of his teacher RimskyKorsakov, Stravinsky was aiming his newly bolstered confidence into the future. But before tackling the challenges of The Rite of Spring in earnest, he felt the need to “refresh” himself with another work. From the start, Pétrouchka was intended to provoke. When Diaghilev heard early 20

sketches of it, he was entranced. He had come to visit Stravinsky on the pretense of previewing music from The Rite but forgave the composer’s trespass by demanding he first turn the budding “concertpiece” into a full ballet. The subject was perfect for the nose-thumbing Stravinsky was planning. The puppet Pétrouchka was, according to the composer, “the immortal and unhappy hero of every fair in all countries.” The scenario of the ballet included scenes both grand and intimate, from the opening Shrovetide Fair to the lonely confines of Pétrouchka’s puppet theater room. Story points like Pétrouchka’s lost love for the ballerina and death at the hands of a rival for her affections gave Stravinsky a chance to explore a blunter and more piquant musical language than the one he used for The Firebird. The resulting ballet and the re-orchestrated suite he built from it in 1947 were huge successes. It is interesting that Stravinsky worried the Paris premiere of Pétrouchka might raise the eyebrows of those who perceived in it a critical jab at the sentimental Russian romanticism that informed The Firebird. But he also admitted this was exactly what he intended. Everything that came next for Stravinsky is thanks in part to the courageous sounds and ideas he tested first in Pétrouchka.

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

THE CONNECTION – The 1947 Pétrouchka Suite has been performed many times on the Utah Symphony Masterworks series. The most recent concerts were in 2016 under Jun Märkl. UTAHSYMPHONY.ORG

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MASTERWORKS SERIES

THIERRY FISCHER CONDUCTS

RACHMANINOFF, HONEGGER & NATHAN LINCOLN DE CUSATIS JANUARY 28 & 29, 2022 / 7:30 PM ABRAVANEL HALL

THIERRY FISCHER, conductor MADELINE ADKINS, violin

HONEGGER Symphony No. 3, “Symphonie liturgique” I. Dies irae II. De profundis clamavi III. Dona nobis pacem

NATHAN LINCOLN de CUSATIS The Maze for Violin and Orchestra (Western US Premiere, commissioned by Madeline Adkins) I. Echoes II. The Overlook III. Pictographs IV. The Confluence Madeline Adkins, violin

INTERMISSION RACHMANINOFF Symphonic Dances, Op. 45

I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai - Allegro vivace CO N CER T S PO N SOR

C. COMSTOCK CLAYTON FOUNDATION

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ARTIST’S PROFILE See page 13 for Thierry Fischer’s profile.

Violinist Madeline Adkins joined the Utah Symphony as Concertmaster in September 2016. Prior to this appointment, she was a member of the Baltimore Symphony Orchestra, performing as Associate Concertmaster from 2005-16. She was also Concertmaster of the Baltimore Chamber Orchestra from 2008–16.

Madeline Adkins Violin

G U ES T A R TIST S PO N SOR

Adkins is a Concertmaster of the Grand Teton Music Festival Orchestra and has served as Guest Concertmaster of the Pittsburgh Symphony, Cincinnati Symphony, Houston Symphony, Hong Kong Philharmonic, Indianapolis Symphony Orchestra, and Grant Park Symphony. Adkins has also been a guest artist at numerous festivals including the Stellenbosch International Chamber Music Festival in South Africa, Sarasota Music Festival, Jackson Hole Chamber Music, Music in the Mountains, and Sewanee Summer Music Festival, as well as a clinician at the National Orchestral Institute, National Youth Orchestra at Carnegie Hall, and Haitian Orchestra Institute. In addition, she has served as Music Director of the NOVA Chamber Music Series in Salt Lake City. A sought-after soloist, Adkins has appeared with orchestras in Europe, Asia, Africa, and 24 US states, including over 25 works as soloist with the BSO, and seven concertos as soloist with the Utah Symphony. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. The siblings, who included titled players in the National, Dallas, and Houston Symphonies, joined together to form the Adkins String Ensemble. She performed on viola and violin with this unique chamber ensemble for over 15 years, and the group has made numerous recordings, including Schoenberg’s Verklärte Nacht. Adkins serves as a Musician Director on the Board of the Grand Teton Music Festival. When not on stage, Adkins enjoys travel photography, reading, tap dancing, and exploring the West. She is also passionate about animal rescue, and has fostered over 100 kittens! Adkins volunteers regularly for Best Friends Animal Society, the Utah Food Bank, and the International Rescue Committee.

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HISTORY OF THE MUSIC By Jeff Counts

Symphony No. 3, “Symphonie liturgique” Duration: 33 minutes in three movements.

THE COMPOSER – ARTHUR HONEGGER (1892-1955) – Author and music annotation legend Michael Steinberg saw something worth investigating in Honegger’s selfreported “dual nationality”. He might have been on to something. Honegger was born in Paris to Swiss parents and though his adopted French home defined his artistic nationality, at least by reputation, he credited his Helvetic roots for many of his most deeply imbedded personal traits, including a “naïve sense of honesty”. The fact that his face adorned the 20 Franc Swiss bank note from 1996–2014 was further proof that this charter member of the Parisian Les Six, devotedly claimed by both of his “homes”, was never just one thing or the other. Honegger was a complex enigma whose music reflected his unique, multifaceted, views on humanity and the world.

THE HISTORY – War informed many of those views. Honegger was in Paris when the Germans came in 1940 and though they attempted to encourage his participation in the cultural confirmation of their occupation, he steadfastly declined. When the war ended in 1945, Honegger set to work on a new symphony that would be “a drama, between three characters, real or symbolic: misery, happiness and man.” “These are eternal themes”, he continued in his description of Symphony No. 3’s intent, “I have attempted to bring them up to date.” Among Honegger’s many “dualities” was his Protestant DNA as a Swiss-born person and his growing embrace of 26

France Catholicism as an adult. The three movements of Symphony No. 3 were drawn from the latter influence. Based on elements of the Liturgy, the music embodies Honegger’s three characters in order, with terror in the face of divine and violent wrath, the loss of contentment after being so cruelly abandoned by divinity and the resigned, tentative peace that comes only from active rebellion. World War II can’t be thanked for much beyond the overarching triumph of good over evil. But the artistic response to those terrible years did yield great, lasting works. Composers from Shostakovich to Messiaen to Britten (the list is much too long to fully present here) created urgent cautionary testaments to their separate realities and left us a canon of remembrance that is as meaningful today as it was then. Honegger’s masterful contribution to this effort with the “Liturgique” Symphony has perhaps not won him the same recognition as others, but he has never truly been in their league anyhow. Popularity is not the same thing as importance, however, and Honegger’s place in history was best affirmed by Jean Cocteau at the composer’s funeral. “Arthur,” Cocteau told the gathered many, “you managed to gain the respect of a disrespectful era.” He deserves so much more in ours.

THE WORLD – Elsewhere in 1946, It’s a Wonderful Life premiered in America, the Philippines gained independence, Mensa was founded in England, and Juan Perón was elected in Argentina.

THE CONNECTION – Honegger’s Symphony No. 3 has not been performed by the Utah Symphony since 1985. George Cleve conducted. UTAHSYMPHONY.ORG

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HISTORY OF THE MUSIC

The Maze Duration: 18 minutes in four movements.

THE COMPOSER – NATHAN LINCOLN DE CUSATIS (b. 1982) – One biography of Fordham University Associate Professor Nathan Lincoln de Cusatis describes him as a composer with an “inclusive musical voice.” This observation, like the artistic generosity it praises, comes from his wideranging influences and interests. The music of Lincoln de Cusatis reflects a life spent exploring both jazz and classical idioms, with other more oblique inspirations filling in the spaces in between. The biography continues: “His work is often guided by psychological narratives that unfold through references to past musical traditions, communal improvisation, cult films, iconic works of art and the ambient sounds of the urban landscape.”

THE HISTORY – Non-urban landscapes provide the source material for The Maze for Violin and Orchestra (2019). Commissioned by Utah Symphony Concertmaster Madeline Adkins, this piece is described on her website as “inspired by the Maze District of Canyonlands National Park, one of the most isolated and pristine desert wilderness areas in the country.” Adkins further explains that Lincoln de Cusatis “travelled the Maze in March 2019, spending six days covering the entirety of the district…This piece is his attempt to capture that journey in sound, and to use the temporal dimension of music to translate the vastness of geologic time and change to the human scale.” Cast in four continuous movements, The Maze begins with “Echoes.” According to Lincoln de Cusatis, this movement serves as an UTAHSYMPHONY.ORG

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introduction to two of the main ideas that run through the experience – an eerie sonic representation of the desert he calls the “chord of mystery” and a melodic trailhead known as “the echo” that marks the topographical and emotional starting point of the hike. “The Overlook” depicts the geologic forces behind canyon formation while pitting the soloist against the physical barriers to entry in such a place. As she descends from the rocky rim to the floor of the Maze itself, she figuratively “chases” the erosion that created everything around her. “Pictographs” pauses the soloist/ traveler near the entrance of the Maze to take in the famous Harvest Scene of cave paintings. Here, ancient gods, creation myths, and other elemental mysteries are given voice after centuries of silence. The finale of The Maze is, of course, at “The Confluence” of the Green and Colorado rivers. Lincoln de Cusatis gives each water course its own contrasting rhythmic identity as we hear the soloist “ride the rapids” to the place where they meet. She is reminded once more by “the echo” of how her journey began before finally climbing up and out of this place of suspended time and immeasurable space.

THE WORLD – Elsewhere in 2019, protests heated up in Hong Kong, Notre Dame Cathedral burned, Japanese Emperor Akihito abdicated, and Greta Thunberg addressed the UN Climate Action Summit.

THE CONNECTION – Though Concertmaster Madeline Adkins has appeared as soloist many times, these concerts represent the Utah Symphony premiere of Nathan Lincoln de Cusatis’ The Maze. 27

HISTORY OF THE MUSIC

Symphonic Dances, Op. 45 Duration: 35 minutes in three movements.

THE COMPOSER – SERGEI RACHMANINOFF (1873-1943) – Like so many of his artistic cohort in the eventful moments of 1939, Rachmaninoff decided that Europe was no place to be. He had seen it all before and knew well the sound made by distant drums of war. And at his age (he had recently fallen and was forced to miss the ballet based on his Paganini Variations), the prospect of another global conflagration was more than he was prepared to endure. He was living in Switzerland at the time but was traveling regularly for concerts in the U.S. and England. His decision to flee more permanently to America was fateful. It meant he would never see his beloved Swiss villa, let alone his long-lost Russian homeland, again.

THE HISTORY – In the latter years of his compositional life, Rachmaninoff favored a leaner and more focused orchestral language. The luxuriant textures that fueled his rise to prominence became rare and in their place was a more concise, less emotional presentation of ideas. Rachmaninoff’s somber seriousness as a person was often at odds with his early Romantic opulence as a composer, so the turn towards directness in his December years is perhaps an understandable eventuality. In his last completed work, Rachmaninoff found reason to blend a bit of the old with the new. The Symphonic

Dances of 1940 actually date in part back to 1915 and a ballet project that Rachmaninoff had proposed to Mikhail Fokine. Nothing came of it, so the material in those sketches remained on the shelf for twenty-five years before finding a new home in the score of Symphonic Dances. The work was dedicated to Eugene Ormandy and the Philadelphia Orchestra and, though not an overwhelming success at the premiere, Symphonic Dances is regularly and quite reasonably held up as Rachmaninoff’s finest masterpiece. The spare angularity of his late style was reminiscent of his countrymen Stravinsky and Prokofiev but the lushness of his harmonic language and the occasional, well-placed “big” melody (in honor of his own younger self) are elements that still brook no comparison, since no composer before or since has ever truly matched them. Present also of course was the Dies Irae chant that shadowed Rachmaninoff throughout his life and figured prominently in his final three large-scale works. “Last” works almost always beg a summative place in a composer’s history. The music itself, so often incomplete, does not always oblige. But with Symphonic Dances, no stretch is needed to see it as a capstone to a brilliant career.

THE WORLD – Elsewhere in 1940, Winston Churchill became Prime Minister of the United Kingdom, the first McDonald’s restaurant opened, and Lhamo Thondup was officially installed as the 14th Dalai Lama in Tibet.

THE CONNECTION – Symphonic Dances was recorded by Utah Symphony in 2004 and last performed live in 2017. Matthias Pintscher was on the podium.

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UPCOMING PERFORMANCES AT THE UTAH SYMPHONY

THIERRY FISCHER CONDUCTS RACHMANINOFF, HONEGGER & NATHAN LINCOLN DE CUSATIS

DANIEL LOZAKOVICH PLAYS TCHAIKOVSKY'S VIOLIN CONCERTO

January 27 / Austad Auditorium at the Val A. Browning Center (Ogden) January 28 & 29 / Abravanel Hall Featuring Madeline Adkins, violin

February 18-19 / Abravanel Hall Thierry Fischer, conductor Daniel Lozakovich, violin

Composer Nathan Lincoln de Cusatis takes us on a sonic trek through the canyonlands in a work commissioned and performed by Concertmaster Madeline Adkins. THIERRY FISCHER CONDUCTS RAVEL, LISZT & JOHN ADAMS February 3 / Austad Auditorium at the Val A. Browning Center (Ogden) February 4 & 5 / Abravanel Hall Joyce Yang, piano Just try to sit still during Maurice Ravel's homages to two of the world's greatest waltz composers, Franz Schubert and Johann Strauss. BRAVO BROADWAY! A RODGERS & HAMMERSTEIN CELEBRATION February 10 / Austad Auditorium at the Val A. Browning Center (Ogden) February 11 & 12 / Abravanel Hall Jerry Steichen, conductor Let us transport you back to the Golden Age of Broadway with a tribute to Rodgers and Hammerstein.

Composed during the worst year of his life and written off as pretentious and unplayable, Tchaikovsky's Violin Concerto has risen to the highest ranks of the virtuoso repertoire. HARRY POTTER AND THE HALF-BLOOD PRINCE ™ IN CONCERT February 24-26 / Abravanel Hall Conner Gray Covington, conductor Relive the magic of year six in Harry Potter and the Half-Blood Prince ™ in Concert with the Utah Symphony. LOUIS SCHWIZGEBEL PLAYS MOZART'S PIANO CONCERTO NO. 12 WITH SHOSTAKOVICH SYMPHONY NO. 5 March 3 / The Noorda Center for the Performing Arts (Orem) March 4 & 5 / Abravanel Hall Francesco Lecce-Chong, conductor Louis Schwizgebel, piano Witness "A Soviet Artist's Response to Just Criticism" in history's most famous musical apology.

MASTERWORKS SERIES

THIERRY FISCHER CONDUCTS

RAVEL, LISZT & JOHN ADAMS FEBRUARY 4 & 5, 2022 / 7:30 PM ABRAVANEL HALL

THIERRY FISCHER, conductor JOYCE YANG, piano

JOHN ADAMS Slonimsky’s Earbox LISZT Concerto No. 1 in E-flat Major for Piano and Orchestra I. Allegro maestoso II. Quasi adagio - Allegretto vivace III. Allegro marziale animato Joyce Yang, piano

INTERMISSION RAVEL Une Barque sur l’océan Valses nobles et sentimentales I. Modéré II. Assez lent III. Modéré IV. Assez animé V. Presque lent VI. Assez vif VII. Moins vif VIII. Epilogue

La Valse CO N C ER T S PO N SOR

CO N D UCTOR S PO N S O R

HEALTHCARE NIGHT

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ARTIST’S PROFILE See page 13 for Thierry Fischer’s profile.

Joyce Yang first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takács Quartet), and Best Performance of a New Work.

Joyce Yang Piano G U ES T A R TIST S PO N SOR

NORA ECCLES TREADWELL FOUNDATION

Other notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Deutsches Symphonie-Orchester Berlin, the BBC Philharmonic, as well as the Toronto, Vancouver, Sydney, Melbourne, and New Zealand Symphony Orchestras. She was also featured in a five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal). Born in 1986 in Seoul, South Korea, Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present. Over the next few years she won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yang won the pre-college division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with the Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Piano Concerto No. 3 with that orchestra at just 12 years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Annual William A. Petschek Piano Recital Award. Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.

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HISTORY OF THE MUSIC By Jeff Counts

Slonimsky’s Earbox Duration: 23 minutes.

THE COMPOSER – JOHN ADAMS (b. 1947) – Among the most generous and beguiling of our compositional living legends, John Adams seems to somehow choose his subjects with both great care and complete abandon. From an imagined familiarity between his father and Charles Ives to a strange book he discovered in a French farmhouse to a bluesy phrase impossibly attributed to Martin Luther, John Adams almost always titles his pieces in a way that requires further reading. It is hardly a surprise then that he would find common cause with one of the wittiest and most intellectually virtuosic voices in musical letters.

THE HISTORY – Known more in America for his Lectionary of Music and Lexicon of Musical Invective, Nicolas Slonimsky was a Russian-born polymath who, looking back on the 101 years of his life before passing away in 1995, could have boasted no less than four distinct careers in music. Slonimsky was a pianist, a conductor, a composer, and a highly praised lexicographer with an inexhaustible supply of anecdotes. Adams got to know him when they both were living in Santa Monica, California. Slonimsky was, according to Adams, “a character of mind-boggling abilities” who could “recall with absolute precision the smallest detail of something he’d read from forty years before.” Slonimsky’s Earbox (1995) owes its existence to something Slonimsky had written well over forty years before. The Thesaurus of Scales and Melodic UTAHSYMPHONY.ORG

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Patterns dates from 1947 and Adams acknowledged a great personal debt to it by stating that the “scales and resulting harmonies have had a singular impact on my music since the Chamber Symphony of 1992.” Further inspiration for Slonimsky’s Earbox is attributed by Adams to Igor Stravinsky, whose orchestral work Le chant du rossignol uses the orchestra to “burst[s] out in a brilliant eruption of colors, shapes and sounds.” Adams was also drawn to Stravinsky’s use of modal scales and harmonies in the Rossignol score. These had an obvious, direct-line connection for Adams to Slonimsky’s treatise, but additionally supported a long-held theory of Adams’ that “the Russians…had begun something very important with their use of modal scales…a direction that unfortunately was overwhelmed by more prestigious practices such as Neoclassicism and Serialism.” It’s exactly the kind of brainy observation Slonimsky himself might have made and clear proof that Adams and his muse were made for each other. The “Earbox” of the title comes from Adams too, who called it “a word worthy of Slonimsky himself, a coiner who never tired of minting his own.” Yet more proof. If you need it.

THE WORLD – Elsewhere in 1995, the “Trial of the Century” concluded in OJ’s acquittal, the Bosnian Civil War ended, the World Trade Organization was founded, and the city of Bombay changed its name to Mumbai.

THE CONNECTION – These performances mark the Utah Symphony’s first performances of John Adams’ Slonimsky’s Earbox. 33

HISTORY OF THE MUSIC

Piano Concerto No. 1 in E-flat Major Duration: 19 minutes in four movements (played without pause).

THE COMPOSER – FRANZ LISZT (1811– 1886) – Liszt spent the 1850s in Weimar and created some of his finest works there, including the two piano concertos, Totentanz, the Faust Symphony, as well as various etudes, rhapsodies and other sundry exercises. In addition to continuing his duties under the fabulous title of Kapellmeister Extraordinare, the composer had officially relocated to Weimar in 1848 (perhaps seen then an odd choice for someone of his stature) because of two important people, his employer and his second great love. With Grand Duke Carl Alexander, Liszt hoped he might co-found an intellectual “Athens of the North” and in the Princess Carolyne he saw nothing less than his future wife. Neither dream would be realized.

THE HISTORY – Both of Liszt’s piano concertos had long incubation periods. No. 1 was apparent in sketches from the early 1830s (possibly even before) and, though ostensibly “complete” by the end of that decade, it was revised repeatedly over the next two and not premiered in its final form until 1855. Liszt, ever preoccupied with structural innovation and recalling an 1836 admonishment by Robert Schumann to “invent a new form”, chose to set his concerto as a continuous flow of ideas rather than a standard three-movement work with breaks in between. Compared to the nearly contemporaneous Concerto

No. 2 which, according to the previously quoted essayist Michael Steinberg is “for poet’s only”, No. 1 is a simple dazzler for any “keyboard athlete.” We should be careful, however, not to let assessments of this music’s showy nature (which are common and fair) blind us to its truly novel formal accomplishments. Other composers certainly noticed and, as with so much of what Liszt did throughout his composing life, they saw glimpses of the future in his intrepid, boisterous spirit. He well knew this about himself and cultivated it carefully. In fact, a wonderful legend about the concerto’s opening theme plays neatly into the notion of Liszt as a man fully aware, and perhaps a bit protective, of his place in the vanguard. According to the lore, Liszt and his son-in-law Hans von Bülow put secret words to the notes which (translated) say “None of you understand this, haha!” That dismissal, if true, seemed to predict and then casually wave away the opinion of critics and colleagues that Concerto No. 1 lacked the “poetry” mentioned above. It also baked in a reminder that, for all his swagger and fame, Liszt was an artist of incredible intellectual depth, and one willing to remind you of such if you forgot.

THE WORLD – Elsewhere in 1855, Alexander II ascended to the Russian throne, The Daily Telegraph began publication in London, and the first bridge over the Mississippi River was constructed in Minneapolis.

THE CONNECTION – Liszt’s Piano Concerto No. 1 was most recently performed by the Utah Symphony in 2007 with Keith Lockhart on the podium and Lise de la Salle as soloist.

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HISTORY OF THE MUSIC

Three Orchestral (?) Masterpieces Duration: Une barque sur l’océan – 7 minutes; Valses nobles et sentimentales – 16 minutes; La Valse – 12 minutes

THE COMPOSER – MAURICE RAVEL (1875–1937) – For years, Ravel and Debussy were set up as rivals in Paris and, though they did not choose or nurture this “conflict,” the eventual factionalization of their artist community led to a cooling between them. It’s a shame, since the compositional similarities necessary to occasion such a competition were largely invented. Neither man liked being called an Impressionist (which they were then and still are today) and likely resented how the superficiality of the designation masked their individuality as artists. That said, it is difficult to fault their contemporaries for declaring them kindred. In addition to their comparable harmonic and formal innovations, both composers wrote prodigiously and colorfully for the piano. And both liked to convert those works into orchestral masterpieces.

THE HISTORY – Ravel wrote his piano collection Miroirs (Reflections) during 1904 and 1905. In his description of the music, he bristled (lightly) by admitting he knew the title would invite the expected tag of Impressionism. It was “a rather fleeting analogy,” he said, “since Impressionism does not seem to have any precise meaning outside the domain of painting.” No. 3 of the set was Une barque sur l’océan (A Boat on the Ocean) and it was no doubt measured against Debussy’s La Mer when it was orchestrated in 1906. The title of Valses nobles et sentimentales, Ravel wrote, UTAHSYMPHONY.ORG

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“sufficiently indicates that I was intent on writing a set of Schubertian waltzes.” Comprising seven dances and an epilogue, the Valses were orchestrated in 1912 and were Schubertian by dedication only. Unlike the separate parts that made up Schubert’s Valses nobles and Valses sentimentales sets, Ravel’s waltzes are indistinct, interconnected and decidedly modern by comparison. A few of the harmonic departures from expectation, in fact, earned Ravel some catcalls at the piano version premiere. Given this fascination with the waltz form, it comes as no surprise that Ravel long 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. Ravel gave the impresario a two-piano 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 that it is believed Diaghilev challenged Ravel to a duel a few years later. La Valse (the only part of tonight’s concert trio that didn’t begin life as a piano piece) premiered later in 1920, but not as a ballet.

THE WORLD – Elsewhere in 1906, the San Francisco earthquake occurred. In 1912, the RMS Titanic went down during its maiden voyage. And in 1920, the very first “Ponzi” scheme was born.

THE CONNECTION – La Valse was last programmed in 2015. Valses nobles et sentimentales appeared last in 1999. And Une barque sur l’océan was previously presented in 2015. 35

MASTERWORKS SERIES

DANIEL LOZAKOVICH PLAYS

TCHAIKOVSKY’S VIOLIN CONCERTO FEBRUARY 18, 2022 / 7:30 PM FEBRUARY 19, 2022 / 5:30 PM (PRELUDE) ABRAVANEL HALL

THIERRY FISCHER, conductor DANIEL LOZAKOVICH, violin

PAULO COSTA LIMA Oji – Chegança e ímpeto (U.S. Premiere) TCHAIKOVSKY Concerto in D Major for Violin and Orchestra, Op. 35 I. Allegro moderato II. Canzonetta III. Finale: Allegro vivacissimo Daniel Lozakovich, violin

INTERMISSION PROKOFIEV Selections from Cinderella

Introduction Mazurka Cinderella Goes to the Ball Cinderella’s Waltz Midnight Cinderella and the Prince Waltz Melody Amoroso

CO N CER T S PO N SOR

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ARTIST’S PROFILE See page 13 for Thierry Fischer’s profile.

Daniel Lozakovich Violin

G U ES T A R TIST S PO N SOR

Daniel Lozakovich, whose majestic music-making leaves both critics and audiences spellbound, was born in Stockholm in 2001 and began playing the violin when approaching seven years of age. A highly sought-after recitalist, having performed in some of the world’s most prestigious venues, Lozakovich has made appearances at the Théâtre des Champs-Élysées, Fondation Louis Vuitton, Tonhalle Zürich, Victoria Hall Geneva, Conservatorio G. Verdi Milan, and the Mariinsky Theatre. On tour he has appeared at Hamburg’s Elbphilharmonie, Amsterdam’s Concertgebouw, and, this season, he returns to the Konzerthaus Wien. Lozakovich is a regular at international music festivals, including the Verbier Festival, Sommets musicaux de Gstaad, Festival Rotterdam, White Nights Festival, Moscow Easter Festival, Tsinandali Festival, Festival de Pâques – Aix-en-Provence, Schleswig-Holstein Musik Festival, Tanglewood Music Festival, Blossom Music Festival, and the Pacific Music Festival. Lozakovich enjoys collaborations with such artists as Ivry Gitlis, Emanuel Ax, Renaud Capuçon, Shlomo Mintz, Denis Matsuev, Khatia Buniatishvili, George Li, Seong-Jin Cho, Martin Fröst, and Maxim Vengerov. Lozakovich has been awarded many prizes including 1st prize at the 2016 Vladimir Spivakov International Violin Competition and “Young Artist of the Year 2017” award at the Festival of the Nations, the Premio Batuta Award in Mexico, and the Excelentia Prize under the honorary presidency of Queen Sofia of Spain. Lozakovich studied at Karlsruhe University of Music with Professor Josef Rissin from 2012, and from 2015 has been mentored by Eduard Wulfson in Geneva. Daniel Lozakovich plays the “ex-Baron Rothschild” Stradivari on generous loan on behalf of the owner by Reuning & Son, Boston, and Eduard Wulfson. He also plays the Stradivarius Le Reynier (1727), generously loaned by LVMH / Moet Hennessy. Louis Vuitton.

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HISTORY OF THE MUSIC By Jeff Counts

Oji – Chegança e ímpeto Duration: 8 minutes.

THE COMPOSER – PAULO COSTA LIMA (b. 1954) – As a renowned composer and scholar, Brazilian-born Paulo Costa Lima regularly explores the conflation of art and culture and the ways the politics of imperialism are reflected in both. It is through this post-colonialist lens that Costa Lima often uses music to resist the continued southward creep of European and American dominance. In doing so, his compositional voice toys with the juxtapositions of the intellectual and the emotional, the elite and the popular, the traditional and the modern. It also reflects a lifelong interest in Brazilian folk traditions (Afro-Brazilian heritage in particular) and a desire to reckon with what he calls the cultural plurality present in most contemporary South American art music.

THE HISTORY – Costa Lima’s program note (translated here by Alex Olegnowicz) for the world premiere states: “The work Oji – Chegança e ímpeto is structured around the metaphor the Atlantic crossing.” Taking the great musicologist Gerard Bèhague’s saying as inspiration, “…and that is how, through ethics and aesthetics, Africa civilized Brazil…,” this work imagines the crossing from its first moments with its departure rituals, its complex navigation, its whirlwind of contradictions, all entangled in a daro de lansã rhythm that appears in the high seas and leads finally to the no less fiery dance of arrival. This ends the Atlantic UTAHSYMPHONY.ORG

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crossing yet establishes our own destiny and further contradictions on land, something that is suggested in the end by the noise of the wind machine. The whirlwind continues and, in this way, the famous couplet Iansã: Agbara nino afefe (the force within the wind) represents the active, irresistible force that moves all of the particles within the people, and reflects in us a utopian society and nation. Commissioned by OSESP (Symphony Orchestra of the State of São Paulo) in 2019, this work and its “whirlwind” were imagined in dialogue with Beethoven’s Symphony No. 6 (to which it refers). Its palette of gestures brings together transformations and derivations of Afro-Brazilian rhythmic patterns, variations of melodic gestures that suggest the “Ndemburê” song of Angolan tradition and an assortment of related textures and syntax (all informing the ongoing dialogue between African tradition and the habits of contemporary concert music). All of this allows an appropriate connection to the larger metaphor of the crossing. “I went through one door and went out through another; the Lord my King, tell me another…”

THE WORLD – Elsewhere in 2019, UK Prime Minister Theresa May resigned, The U.S. Women’s Soccer team won the FIFA World Cup, China landed a spacecraft on the dark side of the moon, and the first proven malaria vaccine was introduced in Malawi.

THE CONNECTION – These concerts represent the U.S. premiere of Costa Lima’s Oji – Chegança e ímpeto. 39

HISTORY OF THE MUSIC

Concerto for Violin in D Major, Op. 35 Duration: 34 minutes in three movements.

THE COMPOSER – PIOTR ILYICH TCHAIKOVSKY (1840-1893) – Tchaikovsky was a man quite accustomed to emotional dissonance and discomfort, and likely expected life to challenge him at every turn. And why not? It had so often obliged. But even an experienced pessimist like Tchaikovsky must have been unprepared for one of his most painful professional experiences to repeat itself so literally in 1878. His Piano Concerto No. 1 had been written in 1875 and after Nicolai Rubenstein refused to play it (and crushing the composer with one of the least graceful critiques in the history of music), the premiere had to be moved to Boston. The stage was set for an encore performance of this embarrassing drama only three short years later.

THE HISTORY – Obviously, Mr. Rubenstein was wrong about Piano Concerto No. 1. It has become an anchor work in the repertoire, a status it deserves, and its popularity among high profile pianists has never waned. Even Rubenstein himself abandoned his minority opinion eventually and added it to his repertoire. Tchaikovsky began work on the Violin Concerto in the spring of 1878 and completed it in about a month. Its dedicatee was Leopold Auer, a Hungarian virtuoso who taught at the St. Petersburg Conservatory. Years later, Auer recalled the moment when Tchaikovsky presented him with the score, already in print and already dedicated to him. “I regretted that the great composer had not shown it to me before…,” he recounted, “Much unpleasantness might then have been spared us both.” The rest of Auer’s 40

interview is a confession of sorts, in which the violinist lists his objections to the music, but also admits he was wrong to reject the premiere. His closing comment about how it is “impossible to please everybody” intimated that he might never fully endorse a work that persisted without his unsolicited amendments. But he did, and became a real champion of the piece later in his life. For his part, Tchaikovsky spurred his wounded pride into action by publishing a second edition right away, complete with a new dedication. Adolf Brodsky knew the opportunity before him and seized it by premiering the concerto in Vienna in 1881. Brodsky apparently played beautifully, but the performance did not go over. Critical commentary from that night is as brutal as anything Rubenstein ever said and so much crueler than the merely disappointed Auer’s reaction. Tchaikovsky reportedly carried around Eduard Hanslick’s scathing indictment (complete with a comment about how it is possible to “hear” the stink of something) for months. Just like in 1875, though, everyone would be proven wrong. The Violin Concerto stands so easily now next to Mendelssohn, Beethoven and Brahms; it is difficult to imagine it was ever otherwise.

THE WORLD – Elsewhere in 1881, the First Boer War came to an end, the Gunfight at the O.K. Corral occurred, and Scottish footballer Andrew Watson became the first black man to play international soccer.

THE CONNECTION – Tchaikovsky’s Violin Concerto was last performed by the Utah Symphony on the Masterworks Series in 2020. Thierry Fischer conducted and Karen Gomyo was soloist. Continued on page 43… UTAHSYMPHONY.ORG

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HISTORY OF THE MUSIC

Selections from Cinderella Duration: 31 minutes in eight movements.

THE COMPOSER – SERGE PROKOFIEV (1891-1953) – Prokofiev’s work in 1941 on the ballet Cinderella jostled with an unruly host of other events and distractions – professional, personal, and global. His marriage to Lina was at a breaking point. He was uncertain about the viability of his illicit relationship with Mira Mendelson. His new opera Betrothal at a Monastery was in production. And last, but certainly not least, there was a war going on. The fantastic (and surprising) success of Romeo and Juliet had encouraged the Kirov Ballet to commission the new work a year earlier, but Prokofiev wouldn’t complete the project until 1945. His busy, complicated life continued to intervene during those four years, as did the collapsing world order.

THE HISTORY – The fact that the first two acts of Cinderella were composed during the dissolution of Prokofiev’s marriage to Lina and the start of his public life with Mira, calls certain aspects of the piece into question. He had made statements to the press about how he hoped to make the character of Cinderella a “real person” and not simply a fairy tale archetype. He wanted to see her “feeling, experiencing and moving among us.” Whether the desire to add a third dimension to his heroine was meant to confirm a new devotion to Mira or hint at some lingering sympathy for Lina, or both, is impossible to divine now. But Prokofiev was working on an autobiography

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during that same 1941 summer, so it seems likely the reflective mood engendered by that process found its way into Cinderella. Both the ballet and the memoir had to be shelved when Germany invaded, however, and Prokofiev soon turned his attention to an opera based on Tolstoy’s War and Peace. He and Mira were able to return to Moscow in 1943 and he got back to work on the ballet in due course, reckoning at last with his own delayed midnight and completing the orchestration in 1944. When the premiere finally happened in 1945 it was at the Bolshoi, not the Kirov, but the commissioning company got its turn just one year later (with a production the composer greatly preferred). Three orchestral collections were drawn from the score in 1946 as well and tonight’s compilation is based on numbers from Suites 1 and 3. The story of Cinderella is well known, but Prokofiev’s intentions for the ballet version are worth considering in light of its protracted and emotionally freighted timeline. “What I wished to express above all else in the music of Cinderella,” he claimed, “was the poetic love of Cinderella and the Prince, the birth and flowering of that love, the obstacles in its path, and finally the dream fulfilled.”

THE WORLD – Elsewhere in 1945, World War II ended, Korea split into two nations, George Orwell published Animal Farm, scientists discovered the chemical element Promethium, and penicillin became widely available for the first time.

THE CONNECTION – Music from Prokofiev’s Cinderella suites has not been featured on a Utah Symphony program since 2015. Rei Hotoda conducted.

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Utah Symphony | Utah Opera is grateful to our generous donors who, through annual cash gifts and multi-year commitments, help us bring great live music to our community. Gifts as of November 15, 2021 * in-kind donation

** in-kind & cash donations

† deceased

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BRAVO ($50,000 TO $99,999) Judy Brady & Drew W. Browning Diane & Hal Brierley John & Flora D’Arcy

Harris H. & Amanda Simmons Norman C.† & Barbara L.† Tanner Second Charitable Trust

Wheatley Family Charitable Fund Jacquelyn Wentz

OVERTURE ($25,000 TO $49,999) Scott & Kathie Amann Doyle Arnold & Anne Glarner John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun

Susan & Tom Hodgson Intuitive Funding Edward Moreton Fred & Lucy Moreton Stephen & Melina Nicolatus Alice & Frank Puleo

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MAESTRO ($10,000 TO $24,999) Anonymous Fran Akita Austin & Kristi Bankhead Dr. J.R. Baringer & Dr. Jeannette J. Townsend Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy & Larry Brownstein Rebecca Marriott Champion Howard & Betty Clark Joseph & Cathy Cleary Larry Clemmensen Shelly Coburn Kathleen Digre & Michael Varner Pat & Sherry Duncan Dr. & Mrs. Ralph Earle

Midge & Tom Farkas Robert & Elisha Finney Mike Gatewood Diana George Brian & Detgen Greeff Douglas & Connie Hayes Stephen C.† & Lynda M. Jacobsen G. Frank & Pamela Joklik Kulynych Family Foundation II, Inc. Mr. & Mrs. Christopher J. Lansing Thomas & Jamie Love Dorothy McBride† Mr. & Mrs. Charles McEvoy Amanda & Spencer Millerberg Harold W. & Lois Milner

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Don Hendricks John Henkels† Chuck & Kathie Horman Sunny & Wes Howell The Right Reverend Carolyn Tanner Irish† & Mr. Frederick Quinn Mary P.† & Jerald H. Jacobs Family Allison Kitching George Klopfer & Joy Simeonova Michael & Peg Kramer Gary & Suzanne Larsen Harrison & Elaine Levy Daniel & Deena Lofgren Dennis & Pat Lombardi Nick Markosian Hallie McFetridge Christopher & Julie McBeth Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr. M.D.

Dr. Thomas Parks & Dr. Patricia Legant Stanley B. & Joyce M. Parrish Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison Kenneth Roach & Cindy Powell Barbara & Paul Schwartz Dewelynn & J. Ryan† Selberg Lisa & Joel Shine Mary & Doug Sinclair Paul Taylor Glen Traylor Dr. Albert & Yvette Ungricht Howard & Barbara Wallack Brad E. & Linda P. Walton Douglas & Rebecca Wood The Christian V. & Lisa D. Young Family Foundation

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous James & Christiane Adams Pam & Paul Apel Ian Arnold Charles Beckham Dr. Melissa J. Bentley Roger & Karen Blaylock Bill & Susan Bloomfield Charlotte & Hal Browning Neill & Linda Brownstein Mr. & Mrs. John Brubaker Kristin LaMarr Bunn Michael & Vickie Callen Dr.† & Mrs. Anthony Carter Mr. & Mrs. Lee Forrest Carter Mark & Marcy Casp Brad & Mary Ann Cassell Robert Chamberlain The Chung Family 46

George Coleman Debbi & Gary Cook Helen Cooper Sandra & David Cope Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Margarita Donnelly Bonnie Donohue Carol & Greg Easton Melvin & Barbara Echols Carolyn Enenstein Muffy Ferro Blake & Linda Fisher Adele & James Forman Mr. Joseph F. Furlong III

Robert & Annie-Lewis Garda Joann Geer David & Lisa Genecov Andrea Golding Kenneth & Amy Goodman Geraldine Hanni Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch Marian & Matt Hicks Matthew Higgins Robert & Dixie Huefner Michael Huerta & Ann Sowder Mr. & Mrs. Jerry Huffman Annette & Joseph Jarvis Diane Jenkins Chloe Johnson

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CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

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As a 501c(3) non-profit, Utah Symphony | Utah Opera relies on a combination of private and public support to fulfill our mission to connect the community through great live music. Now more than ever we are witness to the power of music to help lift our communal spirit and bring us joy. A contribution in any amount supports USUO in providing music education in every school district in Utah, achieving artistic excellence on stage, and making music accessible to all to ensure that the power of music will continue to play a vital role in our community.

MAKE A DONATION ONLINE AT USUO.ORG/GIVE OR BY CALLING 801-869-9001

JOIN ABRAVANEL AND PETERSON SOCIETIES With a $2,500 tax-deductible contribution, you can enjoy the benefits of our exclusive Utah Symphony Abravanel Society or Utah Opera Peterson Society. A $5,000 contribution provides access to both societies. FIND OUT MORE 801-869-9001 | USUO.ORG/SUPPORT-LIVE-MUSIC/DONOR-BENEFITS

INDIVIDUAL SUPPORT ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Maxine & Bruce Johnson Jane Jones Neone F. Jones Family Dr. Michael A. Kalm Dr. James & Carolyn Katsikas Rick & Paulette Katzenbach Marguerite Kaupp Michael Kennedy Susan Keyes & Jim Sulat Jeanne Kimball Spencer & Christy Knight Howard & Merele Kosowsky Donald L. & Alice A. Lappe Herbert† & Helga Lloyd Patricia & Mark Lucas David & Donna Lyon Chuck & Crystal Maggelet Abigail Magrane Steve Mahas Keith & Vicki Maio Heidi & Edward D. Makowski Brian Mann Peter Margulies & Louise Vickerman

Kathryn & Jed Marti Miriam Mason & Greg Glynnis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad & Trish Merrill Richard & Robin Milne Mr. & Mrs. Richard Mithoff Dr. Louis A. Moench & Deborah Moench David Mortensen & RoseMarie Brittner Mahyera Glenn & Dav Mosby Michael & Katie Mueller Metta Nelson Driscoll Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth & William Ohlsen S. Keith & Barbara Petersen W.E. & Harriet R. Rasmussen Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Mark & Loulu Saltzman

Margaret P. Sargent Catherine W. Smith Dru Schmitt Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Sheryl & James Snarr Stan & Mary Sorensen Christine St. Andre & Cliff Hardesty Mr. Jeffrey Starr Ray & Ann Steben Richard & Janet Thompson Denise Torrisi Caroline Tucker John & Susan Walker Gerard & Sheila Walsh Kelly Whitcomb Cindy Williams Barry & Fran Wilson E. Woolston & Connie Jo Hepworth-Woolston Gayle & Sam Youngblood** Laurie Zeller & Matthew Kaiser

Karen Bennett Francine R. Bennion Dr. Ann D Berghout Austin Richard & Suzanne Burbidge Kevin Burdette Michael S. Butler Michael Carnes Frederick & Nancy Carter Beatrice & Po Chang Michael & Beth Chardack Blair Childs & Erin Shaffer Jay D. & Patricia Clark Jeremiah Clawson James & Elizabeth Cobb Kenneth Colen William J. Coles & Joan L. Coles

Dr. & Mrs. David Coppin David & Carol Coulter Dorothy B. Cromer James Dashner Charles Deneris Michael & Sheila Deputy Dr. Paul Dorgan Alice Edvalson Eric & Shellie Eide Eugene & Charlotte England William Fickling Thomas Fuller Heidi Gardner Sheila & David Gardner Mr. & Mrs. Eric Garen** Traci & Scott Garmon

FRIEND ($1,000 TO $2,499) Anonymous [6] Alan, Carol, & Annie Agle Jim Alexander Ryan Aller & Natasja Keys Christine A. Allred Robert & Cherry Anderson Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Fred & Linda Babcock David Bailey Marlene Barnett Thomas & Carolee Baron Tina & John Barry Mr. & Mrs. Lawrence R. Barusch David Bateman Jennifer Beckham

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INDIVIDUAL SUPPORT FRIEND ($1,000 TO $2,499) CONTINUED Dave Garside Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. Keith Guernsey John & Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Kenneth & Kate Handley Scott W. Hansen David Harris Jonathan Hart Lex Hemphill & Nancy Melich Barbara Higgins Richard & Ruth Ann Hills Thomas Hogan Connie C. Holbrook Caroline & David Hundley Jennifer Horne-Hunstman & Scott Hunstsman Stephen Tanner Irish Gordon Irving Eldon Jenkins & Amy Calara Nick Johnson Bryce & Karen† Johnson Chester & Marilyn Johnson Jill Johnson Barbara Jones Catherine Kanter Umur Kavlakoglu Randy King Carl & Gillean Kjeldsberg Robert & Karla Knox Mr. & Mrs. Bruce M. Lake

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Jeffrey LaMora Tim & Angela Laros Grace Lin Ms. Susan Loffler Aragon McCarthey Charitable Trust Mary Pat McCurdie Michael & Julie McFadden Jerilyn McIntyre & David Smith Warren K. & Virginia G. McOmber David Merrill David B. & Colleen A. Merrill Joanne Mitchell Dale Moses Barry & Kathy Mower Dan & Janet Myers Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Lee K. Osborne O. Don & Barbara Ostler Stephanie Pappas Robert & Linda Pembroke Rori & Nancy Piggott Arthur & Susan Ralph Dr. Barbara S. Reid Frances Reiser Gina Rieke Marie Rosol F. Jayne Roth Glenn & Susan Rothman Rachel Sabin Philina Saltas

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Gerald† & Sharon Seiner Daniel & Angela Shaeffer Sheri Shepherd Dennis & Annabelle Shrieve Allen & Karen Sims Barbara Slaymaker Elliot Smith & Neylan McBaine Dr. & Mrs. Michael H. Stevens Shane & Stacey Stowell Shannon & Richard Straight Jonathan & Anne Symonds Tim & Judy Terrell Jeff Tolk & Astrid Tuminez Ralph & Judith Vander Heide David & Barbara Viskochil Kerry Vogt Susan Wagstaff & Phill Osbourne Sharon Walkington Dr. James C. Warenski Rochelle Warner Renee Waters Erik Watts Frank & Janell Weinstock Charles & Ellen Wells Betsey & Scott Wertheimer Glenn & Connie Wimer David & Jeralynn Winder Margaret & Gary Wirth Paul Wright Dean & Jean† Zobell

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 & stability of USUO, & 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 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 Roger & Susan Horn

The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Loretta M. Kearns Vicki McGregor Edward Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler 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 Frederic and Marilyn Wagner M. Walker & Sue Wallace Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

GIFTS MADE IN HONOR Frances Darger Anne & Ashby Decker

Dr. Christopher Dechet Paula Fowler

Leslie Peterson Joanne Shiebler

GIFTS MADE IN MEMORY Jay Ball Donald A. Basinger Jan Bennett Robert H. Burgoyne, M.D.

Adrienne Coombs Andrea Lane Jamila Janatova Glade & Mardean Peterson

J. Ryan Selberg Dorotha Smart Barbara Tanner Rachel Varat-Navarro

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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 Alternative Visions Fund The Church of Jesus Christ of Latter-day Saints Foundation Crocker Catalyst Foundation Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation

Emma Eccles Jones Foundation Frederick Q. Lawson Foundation LOVE Communications** The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Company Salt Lake County Zoo, Arts and Parks State of Utah

Summit County Restaurant Tax / RAP Tax Utah Department of Cultural & Community Engagement Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Grand America Hotel & Little America Hotel* Moreton Family Foundation

Sorenson Legacy Foundation

The Kahlert Foundation The John C. Kish Foundation Janet Q. Lawson Foundation McCarthey Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation Promontory Foundation

Joanne L. Shrontz Family Foundation Simmons Family Foundation Joseph & Kathleen Sorenson Legacy Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Office of Tourism

$50,000 TO $99,999 Anonymous Dominion Energy

$25,000 TO $49,999 Arnold Machinery BMW of Murray/BMW of Pleasant Grove Brent and Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric C. Comstock Clayton Foundation William Randolph Hearst Foundation

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INSTITUTIONAL DONORS $10,000 TO $24,999 Altabank HJ & BR Barlow Foundation B.W. Bastian Foundation Bertin Family Foundation Berenice J. Bradshaw Trust R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Caffé Molise*

Cranshaw Corporation Cultural Vision Fund Discover Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Kulynych Family Foundation II, Inc. Microsoft Corporation* Park City Chamber/Bureau S.J. & Jessie E. Quinney Foundation

Regence BlueCross BlueShield of Utah The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council St. Regis / Deer Crest Club** The Swartz Foundation Teoma Corporate LLC WCF Insurance W. Mack and Julia S. Watkins Foundation

The Fanwood Foundation Western Office Goldman Sachs & Co. LLC Grandeur Peak Global Advisors The Val A. Green & Edith D. Green Foundation Victor Herbert Foundation Holland & Hart** Hotel Park City / Ruth’s Chris Restaurant Hyatt Centric Park City** J. Wong’s Thai & Chinese Bistro* Lee’s Marketplace* Millcreek Coffee Roasters* City of Orem

Ray, Quinney & Nebeker Foundation Raymond James & Associates Red Rock Brewing Co.* Reliable Controls Rocky Mountain Power Foundation Ruth’s Chris Steak House* Snell & Wilmer Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Swire Coca-Cola* Squatters Pub Brewery* Utah Autism Foundation Y2 Analytics*

$1,000 TO $9,999 Anonymous [1] Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation CBRE Chinese Railroad Workers Descendants Association City Creek Center Deer Valley Resort* Spencer F. & Cleone P. Eccles Family Foundation Every Blooming Thing* Henry W. & Leslie M. Eskuche Charitable Foundation The Fang Family Foundation

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ALL’S WELL THAT ENDS WELL

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KING LEAR

THE EILEEN AND ALLEN ANES STUDIO THEATRE THE TEMPEST THURGOOD

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SWEENEY TODD

TROUBLE IN MIND

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By Alice Childress

CLUE Based on the Screenplay by Jonathan Lynn Written by Sandy Rustin Additional Material by Hunter Foster and Eric Price Left to right: Emelie O’Hara as Richard in The Conclusion of Henry VI: Parts Two and Three, 2019; Quinn Mattfeld as Nathan Detroit in Guys and Dolls, 2017; Betsy Mugavero as Nerissa in The Merchant of Venice, 2018; Wayne T. Carr as Macbeth in Macbeth, 2019; Michael Elich as Long John Silver in Treasure Island, 2017; and Sarah Hollis as a Witch in Macbeth, 2019.

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ADMINISTRATION ADMINISTRATION Steven Brosvik

OPERA ARTISTIC Christopher McBeth

David Green

Carol Anderson

President & CEO

Opera Artistic Director

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Julie McBeth

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Executive Assistant to the Senior V.P. & COO & Office Manager

Principal Coach

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Ashley Tingey

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Genevieve Gannon

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Alicia Ross Val Tholen

Sales Associates

Lorraine Fry Naomi Newton Ian Painter Ananda Spike Ticket Agents

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OPERA TECHNICAL Kelly Nickle

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Vice President of Artistic Planning

Dusty Terrell

Mike Lund

SYMPHONY ARTISTIC Thierry Fischer Robert Neu

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Lance Jensen

Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations

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Properties Master

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Milivoj Poletan Tailor

Tiffany Lent

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MARKETING & COMMUNICATIONS Jon Miles

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EDUCATION Paula Fowler

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Kyleene Johnson

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Anna Atkinson

Opera Education Assistant

Paul Murphy

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DEVELOPMENT Leslie Peterson

Meredith Kimball Laing

Jessica Proctor

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Kathleen Sykes

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Nina Starling

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Katie Swainston

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Lisa Poppleton

PATRON SERVICES Faith Myers

Dallin Mills

Merry Magee

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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.

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YOUR GIFT WILL HAVE AN EVEN GREATER IMPACT

Want your gift to Utah Symphony | Utah Opera to go even further? Now is the time to give, thanks to a generous $500,000 matching challenge grant from the George S. and Dolores Doré Eccles Foundation.

Please consider helping us meet the Foundation’s challenge! Gifts of cash, distributions from an IRA, or distributions from a Donor Advised Fund will all count toward the goal. For more information, please call 801-869-9015.

This challenge grant means that all new or increased contributions from now through May 1, 2022, will be equally matched, up to $500,000. The Foundation’s leadership acknowledged USUO’s thoughtful strategies “to remain active and viable during such an unprecedented year.” We are so very grateful to the Foundation and to you—our loyal supporters—for allowing us to look to the future with optimism

TANNER AND CRESCENDO SOCIETIES

“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot

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

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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 Ms. Marilyn Lindsay†

Anne C. Ewers 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

Turid V. Lipman 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 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

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 Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John† & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson

Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn† Zipser †Deceased

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THIERRY FISCHER CONDUCTS RACHMANINOFF, HONEGGER & NATHAN LINCOLN DE CUSATIS