Utah Symphony Jan/Feb 2024 by Mills Publishing Inc.

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CONTENTS

UTAH SYMPHONY JANUARY/FEBRUARY 2024

Welcome

Season Sponsors

BEETHOVEN’S SYMPHONY NO. 7 & MOZART’S VIOLIN CONCERTO NO. 3 JANUARY 5, 2024 / 7:30 PM

JANUARY 6, 2024 / 5:30 PM

Board of Trustees

Utah Symphony

Donors

SIR STEPHEN HOUGH PERFORMS STEPHEN HOUGH WITH CONDUCTOR SIR DONALD RUNNICLES JANUARY 12 & 13, 2024 / 7:30 PM

Acknowledgments

Administration

PROKOFIEV’S VIOLIN CONCERTO NO. 1 WITH CONCERTMASTER MADELINE ADKINS FEBRUARY 2, 2023 / 7:30 PM FEBRUARY 3, 2023 / 5:30 PM

@UtahSymphony

33 STRAUSS’ DON JUAN & A WORLD PREMIERE WITH PRINCIPAL TROMBONE MARK DAVIDSON FEBRUARY 16 & 17, 2023 / 7:30 PM

Purchase tickets at utahsymphony.org or call 801-533-6683

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

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

UTAHSYMPHONY.ORG / (801) 533-NOTE

GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller EDITOR Megs Vincent

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 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 2024

WELCOME

Welcome to Abravanel Hall and to a new year of inspiring concerts expertly performed by the musicians of the Utah Symphony. This January and February, the Utah Symphony presents five Masterworks programs with music by a diverse range of consummate composers from the 18th through the 21st centuries. These two months also feature performances with world-class guest conductors and soloists, which include our very own Concertmaster Madeline Adkins and Principal Trombone Mark Davidson. And on a lighter front—and just in time for your Valentine’s (or Galentine’s) weekend plans—we hope you’ll join us for a screening of the classic movie Casablanca with the Utah Symphony performing Max Steiner’s Oscar-winning score live in sync with the movie. STEVEN BROSVIK President & CEO

BRIAN GREEFF Board of Trustees Chairman

Did you know that, in addition to the exceptional concerts and opera productions we present, USUO is an industry leader in education and community engagement, offering nearly 250 performances and interactive opportunities annually for students and adult learners, presented by our professional orchestra and opera artists? Our longest-standing program is the Fifth-Grade Concerts that were started by Maurice Abravanel, the Utah Symphony’s legendary past Music Director for whom our concert hall was named. Each year, nearly 20,000 students attend these special performances during the school day; for many, it is their first introduction to the thrill of live symphonic music. Our ability to reach so many students is due, in significant part, to the Utah State Legislature, which provides over one-third of the support toward their cost. The remainder of that credit goes to our many donors who cumulatively match the state’s support. Thank you for your patronage and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your participation that we are able to connect the community through great live music! With sincere best wishes for a healthy and prosperous new year,

UTAHSYMPHONY.ORG / (801) 533-NOTE

SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FILMS IN CONCERT SPONSOR

FAMILY SERIES SPONSOR

2023-24 UTAH SYMPHONY SEASON SPONSOR

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

PHOTO CREDIT: Ian Mower for Utah Symphony

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

BOARD OF TRUSTEES

ELECTED BOARD Brian Greeff* Chair Annette W. Jarvis* Vice Chair and 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* Jason Englund Senator Luz Escamilla Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Dennis H. Hranitzky Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Stan Sorensen

Dr. Shane D. Stowell Thomas Thatcher W. James Tozer David Utrilla Kelly Ward Don Willie Kim R. Wilson Thomas Wright* Henry C. Wurts*

Clark D. Jones Thomas M. Love* David T. Mortensen Scott S. Parker

David A. Petersen Patricia A. Richards* Harris Simmons David B. Winder

Kristen Fletcher Richard G. Horne Ronald W. Jibson

E. Jeffery Smith

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

MUSICIAN REPRESENTATIVES Claudia Restrepo* Barbara Ann Scowcroft* EX-OFFICIO Jean Vaniman Onstage Ogden

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

TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Howard S. Clark

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

* Executive Committee Member

UTAHSYMPHONY.ORG / (801) 533-NOTE

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TUACAHN.ORG TUACAHN.ORG 2024 BROADWAY SEASON

2024 BROADWAY SEASON

the musical Originally Presented by Radio City Entertainment At The Theater At Madison Square Garden

THE BROADWAY MUSICAL ©Disney

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JULY 13  O C T 19

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the musical

Originally Presented by Radio City Entertainment At The Theater At Madison Square Garden

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OBOE Zachary Hammond Principal The Gerald B. & Barbara F. Stringfellow Chair

David Robertson Creative Partner

Yuan Qi Associate Principal

James Hall Associate Principal

Sharon Bjorndal Lavery Chorus Director & Opera Assistant Conductor

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Leslie Richards~ Whittney Sjogren

Lissa Stolz

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 2nd Associate Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt 2nd Assistant Principal Second Sara Bauman~ Erin David Joseph Evans Lun Jiang Rebekah Johnson Tina Johnson~ Alison Kim 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 Bonnie Terry Julie Wunderle

ENGLISH HORN Lissa Stolz

CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair

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

Andrew Larson Acting Associate Principal

Erin Svoboda-Scott Associate Principal

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah Thomas-Hollands~ Pegsoon Whang

Lee Livengood# Chris Bosco~

BASS* David Yavornitzky Principal Corbin Johnston Associate Principal Andrew Keller Edward Merritt James Stroup~ 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

UTAHSYMPHONY.ORG / (801) 533-NOTE

BASS CLARINET Lee Livengood# Chris Bosco~ 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 Jonathan Chiou Julia Pilant~ Stephen Proser

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Seretta Hart~ Peter Margulies# Paul Torrisi TROMBONE Sam Elliot Acting Principal

UTAH SYMPHONY

Matthew Straw Assistant Conductor

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Thierry Fischer Music Director Emeritus

Andrew Zaharis~ Acting Second Trombone 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 * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member

SYMPHONY NO. 7 & VIOLIN CONCERTO NO. 3 MOZART’S

JANUARY 5, 2024 / 7:30 PM JANUARY 6, 2024 / 5:30 PM Maurice Abravanel Hall

DAVID DANZMAYR, conductor

MASTERWORKS SERIES

BEETHOVEN’S

FRANCESCA DEGO, violin

BEETHOVEN MOZART

Coriolan Overture, Op. 62 Concerto No. 3 in G Major for Violin and Orchestra, K. 216 FRANCESCA DEGO, violin

INTERMISSION

CARLOS SIMON BEETHOVEN

CO N CER T S PO N SOR

UTAHSYMPHONY.ORG / (801) 533-NOTE

Fate Now Conquers Symphony No. 7 in A Major, Op. 92

G U EST A R TIST S PO N SOR

CO N D U C TO R S PO N S O R

EVELYN ROSENBLATT YOUNG ARTIST AWARD

JOANNE SHIEBLER GUEST ARTIST FUND

ARTISTS’ PROFILES

DAVID DANZMAYR Conductor

David Danzmayr is in his second season as Music Director of the Oregon Symphony, having started his tenure there in the orchestra’s 125th anniversary season. He also stands at the helm of the versatile ProMusica Chamber Orchestra Columbus, an innovative orchestra comprised of musicians from all over the United States. In addition, he holds the title of Honorary Conductor of the Zagreb Philharmonic Orchestra, with whom he had served as

FRANCESCA DEGO Violin

Francesca Dego’s 2023–24 season includes concerto debuts with Utah Symphony, Swedish Radio, Bergen Philharmonic, London Philharmonic, West Australian Symphony, Queensland Symphony Orchestras and re-invitations to the Hallé, CBSO, Royal Philharmonic, Orchestra Haydn and Brucknerhaus Linz. She is Artist in Focus at the Ulster Orchestra which includes concerto engagements across the season, including the Brahms Double Concerto with Daniel Müller-Schott and chamber

Chief Conductor—leading the Zagreb musicians on several European tours with concerts in the Salzburg Festival Hall, where they performed the prestigious New Year’s concert, and the Vienna Musikverein. Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. He has served as Assistant Conductor of the Royal Scottish National Orchestra, performing in all the major Scottish concert halls and in the prestigious Orkney-based, St Magnus Festival.

and education projects. In recital, she will perform in Rome, Perugia and Sacile with Alessandro Taverna and at Dubai Opera House with Francesca Leonardi. A keen chamber musician, Dego enjoys performing with artists such as Francesco Piemontesi, Daniel Müller-Schott, Timothy Ridout, Jan Lisiecki, Salvatore Accardo, Alessandro Carbonare, Mahan Esfahani, Bruno Giuranna, Shlomo Mintz, Narek Hakhnazaryan, Federico Colli, Mischa Maisky, Antonio Meneses, Martin Owen, Alessandro Taverna, Enrico Dindo, Alessio Bax, Roman Simovic and Francesca Leonardi.

UTAHSYMPHONY.ORG / (801) 533-NOTE

EVELYN ROSENBLATT

UTAHSYMPHONY.ORG / (801) 533-NOTE

The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Artur Rubinstein, Beverly Sills, Glenn Gould and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

EVELYN ROSENBLATT YOUNG ARTIST

This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2023-24 Artist of Distinction is Francesca Dego, this evening’s talented violinist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Ms. Dego as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Lukáś Vondráĉek, Joyce Yang, Veronika Eberle, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, Denis Kozhukhin, and Andrew Staupe; violinists Stephan Jackiw, Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers and Matthew Zalkind; and conductors Keri-Lynn Wilson, Andrew Grams, and Karina Canellakis.

HISTORY OF THE MUSIC

By Jeff Counts

Coriolan Overture, op. 84 Duration: 8 minutes. THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – Though not easily defined as prolific when compared to the likes of Mozart or Haydn, Beethoven produced consistent work for over four decades and thoroughly explored many of the standard genres of his day. His is a highly impressive list. He wrote 9

Concerto No. 3 in G Major for Violin and Orchestra, K. 216 Duration: 24 minutes in three movements. THE COMPOSER – WOLFGANG AMADEUS MOZART (1756-1791) – Mozart was 19 years old when his 3rd violin concerto premiered in his native Salzburg. He was employed there as a court musician and, though his time as the Salzburg assistant concertmaster was not notable

Fate Now Conquers Duration: 5 minutes. THE COMPOSER – CARLOS SIMON (b. 1986) – American composer Carlos Simon grew up in Atlanta with, according to his bio, “a long line of preachers and connections to gospel music to inspire him”. In fact, Simon told the Washington Post in 2022 that his entire composing career is essentially an answer to his father’s near-constant suggestion that he

symphonies, 16 string quartets, 32 piano sonatas and a respectable number of concertos, songs and choral works. Why then just a single opera, and only one ballet? Looking back, music for the stage, in any form, represents a vanishingly small part of Beethoven’s catalogue. The opera Fidelio is well known and admired today, but the excellent incidental music he occasionally wrote to accompany plays is not. Continued online…(See QR code.)

for its professional fulfillment, Mozart was already enjoying a great deal of notoriety as a composer of symphonies, operas, string quartets and sonatas. As prolific as he would become in the composition of piano concerti (twenty-seven in total by the time he was done), Mozart wrote only five for the violin, all over the course of a single year in 1775 (with the possible exception of the 1st which some scholars date in 1773). Continued online…(See QR code.)

take to the pulpit. “Music is my pulpit,” he tells his dad, “That’s where I preach.” As a result, his highly varied collection of works draws not only on gospel traditions (which he has participated in since he was ten years old), but also jazz and contemporary classical techniques. When Simon isn’t composing, he can often be found at the keyboard backing up award-winning popular singers Jennifer Holliday and Angie Stone. Continued online…(See QR code.)

UTAHSYMPHONY.ORG / (801) 533-NOTE

Duration: 36 minutes in four movements. THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – Beethoven’s compositional output is often divided by academics into distinct periods – the first years in Vienna (call this one “becoming himself”), the “Heroic” middle period (“being himself”) and of course the late period (“beholding himself”). It

is no surprise that these categorizations correspond with big changes in the composer’s personal story (like the Heiligenstadt Testament of 1802 that heralded the middle period) and, though he certainly never separated his work into such academic groupings, his stormy life made it impossible for history not to. When it comes to organizing art into tidy categories, we just can’t help ourselves. Continued online…(See QR code.)

HISTORY OF THE MUSIC

Symphony No. 7 in A Major, op. 92

TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

R E W

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Enjoy One of Our 6 Local Pubs!

WITH CONDUCTOR SIR DONALD RUNNICLES JANUARY 12 & 13, 2024 / 7:30 PM Maurice Abravanel Hall

SIR DONALD RUNNICLES, conductor SIR STEPHEN HOUGH, piano

ELGAR STEPHEN HOUGH

MASTERWORKS SERIES

SIR STEPHEN HOUGH PERFORMS STEPHEN HOUGH

Cockaigne, Op. 40 (“In London Town”) Piano Concerto (The World of Yesterday)

(World Premiere; Utah Symphony co-commission)

INTERMISSION

VAUGHAN WILLIAMS

CO N C ER T S PO N SOR

Symphony No. 5 in D Major

CO N D UCTOR & G U ES T A R TIS T S PO N S O R

FREDERICK & LUCY MORETON

UTAHSYMPHONY.ORG / (801) 533-NOTE

ARTISTS’ PROFILES

SIR DONALD RUNNICLES Conductor

Over the course of a career spanning 45 years, Sir Donald Runnicles has built his reputation on long-lasting relationships with major orchestral and operatic institutions. Focusing on depth over breadth, he has held chief artistic leadership positions at the Deutsche Oper Berlin (since 2009), Grand Teton Music Festival (since 2005), BBC Scottish Symphony Orchestra (2009–2016), San Francisco Opera (1992–2008), and the

SIR STEPHEN HOUGH Piano

In a career spanning 40 years, Sir Stephen Hough has played solo recitals and concertos with leading orchestras at major concert halls and festivals across five continents. Celebrating Rachmaninov’s 150th anniversary in 2023, Hough performed the composer’s five works for piano and orchestra, including his 30th appearance at the BBC Proms performing the First Concerto with the BBC Philharmonic Orchestra and a complete cycle in Brazil as the Artist in Residence of Orquestra Sinfônica do Estado de São Paulo.

Orchestra of St. Luke’s (2001–2007). Sir Donald was the Principal Guest Conductor of the Atlanta Symphony Orchestra (2001–2023), and he is the first ever Principal Guest Conductor of the Sydney Symphony Orchestra (since 2019). Maestro Runnicles was born and raised in Edinburgh, Scotland. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

As a composer, Hough has written extensively for the voice and the piano. His most recent song cycle, Songs of Love and Loss, co-commissioned by Wigmore Hall, the 92nd Street Y in New York and Tippet Rise in Montana, received its world premiere in January 2023. He wrote the commissioned work for the 2022 Van Cliburn International Piano Competition, which was performed by all 30 competitors and Hough’s String Quartet No.1 Les Six Rencontres, commissioned and premiered by the Takács Quartet, was released by Hyperion Records in January 2023.

Go beyond the stage and gain insights into the music with our Pre-Concert Talks featuring expert commentary as well as informal conversations with staﬀ and artists. 45 minutes before each performance in the First Tier Room.

UTAHSYMPHONY.ORG / (801) 533-NOTE

Cockaigne, Op. 40 (“In London Town”) Duration: 13 minutes. THE COMPOSER – EDWARD ELGAR (1857–1934) – Elgar’s path to modest fame was set before him early, in that both his future renown and its ultimate fragility were predestined by his small-town upbringing. Born near Worcester in the West Midlands, Elgar’s youth was a quintessentially English idyll. His father owned a music shop and

PIANO CONCERTO (The World of Yesterday) I – Prelude and Cadenza II – Waltz Variations III – Tarantella Appassionata This 20-minute piano concerto is based on two motives. The first of these opens the work, heard in its simplest form in violins and flutes, all white-notes, not a cloud in the sky. In bar 3 clarinet and harp answer

Symphony No. 5 in D Major Duration: 39 minutes in four movements. THE COMPOSER – RALPH VAUGHAN WILLIAMS (1872–1958) – The outbreak of war in 1939 necessitated a change of focus for Britain’s composers. For many of them, this was the second moment in their lives that the needs of their countrymen temporarily silenced the call of their muses. Ralph Vaughan Williams was 67 at the time and unable

encouraged his son’s explorations of the scores and instruments on his shelves. While ranging as widely as the store and the town would allow (quiet pluck and no small amount of genius were on his side throughout his formative years), Elgar taught himself how to compose. It is no surprise then that, with so perfectly “British” a start, Elgar would go on to be a celebrated steward of his country’s artistic reputation. Continued online…(See QR code.)

HISTORY OF THE MUSIC

By Jeff Counts

with a germ of the second motive, a chain of rising triads, also in purest C major, which will later become the Waltz. The Prelude slowly begins to blush with richer harmonies and increasing energy, until the piano enters to play an extended cadenza. After a while the energy of its ragged, splashing virtuosity dissipates and we hear the second motive as a slow, disarmingly sweet-toothed waltz—with a hint of Bill Evans perhaps. Continued online…(See QR code.)

to contribute at the front like before, so this meant doing good works at home. It also meant laying certain big projects aside. Campaigning on behalf of German refugees and chairing a committee for the release of interned musicians required Vaughan Williams’ full attention, so work on the opera The Pilgrim’s Progress (a stubborn work he frankly needed a break from), and the gloriously pastoral Symphony No. 5 would have to wait. Continued online…(See QR code.)

TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

UTAHSYMPHONY.ORG / (801) 533-NOTE

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Join us for evenings of WONDER.

HIP-HOP ORCHESTRA EXPERIENCE

SMALL ISLAND BIG SONG Mon, Feb. 5, 7:30 p.m. SMITH THEATRE

Fri, Jan. 26, 7:30 p.m. Sat, Jan. 27, 7:30 p.m.

A JAZZ AT LINCOLN CENTER PRESENTS PRODUCTION

SING & SWING

Mon, Feb. 12, 7:30 p.m. CONCERT HALL

CONCERT HALL

SURFACE TENSION

REPERTORY BALLET COMPANY

SYMPHONY ORCHESTRA

MASTERWORKS & NEW WORKS

CONCERTO NIGHT

Artists’ Reception Jan. 25, 6:00 p.m.

Feb. 15–17, 7:30 p.m.

Tue, Feb. 20, 7:00 p.m.

GALLERY ON 6TH (GT 634)

SMITH THEATRE

CONCERT HALL

Jan. 8–25

For tickets please scan here: Or visit uvu.edu/thenoorda.

VIOLIN CONCERTO NO. 1

WITH CONCERTMASTER MADELINE ADKINS FEBRUARY 2, 2024 / 7:30 PM FEBRUARY 3, 2024 / 5:30 PM Maurice Abravanel Hall JUN MÄRKL, conductor MADELINE ADKINS, violin

R. STRAUSS

Macbeth, Op. 23

PROKOFIEV

Concerto No. 1 in D major for Violin and Orchestra, Op. 19

MASTERWORKS SERIES

PROKOFIEV’S

MADELINE ADKINS, violin

INTERMISSION

DVOŘÁK R. STRAUSS

CO N C ER T S PO N SOR

UTAHSYMPHONY.ORG / (801) 533-NOTE

In Nature’s Realm, Op. 91 Till Eulenspiegel’s Merry Pranks, Op. 28

CO N D UCTOR S PO N S O R

ARTISTS’ PROFILES

JUN MÄRKL Conductor

Jun Märkl is a highlyrespected interpreter of both symphonic and operatic Germanic repertoire, and also for his idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have been complemented by his directorships of the Nationaltheater Mannheim (1994–2000), Orchestre National de Lyon (2005–11), MDR

MADELINE ADKINS Violin

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She served as Associate Concertmaster of the Baltimore Symphony Orchestra from 2005–2016. She performs on the “ex-Chardon” Guadagnini of 1782, graciously loaned by Gabrielle Israelievitch to perpetuate the legacy of her late husband, former Toronto Symphony concertmaster, Jacques Israelievitch. Adkins is a Concertmaster of the Grand Teton Music Festival and has served as Guest Concertmaster of the Pittsburgh Symphony, the Cincinnati Symphony, the Houston Symphony, and the Hong Kong Philharmonic. She has performed as a

Symphony Orchestra Leipzig (2007–2012) and the Basque National Orchestra (2014–17). Born in Munich, Märkl’s father was a distinguished concertmaster and his mother a solo pianist. Jun Märkl studied at the Musikhochschule in Hannover, with Sergiu Celibidache in Munich and Gustav Meier in Michigan. In 1986, he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa.

soloist in Europe, Asia, Africa, and 25 US states. Festival appearances include the Stellenbosch International Chamber Music Festival in South Africa and the Sarasota Music Festival, and as a clinician, at the National Orchestral Institute, the National Youth Orchestra at Carnegie Hall, and the Haitian Orchestra Institute. Her recording of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released to critical acclaim in 2016. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. She received her Bachelor’s summa cum laude from the University of North Texas and her Master’s degree from New England Conservatory, where she studied with James Buswell. When not on stage, Madeline is passionate about animal rescue, and has fostered over 100 kittens.

UTAHSYMPHONY.ORG / (801) 533-NOTE

Macbeth, op. 23 Duration: 18 minutes. THE COMPOSER – RICHARD STRAUSS (1864–1949) – Most men turn from their fathers at some point. The pull to embrace new thought and define oneself, not necessarily in opposition to dear old dad, but as a logical next step from him, is too powerful to ignore. That fact that this impulse is so often embodied by surrogate patriarchs deserves some unpacking, but not here. For now, it must suffice to identify that person in the life of Richard Strauss. Alexander Ritter was husband to Wagner’s daughter Franziska and a musical revolutionary who worshipped not only the god of Bayreuth but also Franz Liszt, two composers Strauss had been taught by his father to doubt. Ritter took Strauss under his wing in the 1880s and the young conductor’s eyes could not be closed so easily after that. THE HISTORY – According to Strauss, Ritter convinced him that the “path onwards from Beethoven …led via Liszt who, like Wagner, had rightly recognized that sonata form had been extended to its utmost limits with Beethoven. New ideas must seek out new forms for themselves”. Macbeth, written during 1887 and 1888 proved to be a difficult test of the balance Strauss had to maintain between his “two fathers”. While Ritter surely encouraged what Strauss identified in letters as his “completely new path” with Macbeth, his actual dad, Franz, implored him to trim its “instrumental fat” and reminded his son that “the greatest music can be written without experimentation”. Strauss, clearly conflicted but also not entirely UTAHSYMPHONY.ORG / (801) 533-NOTE

happy with the density of his original orchestration, revised the score off and on for a couple of years. The delay caused Macbeth, the first of what Strauss considered his tone poems, to be performed third after Don Juan and Tod und Verklärung. Regardless of its unfair position in the shadow of Don Juan, Strauss considered Macbeth the original manifesto of his intentions as a composer. In a letter to Hans von Bülow, he spoke of the “ever increasing contradiction between the musical-poetic content I want to convey and the ternary sonata form that has come down to us from the classical composers.” Macbeth was Strauss’ first real attempt to reconcile, and ultimately nullify, this dilemma. The character of Macbeth, one of Shakespeare’s most iconic tyrants, is brought thrillingly to life in Strauss’ music. Since there was no way to condense the entirety of the play into a concert piece, Strauss chose to introduce the main actors—Macbeth and Lady Macbeth—before exploring cardinal points in the tale. We hear Lady Macbeth’s persuasive efforts, the murder of King Duncan, the subsequent crowning of Macbeth, the mounting madness of both betrayers and, finally, Macduff’s fateful approach.

HISTORY OF THE MUSIC

By Jeff Counts

THE WORLD – Elsewhere in 1888, Wilhelm II was crowned German Emperor, the National Geographic Society was founded in America, Louisa May Alcott died of a stroke and Vincent Van Gogh famously removed a portion of his ear. THE CONNECTION – Macbeth is one of the least performed of Strauss’ tone poems. Utah Symphony hasn’t programmed it since ______. _________ was on the podium. 31

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DON JUAN

& A WORLD PREMIERE WITH PRINCIPAL TROMBONE MARK DAVIDSON FEBRUARY 16 & 17, 2024 / 7:30 PM Maurice Abravanel Hall

CONNER GRAY COVINGTON, conductor MARK DAVIDSON, trombone

HAYDN QUINN MASON

MASTERWORKS SERIES

STRAUSS’

Symphony No. 88 in G Major Trombone Concerto “Sonorous”

(World Premiere; Utah Symphony co-commission) MARK DAVIDSON, trombone

INTERMISSION

R. STRAUSS BARBER

Don Juan, Op. 20 Symphony No. 1, Op. 9

CO N D UCTOR S PO N SOR

UTAHSYMPHONY.ORG / (801) 533-NOTE

ARTISTS’ PROFILES

CONNER GRAY COVINGTON Conductor

Conner Gray Covington recently completed a four-year tenure with the Utah Symphony as Associate Conductor and Principal Conductor of the Deer Valley® Music Festival. During his tenure in Utah, he conducted nearly 300 performances of classical subscription, education, film, pops, and family concerts as well as tours throughout the state. In the 2023-2024 season, Covington debuts with the Tucson Symphony and returns to the North Carolina Symphony, Portland

MARK DAVIDSON Trombone

Internationally recognized trombonist Mark Davidson began playing the trombone at age 11 within the Plano, Texas school district music programs before attending the University of North Texas, where he received a Bachelor’s of Music Education in 2006. He received the Most Outstanding Undergraduate Award at the end of his graduating year. Afterwards, Mark attended The Juilliard School and studied with the renowned Joseph Alessi, Principal Trombonist of the New York Philharmonic. During this

(ME) Symphony, and makes several appearances with the Utah Symphony including his return to their Masterworks series. Covington makes his Utah Opera debut conducting a production of Mozart’s Le nozze di Figaro and also collaborates on a production of Gounod’s Roméo et Juliette with Washington National Opera at The Kennedy Center. Highlights of recent seasons include appearances with the symphonies of Kansas City, Nashville, Omaha, Rochester, San Diego, Sarasota, St. Louis, and Virginia as well as at the Bellingham Festival of Music, Grand Teton Music Festival, and New England Conservatory Opera.

time, he attended the Pacific Music Festival in Sapporo, Japan and was the winner of the International Trombone Association’s Lewis Van Haney Tenor Trombone Competition. Mark has held posts with the San Antonio Symphony, Cincinnati Symphony, Baltimore Symphony and was appointed principal trombone of the Utah Symphony orchestra by Maestro Thierry Fischer in 2015, after previously serving as 2nd Trombone of the USO in 2013. Mark was recently appointed the principal trombone chair with the Melbourne Symphony Orchestra and began this post as section principal in August of 2023.

UTAHSYMPHONY.ORG / (801) 533-NOTE

Symphony No. 88 in G Major Duration: 23 minutes in four movements. THE COMPOSER – FRANZ JOSESPH HAYDN (1732–1809) – During his long service to the Esterhazy family, Haydn was often able to visit Vienna on personal business during the court’s residencies at Eisenstadt, which was much closer to the capital than the main palace in Hungary. Haydn cultivated many friendships

Don Juan, op. 20 Duration: 17 minutes. THE COMPOSER – RICHARD STRAUSS (1864–1949) – Strauss’ marriage to soprano Pauline de Ahna is among the most welldocumented in music history, not least because he chose to comment on it himself in his scores. Her presence in works like Sinfonia Domestica and Ein Heldenleben is obvious, but other references are not so clear. Strauss met Pauline in 1887 and, if

Symphony No. 1 (In One Movement) Duration: 21 minutes. THE COMPOSER – SAMUEL BARBER (1910–1981) – The Curtis Institute of Music in Philadelphia was an artistic refuge for Samuel Barber from the age of 14, when he entered the youth program. He became a full-fledged student there after he graduated from high school and spent the next six years excelling as a pianist, baritone and composer. The latter

in Vienna, including one with Mozart. Though the depth of their relationship has perhaps been exaggerated (Mozart did write his “Haydn” quartets during that time, so…), the two men clearly had significant influence on one another throughout the 1780s. Notably for Haydn, this was the decade in which he began to write symphonies not just for work, but for the world. Continued online…(See QR code.)

HISTORY OF THE MUSIC

By Jeff Counts

he did indeed begin work on his tone poem Don Juan that fall, it could be argued that his passion for her was at the root of the endeavor. But things were not no simple at that particular moment for Strauss. The beginning of his relationship with Pauline appears to have overlapped with the end of one with Dora Wihan, the wife of his father’s colleague. We may never know which of them truly inspired Don Juan. Was it, perhaps fittingly, both? Continued online…(See QR code.)

of those three pursuits had been a clear path for some time, as evidenced by the absolutely adorable letter Barber wrote his mother when he was 9, in which he begged her not to make him play football. “I was meant to be a composer,” he told her, “and will be I’m sure.” Of course he was sure. He’d been writing music for two years already at that point. Barber went to Europe after Curtis and spent 1935–1937 at the American Academy in Rome. Continued online…(See QR code.)

TO VIEW THE FULL NOTES, PLEASE SCAN THE QR CODE. >>

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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 6, 2023 * in-kind donation

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INDIVIDUAL DONORS 44

FRIEND ($1,000 TO $2,499) Anonymous [5] Carolyn Abravanel Christine A. Allred Margaret Anderson Joe Arnold Dr. Ann Berghout & Dennis Austin Graham Baker Sue Barsamian Vicki & Bill Bennion C. Kim & Jane Blair Diane Banks Bromberg & Dr. Mark Bromberg Paula Bronson Cambia Health Foundation Dana Carroll & Jeannine Marlowe Carroll Mr. & Mrs. Fred L. Carter, Jr. Paul & Ruth Cherecwich George & Katie Coleman Dr. & Mrs. David Coppin David & Carol Coulter Jason & Kristin Covili James Dashner Margarita Donnelly Dr. Paul Dorgan Eric & Shellie Eide Matthew Follett Dr. Robert Fudge & Sylvia Newman David & Sheila Gardner Heidi Gardner Roxanne Post-Gilbert Ralph & Rose† Gochnour Andrea Golding Legacy Foundation Mr. & Mrs. Richard R. Graham Keith Guernsey & Rebecca Burrage

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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 longterm 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 Steven P. Sondrop Family Trust James R. & Susan Swartz

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We thank our generous donors for their annual support of Utah Symphony | Utah Opera. * in-kind donation

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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.

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Jasmine Rodriguez

David Green

Resident Artist, Pianist

President & CEO

Senior Vice President & COO

Micah Luce

Director of Human Resources & Organizational Culture

Julie McBeth

Executive Assistant to the CEO

Marcus Lee

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Natty Taylor

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SYMPHONY ARTISTIC Anthony Tolokan Artistic Consultant

Walt Zeschin

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Hannah Thomas-Hollands Orchestra Personnel Manager

Resident Artist, Soprano

Laura Bleakley

DEVELOPMENT Leslie Peterson

Vice President of Development

Garrett Murphy

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SYMPHONY OPERATIONS Melissa Robison Front of House Director

Chip Dance

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Jen Shark

Operations Manager

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Christopher Danz

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OPERA ARTISTIC Christopher McBeth Opera Artistic Director

Sharon Bjorndal Lavery

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Carol Anderson Principal Coach

Michelle Peterson

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Resident Artist, Mezzo - soprano, Sponsored by Charles Boynton

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Marcos Ambriz

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Robert Bedont Megs Vincent Nina Starling Emma Price

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