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MADELINE ADKINS PLAYS THE LARK ASCENDING APRIL 22–24, 2021

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CONTENTS

TONIGHT’S CONCERT

Welcome

Utah Symphony

Board of Trustees

Season Sponsors

Donors

Administration

Planned Giving

MADELINE ADKINS PLAYS THE LARK ASCENDING

Tanner & Crescendo Societies

APRIL 22–24, 2021

Utah Symphony Guild

Education

ARTISTS’ PROFILES

Acknowledgments

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

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During this unique time in our history, Utah Symphony | Utah Opera has found creative ways to continue connecting our community through great music. Your support helped us initiate safely distanced live performances from September through November, pivot to streamed performances when our venues were closed to live audiences in December, and create new online music education offerings distributed throughout our state via the Utah Education Network. This moment will reaffirm that, even (perhaps especially) in times of turmoil, we all recognize the importance of preserving our access to the arts. This season would not have been possible without the incredible generosity of the community leaders and donors recognized in the donor pages of this program. Another important pillar of our community has stepped forward to help us deepen and broaden our support to ensure that USUO can continue to create great music well into the future. All new and increased contributions received through May 1, 2021, will be matched 1:1 by the George S. and Dolores Doré Eccles Foundation. With this announcement, the Foundation Trustees express optimism for a bright future filled with uplifting musical experiences, and encourage the community at large to participate with them in supporting Utah Symphony | Utah Opera. Please visit usuo.org/donate to learn more. While our world has changed, the power of music and its vital place in our lives has not. Thank you for joining us today to demonstrate the importance of USUO in your life.

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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

Kathryn Eberle

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

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson

Ralph Matson†

Associate Concertmaster

Acting Principal The J. Ryan Selberg Memorial Chair

Laura Ha

Andrew Larson

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya

VIOLA* Brant Bayless

Acting Associate Principal

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

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

• First Violin •• Second Violin

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

Principal The Val A. Browning Chair

Lisa Byrnes

Associate Principal

Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler

PERCUSSION Keith Carrick

Associate Principal

James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera

FLUTE Mercedes Smith

TROMBONE Mark Davidson

Erin Svoboda-Scott

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis 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

Principal

Peter Margulies Paul Torrisi

TIMPANI George Brown

Corbin Johnston

HARP Louise Vickerman

Associate Principal

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

Assistant Principal Second

Associate Principal

Principal

Principal The Edward & Barbara Moreton Chair

Leon Chodos

Associate Principal

Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett

Principal

Eric Hopkins

Associate Principal

Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Acting Principal

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

Gary L. Crocker David L. Dee* 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

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

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

John Bates Howard S. Clark Kristen Fletcher

Richard G. Horne Ron Jibson E. Jeffery Smith

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

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

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington D.C.)

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

MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* 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 Lisa Eccles NATIONAL ADVISORY COUNCIL

*Executive Committee Member

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

MASTERWORKS SERIES

MADELINE ADKINS PLAYS THE LARK ASCENDING APRIL 22–24, 2021 / 7:30 / ABRAVANEL HALL

Thierry Fischer, conductor Madeline Adkins, violin

HAYDN

SYMPHONY NO. 30 IN C MAJOR, “ALLELUJA” I. Allegro II. Andante III. TTempo de menuetto più tosto allegretto

VAUGHAN WILLIAMS

THE LARK ASCENDING, ROMANCE FOR VIOLIN AND ORCHESTRA Madeline Adkins, Violin

SCHOENBERG

CHAMBER SYMPHONY NO. 1, OP. 9

Langsam - Scherzo: sehr rasch - Development: viel langsamer aber doch fliessend - Sehr langsam Finale: tempo primo

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ARTISTS’ PROFILES

Thierry Fischer has been Music Director of the Sao Paulo Symphony since March 2020 and of the Utah Symphony since 2009, becoming Music Director Emeritus in 2023. He was Principal Guest of the Seoul Philharmonic 2017–2020, Principal Conductor of the BBC National Orchestra of Wales 2006–2012, and Chief Conductor of the Nagoya Philharmonic 2008–2011 (now Honorary Guest Conductor).

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

In recent seasons he has conducted the Boston, Cleveland, Atlanta and Cincinnati symphonies, Mostly Mozart Festival Orchestra (New York), BBC Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande; also the Swedish and Munich chambers, Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment and the Ensemble Intercontemporain. He has performed and commissioned many world premieres. He has led Utah Symphony in annual single composer cycles including Mahler, Ives and Nielsen; he has also released acclaimed performances of Mahler’s symphonies 1 and 8 on Reference Records, the latter with the world-renowned Mormon Tabernacle Choir. 2019 saw the first release of a Saint-Saens symphony cycle on Hyperion as part of an ongoing collaboration (also to excellent reviews). He has conducted the orchestra in Utah’s five national parks and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, he brought the orchestra to Carnegie Hall for the first time in 40 years and released a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas. For his inaugural concerts in Sao Paulo Fischer conducted Beethoven’s Missa Solemnis with the OSESP Orchestra and Chorus to launch their 2020 Beethoven season. Last season’s highlights also included three back-to-back Beethoven programmes with the Brussels

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ARTISTS’ PROFILES

Philharmonic at Flagey in Brussels; at the Southbank Centre he conducted Tristan Murail with the London Sinfonietta and Stravinsky’s Rite of Spring with the Royal Philharmonic Orchestra. In Autumn 2020, on top of concerts with his titled orchestras, he returned to the London Philharmonic for a streamed concert at the Royal Festival Hall. Whilst Principal Conductor of the BBC National Orchestra of Wales 20062012 Fischer appeared every year at the BBC Proms, toured internationally, and recorded for Hyperion, Signum and Orfeo, winning the ICMA Award in 2012 for Frank Martin’s Der Sturm on Hyperion 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 2001–2006. Thierry Fischer is represented by Intermusica.

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ARTISTS’ PROFILES

Madeline Adkins Violin

Madeline Adkins joined the Utah Symphony as Concertmaster in 2016. She previously served as Associate Concertmaster of the Baltimore Symphony for 11 years, as well as Concertmaster of the Baltimore Chamber Orchestra from 2008–2016. Adkins has performed as a soloist in Europe, Asia, Africa, and 20 U.S. states. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, and the Grant Park Symphony Orchestra. She has also been a guest artist at numerous summer festivals including the Stellenbosch International Chamber Music Festival in South Africa, the Sarasota Music Festival, Music in the Mountains, the Grand Teton Music Festival, and the Sewanee Summer Music Festival, as well as a faculty member at the National Orchestral Institute and the National Youth Orchestra at Carnegie Hall. 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’ CD of the complete works for violin and piano by Felix Mendelssohn with pianist Luis Magalhães was released in 2016. In 2018-19, she will serve as the Music Director of the NOVA Chamber Music Series. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory where she studied with James Buswell.

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NOTES ON THE PROGRAM By Micheal Clive

Joseph Haydn (1732–1809)

Symphony No. 30 in C major, “Alleluia” When it comes to symphonies, music scholars love numerology. Is a symphony “early,” “middle” or “late”? And what about “enneaphobia,” the symphonists’ jinx associated with the number nine? Well, that’s an affliction of post-Beethoven symphonists. But even for earlier composers, the preoccupation with numbers can be misleading. In the case of Haydn, who wrote one hundred and four symphonies in his long and productive career, it’s tempting to estimate a given symphony’s place in his oeuvre based on number. But usually, it’s best not to try it. Unlike his contemporary Mozart, Haydn did not start composing symphonies until he was a fully mature artist, so his first symphonies can’t accurately be called “early” works. Once he started, they became an important form for him—an ideally creative way to showcase his patrons’ court orchestras and his own talents. Considering their artistic merit and their degree of innovation, he produced them at an astonishing rate. He wrote the Symphony No. 30 at age 33, when he was employed by the prestigious Esterházy court, one year before he became music director there. The symphony may well have been written for performance on Easter Sunday of 1765. Its nickname comes from the inclusion of a plainchant

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alleluia, which would have been familiar to listeners in Haydn’s day. It’s more interesting to speculate about the home key of this symphony, C major, though here, too, the musicologist’s eternal hunt for significance can be misleading. We frequently read of certain keys being bright, dark, tragic, cheerful, lively, portentous and the like. But these designations are no longer audible in the modern era, now that the evolution of the well-tempered tuning system has brought aural equality to every key we hear. In his indispensable book This Is Your Brain on Music, the neuroscientist and music scholar Daniel J. Levitin demonstrates why keys no longer have inherent “meaning.” But they did have meaning in Haydn’s day, when tuning was more highly variable and blown instruments were less technically advanced. Certain keys were better suited to certain artistic ends and instrumental ranges, and Haydn often reserved C major for profound religious statements in works such as his late, great oratorio The Creation—and in the Symphony No. 30. Do you hear an Easter-worthy statement of faith in this symphony? The alleluia chant is less recognizable to us today; it is introduced early (and in C) by the voice of the oboe joined by violins and horns, then continues in a simple upward modulation to G. A second melodic subject is a variation of this chant. In the final movement, marked tempo di menuet (a triple rhythm), Haydn treats us to

NOTES ON THE PROGRAM

delightfully crafted instrumental passages that take us through F major and A minor. Like C major, these are elementally simple keys that suggested spiritual profundity in his era. To bring this beautiful symphony to a close, he returns us to that original key of religious affirmation, C major. Ralph Vaughan Williams (1872–1958)

The Lark Ascending, Romance for Violin and Orchestra Instrumentation: 2 flutes, oboe, 2 clarinets, 2 bassoons; 2 horns; strings; percussion; solo violin.

It may seem shocking to compare Ralph Vaughan Williams’ sylvan tone poem The Lark Ascending to the erotically sensual Prelude to the Afternoon of a Faun by Claude Debussy. But before calling for your intrepid annotator’s resignation, consider how much we can learn from the similarities between these two works. Composed two decades apart—the Debussy in 1894, the Vaughan Williams in 1914—each captures a distinctively national style at a time when English and French composers were searching for paths of escape from the harmonic experiments of Viennese and German composers. In two brief orchestral works evoking wordless creatures in nature, Debussy and Vaughan Williams capture the essence of French and English cultural

traditions, showing a way forward for the composers of their respective countries. What sounds sublimely simple and inevitable in The Lark Ascending is a melodic voice that is like England’s green and pleasant countryside distilled in music. The style is informed by the traditions of English folk songs, which Vaughan Williams studied throughout his long career, and English lyric poetry, which the Cambridgeeducated composer read with an expert eye. If a Hollywood scriptwriter had to invent a musician for Vaughan Williams’s chosen task, the result would surely have been the resolute Ralph, whose terribly English family had many eminent jurists on one side and the Wedgwood pottery dynasty on the other. Though the artistic Wedgwoods encouraged young Ralph’s interest in music with early instruction in theory, violin and piano, he was far from a prodigy; he struggled with his musical development, and in his Cambridge years described his own technical abilities as mediocre. But writing in the authoritative Grove, musicologist Hugh Ottaway ascribes Vaughan Williams’ difficulties mainly to his struggle to find a distinctive voice for himself and for British music. Ottaway dates the turning point to 1910, when Vaughan Williams stunned his colleagues with the Fantasia on a Theme by Thomas Tallis. The equally epochal The Lark Ascending came four years later. The Lark Ascending is based on an important poem of that title by George

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NOTES ON THE PROGRAM

Meredith dating from 1881. No less an eminence than the great World War I poet Siegfried Sassoon found “supreme” merits in the 122-line Meredith work, which invests allegorical meaning in the soaring, egoless flight of the lark over increasingly mechanized English farmland. But where Meredith’s rhyming couplets are often freighted with heavyweight poetic description, Vaughan Williams accomplishes something quite different. His music does not describe the flight of the lark; it is the flight of the lark. In the century since the premiere of Vaughan Williams’ The Lark Ascending in the Bristol town of Shirehampton, it has far surpassed its source in renown. Arnold Schoenberg (1874–1951)

Chamber Symphony No. 1 Born in 1874, Schoenberg composed in the intellectual hothouse that was turn-of-the-century Vienna. Early in his career he explored ways of extending the romantic styles of Wagner and Brahms, who were considered antagonists by their contemporaries. But in fin-de-siècle Vienna there was a sense that more than just the century was ending; to many thinkers, traditional ideas about art and music seemed headed for a dead end. What more did traditional harmony and melody have to offer a world about to begin the 20th century?

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As the acknowledged leader of the Second Viennese School, Schoenberg would become famous for a controversial new compositional method in the 1920s that came to be known as “twelvetone technique”—replacing traditional scales with the entire chromatic scale, unanchored by any particular “home” tone, and not reliant upon familiar intervals or harmonies. His groundbreaking ideas, which inspired passionate advocacy and opposition, still strike fear into some listeners…at least by reputation. To some listeners, Schoenberg’s later compositions represent something frightening: the onset of a modern style of music that eclipses the familiar rules of melody and harmony. (It is often described as “atonal,” a term Schoenberg rejected.) The fact is, we all take more extreme musical styles in stride when we hear them in today’s movies and television shows. The turning point for Schoenberg came in 1899, with the introduction of his shimmeringly beautiful string sextet Verklärte Nacht, with the new century approaching and the Habsburg empire collapsing. It was Schoenberg’s first major composition, but one of the last that would locate him in the late romantic tradition of Brahms, Wagner, Richard Strauss, and his teacher, Alexander Zemlinsky. Composed in 1906, Schoenberg’s first chamber symphony is catalogued as Op. 6, making it an early work, but one step further along the road in his development;

NOTES ON THE PROGRAM

in fact, it was part of the famous “Skandalkonzert” of 1913, conducted by Schoenberg and programmed entirely of works by the Second Viennese School. That concert nickname tells us something about how his contemporary listeners reacted, though modern listeners hear the musical vocabulary of Richard Strauss and Gustav Mahler in this work and his others of its period. In fact, the symphony is built around recognizable melodies, or on what might be termed “motivic gestures” depending on how you listen; and though its tonality wanders adventurously, tonality is there to be heard, with a “home key” of E major.

themes return in a more reflective form. The melancholy fourth section that follows has been described as “Mahlerian,” but its introspection contrasts dramatically with an effervescent finale. Now, then. Who’s afraid of Arnold Schoenberg? We aren’t!

More daring than the symphony’s harmonic adventurism, perhaps, is Schoenberg’s incredible economy of means. With scoring of brilliant deftness and compactness of structure, this chamber symphony, with its single movement and relatively small ensemble, achieves a hugely expressive sound and a sense of completeness that much largerscaled symphonies often don’t. Modern critics hear it as a reaction against the monumentality of Mahler’s symphonies and Strauss’s immensely complex orchestrations; in fact, Schoenberg has been hailed as one of the greatest orchestrators of all time. The symphony’s single movement leads us through five sections. A slow introduction opens onto to a brisk march, and then a fast-paced scherzo takes us to a slower third section in which the original

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Gregory & Ann Robison Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr Paul Taylor

Denise Torrisi Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan

Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Art Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber

Joe Mulvehill Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr Dr. Elizabeth Hammond

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Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal David Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard

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T. O’Brien Lee K. Osborne Joseph J.† & Dorothy Moyle Palmer Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard and Shannon Straight Richard & Janet Thompson Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright

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. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall

The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace

GIFTS MADE IN HONOR Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner

Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards

Bill & Joanne Shiebler Grant Gill Smith Dale Strobel Whittney Thomas J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Crawford Gates Lowell P. Hicks Jamila Janata 30

Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton Richard Perkins

Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn

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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29, 2020. USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation

** in-kind & cash donation

$100,000 OR MORE The Church of Jesus Christ of Latter-Day Saints 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 Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation

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

Kahlert Foundation League of American Orchestras

Grand America Hotel* William Randolph Hearst Foundation

Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation Love Communications* McCarthey Family Foundation Nora Eccles Treadwell

Foundation Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Struck* Utah Office of Tourism

$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation

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INSTITUTIONAL DONORS $10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family Matthew B. Ellis Foundation

Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield Richard K. & Shirley S. Hemingway Foundation

S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund Summit Sotheby’s WCF Insurance W. Mack & Julia S. Watkins Foundation

M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Salt Lake City Arts Council

Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation

$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation D’Addario Foundation David Dee Fine Arts Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

PATRON SERVICES Faith Myers

David Green

Jessica Proctor

Merry Magee

Olivia Custodio

Mara Lefler

Heather Weinstock

Andrew J. Wilson

President & CEO

Vice President of Development

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

Executive Assistant to the Sr. VP and COO & Office Manager

Director of Institutional Giving Director of Individual Giving Director of Special Events & DVMF Donor Relations

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton

Anthony Tolokan

Development Assistant

Grants Manager

Symphony Music Director

Ellesse Hargreaves

Vice President of Symphony Artistic Planning

OPERA ARTISTIC Christopher McBeth

Conner Gray Covington

Associate Conductor & Principal Conductor of the Deer Valley® Music Festival

Opera Artistic Director

Carol Anderson Principal Coach

Director of Patron Engagement Marketing Manager - Patron Loyalty Sales Manager

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

Nicholas Barker Lorraine Fry Ellen Lewis Naomi Newton Ian Painter Talia Ricci Ananda Spike

Barlow Bradford

Michelle Peterson

Walt Zeschin

Michaella Calzaretta

Andrew Williams

Orchestra Personnel Manager

OPERA TECHNICAL Jared Porter

Executive Assistant to the Music Director & Symphony Chorus Manager

Kelly Nickle

Vice President of Finance & CFO

Dusty Terrell

Director of Information Technologies

Symphony Chorus Director

Director of Production

Director of Orchestra Personnel

Opera Chorus Master

Lance Jensen

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Senior Technical Director

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Properties Master

Mike Lund

Scenic Charge Artist

Tyson Montoya

COSTUMES Verona Green

Alison Mockli

Costume Director

Amanda Reiser Meyer

Chip Dance

Wardrobe Supervisor

Production & Stage Manager

Milivoj Poletan

Kate Henry

Tailor

Operations Manager

Tiffany Lent

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2 Assistant Stage Manager nd

Ticket Agents

Cutter/Draper

Donna Thomas

Milliner & Craftsperson

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

Controller

Payroll & Benefits Manager

Kyle Siedschlag

Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Annie Jones

Symphony Education Assistant

Kathleen Sykes

Digital Content Producer

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

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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PLANNED GIVING

SUPPORT GREAT LIVE MUSIC IN OUR COMMUNITY WITH A GIFT TO THE ANNUAL FUND Please join our wonderful Utah Symphony | Utah Opera family of donors who sustain great live music in our community. As a 501(c)(3) non-profit organization, USUO is thankful for your generosity that supports our musicians, singers, artisans, crew and staff. Your gift now will make an impact as we plan for the future. The CARES Act has enacted new rules around charitable giving. The bill makes a new charitable deduction available for up to $300 per taxpayer, regardless of whether you itemize your deductions. Furthermore, if you do itemize, you may elect to deduct qualified contributions of up to 100% of your adjusted gross income in 2020. Please consult your tax advisor or financial planner to determine the impact of CARES Act changes on your personal tax situation.

CONSIDER USUO IN YOUR ESTATE PLANNING We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.

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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 Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers

Mahler Circle

Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman

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 Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley 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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UTAH SYMPHONY GUILD OUR MISSION

Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote, and facilitate the operation of the Utah Symphony Orchestra financially, socially, and educatonally. It is our honor to maintain a gift shop throughout the year which raises funds for our orchestra. We have added all our available items to the “online store” and all proceeds go to USUO. We will continue adding events as social distancing requirements allow to aid in rasing funds for our great orchestra. We will sponsor the Youth Guild and outreach violin lessons again this season, and we appreciate your ongoing support of these important community programs. To join or renew your membership in the guild you may go to our web page and fill out the new members information. www.utahsymphonyguild.org Carolyn Abravanel Eva-Maria Adolphi Wendy Ajax Fran & Tom Akimoto Georgia L. Anderson Reva Anderson Margaret Anderson Wirth Linda Babcock Brenda Bailey William Scot Barraclough & Tom D. Camomile Dominic Barsi Randy & Jeni Bathemess Jean E. Barton Charmaine Bauer Suzanne & Clisto Beaty Maxine Beckstead Karol Behling Janet Bennett Heather Benson Eve Bertran-Hales & Don Hales Joan Blanck Rose Marie Breinholt Chip & Anne Browne Nancy Browning & Michael Homer Mary Ellen B. Caine Akemi Call Gertrud Carpenter

Mary A. Carter Renee Christensen Cecile Christiansen Lynne Church Dianne Clark Doyle Clayburn Melou Cline Beth & Boyle Cole Kathleen Coon Peggy Cordon Marcia Cowley-Keen Janet Cox Tom Cox Carolyn Creek-McCallister Susan L. Croft Wendy & John Crossman Kathryn C. Culbertson Robert & Caprene Curtis William and Bonnie Daniloff Frances Darger Marlene Dazley Joyce De Forest & Robert Duke De Forest Laura Diaz Moore Nancy Dietzler Amy Dixon Carol Elliott Judy Emery Jennifer Fairbourn Rosemary Fairbourn

Reece Fawcett Thierry & Catherine Fischer Carolyn Fredin Patricee Annee Gallagher Patricia A. Giovanazzo Marian & Sidney Green Simon Gretsch SandyLee & David Griswold Janet Hales Kathleen Hall Laurie Hallam Gerry Hanni Shirley M. Hanson Carolee Harmon Nancy Hayes Janet Healy Kristin Hill Sally W. Hodel Kathie & Chuck Horman Rebecca & Stephen Howard Leigh Hutchison Isabella Iasella Mateusz Jagiello Darlene Jenkins Carl Johansen Scott Johnson & Rebecca McGarry Beverly C. Johnson Arlene Jonsson Charlotte Jordan Continued on page 36…

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UTAH SYMPHONY GUILD

Ingrid Kaufman Cynthia Kilian Mary Lynn Kinsel Kathy Knowlton Allison Knudson Martin Krueger Kari Landro Angela Laros Lona Mae Lauritzen Nancy Laursen Liz Le Fevre Nora Linscott Wilma S. Livsey Donna Lyon Susan MacIan Carole & Malcolm MacLeod Jennifer & Gideon Malherbe Heidrun I. Mandy Rebecca Marriott-Champion Tonya Marshall Janice Maughan Maybell McCann Camilla McLaughlin Melissa Robison Ann Mentes Julia & Anna Meredith Henriette Mohebbizadeh Heather Moore Karen Morgan Jill Moriearty Sabra Moyes Renate Baron Nebeker Kent & Denise Nelson Bradley & Laurissa Neuenschwander Sylvia Newton Christine Nickerson

Jean Nielsen Carol Nixon Patti Noel Wilma Odell Delmira & Gary Pactoulick Catherine Paiz Judy Parmelee Barbara Patrick Helen Petersen Ann Petersen Leslie Peterson & Kevin Higgins Marilyn Phillips Mrs. Jane O. Piercey Mary-Margaret Pingree Janis Pope Marilyn Poulsen Sherry Poulson Jeana Quigley Carol & Gunter Radinger Hildegard Rayner Joanne Rich Marilyn Poulsen Gina Rieke Della V. Roberts and Warren Gilmour Lynn Rohland Alene M. Russon Martha Sammond Margaret Sargent Amanda & Jonathan Schmieder Glenda Shrader Nan Sibbett Joyce Skidmore Wilson Dorotha Smart Michele Smith

Dianne R. Smith Rita Smith Donna & Ron Smith Joan J. Smith Janette P. Sonnenberg Carol L. Sonntag Elise Stanley Sandra Steiner Marsh Robert Stephenson & Lisa Byrnes Ramona Sterling Jennifer Stroud Lorraine & Walter Stuecken Joann Svikhart Cayman L. Thomas Deborah Tuttle Shirley Van Wagenen Beth V. Cole and Dr. B. Cole Jenette L. Voss Susan Walles Robert & Tilda Wangerien Miriam H. Waterman Paul & Cynthia Watson Suzanne Weaver Heather Weinstock Susan & Brent Westergard Bonnie White Mr. & Mrs. Frank W. Williams Connie & Glenn Wimer Jerre Winder Pamela Wing Nicole Woodland Ethnie Wright & Hunter Gundersen Betty & Frank Yanowitz Red York Dwan Young

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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.

ACKNOWLEDGMENTS

UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

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The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

Photo Credit: Austen Diamond

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