Utah Symphony March/April 2022 by Mills Publishing Inc.

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CONTENTS

UTAH SYMPHONY MARCH/APRIL 2022

Welcome

LOUIS SCHWIZGEBEL PLAYS MOZART’S PIANO CONCERTO NO. 12 MARCH 3, 2022 / 10 AM (FINISHING TOUCHES)

Music Director

MARCH 4 & 5, 2022 / 7:30 PM

Utah Symphony

Board of Trustees

TITO MUÑOZ CONDUCTS BEETHOVEN 6, SIBELIUS & BUXTEHUDE MARCH 25 & 26, 2022 / 7:30 PM

Season Sponsors

Donors

Administration

HILARY HAHN PLAYS GINASTERA AND SARASATE APRIL 8, 2022 / 7:30 PM APRIL 9, 2022 / 5:30 PM / PRELUDE

Support USUO

Tanner & Crescendo Societies

Acknowledgments

THIERRY FISCHER CONDUCTS HAYDN 11, ARLENE SIERRA, NIELSEN & ELGAR APRIL 15 & 16, 2022 / 7:30 PM

Planned Giving

STEVEN OSBORNE PLAYS RACHMANINOFF’S PIANO CONCERTO NO. 2 APRIL 29, 2022 / 7:30 PM APRIL 30, 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

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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 On behalf of the board, staff, artists, and musicians of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert featuring the Utah Symphony.

Steven Brosvik President & CEO

Thierry Fischer Music Director

Thomas M. Love Board of Trustees Chairman

For more than 30 years, March has been celebrated around the nation as Music in Our Schools month. Sponsored by the National Association for Music Education, the initiative focuses the nation’s attention on the powerful role that quality music programs play in the lives of young people. Appropriately, last month, thousands of Utah’s fifth grade students attended special daytime concerts in Abravanel Hall (a program in place since 1982) and throughout the school year, USUO’s education programs provide to the citizens of Utah one of the most extensive arts education initiatives by a professional musical arts organization in the United States. If you are in contact with your local and state elected officials, please advocate for continued and enhanced music and arts experiences in our schools. These programs are vital for creating well-rounded students, impart important lessons in learning and teamwork, and encourage higher graduation rates. In March and April, the Utah Symphony will continue to inspire the young and young-at-heart with two Family Series concerts—Carnival of the Animals with Children’s Dance Theatre and Sherlock Holmes and the Case of the Missing Maestro—as well as our annual Access to Music concert for children with special needs and their families. These months also include the return of both our Artist-in-Association Hilary Hahn and our Composer-in-Association Arlene Sierra. In addition to collaborating with the musicians of your Utah Symphony, these artists will engage with many of Utah’s young musicians and community members in a variety of special ways during their visits. Thank you for joining us. We hope that you return for more concerts this spring and subscribe to our 2022–23 season to reserve the dates in your calendar for the unique inspiration and connection that great live music—performed by this world-class ensemble—provides! Sincerely,

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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; the London, Royal, Oslo, and Rotterdam Philharmonics; 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 the latter’s 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, and 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 several albums for Reference Recordings: Mahler’s Symphonies 1 and 8 (the latter with the world-renowned Tabernacle Choir at Temple Square) and a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas. Most recently Hyperion Records has 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 breathtaking canyons of Utah that inspired the piece. While Principal Conductor of the BBC National Orchestra of Wales from 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 from 2001–06. He was Principal Guest of the Seoul Philharmonic from 2017–20 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic from 2008–11.

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UTAH SYMPHONY Thierry Fischer, Music Director

The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Yuan Qi Associate Principal Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas

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

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

Alexander Martin Acting Associate Concertmaster Claude Halter Principal Second

Andrew Larson Acting Associate Principal

Wen Yuan Gu Associate Principal Second

John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang

Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Sara Bauman†† Erin David Joseph Evans LoiAnne Eyring Laura Ha• Lun Jiang# Rebekah Johnson Tina Johnson†† Jennifer Kozbial Posadas†† Veronica Kulig David Langr Hannah Linz•• Yuki MacQueen Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle

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 Principal The Val A. Browning Chair Lisa Byrnes Associate Principal

• First Violin •• Second Violin

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PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair Brooks Fisher†† Acting Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal Lee Livengood

Jeff Luke Associate Principal Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TUBA Vacant Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

BASS CLARINET Lee Livengood

PERCUSSION Keith Carrick Principal

E-FLAT CLARINET Erin Svoboda-Scott

Eric Hopkins Michael Pape

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

KEYBOARD Jason Hardink Principal

Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal Edmund Rollett Associate Principal

Caitlyn Valovick Moore

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

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

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TRUMPET Travis Peterson Principal

LIBRARIANS Clovis Lark Principal Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

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 † Deceased

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UPCOMING UTAH SYMPHONY PERFORMANCES THIERRY FISCHER CONDUCTS MESSIAEN. SMETENA. & SIBELIUS 2 MAY 20-21 / ABRAVANEL HALL

Hear the symphony Sibelius believed was thrown down to him by the Almighty as "pieces of a mosaic for heaven's floor."

SEASON FINALE: BEETHOVEN"S VIOLIN CONCERTO. MESSIAEN. & RAVEL

MAY 27-28 / ABRAVANEL HALL

It might be common today, but Beethoven's daring and "unplayable" concerto was written about 50 years too early for the violinists of his time. Featuring Veronika Eberle as guest soloist.

FROM THE CANYONS TO THE STARS...

JUNE 2 / OC TANNER AMPHITHEATER (SPRINGDALE, U T) Join us for a melding of music and nature as the Utah Symphony showcases its extraordinary artistry in Messiaen's masterpiece: From the Canyons to the Stars ... Performed against the stunning red-rock cliffs that inspired the piece.

UTAH SYMPHONY THIERRY FISCHER, MUSIC DIRECTOR

SEASON SPONSOR

GEORGE F

s. AND DoLORES DORE ECCLES

SORENSON

LEGACY

FOUNDATION

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SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

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

MASTERWORKS SERIES

LOUIS SCHWIZGEBEL PLAYS

MOZART’S PIANO CONCERTO NO. 12 MARCH 3, 2022 / 10 AM (FINISHING TOUCHES) MARCH 4 & 5, 2022 / 7:30 PM ABRAVANEL HALL

FRANCESCO LECCE-CHONG, conductor LOUIS SCHWIZGEBEL, piano

GABRIELA LENA FRANK Escaramuza MOZART Concerto No. 12 in A Major for Piano and Orchestra, K. 414 I. Allegro II. Andante III. Allegretto

SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 I. II. III. IV.

Moderato Allegretto Largo Allegro non troppo

CO N CER T S PO N SOR

LAWRENCE T. & JANET T. DEE FOUNDATION

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ARTISTS’ PROFILES Conductor Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon and the Santa Rosa Symphony, performing at the Green Music Center in Northern California. The press has described him as a “fast rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, deep commitment to commissioning and performing new music as well as to community outreach. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, Seattle Symphony, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman. Following the paths of renowned Music Directors of the Eugene and the Santa Rosa Symphonies including Francesco Lecce-Chong Marin Alsop, Giancarlo Guerrero, and Jeffrey Kahane, Conductor Mr. Lecce-Chong has quickly made his mark with the two orchestras introducing a series of new music and CO N D U C TOR S PO N SOR community initiatives. During the 2021–22 season, both orchestras will continue the four-year “First Symphony Project” that is commissioning a symphony each year from a young American composer including multiple residencies in the community. The Eugene Symphony will embark on a three-part concert presentation of Wagner’s epic opera Tristan und Isolde and the Santa Rosa Symphony will begin a cycle of the large orchestral works of Rachmaninoff paired with legendary film composers entitled “Rachmaninoff and the Hollywood Sound.” Across both orchestras in just a single season, Lecce-Chong will lead the world premieres of five major orchestral works including an ecology-inspired work by Grammy-winning composer Michael Daugherty, a work for mariachi and orchestra by Enrico Chapela, and a dramatic work with actors based on the life of Olympic athlete Steve Prefontaine by David Schiff. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles, and Michael Tilson Thomas.

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ARTISTS’ PROFILES Louis Schwizgebel has been described as “a genuine virtuoso, a spirited young genius with real depth” (Fono Forum) and an “insightful musician” (The New York Times). He is praised repeatedly for his poise, elegance, imagination, expressive lyricism, and crystalline articulation. He performs regularly in recital and with the finest orchestras across the globe and has received critical acclaim for his recordings.

Louis Schwizgebel Piano

In recent seasons, highlights have included performances with the Philharmonia Orchestra, Orchestre National de France, National du Capitole de Toulouse, Danish National Symphony, Oslo Philharmonic, Orchestre de la Suisse Romande, Tonhalle Orchestra Zurich, City of Birmingham Symphony, Vienna Symphony, Utah Symphony, Nagoya and Shanghai Philharmonic orchestras. Conductors he has worked with include Gardner, Gražynite-Tyla, Krivine, Collon, Fischer, Dutoit, Luisi, Shani, Ticciati, Langrée, Wilson, Gaffigan, Rouvali and Gabel amongst others. Schwizgebel’s 2021–22 season includes debuts with the Oslo Philharmonic (Gershwin Piano Concerto under Vassily Petrenko), Orchestre National de Metz (SaintSaëns No. 2 under David Reiland) and Royal Northern Sinfonia in Europe, with Richmond Symphony and Sacramento Philharmonic in the US and with Singapore Symphony in Asia. He will return to the Royal Scottish National Symphony, Bournemouth Symphony, BBC Concert Orchestra (performing their 2022 New Years Concert), Utah Symphony and perform Beethoven Piano Concerto No. 5 at the closing concert of Septembre Musical de Montreux-Vevey together with the Lucerne Symphony under the baton of Michael Sanderling. Schwizgebel was born in 1987 in Geneva. He studied with Brigitte Meyer in Lausanne and Pascal Devoyon in Berlin, and then later at The Juilliard School with Emanuel Ax and Robert McDonald, and at London’s Royal Academy of Music with Pascal Nemirovski. At the age of 17, he won the Geneva International Music Competition and, two years later, the Young Concert Artists International Auditions in New York. In 2012 he won second prize at the Leeds International Piano Competition and in 2013 he became a BBC New Generation Artist.

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HISTORY OF THE MUSIC By Jeff Counts

Escaramuza Duration: 9 minutes.

THE COMPOSER – GABRIELA LENA FRANK (b. 1972) – Even the most cursory glance at her website reveals Gabriela Lena Frank as an artist passionate about identity. She was American born, but her heritage ranges from Peruvian/Chinese to Lithuanian/Jewish. According to her biography, “her music often reflects not only her own experience as a multi-racial Latina, but also refracts her studies of Latin American cultures, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own.” The studies mentioned in that quote have sent Frank on journeys of discovery throughout South America, with a particular focus on her mother’s homeland of Perú.

THE HISTORY – “There is usually a story behind my music;” Frank also writes in her biography, “a scenario or character,” and she is diligent in her creation of descriptive program notes for each new work. About Escaramuza (2010), she says the following: “Escaramuza, which signifies ‘skirmish’ in the Spanish language, is inspired by the kachampa music of Andean Perú. Celebrating the pre-Hispanic Inca warrior, the kachampa dance is executed by athletic men who convey a triumphant, even joyful, spirit. Inspired by the kachampa dances done with fastsnapping ropes that I’ve witnessed in Perú, especially in Paucartambo during the Virgen de la Carmen festival, I’ve created a brightly chiseled romp in an asymmetrical

7/8 rhythm that is launched after an extended bass drum solo. Through most of Escaramuza, no section of the ensemble is allowed to rest for long, maintaining the high energy typical of kachampas.” If the phrases “brightly chiseled romp” and “extended bass drum solo” aren’t enough to excite the mind in anticipation of this experience, here is a bit more cultural context to consider. The annual Virgen de la Carmen festivals in Paucartambo (also known as the Mamacha Carmen Festival) last a full week and are famous for their “extreme enthusiasm.” In addition to the kachampa dances highlighted by Frank in Escaramuza, there are many events that distinguish Paucartambo’s celebrations, which date back to the 17th century. Among them are colorful processions, fireworks displays, rooftop pirouettes, and a climactic simulated street battle between angels, demons, and regular folk in the name of the Virgen. And if even that isn’t enough, Frank’s thrilling sonic depiction of the kachampa portion of the proceedings is, in the words of Houston Chronicle concert reviewer Chris Gray, “cinematic,” “frantic” and “trance-like,” with a pervasive “ominous feeling, like blood [is] about to be spilled.” Hold on for dear life!

THE WORLD – Elsewhere in 2010, Apple released the first iPad, a massive earthquake devastated the nation of Haiti, the world’s tallest building opened in Dubai, and the Deepwater Horizon drilling platform exploded in the Gulf of Mexico.

THE CONNECTION – These Masterworks performances represent the Utah Symphony premiere of Escaramuza. Continued on page 21…

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HISTORY OF THE MUSIC

Concerto No. 12 in A Major for Piano and Orchestra, K. 385p [414] Duration: 26 minutes in three movements.

THE COMPOSER – WOLFGANG AMADEUS MOZART (1756–1791) – Mozart’s 1781 relocation to Vienna was framed at first by two quarrels, one with the Archbishop Colloredo and another with his father. The Archbishop, after summoning the young composer to the capital, had treated him rather poorly. Mozart was disinclined to tolerate the disrespect. He offered to resign and was given an immediate dismissal in response, which left him at loose ends in the vibrant city. He found fruitful freelance work right away as a virtuoso pianist and just as quickly fell in love with Constanze Weber. It was a matrimonial match his father did not approve of, and Mozart initially lied about his intentions in a letter.

THE HISTORY – Letters. So much of what we know of Mozart’s life and career comes from the many missives he wrote and received, especially those that make up the robust correspondence between he and and his father, Leopold. Finding the insights and the language just too good to paraphrase, annotators and biographers quote them freely and frequently. One such document relates to the composition of the trio of concerti Mozart wrote in 1782 and, like my many learned colleagues, I will include a telling excerpt here in its entirety. “These concertos are a happy medium between too heavy and too light,” he wrote to his father, “They are very brilliant, pleasing to

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the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction, but these passages are written in such a way that the less learned cannot fail to be pleased, albeit without knowing why.” Casual modern readers of this description likely cannot fail to be offended as well, though they too may not know why. Regardless, Mozart should be forgiven this trespass in light of how difficult Leopold (the only “connoisseur” that truly mattered) was to please. Mozart was in a relatively good place at the time, with his opera Abduction from the Seraglio a big success and his reputation as a pianist of renown growing steadily. Newly married, he self-presented concerts of his own compositions, often in non-traditional locations, which highlighted new concerti and other examples of his keyboard proficiency. The set of concerti from 1782–1783 included No. 12. The work was cast in A Major, a key Mozart often used for statements of uncomplicated lyricism, and its second movement featured a quote from an overture by Johann Christian Bach. J.C. Bach had died less than a year prior and Mozart, a devoted disciple, was moved to pay respectful homage.

THE WORLD – Elsewhere in 1782, British Admiral Sir George Rodney defeated a French fleet in the Battle of the Saintes near Dominica, King Rama I took control of Siam by force, the bald eagle was chosen as America’s national symbol, and Anna Göldi, the “last European witch,” was executed in Switzerland.

THE CONNECTION – Concerto No. 12 has not been performed on a Utah Symphony Masterworks program since 1993. Joseph Silverstein conducted and Derek Han was soloist. 21

HISTORY OF THE MUSIC

Symphony No. 5 in D minor, Op. 47 Duration: 44 minutes in four movements.

THE COMPOSER – DMITRI SHOSTAKOVICH (1906–1975) – Shostakovich had been leading a fitful but successful life in the Soviet Union in January 1936 when he read the now famous article in Pravda that changed everything in his world. Stalin had just attended a performance of Lady Macbeth of the Mtsensk District and the “anonymous” Pravda condemnation made it clear that the Party elite was not at all pleased with what they heard. They called it “muddle instead of music,” focusing harshly on the questionable morality of the adulterous and murderous lead character, and their critique held potentially deadly implications. Thankfully the ultimate hammer didn’t fall, but Lady Macbeth would not be permitted on any Soviet stage for nearly three decades.

THE HISTORY – An equally bitter pill was fed to Shostakovich when many of his composer colleagues turned on him and participated in the public disapproval of the opera. By doing so, and ingratiating themselves so shamelessly to Stalin, his “friends” made him a target for significant public condemnation. He remained mostly silent on the topic, but Shostakovich was still concerned enough for his personal safety that he withdrew his edgy 4th Symphony and hid it away for 25 years in fear of offending Stalin further. What followed was a moment of redemption that is as famous now as the fall from grace that necessitated it, even if the true intentions of the redeemed remain at the core of 22

one of the great running debates in music history. The 5th Symphony, perhaps by virtue of its “simplified” language, appeared to signal to the Party that a significant rehabilitation had occurred. Looking back, it seems like an odd message for them to have received, given the symphony’s lack of overt patriotism and rather sullen slow movement. It is possible that the rapturous audience reaction created a propaganda problem for the Party leadership. How could they further denounce a man who had just elicited a 40-minute ovation, from the very people they were trying to protect from his avant-garde depredations? Did the immediate success force them to ignore some veiled insolence in the 5th Symphony in favor of a politically convenient acceptance of apology? There it is. The central mystery. Rostropovich reportedly believed that the piece would have gotten Shostakovich killed if not for the thunderous response of the listeners at the premiere. So, did Shostakovich outsmart Stalin or simply give him what he wanted? It is quite possible that with this mighty masterpiece Shostakovich somehow did one thing while secretly encouraging the other, and that “A Soviet Artist’s Creative Reply to Just Criticism” can be quite creative indeed.

THE WORLD – Elsewhere in 1937, Japan invaded China, the Hindenburg Disaster occurred in May, Amelia Earhart disappeared in July, and notable publications included The Hobbit, Of Mice and Men, and To Have and Have Not.

THE CONNECTION – Symphony No. 5 is part of the Utah Symphony’s regular repertoire and has been programmed many times over the years, most recently in 2012 under Andrey Boreyko.

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MASTERWORKS SERIES

TITO MUÑOZ CONDUCTS

BEETHOVEN 6, SIBELIUS & BUXTEHUDE MARCH 25 & 26, 2022 / 7:30 PM ABRAVANEL HALL

TITO MUÑOZ, conductor

AUGUSTIN HADELICH, violin

BUXTEHUDE (arr. Carlos Chávez) Chaconne in E minor SIBELIUS Concerto in D minor for Violin and Orchestra, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto

AUGUSTIN HADELICH, violin

BEETHOVEN Symphony No. 6 in F Major, Op. 68, “Pastorale”

I. Awakening of cheerful feelings upon arrival in the country: Allegro ma non troppo II. Scene at the brook: Andante molto mosso III. Happy gathering of country folk: Allegro IV. Thunder Storm: Allegro V. Shepherds’ song; cheerful and thankful feelings after the storm: Allegretto

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ARTISTS’ PROFILES

Tito Muñoz Conductor

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Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Now in his seventh season as the Virginia G. Piper Music Director of The Phoenix Symphony, Muñoz previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Other prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra, and the Aspen Music Festival. Since his tenure in Cleveland, Muñoz has celebrated critically acclaimed successes with the orchestra, among others stepping in for the late Pierre Boulez in 2012 and leading repeated collaborations with the Joffrey Ballet, including the orchestra’s first staged performances of Stravinsky’s Rite of Spring in the reconstructed original choreography of Vaslav Nijinsky. Born in Queens, New York, Muñoz began his musical training as a violinist in New York City public schools. He attended the LaGuardia High School of the Performing Arts, The Juilliard School’s Music Advancement Program, and the Manhattan School of Music PreCollege Division. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips. Muñoz received conducting training at the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize, returning to Aspen as the festival’s Assistant Conductor in the summer of 2007, and later as a guest conductor. Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited by Leonard Slatkin as a participant of the National Conducting Institute. That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. He was awarded the 2009 Mendelssohn Scholarship sponsored by Kurt Masur and the Felix Mendelssohn-Bartholdy Foundation in Leipzig, and was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition in Frankfurt.

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ARTISTS’ PROFILES Augustin Hadelich is one of the great violinists of our time. From Bach to Paganini, from Brahms to Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician’s musician. Named Musical America’s 2018 “Instrumentalist of the Year,” he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations.

Augustin Hadelich Violin

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Hadelich’s 2020–21 season culminated in performances of the Brahms Violin Concerto with the San Francisco Symphony, conducted by Esa-Pekka Salonen. These were the first performances played by the full ensemble to a live audience in Davies Hall in 15 months. Hadelich’s 2021–22 season started off with a threeconcert stunning debut with the Berlin Philharmonic (Prokofiev’s Violin Concerto No. 2). Shortly thereafter, came the European premiere of a new violin concerto written for him by Irish composer, Donnacha Dennehy. He will play the rescheduled world premiere with the Oregon Symphony in October of 2022. Other highlights of the 2021–22 season include being named Artistin-Residence with the Frankfurter Museumsorchester, the continuation of his residency as Associate Artist with the NDR Elbphilharmonie/Hamburg, and debuts with L’Orchestre National de France, the Prague Radio Symphony, and the Warsaw Philharmonic. Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Born in Italy, the son of German parents, Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed. Hadelich plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

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HISTORY OF THE MUSIC

Chaconne in E Minor Duration: 7 minutes.

THE COMPOSER(S) – CARLOS CHÁVEZ (1899–1978) – To count Carlos Chávez among the most important Mexican composers of the 20th century doesn’t do him full justice. Certainly, he represented his country with persistence and flair, but he was much more than a cultural ambassador. Well-traveled and wellversed in multiple compositional schools of thought, Chávez had a career that was truly international in scope and historical in impact. DIETRICH BUXTEHUDE (1637–1707) – In addition to owning one of the best names in classical music, Dietrich Buxtehude was a keyboardist of such renown that a young Johann Sebastian Bach reportedly once walked 200 miles to hear him play. He was born in Scandinavia (in a part of Denmark that is now in Sweden) but is remembered today primarily for his contributions to German Baroque culture.

THE HISTORY – Bach’s long walk, assuming he actually took it, would definitely have been worth it. Buxtehude’s reputation then and legacy today come mostly from his collection of compositions for the organ, even though at least 100 of his vocal cantatas still exist as well. The church choir music of Buxtehude was simple and functional and probably not of much use to the younger musician, but Bach would have found much to emulate in the organ music, which included inspiring examples of preludes, toccatas, passacaglias, chaconnes, and fugues. The chaconne form, a repeated progression of chords over which intricate melodic 28

decorations are iterated, owes its current status to the great masters like Buxtehude and Bach who polished it to perfection. It is, in fact, so recognizable in its Baroqueperiod guise that many assume it was born during that fertile era. Not so. Chaconnes date back to late 16th century as dances from Spain and Italy, and some scholars have argued for an origination that was even earlier and quite a bit farther away in Latin America, specifically in Mexico. Carlos Chávez, a Mexican national treasure and tireless promoter of his country’s indigenous traditions, was probably sympathetic to the Latin American origin supposition. He, like Bach before him, was fearless in his pursuit of knowledge and willing to travel far to learn from others. Chávez returned from one such journey to the United States in the late 1920s with a mission—to create his own orchestra and make the most of his European training and Mexican loyalty as an artist. He wrote many works for his beloved Orquesta Sinfónica de México over the next several years, including a full-scale realization of Buxtehude’s Chaconne in E Minor in 1937. It is a wonderful synthesis of antique expression and modern instrumental flexibility.

THE WORLD – Elsewhere in 1937, Snow White and the Seven Dwarves premiered in the United States, former King Edward VIII married Wallis Simpson, the bombing of Guernica occurred in Spain, and Austrian actor and inventor Hedy Lamarr left her home country for good.

THE CONNECTION – This is the first time the Buxtehude/Chávez Chaconne has appeared on a Utah Symphony Masterworks program.

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HISTORY OF THE MUSIC

Concerto in D minor for Violin and Orchestra, Op. 47 Duration: 31 minutes in three movements.

THE COMPOSER – JEAN SIBELIUS (18651957) – Sibelius’ busy schedule and heavy drinking necessitated an escape from the pressures of Helsinki in 1903. He had vowed to cope with his alcohol issues “with all [his] strength” but was not having much success. Within a few years he would be diagnosed with a throat tumor that would eventually force what his strength could not fully manage but, in early days of the new century, his demons still held sway. A little distance from the capital and its social climate was needed and, though it took a year to complete, his new home in the village of Järvenpää provided some genuine, though ultimately insufficient, solace.

THE HISTORY – Coincident with the gradual departure from Helsinki was the creation of the Violin Concerto. As a composer, Sibelius was not cut from the showy sort of cloth that produced the virtuoso concerti of previous decades. His was a more solemn disposition, so solemn that one wonders why he agreed to take on a project so contingent on being able to convincingly step outside of himself. It would seem, at least in part, that an avid admirer talked him into it. Willy Burmester was a leading violin soloist at the time and was greatly impressed with Sibelius. Burmester’s enthusiasm proved a balm for the composer’s personal troubles and Sibelius eventually agreed to craft a concerto for him. As a violinist himself, Sibelius was a fine player but had been a late starter and secretly thought himself a failure in that

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regard. So, at best, the concerto provoked in him a wistfully imagined career as a virtuoso performer that might have been. At worst, it encouraged frequent drinking “slips” that threatened a full-on relapse. One can hear all this in the concerto. The latent darkness is right there in the music of the first movement, but also so much more. Burmester, for his part, believed the concerto’s merits rivaled Tchaikovsky’s and history has proven him an oracle. Sibelius completed the concerto in 1903 and settled on a premiere date for Burmester in March of the following year. Unfortunately, circumstances pressed the composer towards an earlier 1904 date. These “circumstances” were almost certainly related to his ongoing money woes. In any case, the change did not suit Burmester’s calendar and Viktor Nováček played instead. By all accounts Nováček was not up to the concerto’s demands and, though Burmester was willing to forgive the initial insult and even offered to assist in the revisions that would make the concerto a success, he was not given the premiere of the new version either. A pity. This masterpiece has countless champions now, but we should not forget that its first and most devoted was twice betrayed by it.

THE WORLD – Elsewhere in 1904, the Russo-Japanese War began, Britain and France signed the Entente Cordiale, Charles Dillon Perrine discovered Jupiter’s largest irregular moon Himalia, and Jack London published The Sea-Wolf.

THE CONNECTION – The Sibelius Violin Concerto is among the most popular concerti on Utah Symphony Masterworks programs. It last appeared in 2018 under Thierry Fischer with Baiba Skride as soloist.

HISTORY OF THE MUSIC

Symphony No. 6 in F Major, Op. 68 (“Pastorale”) Duration: 39 minutes in five movements.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770–1827) – The period from 1803–1808 was marked by furious compositional activity for Beethoven, with a broad focus on symphonies, sonatas, string quartets, and a nascent but important opera project. Despite the impressive creative density of those years, however, he found it difficult to establish financial security in Vienna and, given his generally poor health at the time, he might not have been able to enjoy it much if he had. He didn’t starve, thankfully. In addition to calling on his modest handful of supporters, Beethoven was accustomed to selling selected pieces to publishers to make ends meet. But there was no steady employment to be had and he struggled to set up concerts from which he could collect the sales. In late 1808, finally, he got his chance.

THE HISTORY – The “Pastoral” Symphony of Beethoven has been forever linked to his 5th Symphony thanks to the circumstances of their dual creation and dual premiere. It would be unheard of today to program both these works on a single concert, but that is exactly what happened back on December 22, 1808, at the Theatre an der Wien. This historic, and now infamous, performance included not only the 5th and 6th Symphonies but also the 4th Piano Concerto, a concert aria, excerpts from the Mass in C and the “Choral Fantasy.” The phrase “making the most of an opportunity”

doesn’t begin to cover what Beethoven attempted to wring out of the evening. It probably goes without saying that the event was an under-rehearsed marathon of over four hours that had very mixed results for Beethoven. Regardless of the evening’s effectiveness, the juxtaposition of the two symphonies is fascinating to consider. Though composed simultaneously, they could not be more different. The “Pastorale” is as gentle and subtle as the 5th is forceful and iconic. If the 5th opens with the sharpness of a blade, the 6th whispers itself into life before the listener is even aware. The five movements of the 6th Symphony have titles that evoke specific scenes from “country life” and while much of the music is obviously quite descriptive, the composer cautioned that “It is rather an expression of feeling than a pictorial representation.” The disclaimer is unnecessary and, in some instances, possibly even inaccurate. Beethoven’s early sketches included notes that identified very specific “pictorial” references, but they never made it into the published score. In the end, he was right that we wouldn’t need them. Exhibit A is the storm sequence, which is as literal as a film score and has not been improved upon by any other composer’s “weather music” in the two centuries since.

THE WORLD – Elsewhere in 1808, it was officially illegal to import slaves into the United States as of January 1, the “Rum Rebellion” kicked off in Australia, Goethe published Faust (Part I), and Napoleon appointed his brother Joseph King of Spain.

THE CONNECTION – The last Masterworks performance of Beethoven’s “Pastoral” Symphony was in 2015. Thierry Fischer was on the podium.

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MASTERWORKS SERIES

HILARY HAHN PLAYS

GINASTERA AND SARASATE APRIL 8, 2022 / 7:30 PM APRIL 9, 2022 / 5:30 PM / PRELUDE ABRAVANEL HALL

THIERRY FISCHER, conductor HILARY HAHN, violin

DEBUSSY Prelude to the Afternoon of a Faun ARLENE SIERRA Nature Symphony (U.S. Premiere) I. Mountain of Butterflies II. The Black Place (after O’Keeffe) III. Bee Rebellion

INTERMISSION

GINASTERA Violin Concerto

I. Cadenza e Studi II. Adagio per 22 soloisti III. Scherzo pianissimo e Perpetuum mobile HILARY HAHN, violin

SARASATE Fantasy on Bizet’s Carmen for Violin and Orchestra, Op. 25 HILARY HAHN, violin

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COMPOSER-IN-ASSOCIATION SPONSOR

PATRICIA RICHARDS & BILL NICHOLS

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ARTIST’S PROFILE See page 6 for Thierry Fischer’s profile. Three-time Grammy Award-winning violinist Hilary Hahn melds expressive musicality and technical expertise with a diverse repertoire guided by artistic curiosity. Her barrier-breaking attitude towards classical music and her commitment to sharing her experiences with a global community have made her a fan favorite. Hahn is a prolific recording artist and commissioner of new works, and her 20 feature recordings have received every critical prize in the international press.

Hilary Hahn Violin Artist in Association G U ES T A R TIST S PO N SOR

A strong advocate for new music, Hahn has championed and commissioned works by a diverse array of contemporary composers. In the 2018-19 season, before her season-long sabbatical in 2019-20, Hahn premiered two new works written for her: Einojuhani Rautavaara’s Two Serenades for violin and orchestra, completed posthumously by Kalevi Aho, and Lera Auerbach’s Sonata No. 4: Fractured Dreams. The season was bookended by another major release: her most recent solo commission, 6 Partitas by Antón García Abril. García Abril, Auerbach, and Rautavaara had been contributing composers for In 27 Pieces: the Hilary Hahn Encores, Hahn’s Grammy Award-winning multi-year commissioning project to revitalize the duo encore genre. Hahn has also participated in a number of non-classical productions. She was featured in the Oscar-nominated soundtrack to The Village and has collaborated on two records by the alt-rock band ...And You Will Know Us By The Trail of Dead, on the album Grand Forks by Tom Brosseau, and on tour with folk-rock singer-songwriter Josh Ritter. In 2012, Hahn launched Silfra, a free-improv project with experimental prepared-pianist Hauschka, following an intensive period of development. Hahn is the recipient of numerous awards and recognitions. In 2001, she was named “America’s Best Young Classical Musician” by Time magazine, and in 2010, she appeared on The Tonight Show with Conan O’Brien. She also holds honorary doctorates from Middlebury College—where she spent four summers in the total-immersion German, French, and Japanese language programs—and Ball State University, where there are three scholarships in her name.

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HISTORY OF THE MUSIC By Jeff Counts

Prélude à “L’aprèsmidi d’un faune” (The Afternoon of a Faun) Duration: 10 minutes.

THE COMPOSER – CLAUDE DEBUSSY (1862–1918) – By 1890, Debussy was finally ready to free himself from the Wagnerian tendencies of his youth. It was a resilient condition with no known cure, so he tried out a few different selfmade remedies. These included further explorations of “exotic” traditional music from Spain and other cultures, and an even deeper association with the French Symbolist poets who held court in Paris during the last decades of the century. One of his most influential collaborators from that particular cadre was Stéphane Mallarmé, who invited Debussy to participate in a theatre project based on his landmark poem The Afternoon of a Faun.

THE HISTORY – Sadly, the project never happened. But Debussy did his part, and the resulting Prélude signaled a critical shift in the composer’s career. It was the first complete realization of his unique orchestral style and a shot across the bow of tradition – a soft shot, to be sure, but one that was every bit as significant as a middle-period Beethoven symphony or The Rite of Spring. The poem itself is a dreamlike collection of phrases from the opening flowers that “arch in the air, heavy with tufted slumbers” to the final farewell in anticipation of “the shade that you became.” These gorgeous little word feasts are meant to be consumed as impressions and imagery, not the ingredients of a conventionally constructed

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story. Debussy designed the phrases of his Faun prelude with exactly the same intent and did so by ignoring nearly every structural expectation of his time. As a result, he opened the eyes of the world to the possibilities of a new, definitively post-Romantic (and post-Wagnerian) kind of expression. But what did it mean? If the old strictures of musical form, a collection of concepts that were already on the ropes thanks to Wagner and others, could be even more easily abandoned and to such dramatic new effect, what other surprises did the coming century have to offer? Debussy would have a lot to say on the matter going forward. With Faun, he had shared his rare gift for making words and pictures expressly manifest in music. A poem as subtle and indirect as Mallarmé’s would have been resistant to the efforts of just about any other composer and that challenge fit Debussy’s vision of an unburdened intimacy of sound perfectly. In 1893, he described his music as being “not the expression of a feeling, it’s the feeling itself.” In these ten short minutes delivered to the world a year later, the concepts of melody, harmony, instrumentation, and everything else related to composition were changed forever.

THE WORLD – Elsewhere in 1894 was the beginning of the Dreyfus Affair in France, the Tower Bridge opened in London, the International Olympic Committee was founded, and the site of the Chicago World’s Fair was destroyed by fire.

THE CONNECTION – Afternoon of a Faun was last presented on a Utah Symphony Masterworks program back in 2015. Thierry Fischer was on the podium. 35

HISTORY OF THE MUSIC

Nature Symphony Duration: 21 minutes in three movements.

THE COMPOSER – ARLENE SIERRA (b. 1970) – American Composer Arlene Sierra lives in London and teaches at Cardiff University. Though she began piano lessons at age five, Sierra came to instrumental composing by way of an early interest in electronic music. Synthesized sound provided an exciting measure of freedom from the strictures of traditional notation, but she eventually began to crave the spontaneity of live, human performance. Sierra has defined her compositional voice as a drive to capture “drama, momentum, transition, color – often determined by mechanisms of conflict, competition, and strategy” and believes her explorations in electronica “inform some of the layering and shifts of density” in her instrumental work.

THE HISTORY – Nature Symphony was commissioned by the BBC Orchestra and BBC Radio 3 for premiere in 2017. According to Sierra’s website, it is the “largest statement so far in a…series of works that explore concepts from the natural world. As with the pieces Urban Birds, Colmena, and Butterflies Remember a Mountain, it is the mechanics and processes of nature, rather than a simple reflection or meditation, that form the basis for Sierra’s compositional approach.” Her website also includes a wonderful program note by Shawn G. Miller that lays out the intentions of each of Nature Symphony’s three movements. Movement I (Mountain of Butterflies) is built on material from the aforementioned piano trio Butterflies Remember a 36

Mountain and continues Sierra’s exploration of migration with an emphasis on its endpoints. One such place occurs in Mexico where monarch butterflies form “a literal mountain of beautiful, ancient insects” at the conclusion of their worldspanning journeys. Movement II (The Black Place) draws its inspiration from the work of Georgia O’Keeffe “whose paintings of a stretch of black hills in New Mexico have a similarly austere but slowburning aspect.” Sierra’s concern over the incursion of fracking interests into the area led her to seek a secondary influence from one of her own previous works. The music employs overlapping melodic fragments from Hearing Things, Sierra’s 2008 setting based on the environmental poetry of Catherine Carter. In the final movement (Bee Rebellion), Sierra returns to her ongoing fascination with game theory as she studies the phenomenon of sudden bee colony anarchy due to chemical and hormonal triggers. In Miller’s description, the music affects a “buzzing, quasi-mechanical orchestral texture that is subjected to outbursts, both cyclical and unpredictable, resulting in an accumulation that brings no resolution.”

THE WORLD – Elsewhere in 2017, the Women’s March on Washington occurred, the Rohingya refugee crisis in Myanmar led to at least 400,000 desperate escapes into neighboring Bangladesh, Robert Mugabe was ousted in Zimbabwe, and Kazuo Ishiguro was awarded the Nobel Prize in Literature.

THE CONNECTION – These performances mark the Utah Symphony debut and U.S. Premiere of Composer-in-Association Arlene Sierra’s Nature Symphony.

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HISTORY OF THE MUSIC

Violin Concerto Duration: 28 minutes in three movements.

THE COMPOSER – ALBERTO GINASTERA (1916–1983) – Argentinian composer Alberto Ginastera was a musically talented child whose gifts were carefully nurtured with private lessons and formal studies at the Williams Conservatory in his hometown of Buenos Aires. Shortly after he entered the National Conservatory of Argentina as an undergraduate, the world began to take notice of him. His music at first reflected a highly nationalistic style that made creative use of Argentinian folk melodies and traditions but, after spending time in the United States and Europe through the 1940s and early 1950s, he began to shift his voice into a more international register. Growing in tandem with his eclectic musical tastes was an unwelcome set of political ideals, so Ginastera was forced to leave Buenos Aires for good in 1969.

THE HISTORY – Ginastera’s late period (from 1958) was a full departure from the cultural ruminations of his youth. He referred to this time as his “neoexpressionist” phase and, in it, he experimented with every modernist technique he could get his hands on. Surrealism, serialism, microtonality, polytonality, aleatory. You name it, he tried it. The Violin Concerto is a product of this intense compositional intrepidity. It was commissioned by Leonard Bernstein and the New York Philharmonic for their opening season in Lincoln Center. It was an incredible honor, but Ginastera was not able to meet the deadline. When the work eventually got its premiere the

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next year in October of 1963 the soloist was Ruggiero Ricci and, according to one reviewer of the concert, his handling of the extremely difficult passagework elicited a hearty (and rare) ovation from the orchestra itself. Apparently, a full rehearsal had been impossible before the morning of the premiere, so Ricci’s onstage colleagues were likely as impressed with his nerve as his facility. The staggering challenges for the violinist are matched by intellectual demands for the listener that have probably made orchestras reluctant to embrace this concerto as standard repertoire. But it is a mistake to overlook this very fine example of the form. If nothing else, Ginastera has crafted a fascinating study of individual and ensemble sonority and distilled mid20th-century compositional thought into one concise and vivid mission statement. The first movement opens with a long cadenza that is followed by a set of six accompanied “studies” that successively vary the central tone-row. The lyrical second movement shrinks the orchestra down to 22 “soloists” while the finale asks the violinist to play at a nearly inaudible whisper before tackling fragments of Paganini’s 24th Caprice, which are meant to move through the music like the watchful ghost of the great master himself.

THE WORLD – Elsewhere in 1963, John F. Kennedy was assassinated, the USSR sent the first woman (Valentina Tereshkova) into space, The Beatles recorded I Want to Hold Your Hand, and Kenya gained independance.

THE CONNECTION – These concerts represent the Utah Symphony premiere of the Ginastera Violin Concerto. 37

HISTORY OF THE MUSIC

Fantasy on Bizet’s Carmen for Violin and Orchestra, Op. 25 Duration: 13 minutes.

THE COMPOSER – PABLO de SARASATE (1844–1908) – Spanish violin virtuoso and composer Pablo de Sarasate began his studies at the age of 5. At 15, he embarked on the series of concert tours that would make him famous. The international tours continued without significant pause for nearly three decades, a time during which Sarasate sat for a portrait by James McNeill Whistler and lent his name (and golden sound) to several important masterpieces for his instrument. As a dedicatee, he was the beneficiary of works by Saint-Saëns, Bruch, Lalo, and others. He also composed a large volume of pieces for the violin himself. Of the 55 or so known to exist, most are neglected today, and Sarasate is best known for his Zigeunerweisen of 1878 and the Carmen Fantasy from 1883.

THE HISTORY – Though many composers were inspired by his virtuosity, no one got more out of Sarasate’s dazzling technique than himself. It must have seemed like every traveling instrumental superstar of the 19th century composed their own showpieces, but not all of them were as skilled with the pen as the sword. Sarasate, for his part, was a very capable creator whose talents were never more apparent than in the Carmen Fantasy, based on music from Bizet’s increasingly popular 1875 opera. Sarasate was certainly no fire-breather as a performing artist. His sweet, clear tone and effortless facility were more suited 38

for recitals and salons than the Brahms Concerto, so most of what he wrote for himself is considered lighter fare by our standards. The Carmen Fantasy both confirms and stretches this notion, providing an opportunity for the soloist (himself and all the many ambitious technicians since) to interact with the orchestra like a dramatic character, not merely an icy embodiment of physical genius. Five sections divide the Fantasy. After a short introduction, the curtain opens with material from the Act IV Entr’acte Aragonaise. From there, we move to a highly stylized distillation of music from the Habanera of Act I, followed by a brief interlude. The much-loved Seguidilla is next, with the “Gypsy Dance” section of Act II bringing the work to a rousing, pyrotechnic close. As previously mentioned, violinists of every stripe from Sarasate’s time forward have used his music to measure themselves against history. In truth, none of them could escape his tests if they wanted to. The Carmen Fantasy serves equally as a necessary rite of passage for teenage phenoms, a late stage calling card for adventurous veterans and everything in between. By design, the lack of emotional density in Sarasate’s writing leaves space for the personality of each type of player to shine very brightly indeed.

THE WORLD – Elsewhere in 1883, Life Magazine was founded in the US, Krakatoa erupted, the character of Pinocchio made his first appearance in Italy, Franz Kafka was born in Prague, and the last Quagga died in Amsterdam.

THE CONNECTION – This is the first time that Sarasate’s Carmen Fantasy has been performed on a Utah Symphony Masterworks concert.

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MASTERWORKS SERIES

THIERRY FISCHER CONDUCTS

HAYDN 11, ARLENE SIERRA, NIELSEN & ELGAR APRIL 15 & 16, 2022 / 7:30 PM ABRAVANEL HALL

THIERRY FISCHER, conductor ANTHONY MCGILL, clarinet

HAYDN Symphony No. 11 in E-flat Major I. II. III. IV.

Adagio cantabile Allegro Menuet Presto

NIELSEN Concerto for Clarinet and Orchestra, Op. 57 ANTHONY MCGILL, clarinet

INTERMISSION

ARLENE SIERRA Bird Symphony

CO MPOS ER - IN AS S O C I ATI O N S PO N SO R

PATRICIA RICHARDS & BILL NICHOLS

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I. II. III. IV.

Warblers Hermits and Captives Female Birdsong Utahraptor

World Premiere, Utah Symphony Commission

ELGAR In the South, Op. 50, “Alassio”

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ARTIST’S PROFILE See page 6 for Thierry Fischer’s profile. Clarinetist Anthony McGill is one of classical music’s most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic—that orchestra’s first African-American principal player—and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound, and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. He was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero. In 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic. He and his brother, Demarre McGill, the Seattle Symphony Orchestra’s principal flutist, joined the Chicago Youth Symphony Orchestras with conductor Allen Tinkham, to record Winged Creatures, an album of works for flute, clarinet, and orchestra including world-premiere recordings of duo concertos like the title track by African-American composer Michael Abels (Cedille Records). His Portraits, recorded with Demarre McGill and pianist Michael McHale, and Mozart and Brahms Clarinet Quintets, with the Pacifica Quartet, were both released on Cedille Records. Anthony McGill Clarinet

McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@ Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals. A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of The Juilliard School, the Curtis Institute of Music, and Bard College’s Conservatory of Music. He also serves as the Artistic Advisor for the Music Advancement Program at The Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.

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HISTORY OF THE MUSIC By Jeff Counts

Symphony No. 11 in E-flat Major Duration: 19 minutes in four movements.

THE COMPOSER – FRANZ JOSEPH HAYDN (1732–1809) – In 1761, Haydn left his post with Count Ferdinand Maximilian von Morzin of Bohemia to assume the viceKapellmeistership at Eisenstadt for Prince Pál Antal Esterházy. The timing couldn’t have been better. Morzin’s court was in financial distress at the time, forcing the orchestra to be disbanded. Prince Esterházy certainly saw something important in the young composer’s Morzin-period works, especially the five symphonies that began Haydn’s epic, lifelong devotion to the genre. It would turn out to be the most significant patronage of the composer’s life (not to mention an immeasurable gift to the future of music history), and Haydn nurtured the relationship dutifully until his death.

THE HISTORY – It isn’t completely clear if Haydn’s Symphony No. 11 was a Morzin piece or an Esterházy piece. Written sometime between 1760 and 1762, this work embodies Haydn’s professional transition in an interesting way. Designed quite possibly as a companion piece for Symphony No. 5, No. 11 was also built on the model of an Italian Sonata da chiesa or “church sonata.” That form boasts a four-movement, roughly slow-fast-slow-fast plan that frequently relies on a juxtaposition of binary frameworks and long monothematic statements. Though he had toyed with the idea of four movements (as opposed to three) a few times by this point, it would not become standard practice for Haydn for another several years. Also

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worth mentioning is the slow opening movement, an idea that would remain a sporadic novelty throughout his symphonywriting career. In 2016, London-based Classic FM asked one of their staff writers to listen to, as consecutively as possible over several days, all 104 of Haydn’s symphonic treasures and rank them from worst to first. It’s a feat of concentration no one should attempt to repeat, but the challenge resulted in a highly interesting document, even if it is only one person’s exhausted opinion. Hidden among the barely contained madness of his efforts were some observational gems, like how the rare slow first movements in Haydn symphonies fall into two camps—“spectral beauty” or “meandering plod.” Ouch. At least Symphony No. 11 (which he awarded with a top ten spot) is from the former group with its “interlocking lines of melody that wind around each other most attractively.” Additionally, he was struck by the Menuet, which includes an “impish trick” that delays the accompanying material by one beat for certain instruments, giving the Trio section a deliberately “clumsy” feeling. As numbers go, 11 is a long way from 104, but clearly Haydn was never anything but himself. The signature wit and creative spark that define him now were with him from the earliest days.

THE WORLD – Elsewhere in 1762, the Seven Years’ War raged in Europe, Empress Elisabeth’s death in Russia made way for Catherine the Great, and New York had its first St. Patrick’s Day Parade.

THE CONNECTION – Though they regularly perform Haydn Symphonies on the Masterworks Series, these concerts represent the Utah Symphony premiere of No. 11. 41

HISTORY OF THE MUSIC

Concerto for Clarinet and Orchestra, Op. 57 Duration: 24 minutes.

THE COMPOSER – CARL NIELSEN (1865-1931) – Anyone interested in reading Carl Nielsen’s own thoughts about his incredible life in music must thank his daughter Irmelin. It was at her consistent urging that he offered his one and only autobiography for publication in 1927. It was a reminiscence of his early days called My Childhood on Funen. Also the birthplace of Hans Christian Anderson, Funen is Denmark’s third largest island and, in and around its fertile farmland, it boasts castles, stone age ruins and Viking relics. The book only covers Nielsen’s life up to his departure for Copenhagen to start his formal studies and, written from the distant perspective of the composer’s last years, it is only fair to acknowledge that it includes the occasional embellishment.

THE HISTORY – Contemporary to the writing of the memoir for Nielsen was a project meant to capitalize on the popularity of his Wind Quintet (1922). The intention was to create separate concerti for each of the instruments in the Copenhagen ensemble that premiered the work, but sadly for the horn, bassoon, and oboe players of the world, Nielsen never completed the set. Of the two concerti he did write, the work for flute came first. By then, the Copenhagen Wind Quintet had a new flute player and the composition process for Nielsen was slow. The reception of the Flute Concerto was very positive but, just as with the autobiography, Nielsen

needed some prodding to continue on to the next one. Work on the Clarinet Concerto finally got underway in the spring of 1928, and he was finished with the manuscript by August. The dedicatee was Aage Oxenvad and, according to one flowery reviewer quoted in a biography produced by the Carl Nielsen Society, Oxenvad was a perfect match for the music Nielsen created. “Oxenvad’s sonority is in tune with the trolls and the giants,” the commentator stated, “and he has soul, a rough and stocky primordial force mixed with naïve Danish mildness. Certainly Carl Nielsen must have had his particular sound in mind while composing this Concerto.” Rough and stocky primordial forces and naïve mildness? This could have referred to Funen and Nielsen’s earliest memories there. And it’s not hard to imagine the composer thinking of his childhood, only recently published into the official record at the time, while he wrote the music for Oxenvad. Whether or not that is true, or even matters, Nielsen did contribute important, heartfelt works for wind musicians in his later years. In the words of scholar and biographer Robert Simpson, Nielson’s Flute Concerto is “the best there is” and the Clarinet Concerto “is the greatest since Mozart.” He’s right.

THE WORLD – Elsewhere in 1928, the Winter Olympic Games were held in St. Moritz with the Summer Games in Amsterdam, the first radio broadcast of the controversial nightly serial Amos ‘n’ Andy occurred, and the Catholic institution Opus Dei was founded.

THE CONNECTION – These performances mark the Utah Symphony premiere of Nielsen’s Clarinet Concerto.

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HISTORY OF THE MUSIC

Bird Symphony Duration: 24 minutes in four movements.

QUICK FACTS: World Premiere commissioned by Utah Symphony from Composer-in-Association Arlene Sierra. Previous performances this season of works by Arlene Sierra have included the Nature Symphony and Aquilo.

across Utah and the American West.” Movement II: Hermits and Captives presents “a birdsong field recording over an orchestral accompaniment, along with additional transcriptions of the songs of captive birds.” Movement III: Female Birdsong is a study of “songs transcribed exclusively from female birds.”

About Bird Symphony, from the composer:

Movement IV: Utahraptor “is an imagining of the eponymous feathered dinosaur,” and its iconic, proto-avian characteristics.

Movement I: Warblers is based on the “transcribed songs of Warblers from

Detailed program notes are available at utahsymphony.millspub.com.

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.

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HISTORY OF THE MUSIC

In the South, Op. 50 (“Alassio”) Duration: 19 minutes.

THE COMPOSER – EDWARD ELGAR (1857–1934) – Elgar was prone to stressrelated infirmities even in the best of times. He was riding high at the turn of the century thanks to the popularity of the Enigma Variations but needed a break after the completion of his oratorio The Apostles. Underlying everything, the successes and the fatigue, was the burden laid on by his hopeful countrymen for a grand “English” symphony. It was an important creative project for Elgar, one he took very seriously, but it continued to frustrate him. Travel often served as a tonic for Elgar, and Italy was his preferred refuge after 1903. He visited there at least five times over the next decade.

THE MUSIC – It was a common custom in the 19th and early 20th centuries for people of means in Europe’s colder countries to winter in Italy and Spain. For a few of the artistic French, Spain became an obsession. Italy too proved a capable enchantress with Mendelssohn’s 4th Symphony and Strauss’ Aus Italien serving as prime examples of her charms. Elgar’s first trip occurred shortly after the premiere of The Apostles in 1903. The piece was an instant hit, but no amount of praise for his other works would be enough to relieve the pressure Elgar felt to compose a true symphony. The pride of his nation was at stake, and he knew nothing sort of a definitive statement of English consequence would do. To free his mind from this weight for a bit, Elgar first 44

travelled to Bordighera but found it too full of British expats to feel much like a break from the expectations of home. From there Elgar made his way to the town of Alassio and, in that coastal city, he found a ready source of inspiration, though not yet for the symphony he knew his people wanted. While called an overture, In the South is more rightly identified as a tone poem in its design and impact. Comparisons to Strauss are obvious in this regard, not only for the similarity of the source locale (recall Aus Italien, mentioned above) but also for the athletic, boisterous opening measures that bring Don Juan to mind. Elgar said the music came to him “in a flash” while walking by an ancient Roman road and that all that remained was to simply “write it down.” Like Strauss, Elgar’s tonal imagery is notable for its facile mood shifting and colorful orchestration. Elgar commonly linked his descriptive music with texts that inspired him, finding words as provocative as vistas. The score of In the South is one such manuscript. It included several quotations from the poetry of Tennyson and Byron that evoke “lands…of olive, aloe, and maize and vine” as well as a reference to old Italy as “the garden of the world.”

THE WORLD – Elsewhere in 1904, The Anglo-Tibetan Treaty was signed, the stage play Peter Pan debuted in London, and the Herero people of South-West Africa staged an uprising against German colonial rule.

THE CONNECTION – In the South has only been performed by the Utah Symphony on two previous Masterworks programs. The most recent concerts were in 2013 under Thierry Fischer.

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A N E W P B S U TA H F I L M | WAT C H L I V E . S T R E A M A N Y T I M E .

Gerda Saunders embarks on a journey of self-discovery and inquiry as the effects of dementia slowly unravel her identity.

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MASTERWORKS SERIES

STEVEN OSBORNE PLAYS

RACHMANINOFF’S PIANO CONCERTO NO. 2 APRIL 29, 2022 / 7:30 PM APRIL 30, 2022 / 5:30 PM / PRELUDE ABRAVANEL HALL

EIVIND GULLBERG JENSEN, conductor STEVEN OSBORNE, piano

RACHMANINOFF Vocalise, Op. 34, No. 14 RACHMANINOFF Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando

STEVEN OSBORNE, piano

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TCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, “Pathétique” I. II. III. IV.

Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso CO N CER T S PO N SOR

LAWRENCE T. & JANET T. DEE FOUNDATION

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ARTISTS’ PROFILES

Newly announced as Chief Conductor of the Noord Nederlands Orkest (starting in the 2022–23 season) and Artistic and General Director of Bergen National Opera since 2021, Eivind Gullberg Jensen is equally comfortable on the concert platform as on the opera house stage. An experienced conductor with an extensive repertoire range, he is recognised for his knowledgeable and insightful interpretations. Following a majority vote by the orchestra musicians, his new role in The Netherlands runs for an initial period of three years.

Eivind Gullberg Jensen Conductor

During the 2021–22 season, Jensen debuts in North America with Orchestre symphonique de Québec and Utah Symphony Orchestra, and in Europe with Orquesta Sinfónica de Tenerife and Wermland Operas Orkest. He returns to Copenhagen Philharmonic Orchestra, Kristiansand Symfoniorkester, Filharmonia Poznańska, Orchestre Philharmonique de Monte Carlo, and twice visits Noord Nederlands Orkest, including a performance at the historic Het Concertgebouw in Amsterdam. Over recent seasons he has worked with internationally renowned soloists such as Leif Ove Andsnes, Truls Mørk, Alice Sara Ott, Javier Perianes, Hélène Grimaud, Gautier Capuçon, Sol Gabetta, Alban Gerhardt, Hilary Hahn, Gabriela Montero, Emmanuel Pahud, Yefim Bronfman, Alexander Toradze, Vadim Repin, Viktoria Mullova, Renaud Capuçon, Frank Peter Zimmermann, Mari Eriksmoen, Charlotte Hellekant, Albert Dohmen, and Guy Braunstein. Eivind Gullberg Jensen studied conducting in Stockholm with Jorma Panula, and in Vienna with Leopold Hager. Previously, he studied violin and musical theory in Trondheim, Norway.

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ARTISTS’ PROFILES

Steven Osborne is one of Britain’s most treasured musicians. His insightful and idiomatic interpretations of diverse repertoire show an immense musical depth. His numerous awards include The Royal Philharmonic Society Instrumentalist of the Year (2013) and two Gramophone Awards. His residences at London’s Wigmore Hall, Antwerp’s de Singel, the Bath International Music Festival, the City of Birmingham Symphony Orchestra and, this season, at the Royal Scottish National Orchestra are a testament to the respect he commands. Alongside concertos by Mozart and Beethoven with the Royal Scottish National Orchestra where he is Artist in Residence, Steven opens the season for the Orchestra Sinfonica di Milano Giuseppe Verdi with Claus Peter Flor and performs with the BBC National Orchestra of Wales, Antwerp Symphony and Finnish Radio Symphony Orchestras. The current season also features a recital tour of French piano duet repertoire with friend and colleague Paul Lewis with performances across Europe and North America.

Steven Osborne Piano

G U ES T A R TIST S PO N SOR

Concerto performances take Steven Osborne to major orchestras all over the world including recent visits to the Deutsches Sinfonieorchester Berlin, Radio Symphonieorchester Wien, Oslo Philharmonic, Danish National Radio, London Symphony, Royal Stockholm Philharmonic, Yomiuri Nippon Symphony, Australian Chamber Orchestra, St. Louis Symphony, Aspen Music Festival, and Mostly Mozart Festival at Lincoln Center with repertoire ranging from Mozart, Beethoven, Brahms, Ravel, Rachmaninoff, Shostakovich, and Messiaen through to Tippett, Britten, and Julian Anderson who dedicated his 2017 Piano Concerto to Osborne. Born in Scotland, he studied with Richard Beauchamp at St. Mary’s Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester. He is Visiting Professor at the Royal Academy of Music, Patron of the Lammermuir Festival and in 2014 was elected a Fellow of the Royal Society of Edinburgh.

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HISTORY OF THE MUSIC By Jeff Counts

Vocalise, Op. 34, No. 14 Duration: 6 minutes.

THE COMPOSER – SERGEI RACHMANINOFF (1873–1943) – That Rachmaninoff is remembered best today as a virtuoso pianist and a composer of multiple evergreen masterpieces for his chosen instrument is perhaps no surprise. The concertos. The études. The Preludes. These would be load-bearing columns for any legacy. But they are only part of Rachmaninoff’s history. He was gifted with one of the purest melodic souls of his or any time, and he also used it to create stunning orchestral scores (including the symphonies, Isle of the Dead, and Symphonic Dances) and a surprising amount of vocal music. In addition to six operas (some completed, some only planned, all sadly forgotten now), Rachmaninoff wrote several choral works and some 80 songs for solo voice.

THE HISTORY – 13 of the 14 lieder that make up the Op. 34 set of songs were written in 1912, but the final number was completed three years later in 1915. As the closing part of the set, No. 14 (Vocalise) stands out at first glance for the wordlessness that fueled its eventual ubiquity. In fact, it has been argued that the entirety of Rachmaninoff’s gorgeous and lengthy song catalogue would be a standard part of the repertory if not for their Russian language, and the popularity of the culturally neutral Vocalise seems to prove it. Rachmaninoff wrote the song for the star coloratura soprano Antonina Nezhdanova of the Moscow Grand Opera. She initially balked at the lack of text, but the composer 50

convinced her that, in her capable care, the music required no such context and that the single syllable of “Ah” was enough. “What need is there of words,” he asked her, “when you will be able to convey everything better and more expressively… by your voice”. That smart bit of flattery settled matters and the 1916 premiere was very well received. By then, Rachmaninoff had already converted the piano accompaniment into an orchestral score to be conducted by Serge Koussevitzky. Koussevitzky’s connection to the Vocalise goes even further. Thanks to some recent scholarship on the publication history of the song, we now know that the famed maestro (a good friend to the composer and virtuoso string instrumentalist in his own right) performed the Vocalise previously in December of 1915 on the double bass! No recording of that night exists, unfortunately, so it must remain the stuff of letters and legend. We can still enjoy the prophecy of that event, however, as Koussevitzky’s rendition predicted the countless arrangements, for nearly every instrument imaginable, that have come since. Rachmaninoff’s own orchestral version (without soloist) was penned right after the official premiere.

THE WORLD – Elsewhere in 1915, war raged across Europe, but it was also a year of great art in every discipline. Kafka published his masterpiece The Metamorphosis, Picasso produced his oil on canvas Harlequin, and Sibelius premiered his 5th Symphony.

THE CONNECTION – Utah Symphony last performed Rachmaninoff’s Vocalise it in 2019 with Thierry Fischer on the podium.

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FOR STUDENTS I KNOW THAT ONE!

THE ORCHESTRA AT THE THEATRE is our newest digital concert created for students grades K-12. Join the Utah Symphony as we explore famous tunes from opera, theatre, ballet, musical theatre, and film. With fan favorites like the "Can-Can" and "Hedwig's Theme" from Harry Potter, students can't keep from humming the iconic melodies long after the concert ends.

MORE INFORMATION UTAHSYMPHONY.ORG/DIGITAL-CONCERTS

5th Grade Concerts

For the first time in two years: The Utah Symphony welcomed 5th graders from the Wasatch Front to experience sensational performances throughout the month of February in the acoustic splendor of Abravanel Hall. FOR THE 2021-22 CONCERTS, we celebrated black history in our concert titled "ENCORE: A Celebration of Black Symphonic Music." Narrated by local actor Carleton Bluford, the concert explored music by Florence Price, William Grant Still, Samuel ColeridgeTaylor, and Wynton Marsalis.

HISTORY OF THE MUSIC

Concerto No. 2 in C minor for Piano and Orchestra, Op. 18 Duration: 33 minutes in three movements.

THE COMPOSER – SERGEI RACHMANINOFF (1873-1943) – The 1897 premiere of Rachmaninoff’s 1st Symphony was a disaster. By one account the conductor (Alexander Glazunov) was severely intoxicated but by all accounts, he was truly awful on the podium. Conductors aren’t typically blamed for the failure of a premiere, however. Composers must own that alone. “Forgive me,” Rimsky-Korsakov reportedly said about the piece, “but I do not find this music at all agreeable.” It was, by far, the nicest of the many published comments on the Symphony. The failure threw Rachmaninoff into a deep depression that resulted in a three-year compositional drought. The turn of the century found him splitting time between piano performance and opera conducting.

THE HISTORY – Today, Rachmaninoff’s most enduring masterpiece is the 2nd Piano Concerto. It is a work that might never have been written if not for the interventions of Dr. Nikolai Dahl. Dahl was a Moscow physician and amateur chamber musician who had an interest in hypnosis therapy. The existence of that hypnosis fascination has led to some rather wild conjecture regarding the nature of Dahl’s “treatment” of Rachmaninoff’s malaise. The two men began meeting daily in early 1900 and though it is tempting to imagine the composer drawn out of his depression under the spell of a pendulating pocket

watch, it is much more likely that the highly cultured doctor cured Rachmaninoff with a generous blend of conversation and positive suggestion. However he did it, Dahl’s efforts worked. Rachmaninoff began to sleep better, eat more, drink less and, most importantly, compose again. The project that would benefit first from this restored confidence was the 2nd Piano Concerto, which would be appropriately dedicated to “Monsieur N. Dahl.” The second and third movements of the new concerto were finished later that same year and performed to great success, even without the iconic opening movement, in Moscow. This was an important moment, as Rachmaninoff’s newly bolstered selfimage probably still had an element of fragility to it. He need not have worried. As the reception in Moscow proved, he was on to something special with the 2nd Concerto. Completed in 1901, the full work was a lush, agreeable and instantly popular declaration of Rachmaninoff’s maturing voice. References in popular culture to this music are almost too numerous to count, but the films Brief Encounter (1945) and The Seven Year Itch (1955) as well as Frank Sinatra’s Full Moon and Empty Arms certainly make the case for its legendary status as boundary-breaking art.

THE WORLD – Elsewhere in 1901, the first Nobel Prize ceremony occurred in Sweden, Queen Victoria died in Britain, the Commonwealth of Australia was created, and US President William McKinley was assassinated.

THE CONNECTION – The 2nd Concerto is Rachmaninoff’s most frequently programmed work. Utah Symphony last performed it in 2019 with Thierry Fischer on the podium and Alexander Gavrylyuk as soloist. Continued on page 57…

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KING LEAR

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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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HISTORY OF THE MUSIC

Symphony No. 6 in B minor, Op. 70 (“Pathétique”) Duration: 46 minutes in three movements.

THE COMPOSER – PIOTR ILYICH TCHAIKOVSKY (1840-1893) – Tchaikovsky’s last years were colored by the fact that he recognized them as such and his earlier preoccupation with fate had to make room for a new one—mortality. This mindset did not create the maudlin atmosphere one might have expected, especially if virtually any previous period of his life was allowed to serve as guide. Instead, much of Tchaikovsky’s late work benefited from an uncharacteristic run of good spirits. It was a time of legacy, not lethargy, and he was as sharp compositionally as he had ever been. In addition to the 6th Symphony, two operas and the unfinished 3rd Piano Concerto, this period included the ballets Sleeping Beauty and The Nutcracker.

THE MUSIC – First, a word about the subtitle. “Pathétique” in its Russian form does not mean what it does in English. Hardly “pathetic” or “pitiable,” in this context it was intended to conjure an “enthusiastic,” “passionate,” and “emotional” experience. It is also worth noting that the 4th Symphony had a specific program attached to it while the 5th did not (an admittedly nebulous fact that has not kept biographers over the years from attempting to assign one). The 6th Symphony most certainly did have a program, but unlike the 4th, it was not at all specific and therefore subject to at least as much ongoing speculation as the 5th. The

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fact that Tchaikovsky originally called the 6th his “Program Symphony” hasn’t helped the debate in any way, because it did not mean that he planned to share the story with the world. He envisioned it from the start as an enigma and when considering the questions of future curious listeners, he simply wrote, “let them guess.” Other than a mention that the symphony was “saturated with subjective feeling,” the specifics of the program are with him still. The only thing we know now without doubt is that he held his Symphony No. 6 in very high regard. “[It is] the most sincere of all my creations” he wrote in a letter at the time, “I love it as I have never loved any of my other musical offspring.” The structure of the “Pathétique” is unique and the juxtaposition of the third and last movements is particularly daring, even for today. The third movement is a march that builds to an incredible level of excitement and is so effective in its rousing climax that audiences, nearly without exception, still applaud luxuriously at the end of it. The ensuing finale is a patient funereal dream and fittingly, given Tchaikovsky’s matter-of-fact view of death and the beyond, it simply disappears into itself without comment or conclusion.

THE WORLD – Elsewhere in 1893, Sir Arthur Conan Doyle published The Final Problem (the story that ends with the death of Sherlock Holmes) and New Zealand became the world’s first self-governing nation to give women the right to vote in parliamentary elections.

THE CONNECTION – Tchaikovsky 6 has not been programmed by the Utah Symphony on the Masterworks Series since 2019. Thierry Fischer conducted.

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Susan & Tom Hodgson Intuitive Funding Tom & Lorie Jacobson Edward Moreton Fred & Lucy Moreton Stephen & Melina Nicolatus Mark & Dianne Prothro

Alice & Frank Puleo Kenneth† & Jerrie Randall Jonathan & Anne Symonds Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer John & Jean Yablonski

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INDIVIDUAL SUPPORT

MAESTRO ($10,000 TO $24,999) Fran Akita Austin & Kristi Bankhead Thomas Billings & Judge Judith Billings Mr. & Mrs. Jim Blair Judy & Larry Brownstein Rebecca Marriott Champion Joseph & Cathy Cleary Larry Clemmensen Shelly Coburn Kathleen Digre & Michael Varner Pat & Sherry Duncan Dr. & Mrs. Ralph Earle Barry & Traci Eden Midge & Tom Farkas Robert & Elisha Finney Mike & Cindy Gatewood

Mary P.† & Jerald H. Jacobs Family Stephen C.† and Lynda M. Jacobsen Annette & Joseph Jarvis G. Frank & Pamela Joklik Kulynych Family Foundation II, Inc. Mr. & Mrs. Christopher J. Lansing Tom & Jamie Love Dorothy McBride† Mr. & Mrs. Charles McEvoy Amanda & Spencer Millerberg Harold W. & Lois Milner Terrell & Leah Nagata James & Ann Neal Ashton Newhall

Leslie Peterson & Kevin Higgins Frank R. Pignanelli & D’Arcy Dixon David & Shari Quinney Albert J. Roberts IV Richard & Carmen Rogers Miguel Rovira Ted & Lori Samuels Peggy & Ben Schapiro Sandefur Schmidt Mr. & Mrs. G.B. Stringfellow Steve & Betty Suellentrop Thomas & Marilyn Sutton James R. & Susan Swartz Drs. Cornelia and Rasmus Wegener

INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (10) Alan, Carol, and Annie Agle Margaret & Grant Bagley Dr. J.R. Baringer & Dr. Jeannette J. Townsend Kyle & Melissa Barnett Dr. & Mrs. Clisto Beaty Alice & Bill Bierer David Brown Carol†, Rete & Celine Browning Mark & Marcy Casp Brian & Emma Casper William & Patricia Child John Clukey Marc & Kathryn Cohen John D. Doppelheuer & Kirsten A. Hanson Mrs. Sarah Ehrlich Janet Ellison Jack & Marianne Ferraro Thomas & Lynn Fey Diana George Jeffrey L. Giese, M.D. & Mary E. Giese Elaine Gordon

David & SandyLee Griswold** Ray & Howard Grossman Reed & Chris Halladay Tresa Hamson Don Hendricks John Henkels† Sunny & Wes Howell The Right Reverend Carolyn Tanner Irish† and Mr. Frederick Quinn Ronald & Janet Jibson Rick & Paulette Katzenbach Allison Kitching George Klopfer & Joy Simeonova Michael & Peg Kramer Gary & Suzanne Larsen Harrison & Elaine Levy Daniel & Deena Lofgren Dennis & Pat Lombardi Christopher & Julie McBeth Hallie McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D.

Dr. Thomas Parks & Dr. Patricia Legant Stanley B. & Joyce M. Parrish Dr. Dinesh & Kalpana Patel Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison Kenneth Roach & Cindy Powell James & Anna Romano Barbara & Paul Schwartz Dewelynn & J. Ryan† Selberg Brent & Lisa Shafer Lisa and Joel Shine Mary & Doug Sinclair Paul Taylor Glen Traylor Howard & Barbara Wallack Brad E. & Linda P. Walton Barry & Fran Wilson Douglas & Rebecca Wood The Christian V. and Lisa D. Young Family Foundation

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (2) Craig & Joanna Adamson Dr. & Mrs. Jeffrey L. Anderson Pam & Paul Apel Ian Arnold Charles Beckham Lowell Bennion Dr. Melissa Bentley Roger & Karen Blaylock Bill & Susan Bloomfield Charlotte & Hal Browning Mr. & Mrs. John Brubaker Kristin LaMarr Bunn Michael & Vickie Callen Geoffrey Carrizosa Dr.† & Mrs. Anthony Carter Mr. & Mrs. Lee Forrest Carter Robert Chamberlain 60

Hal & Cecile Christiansen The Chung Family 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 Barbara & Melvin Echols Carolyn Enenstein Muffy Ferro Blake & Linda Fisher

Adele & James Forman John and Leslie Francis Mr. Joseph F. Furlong III David & Lisa Genecov Andrea Golding Legacy Foundation Kenneth & Amy Goodman Geraldine Hanni Dr. Bradford D. Hare & Dr. Akiko Okifuji Jeff & Peggy Hatch John Edward Henderson Marian & Matt Hicks Dr. Matthew & Lisa Higgins Michael Huerta & Ann Sowder Dixie S. & Robert P. Huefner Mr. & Mrs. Jerry Huffman Jay & Julie Jacobson

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CONTRIBUTE TO UTAH SYMPHONY | UTAH OPERA

DID YOU KNOW THAT TICKET SALES ONLY SUPPORT 33% OF OUR ANNUAL OPERATING COSTS?

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 Diane Jenkins Drs. Randy & Elizabeth Jensen Chloe Johnson Maxine & Bruce Johnson Neone F. Jones Family Dr. Michael A. Kalm Dr. James and Carolyn Katsikas Marguerite Kaupp Michael Kennedy Susan Keyes & Jim Sulat Jeanne Kimball Spencer & Christy Knight Howard & Merele Kosowsky Jeffrey LaMora Donald L. & Alice A. Lappe Tim & Angela Laros Linda & Bret Laughlin Patricia & Mark Lucas Chuck & Crystal Maggelet Keith & Vicki Maio Kathryn & Jed Marti Miriam Mason & Greg Glynnis Tom & Janet McDougal

David & Nickie McDowell Ted A. McKay George & Nancy Melling Brad & Trish Merrill Richard & Robin Milne Mr. & Mrs. Richard Mithoff MJZR Charitable Trust Dr. Louis A. Moench & Deborah Moench Glenn & Dav Mosby Michael and Katie Mueller Sir David Murrell IV & Mary Beckerle Metta Nelson Driscoll Stephen & Mary Nichols Thomas & Barbara O’Byrne Ruth† & William Ohlsen W.E. & Harriet R. Rasmussen Glenn Ricart Mr. & Mrs. Robert Rollo Rebecca Roof & Gary Smith Rachel Sabin Mark & Loulu Saltzman Margaret P. Sargent Dru Schmitt James & Janet Schnitz

Shirley & Eric Schoenholz William G. Schwartz & Jo Ann Givan Gibbs† & Catherine W. Smith Sheryl & James Snarr Stan & Mary Sorensen Spitzberg-Rothman Foundation Christine St. Andre & Cliff Hardesty Ray and Ann Steben Douglas & Susan Terry Richard & Janet Thompson Sal and Denise Torrisi John & Susan Walker Gerard & Sheila Walsh Kelly Whitcomb Cindy Williams E. Woolston & Connie Jo Hepworth-Woolston Gayle & Sam Youngblood** Laurie Zeller & Matthew Kaiser

Jennifer Beckham Karen Bennett Francine R. Bennion C. Kim & Jane Blair Richard & Suzanne Burbidge Michael S. Butler Dana Carroll & Jeannine Marlowe Carroll Mr. & Mrs. Fred L. Carter, Jr. Michael & Beth Chardack Howard & Betty Clark Blair Childs & Erin Shaffer Jeremiah Clawson James & Elizabeth Cobb

Kenneth Colen William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin David and Carol Coulter James Dashner Charles Deneris Michael and Sheila Deputy Dr. Paul Dorgan Alice Edvalson William Fickling Renee Fleming Dr. Robert Fudge & Sylvia Newman Thomas Fuller Heidi Gardner

FRIEND ($1,000 TO $2,499) Anonymous (5) Christine A. Allred Margaret Anderson Robert & Cherry Anderson Drs. Crystal & Dustin Armstrong Mr. Dennis D. Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock David Bailey Marlene Barnett Tom & Carolee Baron Tina and John Barry Mr. & Mrs. Lawrence R. Barusch David Bateman

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INDIVIDUAL SUPPORT FRIEND ($1,000 TO $2,499) CONTINUED Mr. & Mrs. Eric Garen** Traci & Scott Garmon Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Mr. Keith Guernsey John and Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Kenneth & Kate Handley Scott W. Hansen Jonathan Hart Lex Hemphill & Nancy Melich Barbara Higgins Richard & Ruth Ann Hills Thomas Hogan Connie C. Holbrook Caroline & David Hundley Stephen Tanner Irish Eldon Jenkins & Amy Calara M. Craig & Rebecca Johns Nicholas Johnson Bryce & Karen† Johnson Chester & Marilyn Johnson Josh & Catherine Kanter Umur Kavlakoglu Randy King Carl & Gillean Kjeldsberg Robert & Karla Knox Les Kratter Grace Lin Ms. Susan Loffler

UTAHSYMPHONY.ORG

Nicholas Markosian Daniel & Noemi P. Mattis Neylan McBaine & Elliot Smith Aragon McCarthey Charitable Trust Mary Pat McCurdie Edward J. & Grace Mary McDonough Michael & Julie McFadden Jerilyn McIntyre & David Smith Philina McNeil Warren K.† & Virginia G. McOmber David B. & Colleen A. Merrill James and Nannette† Michie Joanne Mitchell & Douglas L. Weed Dale Moses Barry & Kathy Mower Dan & Janet Myers Marilyn H. Neilson Ruzena Novak Dr. & Mrs. Richard T. O’Brien Timothy & Lisa O’Brien Lee K. Osborne O. Don & Barbara Ostler Stephanie Pappas Perry Patterson Ray Pickup Rori & Nancy Piggott

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Stefan Pulst Dr. Barbara S. Reid Frances Reiser Gina Rieke Diane & Dr. Robert Rolfs, Jr. Marie Rosol F. Jayne Roth Gerald† & Sharon Seiner Daniel and Angela Shaeffer Sheri Shepherd Dennis & Annabelle Shrieve Allen & Karen Sims Barbara Slaymaker Janette Smith Dr. & Mrs. Michael H. Stevens Shane & Stacey Stowell Dr. Ralph & Judith Vander Heide Kerry Vogt Susan & David† Wagstaff Dr. James C. Warenski Rochelle Warner Renee Waters Erik & Linda Watts Frank & Janell Weinstock Charles & Ellen Wells Betsey & Scott Wertheimer Glenn & Connie Wimer David & Jerre Winder David B. & Anne Wirthlin Michael & Judith Wolfe 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 John Henkels Roger & Susan Horn

Carolyn T. Irish Revocable Trust 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 & Marilyn Wagner M. Walker & Sue Wallace Jack & Mary Lois Wheatley Family Trust Edward & Marelynn† Zipser

GIFTS MADE IN HONOR Anne & Ashby Decker

Joanne Shiebler

GIFTS MADE IN MEMORY Burton Gordon Kathy Hall

Glade & Mardean Peterson Robert C. Sloan

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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 Dominion Energy 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 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

Moreton Family Foundation John & Marcia Price Family Foundation S.J. & Jessie E. Quinney Foundation

Harris H. & Amanda P. Simmons Foundation Sorenson Legacy Foundation

Joseph & Kathleen Sorenson Legacy Foundation The Kahlert Foundation The John C. Kish Foundation McCarthey Family Foundation Charles Maxfield & Gloria F. Parrish Foundation Perkins-Prothro Foundation

Promontory Foundation Schmidt Family Foundation Joanne L. Shrontz Family Foundation Simmons Family Foundation Struck* Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Office of Tourism

$50,000 TO $99,999 Anonymous The Grand America Hotel & Little America Hotel* Janet Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery BMW of Murray/BMW of Pleasant Grove 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 Brent & Bonnie Jean Beesley 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 Matthew B. Ellis Foundation Goldman Sachs & Co. LLC Greenberg Traurig Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the Rockies Kulynych Family Foundation II, Inc. Marriott International, Inc. Microsoft Corporation*

Park City Chamber/Bureau 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

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* Lee’s Marketplace* Millcreek Coffee Roasters* Abbott B & Joan M Lipsky Fund The Marion D. & Maxine C. Hanks Foundation

Ray, Quinney & Nebeker Foundation Raymond James & Associates Red Rock Brewing Company* Reliable Controls Rocky Mountain Power Foundation Snell & Wilmer Snow, Christensen & Martineau Foundation Swire Coca-Cola* Squatters Pub Brewery* The Fang Family Foundation U.S. Bank Foundation Utah Autism Foundation Vanguard Charitable Endowment Y2 Analytics*

$1,000 TO $9,999 Anonymous [3] 4Girls Foundation Berkshire Hathaway Home Services Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation CBRE City of Orem Deer Valley Resort* Spencer F. & Cleone P. Eccles Family Foundation Every Blooming Thing* Henry W. & Leslie M. Eskuche Charitable Foundation The Fanwood Foundation Western Office

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ADMINISTRATION ADMINISTRATION Steven Brosvik

Erin Marr

David Green

Ellesse Hargreaves

President & CEO

Donor Engagement (DVMF) & Special Events Coordinator

Senior Vice President & COO

Stewardship & Event Coordinator

Julie McBeth

Executive Assistant to the CEO

Ellen Lewis

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

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director

Robert Neu

Vice President of Artistic Planning

OPERA ARTISTIC Christopher McBeth

Morgan Moulton

Director of Production

Michaella Calzaretta Opera Chorus Master

Ashley Tingey

Properties Master

Lance Jensen

Executive Assistant to the Music Director & Symphony Chorus Manager

SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Chip Dance

Production & Stage Manager

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Production Technical Director

COSTUMES Cee Cee Swalling

Ticket Agents

Vice President of Finance & CFO

Director of Information Technologies

Melanie Giles Controller

Alison Mockli

Payroll & Benefits Manager

Costume Stock & Rentals Manager

Patron Information Systems Manager

First Hand

Accounts Payable Specialist

Jared Mollenkopf

Amanda Reiser Meyer

Kyle Siedschlag

Milivoj Poletan

Zac Cameron

Tailor

Payroll Clerk

Tiffany Lent

Cutter/Draper

EDUCATION Paula Fowler

DEVELOPMENT Leslie Peterson

LisaAnn DeLapp

Wardrobe Supervisor & Rentals Assistant

Heather Weinstock

Lorraine Fry Naomi Newton Ian Painter Ananda Spike

Verona Green

Nyssa Startup

Director of Institutional Giving

Sales Associates

Costume Director

Robyne Anderson

Jessica Proctor

Alicia Ross Val Tholen

Mike Lund

Thomas Cowdery

Milliner & Crafts Artisan

Vice President of Development

Group Sales Associate

Interim Technical Director

Donna Thomas

2nd Assistant Stage Manager

Patron Services Manager

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Lyndsay Keith

Operations Manager

Sales Manager

Scenic Charge Artist

Dusty Terrell

Glenn Linder

Artistic Planning Coordinator

Mara Lefler

Genevieve Gannon

Michelle Peterson

OPERA TECHNICAL Kelly Nickle

Orchestra Personnel Manager

Marketing Manager - Patron Loyalty

Principal Coach

Walt Zeschin

Andrew Williams

Merry Magee

Janae Graham

Carol Anderson

Barlow Bradford

Director of Orchestra Personnel

Director of Patron Engagement

Opera Artistic Director

Production Coordinator

Symphony Chorus Director

PATRON SERVICES Faith Myers

Rentals Assistant

MARKETING & COMMUNICATIONS Jon Miles

Director of Education & Community Outreach

Kyleene Johnson

Symphony Education Manager

Anna Atkinson

Opera Education Assistant

Paul Murphy

Symphony Education Assistant

Vice President of Marketing & Public Relations

Director of Special Events & DVMF Donor Relations

Meredith Kimball Laing

Stephanie Ogden

Director of Communications

Director of Individual Giving

Kathleen Sykes

Katie Swainston

Content & Social Media Manager

Individual Giving Manager

Robert Bedont

Lisa Poppleton

Marketing Manager - Audience Development

Grants Manager

Dallin Mills

Development Database Manager

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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DOUBLE YOUR IMPACT BEFORE MAY 1!

Want you r gi f t t o go e ve n f u r t h e r? Now i s t he t i m e t o gi ve ! Thanks to a generous matching challenge grant from the George S. and Dolores Doré Eccles Foundation, all new or increased contributions received through May 1, 2022 will be matched dollar for dollar, up to $500,000. $378,000 We are more than halfway to our goal - help us rise to the challenge with a gift today! The Foundation's leadership acknowledged USUO's thoughtful strategies "to remain active and viable during such an unprecedented year." We are so grateful to the Foundation and to you our loyal supporters - for allowing us to look to the future with optimism.

Make a donation online at USUO.ORG/GIVE or by calling 801-869-9001

$500,000

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

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†

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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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

Tanner, llc LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY

Love Communications, Salt Lake City

ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY

Struck, Salt Lake City / Portland

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

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Preprint Inside Backcover

Leave a Legacy. Ensure the future. MAKE A PLANNED GIFT TODAY Utah Symphony | Utah Opera is grateful to all those who help provide for the future of great live music in our community by including USUO in their financial and estate planning. If the pandemic has caused you to think about your legacy and instilled a desire to share what you love with generations to come, please join USUO’s Tanner and Crescendo Societies. Contact our development department or go online for more information about how to quickly and easily designate USUO as a beneficiary of your will, retirement account, life insurance policy, or if you have any other questions.

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