Utah Symphony May 2022 by Mills Publishing Inc.

CONTENTS

UTAH SYMPHONY MAY 2022

Welcome

Music Director

THIERRY FISCHER CONDUCTS MESSIAEN, SMETANA & SIBELIUS 2 MAY 20 & 21, 2022 / 7:30 PM

Board of Trustees

Utah Symphony

BEETHOVEN’S VIOLIN CONCERTO, MESSIAEN & RAVEL MAY 27, 2022 / 10 AM ( FINISHING TOUCHES)

Season Sponsors

MAY 27 & 28, 2022 / 7:30 PM

Donors

Support USUO

Administration

Planned Giving

Tanner & Crescendo Societies

Acknowledgments

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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 musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Maurice Abravanel Hall and tonight’s concert. As we approach the conclusion of another spectacular winter season of artistic successes and incredible live music, we thank you for the energy you bring to this hall, inspiring our musicians to create the very best music experiences with and for you.

Steven Brosvik President & CEO

Thierry Fischer Music Director

Thomas M. Love Board of Trustees Chairman

This month, the orchestra performs two Masterworks programs conducted by Thierry Fischer. The programs include a range of 19th and 20th century music from beloved composers Sibelius, Smetana, Ravel, and Beethoven. German violinist Veronika Eberle joins the orchestra for the season finale concerts on May 27 and 28. The concerts also mark the resumption of our performances of selections from Olivier Messiaen’s 20th Century masterpiece inspired by the natural beauty of Utah From the Canyons to the Stars… that were interrupted by the pandemic shutdown in 2020. Utah Symphony Principal Keyboard (and Messiaen specialist) Jason Hardink will be our featured soloist for these selections. Perhaps hearing these highlights will motivate you to join us at the OC Tanner Amphitheater on June 2nd when we perform the entire work surrounded by the stunning backdrop of Zion Canyon’s red-rock cliffs! (See page 29 for more information.) This summer we hope you will “Escape into the Music” with USUO at the Deer Valley® Music Festival. The six-week summer concert series, which runs from July 1 through August 6, features a diverse musical lineup, showcasing the versatility of our Utah Symphony musicians as they perform music ranging from classical to alternative rock alongside well-known, popular artists. Also watch for the Utah Symphony as featured guests throughout the summer in outdoor community venues including Thanksgiving Point, the Gallivan Center, Snowbasin, and the Utah Cultural Celebration Center in West Valley City. Thank you again for being part of tonight’s musical experience. Your presence matters and we look forward to seeing you outdoors this summer and once again in the marvelous setting of Maurice Abravanel Hall for our 2022–23 season—Thierry’s finale season as Music Director!

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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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W ATC H L I V E . S T R E A M A N Y T I M E .

THE GOVERNOR’S MANSION ARTIST AWARDS

A N E W P B S U TA H S E R I E S V. Kim Martinez Muralist, Professor & Community Activist

COMING THIS SUMMER pbsutah.org/artelevated

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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UTAH SYMPHONY Thierry Fischer, Music Director

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

Yuan Qi Associate Principal

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

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair

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

Andrew Larson Acting Associate Principal John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Hannah ThomasHollands†† Pegsoon Whang

Vacant Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Evgenia Zharzhavskaya Assistant Principal Second

Corbin Johnston Associate Principal

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

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

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos

HARP Louise Vickerman Principal

HORN Jessica Danz Principal

FLUTE Mercedes Smith Principal The Val A. Browning Chair

Edmund Rollett Associate Principal

Lisa Byrnes Associate Principal

Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

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

Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

OBOE James Hall Principal

• First Violin •• Second Violin

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The Gerald B. & Barbara F. Stringfellow Chair

* String Seating Rotates † On Leave

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TRUMPET Travis Peterson Principal Jeff Luke Associate Principal # Sabbatical †† Substitute Member

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

MASTERWORKS SERIES

THIERRY FISCHER CONDUCTS

MESSIAEN, SMETANA & SIBELIUS 2 MAY 20 & 21, 2022 / 7:30 PM ABRAVANEL HALL

THIERRY FISCHER, conductor JASON HARDINK, piano KEITH CARRICK, xylorimba ERIC HOPKINS, glockenspiel

SMETANA “Moldau” from Má vlast MESSIAEN Des Canyons aux etoiles...

X. La Grive de bois XI. Omao, Leiothrix, Elepaio, Shama

INTERMISSION

SIBELIUS Symphony No. 2 in D Major, Op. 43 I. II. III. IV.

Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato

CO N CER T S PO N SOR

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ARTISTS’ PROFILES See page 6 for Thierry Fischer’s profile.

Jason Hardink Piano

A fearless interpreter of large-scale piano works both modern and historical, pianist Jason Hardink’s 2019 debut at Weill Recital Hall was lauded for its audacious programming and pianism demonstrating “abandon and remarkable clarity” and a “capacity for tenderness and grace” (Anthony Tommasini, New York Times). Recent performances include his debut at the Cabrillo Festival of Contemporary Music as soloist in the North American premiere of Gerald Barry’s Piano Concerto with conductor Cristian Macelaru, a performance of Michael Hersch’s The Vanishing Pavilions at Wien Modern, the complete Liszt Transcendental Etudes performed on an 1852 Bösendorfer at Music in Context in Houston, and works by Shawn E. Okpebholo, Brittany J. Green, and the Beethoven “Hammerklavier” Sonata for the NOVA Chamber Music Series. In March he performed the world premieres of four new solo piano works commemorating the centenary of the Charles E. Ives Concord Sonata. Commissioned composers included Jason Eckardt, Anthony R. Green, Inés Thiebaut, and Steve Roens. Hardink has appeared as guest recitalist and adjudicator for both the Gina Bachauer International Piano Competition and the Oberlin International Piano Competition. A native of Rhode Island and a graduate of both Oberlin Conservatory and the Shepherd School of Music, his former teachers include Robert Boberg and Sanford Margolis. Hardink holds a DMA from Rice University, where he studied with Brian Connelly; his Doctoral thesis “Messiaen and Plainchant” explores the varying levels of influence that Gregorian chant exerted on the music of Olivier Messiaen. He resides in Salt Lake City, Utah, where he holds the position of Principal Keyboard with the Utah Symphony and serves on the piano faculty of Westminster College. He is married to pianist Kimi Kawashima, and they are parents of twin boys, Luc and Derek.

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ARTISTS’ PROFILES

Keith Carrick joined the Utah Symphony as Principal Percussion in 2012. From 2007 to 2012, he was Principal Percussion of the Sarasota Orchestra, and appeared as guest soloist with the orchestra on several occasions. While in Sarasota, Keith was also on faculty at the State College of Florida. Carrick has performed and taught extensively across North America, Europe, Asia, and Australia. Originally from Mt. Airy, Maryland, Carrick began his musical studies at age 8 in the public schools and at age 15 honed his classical training through the National Symphony Orchestra’s Youth Fellowship Program. He went on to graduate from Boston University as a student of Tim Genis, and the New England Conservatory as a student of Will Hudgins. Carrick can be heard on Andrew Beall’s album Deliverance available through BMP records, and as a performer on the premiere performances and premiere recordings of Joan Tower’s Splendid Wood and Gunther Schuller’s “Grand” Concert for Percussion and Keyboards available through Naxos records. He has previously attended the Tanglewood Music Center, Verbier Festival, and the Music Academy of the West.

Keith Carrick Xylorimba

When not performing with the Utah Symphony, he enjoys travelling, hiking, kayaking, and rafting with his wife Kyra.

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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ARTISTS’ PROFILES

Eric Hopkins plays the dual role of Percussion and Associate Principal Timpani in the symphony. His passion lies in both roles equally. For Hopkins, percussion is about negotiating the wide array of acoustic possibility, overcoming and embracing the challenges of each unique instrument. On timpani, the large copper kettle drums, Hopkins strives to maximize the sound color palette to vivify the emotional content of the music.

Eric Hopkins Glockenspiel

Hopkins won first place in the Atlanta Symphony Orchestra’s 2012 Modern Snare Drum Competition and first place in the Young Artist Competition at Alliance for the Arts in Southwest Florida. He is the recipient of the Big Arts Classical Music Award, New Leaf Arts Scholarship, David G. Robinson Performing Arts Scholarship, Tallahassee Music Guild Award, and the Cape Coral Chamber of Commerce Scholarship. While at Florida State University, Hopkins was awarded the prestigious Theodore Presser Award. He can be heard as a vibraphone soloist on the CD, FSU Percussion Ensemble Vol. 1. At the time of his appointment in 2013 at the age of 24, he was the youngest member of the Utah Symphony | Utah Opera. Hopkins earned his Master of Music degree in 2013 from the Manhattan School of Music, where he also served as a teacher in the Pre-college division. He studied in the Orchestral Program with the life-changing faculty of Chris Lamb, Duncan Patton, and She-e Wu. Eric is currently a percussion professor at Utah Valley University.

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HISTORY OF THE MUSIC

“The Moldau” from Má Vlast Duration: 12 minutes.

THE COMPOSER—BEDŘICH SMETANA (1824–1884)—If Dvořák is to be credited with bringing Czech classical music to the world, Bedřich Smetana must be acknowledged as the man who truly established it at home. These two musicians, the King and Crown Prince of a growing orchestral and operatic ethos, were not the first to write music that centered Czech language and folk tradition, but Smetana was the first to project a distinctly national voice for his people. It wasn’t always so. Born into a German-speaking household, his early professional life reflected an obsession with a Hungarian giant (Liszt) and a job in Sweden, but Smetana returned “home” to Prague for good in 1862.

THE HISTORY—Smetana was forced to step down as Principal Conductor at the Prague Theatre in 1874, thanks to that most cruel (and famous) of composer ailments—deafness. It was only partial at first, his hearing loss, but it soon became complete, and permanent. Of course, this sad fate brings Beethoven to mind. Much like that older master, Smetana continued to write music he would never be able to hear. Má Vlast (My Country) was a cycle of tone paintings composed over a period of five years from 1874 to 1879. This pictorial and historical tribute to Bohemian pride fully fixed Smetana’s legacy among his countrymen and provided the rest of us with one of the most popular orchestral works to come out of any culture. Vltava (The Moldau

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in German) was the second movement of the suite but is performed today most often as a free-standing concert work. The Vltava River is the longest in Czechia. It runs on a short southwesterly course out of the Bohemian Forest before turning definitively north and eventually emptying into the Labe River (Elbe in German) several miles north of Prague. Strauss’ Blue Danube had been written during the previous decade so music about important waterways was certainly in the air when Smetana chose his subject in 1874. Unlike Strauss’ loosely poetic homage, Smetana designed his river piece as a realistic sonic boat ride. His notes to the publisher included a sketch of his proposed journey through Bohemian landscape and life. From the “two springs” that gave birth to the Vltava in the forest, a “mighty stream” passes through a hunter’s wood, flows past a wedding feast, reflects “many a fortress and castle” and braves the “Rapids of St. John” before widening “in majestic calm” as it approaches Prague, the Vyšehrad fort and the quiet beyond. The gorgeously catchy main theme of Vltava has a slightly murky provenance, but it was quickly adopted and anthem-ized by Czech people and others throughout Europe.

THE WORLD—Elsewhere in 1874, Denmark granted Iceland a constitution and limited home rule, Far From the Madding Crowd was published by English novelist Thomas Hardy, and cartoonist Thomas Nast first symbolized the American Republican Party with the image of an elephant.

THE CONNECTION—The Moldau was last performed by Utah Symphony in 2006 under the direction of Pavel Kogan. 21

HISTORY OF THE MUSIC

“La Grive des bois” and “Omao, Leiothrix, Elepaio, Shama” from Des Canyons aux étoiles... Duration: 5 and 9 minutes.

THE COMPOSER—OLIVIER MESSIAEN (1908-1992)—Though he is still perhaps one of the most unclassifiable composers of the 20th century, Olivier Messiaen’s two consistently abiding influences—his deep Catholic faith and love of birdsong—provide a semi-stable foothold for explorations of his life’s work. “I speak about faith to those who have none,” he told an interviewer shortly before his death, “I give bird songs to those who have never heard them…” Messiaen believed birds to be creation’s greatest musicians and found in their complex vocalizations a depthless font of spiritual expression. Their world, the aweinspiring natural world, contained all the great mysteries of God and virtually every piece he wrote was a humble attempt to understand them.

THE HISTORY—The commission from the formidable American arts patron Alice Tully in 1971 to commemorate the upcoming bicentenary of the Declaration of Independence wasn’t initially very appealing to Messiaen. On paper, it certainly does not seem like the kind of subject he would have been drawn to, but Tully convinced him to say yes. His approach to the project was, of course, oblique and idiosyncratic in that he did not seek encouragement from the famous document itself or any other important founding letters. 22

Messiaen instead consulted an encyclopedia and found, in photos of the glorious red rock formations of Utah, a collection of prehistoric cathedrals that suited his personal convictions, and the scale of American uniqueness, perfectly. He arranged a trip to see the landscape for himself in the spring of 1972 and his journals from that time depict a devoutly observant man in awe of everything he saw and heard. The result was Des Canyons aux étoiles... (1974). Part western travelogue, part birding trip, part metaphysical transition from terrestrial dust to cosmic light, Canyons is a 100-minute suite of rapturous experiences, ranging in seemingly random order from a single bird to an unspeakably magnificent celestial city. “…it is above all a religious work,” he wrote, unsurprisingly, “a work of praise and contemplation,” while also adding that “The majority of the birds are from Utah and the Hawaiian Islands. Heaven is symbolized by Zion Park and the star Aldebaran.” Movement X—La Grive des bois—portrays the American Wood Thrush while Movement XI—Omao, Leiothrix, Elepaio, Shama—features a collection of Hawaiian, Chinese, and Indian birds. These movements highlight Messiaen’s gift for transcription. The distance between his meticulous field notes and the score is often marked by a certain license, but his fidelity to the soul of each animal is profoundly moving.

THE WORLD—Elsewhere in 1974, (like Nixon) Israeli leader Golda Meir resigned, as did Willy Brandt in West Germany; the Terracotta Army was discovered in China; and the “Rumble in the Jungle” occurred in Zaire between Muhammad Ali and George Foreman.

THE CONNECTION—Des Canyons aux étoiles...was last performed by Utah Symphony in 2007 under the direction of Keith Lockhart.

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HISTORY OF THE MUSIC

Symphony No. 2 in D Major, Op. 43 Duration: 43 minutes in four movements.

THE COMPOSER – JEAN SIBELIUS (1865-1957) – Sibelius met Axel Carpelan in 1900 and their friendship would soon have a significant impact on the composer’s career. Carpelan was a bit of an odd character and though described variously as an “amateur” or “failed” musician, his devoted (and, for a time, anonymous) adoration of Sibelius’ music led to some far-reaching suggestions. Finlandia was his idea and he also felt Sibelius was ripe for a violin concerto and another symphony. Finland, at the turn of the century, was eager to move away from Russian cultural and political dominance and Sibelius was an enthusiastic contributor to these patriotic efforts.

THE HISTORY – It is interesting, then, that his Second Symphony would be inspired in part by non-Finnish experiences. One notable component of Carpelan’s brotherly advice was that Sibelius should visit Italy as soon as possible, citing the salutary effects that bright, pastoral country had on Tchaikovsky, Strauss, and others. For all his ambition on Sibelius’ behalf, Carpelan was not wealthy, but he was possessed of a formidably persuasive will and soon had the trip funded by others. The efforts were not in vain, though that would not be clear right away. The Italian diversion was defined by personal strains and compositional blocks for Sibelius, but he did make progress on an “orchestral fantasy” built in part with material from

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a pair of unrealized projects based on the Don Juan legend and Dante’s Divine Comedy. The “fantasy” soon became a symphony and, as such, was a work wholly different from its predecessor. The First Symphony had been a rather moody utterance, dimly reflective of the Finnish plight as Russian yoke-bearers, but the Second seemed a beacon of triumphal hope and possibly even a blueprint for future independence. This assumed political undertone was taken up immediately and in earnest by everyone but Sibelius himself, who denied any revolutionary program behind the music. His protestations, whether true or merely reactive, were unconvincing and ultimately unimportant. As an icon of his people’s growing nationalism, his creations were always icons themselves, in service to the larger aspirations of Finnish pride. Sibelius may have been anxious to promote the purely musical revolution he was offering and, when viewed outside the social lens, the Second Symphony succeeds there too. Sibelius knew he was breaking innovative ground, and while sketching out the themes and structures of the piece in Florence, he claimed to have “fallen fatally in love” with it. Even now, some 120 years later, the same could still be said for all of us.

THE WORLD – Edward VII was crowned King in the United Kingdom in 1902. Also that year, Leopold II of Belgium survived an assassination attempt and Sir Arthur Conan Doyle published The Hound of the Baskervilles.

THE CONNECTION – Sibelius 2 was last performed by the Utah Symphony in 2018. Kazuki Yamada was on the podium. 25

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MASTERWORKS SERIES

BEETHOVEN’S VIOLIN CONCERTO, MESSIAEN & RAVEL MAY 27, 2022 / 10 AM ( FINISHING TOUCHES) MAY 27 & 28, 2022 / 7:30 PM ABRAVANEL HALL

THIERRY FISCHER, conductor VERONIKA EBERLE, violin

BEETHOVEN Concerto in D Major for Violin and Orchestra, Op. 61 I. II. III.

Allegro ma non troppo Larghetto Rondo: Allegro

VERONIKA EBERLE, violin

INTERMISSION

MESSIAEN Des Canyons aux étoiles...

VIII. Les ressuscités et le chant de l’étoile Aldébaran XII. Zion Park et la Cité céleste

RAVEL Suite No. 2 from Daphnis et Chloé I. Lever du jour II. Pantomime III. Danse générale

CO N CER T S PO N SOR

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ARTISTS’ PROFILES See page 6 for Thierry Fischer’s profile. Veronika Eberle’s exceptional talent and the poise and maturity of her musicianship have been recognized by many of the world’s finest orchestras, venues, and festivals, as well as by some of the most eminent conductors. Sir Simon Rattle’s introduction of Eberle aged just 16 to a packed Salzburg Festpielhaus at the 2006 Salzburg Easter Festival in a performance of the Beethoven Concerto with the Berliner Philharmoniker brought her to international attention.

Veronika Eberle Violin

Recent concerto highlights have included debuts with the Philadelphia, San Francisco Symphony, and Philharmonia Orchestras as well as with the Chamber Orchestra of Europe (Yannick Nézet-Séguin), Swedish Radio Symphony Orchestra (Harding), Luxembourg Philharmonic (Manze), and Orchestre National de Lille. Eberle also toured Australia making debut performances with the Auckland Philharmonia, Tasmani Symphony, and West Australian Symphony Orchestras as well as with the Seoul Philharmonic Orchestra. Born in Donauwörth in Southern Germany, she started violin lessons at the age of six and four years later became a junior student at the Richard Strauss Konservatorium in Munich with Olga Voitova. After studying privately with Christoph Poppen for a year, she joined the Hochschule in Munich, where she studied with Ana Chumachenco 2001–12. Veronika has benefited from the support of a number of prestigious organizations, including the Nippon Foundation, the Borletti-Buitoni Trust (Fellowship in 2008), the Orpheum Stiftung zur Förderung junger Solisten (Zurich), the Deutsche Stiftung Musikleben (Hamburg), and the Jürgen-Ponto Stiftung (Frankfurt). She was a BBC Radio 3 New Generation Artist 2011–13 and was a Dortmund Konzerthaus “Junge Wilde” artist 2010–12. Veronika Eberle plays on a violin made by the Italian violin maker Antonio Giacomo Stradivari in 1693, which was made available to her on generous loan by the Reinhold Würth Musikstiftung gGmbH.

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messiaen’s

ÉTOILES… DESCANYONS AUX (from the canyons to the stars...) June 2, 2022 OC Tanner Amphitheater, Springdale, UT Witness Messiaen’s masterpiece in the natural beauty that inspired it at Zion National Park. Get your tickets at UtahSymphony.org Season Sponsor

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HISTORY OF THE MUSIC

Concerto for Violin in D Major, Op. 61 Duration: 42 minutes in three movements.

THE COMPOSER—LUDWIG VAN BEETHOVEN (1770-1827)—Beethoven’s compositional output was defined by alternating periods of dearth and plenty. 1806 was one of the good years. In truth, it was an incredible year, arguably one of the most impressive stretches of sustained creativity by any artist ever. Looming deadlines, both self-imposed and not, can be wonderful motivators, but you must possess uncommon skill and will to succeed under that kind of pressure. Skill was never an issue for Beethoven and, in 1806, he had the determination to match it. The legendary clutch of works from that year included the “Razumovsky” Quartets, the “Appassionata” Sonata, the 4th Symphony, the 4th Piano Concerto, and the Violin Concerto.

THE HISTORY—Like almost everything Beethoven composed in 1806, the Violin Concerto was written in a hurry. The premiere date was set for December 23 of that year, and by most accounts, he barely got it done in time. In fact, a legend persists about Beethoven finishing the score just two days before the concert, a close call that required the soloist to sight-read the finale in front of the audience. That story may not be true, but it is certainly possible. Beethoven was a tireless revisor, who often made corrections right up to the last possible moment, and the concerto’s dedicatee was apparently a brilliant technician, fully capable of surviving such less-than-ideal scenarios. Franz Clement 30

was the music director and concertmaster of the Theatre an der Wien orchestra. Only in his 20s at the time of the concerto collaboration, Clement had been a child prodigy with a great deal of performance charisma. Beethoven heard him play when he was 14 and had kept professional track of him thereafter. The manuscript of the concerto’s violin part makes it unclear how much advice the composer ultimately took from his soloist (a regular feature of these sorts of partnerships), but there was plenty of mutual respect between the two musicians and the concerto played to Clement’s strengths as a graceful, peerless virtuoso. Given the panicked leadup to the downbeat, however, the premiere was not a big sensation. Clement did his best to champion the work for a few more years, but it did not enter the standard repertory for decades. It was simply too inscrutable and too difficult for anyone but him. The eventual acknowledgment of the Violin Concerto’s masterpiece status came thanks, in part, to another young superstar. Joseph Joachim performed the supposedly “unplayable” work (at age 13!) under the baton of Felix Mendelssohn in 1844, bringing it back into public attention for good.

THE WORLD—Elsewhere in 1806, the Napoleonic Wars raged, Lewis and Clark began their journey home from the Pacific Ocean, Noah Webster published his first dictionary, the Holy Roman Empire was dissolved, and Britain established Cape Colony in present day South Africa.

THE CONNECTION—Beethoven’s Violin Concerto was last heard on a Masterworks concert back in 2017. Thierry Fischer conducted and Augustin Hadelich was soloist.

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HISTORY OF THE MUSIC

“Les ressuscités et le chant de l’étoile Aldébaran” and “Zion Park et la Cité céleste” from Des Canyons aux étoiles... Duration: 8 and 11 minutes.

THE COMPOSER—OLIVIER MESSIAEN (1908-1992)—Though he is still perhaps one of the most unclassifiable composers of the 20th century, Olivier Messiaen’s two consistently abiding influences—his deep Catholic faith and love of birdsong— provide a semi-stable foothold for explorations of his life’s work. “I speak about faith to those who have none,” he told an interviewer shortly before his death, “I give bird songs to those who have never heard them…” Messiaen believed birds to be creation’s greatest musicians and found in their complex vocalizations a depthless font of spiritual expression. Their world, the awe-inspiring natural world, contained all the great mysteries of God and virtually every piece he wrote was a humble attempt to understand them.

THE HISTORY—The commission from the prominent American arts patron Alice Tully in 1971 to commemorate the upcoming bicentenary of the Declaration of Independence wasn’t initially very appealing to Messiaen. On paper, it certainly does not seem like the kind of subject he would have been drawn to, but Tully convinced him to say yes. His approach to the project was, of course, oblique and idiosyncratic in that he did not seek encouragement from the famous document itself or any other important

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founding letters. Messiaen instead consulted an encyclopedia and found, in photos of the glorious red-rock formations of Utah, a collection of prehistoric cathedrals that suited his personal convictions, and the scale of American uniqueness, perfectly. He arranged a trip to see the landscape for himself in the spring of 1972 and his journals from that time depict a devoutly observant man in awe of everything he saw and heard. The result was Des Canyons aux étoiles... (1974). Part western travelogue, part birding trip, part metaphysical transition from terrestrial dust to cosmic light, Canyons is a 100-minute suite of rapturous experiences, ranging in seemingly random order from a single bird to an unspeakably magnificent celestial city. “…it is above all a religious work,” he wrote, unsurprisingly, “a work of praise and contemplation,” while also adding that “The majority of the birds are from Utah and the Hawaiian Islands. Heaven is symbolized by Zion Park and the star Aldebaran.” In Movement VIII—Les ressuscités et le chant de l’étoile Aldébaran—we are transported to the literal heavens and the red principal star of the Taurus constellation, while in Movement XII—Zion Park et la Cité céleste—Canyons comes to its triumphant close as “The bells ring out heralding the ultimate joy” of reaching the “celestial city” at last.

THE CONNECTION—Des Canyons aux étoiles...was last performed by Utah Symphony in 2007 under the direction of Keith Lockhart. 33

HISTORY OF THE MUSIC

Daphnis et Chloé Suite No. 2 Duration: 18 minutes in three movements.

THE COMPOSER—MAURICE RAVEL (1875-1937)—Ravel had already begun to shift his focus to theatrical endeavors (he was hard at work on his first opera L’heure espagnole) when the famed Impresario Serge Diaghilev commissioned him to compose Daphnis et Chloé for the Ballets Russes in 1909. Ravel also met Igor Stravinsky during this period and the two became quite close, sharing ideas about composition and collaborating on orchestrations for Diaghilev while their individual projects for the Ballet Russes percolated. Though Stravinsky and Diaghilev were already well on their way to becoming a significant power duo at this point, Daphnis would be Ravel’s one and only partnership with the Ballets Russes.

THE MUSIC—It took Ravel three years to complete Daphnis et Chloé and the 1912 premiere had a few things working against it. Not least of which was a difference of conception between composer and choreographer (Fokine) that haunted the entire creative process and probably had a lot to do with its long timeline. The subject itself, originally Greek but filtered first through 18th-century French and then 20thcentury Russian eyes, presented many interpretive challenges. And, as if those issues weren’t enough to overcome, the first performance was underrehearsed and likely already frustrated by the unavoidable comparisons to the shocking Debussy/Nijinsky Prelude to 34

the Afternoon of a Faun from less than two weeks before, and the Stravinsky/ Fokine Petrushka from exactly one year before. Among peers of this sort, only a fully committed and perfectly prepared product could have had any hope of reward. The world-altering premiere of The Rite of Spring was just a year hence at that point, so Ravel’s piece seemed destined to be remembered somewhat mildly by history, regardless of its quality. Though not ultimately successful as a full-scale ballet, the lushly evocative “choreographic symphony” of Daphnis et Chloé’s score was truly among the finest orchestral writing of Ravel’s career (Stravinsky reportedly called it not only Ravel’s best work, but among the most beautiful creations in all of French music) and the piece lives on in the concert hall today thanks to the pair of suites he extracted from the score in 1913. Suite No. 2 includes the final three numbers from the ballet in which the protagonists are re-united at daybreak. In appreciation of Pan, whose actions made the meeting possible, the couple pantomimes a story of the god and his beloved nymph Syrinx. Before long the celebration reaches a climax, and a general Bacchanalian dance ensues.

THE WORLD—Elsewhere in 1913, Charlie Chaplin began his motion picture career, Arthur Wynne invented the crossword puzzle, Ludwig III was crowned as the last king of Bavaria, and Japan’s last Shogun died in retirement at the age of 75.

THE CONNECTION—Daphnis et Chloé Suite No. 2 was last performed on the Utah Symphony Masterworks Series back in 2011 under the baton of Gilbert Varga.

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Director of Special Events & DVMF Donor Relations

Senior Vice President & COO

Director of Individual Giving

Micah Luce

Director of Human Resources & Organizational Culture

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

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Morgan Moulton

Artistic Planning Manager

SYMPHONY OPERATIONS Cassandra Dozet Director of Orchestra Operations

Melissa Robison

Katie Swainston

Individual Giving Manager

Lisa Poppleton Grants Manager

Dallin Mills

Development Database Manager

Erin Marr

Donor Engagement (DVMF) & Special Events Coordinator

Ellesse Hargreaves

Stewardship & Event Coordinator

MARKETING & COMMUNICATIONS Meredith Kimball Laing Interim VP of Marketing & Communications

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

PATRON SERVICES Faith Myers

Director of Patron Engagement

Program Publication & Front of House Director

Merry Magee

Marketing Manager - Patron Loyalty

Chip Dance

Mara Lefler

Production & Stage Manager

Jeff F. Herbig

Properties Manager & Assistant Stage Manager

Lyndsay Keith

Operations Manager

Robyne Anderson

2nd Assistant Stage Manager

Carol Anderson

Michelle Peterson

Kyleene Johnson

Symphony Education Manager

Anna Atkinson

Opera Education Assistant

Paul Murphy

Symphony Education Assistant

OPERA TECHNICAL Kelly Nickle Properties Master

Dusty Terrell

Scenic Charge Artist

Glenn Linder

Interim Technical Director

Jason Barroncini

Production Technical Director

COSTUMES Cee-Cee Swalling Costume Director

Verona Green

Costume Rentals & Stock Manager

Milivoj Poletan Master Tailor

Group Sales Associate

Donna Thomas

Cutter/Draper & Costume Shop Foreman First Hand

Alicia Ross Val Tholen

Crafts & Millinery Artisan

Production Coordinator

Mike Lund

Vice President of Finance & CFO

Ashley Tingey

Director of Education & Community Outreach

Amanda Meyer

Opera Chorus Master

Michaella Calzaretta

EDUCATION Paula Fowler

Genevieve Gannon

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Director of Production

Payroll Clerk

Patron Services Manager

Ticket Agents

Principal Coach

Zac Cameron

Tiffany Lent

Janae Graham

Lorraine Fry Naomi Newton Ian Painter Ananda Spike

Opera Artistic Director

Accounts Payable Specialist

Sales Manager

Sales Associates

OPERA ARTISTIC Christopher McBeth

Kyle Siedschlag

Nyssa Startup

Wardrobe Supervisor & Rentals Assistant

Lisa Ann De Lapp Rentals Assistant

Aoibheann Herrmann

Rentals Assistant & Stitcher

Lauryn Nebeker Sally McEntire Stitchers

Director of Information Technologies

DEVELOPMENT Leslie Peterson

Melanie Giles

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

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.

UTAHSYMPHONY.ORG

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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.

Find out more: 801-869-9012 | usuo.giftplans.org

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

UTAHSYMPHONY.ORG

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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

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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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