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CONTENTS

TONIGHT’S CONCERT

Welcome

Artistic Director’s Welcome

Utah Symphony

Board of Trustees

Season Sponsors

Donors

Administration

Planned Giving

THIERRY FISCHER: JESSIE MONTGOMERY, MOZART, SCHOENBERG & COPLAND

Tanner & Crescendo Societies

MAY 27–29, 2021

Utah Symphony Guild

Education

ARTISTS’ PROFILES

Acknowledgments

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

@UtahSymphony

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

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WELCOME

Throughout history, the arts have helped humanity translate experiences when words alone do not suffice. The arts have been, and continue to be, present when we need them the most. Orchestral music and Opera hold a moment in time and tell rich and moving stories that resonate with new and long-time listeners alike. Music is in our collective past, present, and future.

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

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UTAH SYMPHONY Thierry Fischer, Music Director

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

Associate Conductor

Barlow Bradford Symphony Chorus Director

VIOLIN* Madeline Adkins

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

Kathryn Eberle

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

Ralph Matson†

Associate Concertmaster

Laura Ha

Acting Associate Concertmaster

David Park

Assistant Concertmaster

Claude Halter

Principal Second

Wen Yuan Gu

Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle • First Violin •• Second Violin

VIOLA* Brant Bayless

Principal The Sue & Walker Wallace Chair

Yuan Qi

Associate Principal

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

Andrew Larson

Acting Associate Principal

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

Corbin Johnston Associate Principal

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

FLUTE Mercedes Smith

Principal The Val A. Browning Chair

Lisa Byrnes

PICCOLO Caitlyn Valovick Moore

TRUMPET Travis Peterson

OBOE James Hall

Jeff Luke

Principal The Gerald B. & Barbara F. Stringfellow Chair

Robert Stephenson Associate Principal

Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara

Associate Principal

Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal

Sam Elliot

Associate Principal

BASS TROMBONE Graeme Mutchler

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

TIMPANI George Brown

Erin Svoboda-Scott

PERCUSSION Keith Carrick

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 HORN Edmund Rollett

Principal

Eric Hopkins

Associate Principal

Principal

Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal

Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel

Andrew Williams

Orchestra Personnel Manager

Acting Principal

Caitlyn Valovick Moore

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

* String Seating Rotates † On Leave

# Sabbatical †† Substitute Member

Associate Principal

Principal

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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair

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

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

Harris Simmons Verl R. Topham David B. Winder

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

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

Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Austin Bankhead Dr. Stewart E. Barlow Judith M. Billings

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

LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

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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

MASTERWORK SERIES

THIERRY FISCHER: JESSIE MONTGOMERY, MOZART, SCHOENBERG & COPLAND

MAY 27, 2021 / 10AM / ABRAVANEL HALL (FINISHING TOUCHES/OPEN DRESS REHEARSAL) MAY 27–29, 2021 / 7:30 / ABRAVANEL HALL

Thierry Fischer, conductor

JESSIE MONTGOMERY: Strum MOZART: Eine kleine Nachtmusik, K. 525 I. Allegro II. Romance: Andante III. Menuetto: Allegretto IV. Rondo: Allegro

SCHOENBERG: Chamber Symphony No. 2, Op. 38 I. Adagio II. Con fuoco

COPLAND: Suite from Appalachian Spring

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ARTIST’S PROFILE

Thierry Fischer has been Music Director of the Sao Paulo Symphony since March 2020 and of the Utah Symphony since 2009, becoming Music Director Emeritus in 2023. He was Principal Guest of the Seoul Philharmonic 2017–2020, Principal Conductor of the BBC National Orchestra of Wales 2006–2012, and Chief Conductor of the Nagoya Philharmonic 2008–2011 (now Honorary Guest Conductor). In recent seasons he has conducted the Boston, Cleveland, Atlanta and Cincinnati symphonies, Mostly Mozart Festival Orchestra (New York), BBC Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Maggio Musicale Firenze, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande; also the Swedish and Munich chambers, Chamber Orchestra of Europe, Orchestra of the Age of Enlightenment and the Ensemble Intercontemporain. He has performed and commissioned many world premieres.

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

He has led Utah Symphony in annual single composer cycles including Mahler, Ives and Nielsen; he has also released acclaimed performances of Mahler’s symphonies 1 and 8 on Reference Records, the latter with the world-renowned Mormon Tabernacle Choir. 2019 saw the first release of a Saint-Saens symphony cycle on Hyperion as part of an ongoing collaboration (also to excellent reviews). He has conducted the orchestra in Utah’s five national parks and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, he brought the orchestra to Carnegie Hall for the first time in 40 years and released a CD of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas. For his inaugural concerts in Sao Paulo Fischer conducted Beethoven’s Missa Solemnis with the OSESP Orchestra and Chorus to launch their 2020 Beethoven season. Last season’s highlights also included three back-to-back Beethoven programmes with the Brussels Continued on the next page…

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ARTIST’S PROFILE

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

Orchestra and Chorus. In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–2006. Thierry Fischer is represented by Intermusica.

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NOTES ON THE PROGRAM By Micheal Clive

Jessie Montgomery (b. 1981)

Strum Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post). Jessie was born and raised in Manhattan’s Lower East Side in the 1980s, when the neighborhood was at a turning point in its history, becoming a hotbed of artistic experimentation and community development. Her parents—her father a musician, her mother a theater artist and storyteller—were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education, and advocacy. Since 1999, Jessie has been affiliated with The Sphinx Organization, which

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supports young African-American and Latinx string players. She currently serves as composer-in-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a two-time laureate of the annual Sphinx Competition and was awarded an MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization. Her growing body of work includes solo, chamber, vocal, and orchestral works. Some recent highlights include Five Slave Songs (2018) commissioned for soprano Julia Bullock by the Metropolitan Museum of Art, Records from a Vanishing City (2016) for the Orpheus Chamber Orchestra, Caught by the Wind (2016) for the Albany Symphony and the American Music Festival, and Banner (2014)—written to mark the 200th anniversary of The Star-Spangled Banner—for The Sphinx Organization and the Joyce Foundation. As is typical of Montgomery’s compositions, Strum draws an extraordinary range of textures and colors from stringed instruments, calling for them to be plucked, bowed with a singing line, and, indeed, strummed. Composed in 2006, Strum was commissioned by Community MusicWorks and revised in 2012 under the auspices of the Sphinx

NOTES ON THE PROGRAM

Organization. It is scored for string quartet, string quintet, or string orchestra. Wolfgang Amadeus Mozart (1756–1791)

Eine kleine Nachtmusik Are you suffering from Eine kleine Nachtmusik deprivation? When a musical work is as beloved as this one, we can wrongly assume that it is never long between hearings. But in the case of this four-movement suite, which combines a buoyancy of spirit with gem-like flawlessness of execution, there can’t really be too much of a good thing—especially during stressful times. Perhaps Wolfgang Hildesheimer, a 20th-century German author and Mozart expert, said it best: “Even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.” Its irresistible cheer is all the more surprising when we consider that at the time Mozart composed Eine kleine Nachtmusik, he was taking time out from work on one of his most profound and perplexing masterpieces: the opera Don Giovanni. Mozart’s personal catalog indicates that he finished Eine kleine Nachtmusik on August 10, 1787, when he was 31 years old and well ensconced in Vienna, where he spent the last and most productive years of his life. The playfully poetic title is his own, and though it has been taken to be a literal German phrase for the

word “serenade”, there is room for us to draw our own conclusions about it. On the one hand, during the form-conscious Classical era, a couple of forms—notably the serenade and the divertimento—could be anything at all. Why not just label the work a serenade, like a dozen other works in his catalog? Some would argue that for sheer delight, this suite—which certainly does not lack structure, with its four movements arranged in fast-slow-statelylively progression—stands apart from the others, and that the cheerful euphony of the title tells us something about the music itself. Whatever the reason, Eine kleine Nactmusik has proven one of the most consistently pleasing and durably popular works in Mozart’s oeuvre. It inspired the Ingmar Bergman confection Smiles of a Summer Night, which in turn gave rise to Woody Allen’s A Midsummer Night’s Sex Comedy and to the musical A Little Night Music, with music and lyrics by Stephen Sondheim. So the next time you hear the hit song “Send in the Clowns,” from A Little Night Music, remember: we have Mozart as well as Sondheim to thank for it. And here’s another invaluable bit of Nachtmusik trivia: The opening bars of the suite, comprising perhaps its most familiar phrase, are a prime example of a “Mannheim rocket”: an upward arpeggio that increases in speed and volume as it rises. This fun, flashy musical device was developed by the virtuoso Mannheim Orchestra in the 18th century. Continued on page 23…

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NOTES ON THE PROGRAM

Arnold Schoenberg (1874—1951)

Chamber Symphony No. 2 Opportunities to hear Schoenberg’s chamber symphonies nos. 1 and 2 “backto-back,” as the Utah Symphony has programmed them, are rare, and they offer fascinating insights into Schoenberg’s development as a composer. He began work on the second symphony in 1906, just days after the premiere of the first, but put it aside for more than three decades. By the time he took up the score again, Schoenberg almost felt he was trying to decipher a stranger’s artistic

intentions. “I have been working on the second chamber symphony for a month now,” he wrote to the Austrian conductor Fritz Stiedry. “I spend most of the time trying to discover ‘What did the author mean here?’ My style has now become very consolidated and it is now effortful to unify what I wrote down back then, justifiably trusting in my feeling for form, with my current extensive requirements for ‘visible logic.’” Born in 1874, Schoenberg composed in the intellectual hothouse that was turn-of-the-century Vienna. Early in his career he explored ways of extending the romantic styles of Wagner and Brahms, who were considered antagonists by

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their contemporaries. But in fin-de-siècle Vienna there was a sense that more than just the century was ending; to many thinkers, traditional ideas about art and music seemed headed for a dead end. What more did traditional harmony and melody have to offer a world about to begin the 20th century? As the acknowledged leader of the Second Viennese School, Schoenberg would become famous for a controversial new compositional method in the 1920s that came to be known as “twelvetone technique”—replacing traditional scales with the entire chromatic scale, unanchored by any particular “home” tone, and not reliant upon familiar intervals or harmonies. His groundbreaking ideas, which inspired passionate advocacy and opposition, still strike fear into some listeners…at least by reputation. His first chamber symphony was one of the breakthrough works incorporating these ideas; by the time Schoenberg composed the second, he had been working with them for more than thirty years, and had a chance to look back. To some listeners, Schoenberg’s later compositions represent something frightening: the onset of a modern style of music that eclipses the familiar rules of melody and harmony. (It is often described as “atonal,” a term Schoenberg rejected.) The fact is, we all take more extreme musical styles in stride when we hear them in today’s movies and television shows. The turning point for Schoenberg

came in 1899, with the introduction of his shimmeringly beautiful string sextet Verklärte Nacht, with the new century approaching and the Habsburg empire collapsing. It was Schoenberg’s first major composition, but one of the last that would locate him in the late romantic tradition of Brahms, Wagner, Richard Strauss, and his teacher, Alexander Zemlinsky. Bearing a key signature of E-flat minor (which belies the ‘atonal’ label often tagged to Schoenberg’s music), the Chamber Symphony No. 2 is catalogued as his Op. 38. Like the first symphony, it is actually built around recognizable melodies, or on what might be termed “motivic gestures” depending on how you listen; and though its tonality wanders adventurously, tonality is there to be heard. In this respect, critics and musicologists consider it a return to a somewhat more tonal compositional style, but informed by three decades of exploration and learning. (The first symphony has a “home key” of E major.) Unlike the single-movement first symphony, the second incorporates two movements, and to some listeners it has a mellower sound, with frequent use of fourths. As with the first, its scoring is deft. Modern critics hear both symphonies as a reaction against the monumentality of Mahler’s symphonies and Strauss’s immensely complex orchestrations, which may be one reason why Stiedry encouraged Schoenberg to

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NOTES ON THE PROGRAM

finish the work rather than abandoning it; together, Strauss and Mahler represented the breadth of Viennese symphonic composition. Critics describe the development of the sound in this symphony as a harmonic progression in stepwise motion, with apoggiaturas (“leaning” series of notes) and suspensions creating a sense of movement. The mood of the piece is one of gravitas, certainly, but perhaps not quite as severe as the first. Aaron Copland (1900–1990)

Appalachian Spring Born with the 20th century, Aaron Copland—with his air of dignity and intellectualism—became known as “the Dean of American Composers” later in life largely for earlier accomplishments, such as his transcendently beautiful and quintessentially American Appalachian Spring. Commissioned as a ballet score by the revolutionary American choreographer Martha Graham, Appalachian Spring was originally scored for a chamber orchestra of thirteen players and premiered with the Graham company in 1944. Everything about the ballet was instantly recognizable as both new and classic: The dramatic vocabulary of Graham’s dance language; the stark, suggestive set design by artist

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Isamu Noguchi; and Copland’s score, which found a uniquely American voice. Rescored for full orchestra the following year, Appalachian Spring won the Pulitzer Prize for music and became one of the iconic works of American classical music. Copland composed Appalachian Spring without knowing what its title would be. The ballet depicts scenes from country life in 14 brief episodes; though story is set in springtime and focuses on the natural cycle of life’s annual renewal, the “spring” in the title is actually a brook of life-giving water rather than a season of the year, a reference Graham found in Hart Crane’s poem “The Dance.” The story culminates in the celebration of its characters, 19thcentury Pennsylvania settlers including a young wedded couple, a “pioneer woman” and a preacher, after building a farmhouse. For Copland, who had studied in Paris with Nadia Boulanger and explored Schoenbergian atonality, Appalachian Spring represented a reaffirmation of the greatness of America’s musical and cultural heritage. It opens and closes with prayerful chords developed from traditional hymns, eventually centering on pastoral variations on the Quaker hymn “Simple Gifts.” Its climactic setting of this stark melody combines simplicity and majesty in a way that is profoundly moving and utterly American.

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INDIVIDUAL SUPPORT

ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Donald & Susan Lewon Bill Ligety & Cyndi Sharp Herbert† & Helga Lloyd Dennis & Pat Lombardi David & Donna Lyon Abigail Magrane Steve Mahas Keith & Vicki Maio Brian & Shasha Mann Peter Margulies & Louise Vickerman Kathryn & Jed Marti Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell

George & Nancy Melling Dr. Louis A. Moench & Deborah Moench David Mortensen & RoseMarie Brittner Mahyera Dr. Stephen H. & Mary Nichols Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup W.E. & Harriet R. Rasmussen Frances Reiser

Gregory & Ann Robison James & Anna Romano Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent James & Janet Schnitz Shirley & Eric Schoenholz Mary & Doug Sinclair Jeffrey Starr Paul Taylor Sal & Denise Torrisi Thomas† & Caroline Tucker Dr. Albert & Yvette Ungricht Susan Warshaw Dan & Amy Wilcox

PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita Ryan Aller & Natasja Keys Fred & Linda Babcock Donna Birsner C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Po & Beatrice Chang & Family Michael & Beth Chardack Darrell & Sharon Child Kenneth Colen David & Carol Coulter Michael & Sheila Deputy Margarita Donnelly Dr. Paul Dorgan Jack & Marianne Ferraro

Heidi Gardner Mr. & Mrs. Eric Garen** Kenneth & Amy Goodman Gordon Irving Jill Johnson James R. Jones & Family Carl & Gillean Kjeldsberg Jeffrey & Elizabeth LaMora Mr. & Mrs. Bruce M. Lake Ms. Susan Loffler Heidi & Edward D. Makowski Joanne Mitchell & Douglas L. Weed Barry & Kathy Mower Dan & Janet Myers Susan & Glenn Rothman Janet Schaap

Mr. August L. Schultz Thomas & Gayle Sherry Sheryl & James Snarr Elana Spitzberg & Avi Markowitz Christine St. Andre & Cliff Hardesty Jeff Tolk & Astrid Tuminez Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff John & Susan Walker Sharon Walkington Frank & Janell Weinstock David & Jerre Winder E. Art Woolston & Connie Jo Hepworth-Woolston

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INDIVIDUAL DONORS

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INDIVIDUAL DONORS

FRIEND ($1,000 TO $1,499) Anonymous (4) Jim Alexander Ryan Aller Christine A. Allred Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Ian Arnold Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. David Bailey Mr. & Mrs. Lawrence R. Barusch David Bateman Alice & Bill Bierer Kevin Burdette Michael & Frances Carnes Dana Carroll & Jeannine Marlowe Carroll Mr. & Mrs. Fred L. Carter, Jr. William & Patricia Child Jeremiah Clawson Dorothy B. Cromer James Dashner Alice Edvalson Eric & Shellie Eide Eugene & Charlotte England Sheila & David Gardner Tracy & Scott Garmon Ralph & Rose Gochnour Mr. Keith Guernsey John & Ilauna Gurr Emily & Chauncey Hall Dr. Elizabeth Hammond Jonathan Hart Barbara E Higgins

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Connie C. Holbrook Stephen Irish Bryce & Karen† Johnson Chester & Marilyn Johnson Nicholas Johnson Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Harrison & Elaine Levy MS. Mary Pat McCurdie MR. Jeffrey McNeal Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber Lex Hemphill & Nancy Melich David B. & Colleen A. Merrill Brad Merrill David Merrill Glenn & Dav Mosby Henriette Mohebbizadeh Dr. John C. & Karen Nelson Dr. & Mrs. Richard T. O'Brien Lee K. Osborne Dr. Marzia Pasquali & Ms. Nicola Longo Mr.† & Mrs. James Patterson Linda S. Pembroke Rori & Nancy Piggott Arthur & Susan Ralph Gina Rieke Marie Rosol Miguel Rovira Rachel Sabin David & Lois Salisbury Brent & Jan Scharman

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Dennis & Annabelle Shrieve Stuart & Mary Silloway Barbara Slaymaker Kenneth Uy Barbara Viskochil Brad & Linda Walton Dr. James C. Warenski Rochelle Warner Cindy Williams Margaret & Gary Wirth Marsha & Richard Workman Paul Wright

ENDOWMENT DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee

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

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

GIFTS MADE IN HONOR Jan Bennett Marie Nelson Bennett Neill & Linda Brownstein Adrienne Coombs Anne & Ashby Decker Peggy Chase Dreyfous Paula Fowler

Kem Gardner Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Mary Muir Mrs. Barbara Nellestein Matthew & Maria Proser Pat Richards

Jim & Gail Riepe Joanne & Bill Shiebler Grant Gill Smith Dale Strobel Whittney Thomas Jim & Zibby Tozer J. Brian Whitesides

GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Donald Basinger Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans Jr. Leah Burrows Felt Loraine L. Felton Crawford Gates 34

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

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

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

** in-kind & cash donation

$100,000 OR MORE Alternative Visions Fund Crocker Catalyst Fund The Church of Jesus Christ of Latter-day Saints Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation

The Florence J. Gillmtor Foundation Emma Eccles Jones Foundation LOVE Communications** Larry H. Miller Family Foundation O.C. Tanner Company Salt Lake County / Zoo, Arts, & Parks Program Shiebler Family Foundation

Sorenson Legacy Foundation State of Utah Utah Board of Education (Professional Outreach Programs in the Schools) William Randolph Hearst Foundation Zions Bank

Frederick Q. Lawson Foundation League of American Orchestras

Summit County Restaurant Tax / RAP Tax John & Marcia Price Foundation

Moreton Family Foundation Nora Eccles Treadwell Foundation Charles Maxfield & Gloria F. Parrish Foundation Theodore & Elizabeth Schmidt Family Foundation S.J. & Jessie E. Quinney Foundation

JoAnne L. Shrontz Family Foundation Simmons Family Foundation Utah Education Network Utah Symphony Guild

$50,000 TO $99,999 Anonymous Dominion Energy Janet Q. Lawson Foundation

$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Cache Valley Electric C. Comstock Clayton Foundation Goldman Sachs & Co. LLC JKS Legacy Foundation McCarthey Family Foundation

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INSTITUTIONAL DONORS $10,000 TO $24,999 Anonymous HJ & BR Barlow Foundation B.W. Bastian Foundation BMW of Murray R. Harold Burton Foundation Marie Eccles Caine FoundationRussell Family Cultural Vision Fund

Matthew B. Ellis Foundation Grandeur Peak Global Advisors Governor’s Office of Economic Development Richard K. & Shirley S. Hemingway Foundation Promontory Foundation Regence BlueCross BlueShield of Utah

The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Summit Sotheby's The Swartz Foundation Utah Office of Tourism W. Mack & Julia S. Watkins Foundation The Christian V. & Lisa D. Young Family Foundation

Holland & Hart Kulynych Family Foundation II, Inc. M Lazy M Foundation Onstage Ogden Orem City CARE Tax Park City Community Foundation Raymond James & Associates Ray, Quinney & Nebeker Foundation

Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Snow, Christensen & Martineau Foundation Victor Herbert Foundation U.S. Bank Foundation Utah Autism Foundation

$1,000 TO $9,999 Anonymous Altabank Bertin Family Foundation Chinese Railroad Workers Descendants Association City Creek Center Corning Incorporated Foundation CBRE Fang Family Foundation The Val A. Green & Edith D. Green Foundation

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ADMINISTRATION ADMINISTRATION Steven Brosvik

DEVELOPMENT Leslie Peterson

PATRON SERVICES Faith Myers

David Green

Jessica Proctor

Merry Magee

Olivia Custodio

Mara Lefler

Heather Weinstock

Andrew J. Wilson

President & CEO

Vice President of Development

Senior Vice President & COO

Julie McBeth

Executive Assistant to the CEO

Collette Cook

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

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

SYMPHONY ARTISTIC Thierry Fischer

Lisa Poppleton

Anthony Tolokan

Development Assistant

Grants Manager

Symphony Music Director

Ellesse Hargreaves

Vice President of Symphony Artistic Planning

OPERA ARTISTIC Christopher McBeth

Conner Gray Covington

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

Opera Artistic Director

Carol Anderson Principal Coach

Director of Patron Engagement Marketing Manager - Patron Loyalty Sales Manager

Patron Services Manager

Hallie Wilmes

Patron Services Assistant

Genevieve Gannon

Group Sales Associate

Alicia Ross Val Tholen

Sales Associates

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

Barlow Bradford

Michelle Peterson

Walt Zeschin

Michaella Calzaretta

Andrew Williams

Orchestra Personnel Manager

OPERA TECHNICAL Jared Porter

Executive Assistant to the Music Director & Symphony Chorus Manager

Kelly Nickle

Vice President of Finance & CFO

Dusty Terrell

Director of Information Technologies

Symphony Chorus Director

Director of Production

Director of Orchestra Personnel

Opera Chorus Master

Lance Jensen

SYMPHONY OPERATIONS Cassandra Dozet

Director of Orchestra Operations

Melissa Robison

Program Publication & Front of House Director

Senior Technical Director

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Properties Master

Mike Lund

Scenic Charge Artist

Alison Mockli

COSTUMES Verona Green

Kyle Siedschlag

Costume Director

Amanda Reiser Meyer

Chip Dance

Wardrobe Supervisor

Production & Stage Manager

Milivoj Poletan

Kate Henry

Tailor

Operations Manager Properties Manager & Assistant Stage Manager

Lyndsay Keith

Artist Logistics Coordinator

Robyne Anderson

2 Assistant Stage Manager nd

Payroll & Benefits Manager Accounts Payable Specialist

Jared Mollenkopf

Patron Information Systems Manager

EDUCATION Paula Fowler

Cutter/Draper

Director of Education & Community Outreach

Milliner & Craftsperson

Symphony Education Manager

MARKETING & COMMUNICATIONS Jon Miles

Symphony Education Assistant

Tiffany Lent

Jeff F. Herbig

Ticket Agents

Donna Thomas

Kyleene Johnson Annie Jones

Vice President of Marketing & Public Relations

Kathleen Sykes

Content & Social Media Manager

Robert Bedont

Marketing Manager - Audience Development

Nina Starling

Website Content Coordinator

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

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PLANNED GIVING

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

CONSIDER USUO IN YOUR ESTATE PLANNING v

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TANNER AND CRESCENDO SOCIETIES

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

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers

Mahler Circle

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

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace

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

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

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

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UTAH SYMPHONY GUILD OUR MISSION

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

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

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

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UTAH SYMPHONY GUILD

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

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

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

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

ACKNOWLEDGMENTS

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

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

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

Photo Credit: Austen Diamond

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