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UTAHSYMPHONY.ORG / (801) 533-NOTE 5 CONTENTS PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART PRODUCTIONDIRECTOR/MANAGER Jackie Medina GRAPHIC DESIGN Ken Magleby GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas EDITOR Melissa Robison 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 UTAH SYMPHONY NOORDA 2022–23 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. 6 Welcome 8 Music Director 10 Board of Trustees 11 Utah Symphony 12 Season Sponsors 42 Donors 45 Support USUO 51 Administration 52 Planned Giving 53 Tanner & Crescendo Societies 54 Acknowledgments Purchase tickets at utahsymphony.org or call 801-533-6683@UtahSymphony VIOLINKHACHATURIAN’SCONCERTO SEPTEMBER 15, 2022 / 7:30 PM 15 TCHAIKOVSKY’SSYMPHONYNO.5 OCTOBER 20, 2022 / 7:30 PM 23 TCHAIKOVSKY’SPIANOCONCERTO NO. 1 NOVEMBER 3, 2022 / 7:30 PM) 31 SOULFUL HOLIDAY WITH THE UTAH SYMPHONY DECEMBER 15, 2022 / 7:30 PM 37 PHILHARMONIA FANTASTIQUE: THE MAKING OF AN ORCHESTRA APRIL 11, 2023 / 7:30 PM 40 Please scan this QR code with your phone’s camera if you would like to view the digital publication.
6 UTAHSYMPHONY.ORG / (801) 533-NOTE
On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Utah Valley University’s beautiful Noorda Center for the Performing Arts and tonight’s Utah Symphony concert. We are thrilled to return to the Noorda in partnership with UVU, with special thanks to President Dr. Astrid Tuminez and her colleagues at the School of Arts.
Thank you for your attendance at tonight’s concert. Whether you are joining us for the three incomparable classical music concerts featuring world-class artists, for our Holiday Pops concert starring Morgan James, or for our animated family concert Philharmonia Fantastique: The Making of an Orchestra, we guarantee you will leave enriched and wanting to return for another shared experience of great live music!
Sincerely,
STEVEN BROSVIK President & CEO
THIERRY FISCHER Music Director
WELCOME
The Utah Symphony has become increasingly recognized as one of the nation’s top orchestras, offering artistic and educational experiences at the highest level. Music connects us through shared experience. It entertains us. It lifts our spirits. It provides solace from our daily concerns. Beyond that, it helps build skills in our youth as they aspire to achieve their potential. Our Utah Valley home allows USUO to bring performances by our state’s exceptional orchestra to you, the residents of Utah’s fastest growing county.
It is our honor and responsibility to steward this outstanding organization so that it can make a difference in the lives of our citizens. Our vision is to continue creating ever-greater performance experiences both for our existing listeners and for new audiences with a passion for music. We can only accomplish this in partnership with you, who recognize how the performing arts contribute to our quality of life.
BRIAN GREEFF Board of Trustees Chairman
An Evening with Jeremy Jordan SEPT. 2, ActorsOCT.VOCES8OCT.Dreamers’2022Circus5,202229,2022FromTheLondon Stage: Romeo and Juliet JAN. 26–28, 2023 Hub New Music FEB. 3, FEB.Gibney2023Company3–4,2023 Imani Winds FEB. 7, APR.AOtherGravityMAR.withFamilyUtahFEB.SepturaFEB.PhilharmonicwithItzhak2023PerlmantheBYU15–16,202318,2023SymphonySeriesFLYDanceCompany14,2023andMyths:SimpleSpace11,2023 PROFESSIONAL PERFORMING ARTS SERIES BYUARTS.COM801.422.BYU1 Join us in 2022-23 for our exciting lineup of award-winning artists!
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. He was Principal Guest of the Seoul Philharmonic 2017–2020 and Chief Conductor (now Honorary Guest) of the Nagoya Philharmonic 2008–2011.
While Principal Conductor of the BBC National Orchestra of Wales 2006-2012, 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 recording of Frank Martin’s Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus. His discography also includes a Beethoven disc with the London Philharmonic on the Aparté label.
8 UTAHSYMPHONY.ORG / (801) 533-NOTE
Thierry Fischer is represented by Intermusica.
Thierry Fischer has been Music Director of the Utah Symphony since 2009, has held the same position with the São Paulo Symphony since 2020, and takes up his post as Music Director of the Orquesta Sinfónica de Castilla y León in September 2022.
THIERRY FISCHER Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
In recent seasons, he has conducted orchestras across the globe, notably the Cleveland Orchestra—where he returns this autumn—also the Boston, Atlanta and Cincinnati Symphonies; London Philharmonic; Royal Philharmonic; Oslo Philharmonic; Rotterdam Philharmonic Maggio Musicale Firenze among others.
MUSIC DIRECTOR
Fischer closes his tenure in Utah with Mahler’s allembracing 3rd Symphony, featuring the women of the Tabernacle Choir. This follows on their recording together of Mahler’s 8th symphony (released in 2017 on Reference Records, after Mahler 1 in 2015 and a disc of newly commissioned works by American composers in 2015). In this farewell season he has also chosen to celebrate Messiaen’s music with a performance of Turangalîla and the release on Hyperion in 2023 of his Des canyons aux étoiles (directly inspired by the breathtaking landscape of Utah). After a transformative 14 years in Utah, including the orchestra’s visit to Carnegie Hall for the first time in 40 years, a Saint-Saëns cycle on Hyperion, and many other highlights, Fischer becomes Music Director Emeritus in summer 2023.
Winner of the 2022 and 2019 Solti Foundation US Career Assistance Awards, Manis has served as cover conductor for the St. Louis, Dallas, and National Symphonies, working with conductors Gianandrea Noseda, David Robertson, and Stéphane Denève. After three years in the Aspen Conducting Academy, Manis returned to Aspen in the summer of 2021 as Assistant Conductor, where he conducted two programs with the Aspen Chamber Symphony.
ASSOCIATE CONDUCTOR
308 E 200 S Salt Lake City, UT 84111 | 801.364.3651 info@prierviolins.com | prierviolins.com PROFESSIONAL INSTRUMENTS, BOWS, & RESTORATIONS
Benjamin Manis joins the Utah Symphony as Associate Conductor for the 2022–23 season, leading the orchestra on tour as well as at Abravanel Hall and the Deer Valley® Music Festival. Before moving to Salt Lake, Manis spent three seasons as Resident Conductor of the Houston Grand Opera, making his debut with Verdi’s Rigoletto. Other highlights of his time in Houston include Carmen, Roméo et Juliette, and five world premieres. Manis returns to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.
Before moving to Houston, Manis studied cello and conducting at the Colburn School, where he conducted outreach concerts in public schools across Los Angeles and performed Lutosławski’s Cello Concerto as soloist with conductor Robert Spano. In May of 2019, he completed his Master of Music degree at Rice University’s Shepherd School of Music, where he studied with Larry Rachleff.
BENJAMIN MANIS Associate Conductor
ELECTED BOARD
REPRESENTATIVEEX-OFFICIO
LIFETIME BOARD
Kathryn Eberle* Hugh Palmer*
Onstage Ogden
David L. Dee* Barry L. Eden* Senator Luz Escamilla Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen
REPRESENTATIVESMUSICIAN
Lisa Dr.SpencerEcclesF.EcclesAnthonyW.Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler
Dr. J. Richard Baringer John Bates
Ronald W. Jibson E. Jeffery Smith
Jesselie B. Anderson Kathryn Carter R. Don Cash
Brian Greeff* Chair
Joanne F. Shiebler* Vice Chair
Austin Bankhead* Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry Gary L. Crocker John D’Arcy
Thomas Thatcher W. James Tozer David Utrilla Kelly Ward
BOARD OF TRUSTEES
Herbert C. Livsey, Esq. Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen
Daniel NaomaDr.StanMiguelShariGaryFrankDr.JudyBradAbigailThomasStephenHemmert*TannerIrishN.JacobsonE.MagraneW.MerrillMoretonDineshC.PatelR.PignanelliB.PorterH.QuinneyR.RoviraSorensenShaneD.StowellTate
Jeffrey W. Shields, Esq. Diana Ellis Smith
Annette W. Jarvis* Vice Chair and Secretary
Howard S. Clark Kristen RichardFletcherG.Horne
Bruce L. GeralynRaymondChristensenJ.DardanoDreyfous
Jennifer Webb
Doyle L. Arnold* Vice Chair
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Patricia A. Richards* Harris Simmons David B. Winder
Dr. Richard B. Williams Kim R. HenryThomasWilsonWright*C.Wurts
Carolyn Abravanel
TRUSTEES EMERITI
HONORARY BOARD
Steven Brosvik* President & CEO
* Executive Committee Member
William C. Bailey
Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones
Stanley B. Parrish Marcia Price
Yuan Qi Associate Principal Julie Edwards Joel Gibbs Carl LeslieWhittneyJohnScottJohansenLewisPosadasSjogrenRichards~
Karen Wyatt•• Sara Bauman~ Erin TinaRebekahLunJosephDavidEvansJiangJohnsonJohnson~
Jennfier Kozbial Posadas~ Veronica Kulig David ShengnanLangrLi
CLARINET Tad Calcara ThePrincipalNorman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda-Scott Associate Principal Lee Livengood
James Hall Associate Principal Lissa Stolz
BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James ThomasJensEdwardAndrewAllynKellerMerrittTenbroekZera
E-FLAT CLARINET Erin Svoboda-Scott
UTAHSYMPHONY.ORG / (801) 533-NOTE 11
VIOLIN* Madeline Adkins honorHuntsmanTheConcertmasterJonM.&KarenChair,inofWendellJ. & Belva B. Ashton
ENGLISH HORN Lissa Stolz
Claude Halter
BASSOON Lori Wike
Benjamin Manis Associate Conductor
CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair
Lisa Byrnes Associate Principal Caitlyn Valovick Moore
BASS CLARINET Lee Livengood
Barlow Bradford Symphony Chorus Director
VIOLA* Brant Bayless ThePrincipalSue & Walker Wallace Chair
Andrew Larson Acting Associate Principal John Louis-PhilippeAnneWalterEcksteinHamanLee
Robillard Kevin PegsoonHannahShumwayThomas-Hollands~Whang
ThePrincipalEdward & Barbara Moreton Chair
CONTRABASSOON Leon Chodos
HORN Jessica Danz Principal Edmund Rollett Associate Principal
Laura Ha 2nd ConcertmasterAssociate
TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Paul Torrisi
HARP Louise Vickerman Principal FLUTE Mercedes Smith ThePrincipalValA. Browning Chair
Principal Second
BASS TROMBONE Graeme Mutchler
KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo
Hannah Thomas-Hollands Orchestra Personnel Manager
PERSONNELORCHESTRA Walt Zeschin Director of Orchestra Personnel
Hannah Linz•• Yuki RebeccaAlexanderMacQueenMartinMoench
TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric MichaelHopkinsPape
TROMBONE Mark Davidson Principal Sam Elliot Associate Principal
The Richard K. & Shirley S. Hemingway Chair
• First Violin •• Second Violin * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member UTAH SYMPHONY
Leon Chodos Associate Principal Jennifer Rhodes
Wen Yuan Gu# Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second
Hugh Palmer• David Porter
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle
Kathryn Eberle Associate Concertmaster
PICCOLO Caitlyn Valovick Moore
Thierry Fischer, Music Director
Nate Basinger~ Julia StephenPilant~Proser
OBOE Zachary Hammond ThePrincipalGerald B. & Barbara F. Stringfellow Chair
SEASON SPONSOR MASTERWORKS SERIES SPONSOR FAMILY SERIES SPONSOR SEASON SPONSORS
George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. LisaEccles,Eccles Saluting Maestro Thierry Fischer for his inspiring passion for excellence … and his lasting impact in Utah! 2022-23 UTAH SYMPHONY SEASON SPONSOR
III. Elegia: Andante non troppo
II. Andante sostenuto
UTAHSYMPHONY.ORG / (801) 533-NOTE 15
INTERMISSION
Concerto for Violin and Orchestra
CONCERT SPONSOR
KHACHATURIAN’S VIOLIN CONCERTO
The Noorda Center for the Performing Arts, UVU
V. Finale: Pesante - Presto
CONDUCTOR SPONSOR GUEST ARTIST SPONSOR
THE LINDA AND DON PRICE GUEST ARTIST FUND
SEPTEMBER 15, 2022 / 7:30 PM
The Zions Bank Presidential Concert in Honor of Dr. Astrid Tuminez
ALEXANDRE BLOCH, conductor
KAIJAKHACHATURIANSAARIAHOBARTÓK Ciel d’hiver (Winter Sky)
I. Introduzione: Andante non troppo - Allegro vivace
UTAH SYMPHONY
MASTERWORKS SERIES
NEMANJA RADULOVIĆ, violin
Concerto for Orchestra
NEMANJA RADULOVIĆ, violin
II. Giuoco delle coppie: Allegretto scherzando
I. Allegro con fermezza
IV. Intermezzo interrotto: Allegretto
III. Allegro vivace
ALEXANDRE BLOCH Conductor
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French-born Alexandre Bloch assumed the position of Music Director of Orchestre National de Lille at the start of the 2016–17 season and has been Principal Guest Conductor of Düsseldorfer Symphoniker since September 2015. Recent highlights include debuts with Deutsches Symphonie-Orchester Berlin (concerts and commercial recording with Daniel Müller-Schott), Tiroler Landestheater Orchester Innsbruck, and Gurzenich-Orchester Köln; and his acclaimed debut for Opéra de Lyon conducting George Benjamin’s Lessons in Love and Violence. Work with Orchestre National de Lille has included many symphonic programs, a critically acclaimed Mahler cycle, performances at the Festival de Saint-Denis and at the Philharmonie de Paris, Stravinsky’s major ballet scores, and commercial recordings. Earlier seasons have taken
him to Orchestre de la Suisse Romande, Orchestra of the National Centre for Performing Arts Beijing and Vancouver Symphony, Musikkollegium Winterthur, Royal Northern Sinfonia, BBC National Orchestra of Wales, and a tour to Kuwait with London Symphony Orchestra.
Born in 1985, Bloch first graduated with diplomas in cello performance, harmony, and conducting from Tours, Orléans, and Lille. He then entered the Conservatoire National Supérieur de Musique et de Danse de Paris, to further his studies in music writing and conducting. In 2012, he completed his Master’s Degree in Conducting in the studio of Zsolt Nagy, prior to gaining a Diploma and the Sir John Zochonis Junior Fellowship (2012–13 season) at the Royal Northern College of Music. Admired for his musicality, enthusiasm, and energy, his First Prize at the 2012 Donatella Flick LSO Conducting Competition attracted international attention and brought him the opportunity to serve as Assistant Conductor of the London Symphony Orchestra.
ARTISTS’ PROFILES
Serbian-French violinist Nemanja Radulović champions the power of music to bring people together with his unique energy and candour, thrilling virtuosity, depth of expression, and adventurous programming. His hotlyanticipated, “magical” (Barry Creasy, musicOMH ) BBC Proms debut in 2019 with the Bournemouth Symphony Orchestra and Kirill Karabits featured a Barber Violin Concerto whose “lyric delicacy and last-movement super-virtuosity were caught to near perfection” (The Times).
legion of loyal fans around the world who have enjoyed his performances with many of the world’s leading orchestras. Signed as an exclusive recording artist to Warner Classics in 2021, Radulović’s recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko; and a special collaboration with clarinettist Andreas Ottensamer, accordionist Ksenija Sidorova, and pianist Laure Favre-Kahn, performing to audiences at festivals across Germany, Switzerland, and France.
Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Radulović is an artist who seeks to broaden the boundaries of classical music and has amassed a
ARTISTS’ PROFILES
Violin
NEMANJA RADULOVIĆ
Born in Serbia in 1985, Radulović studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the worldrenowned Conservatoire de Paris with Patrice Fontanarosa.
Duration: 10 minutes.
Ciel d’hiver (Winter Sky)
THE COMPOSER – KAIJA SAARIAHO (b. 1952) – In addition to a robust and ongoing literary tradition (with a not insignificant emphasis on noirish fiction), the countries that make up Scandinavia continue to produce important classical musicians at a rate that rivals any other part of the world. Conductors and composers are a primary export, and Finland does more than its share. Born in Helsinki and trained at the Sibelius Academy, Kaija Saariaho helped found the “Ears Open” group, a progressive collective of like-minded Finns dedicated to experimentation and freedom from the hide-bound expectations of previous generations. She later entered the IRCAM Research Institute in Paris and there learned many of the electronic techniques that inform her acoustic orchestra writing.
THE CONNECTION – These performances represent the Utah Symphony premiere of Saariaho’s Ciel d’hiver.
celestial belt, Saariaho’s Orion comprises three movements. Appropriately, the first (“Memento mori”) depicts what Laki describes as an “amorphous interstellar space,” while the third (“Hunter”) runs down its prey in a fleet but increasingly uncertain rush. It is from the second movement (“Winter Sky”) that Ciel d’hiver is derived. Saariaho excerpted it for a commission by Musique Nouvelle en Liberté in 2013 and took the opportunity to re-arrange the score for a more conventional orchestra complement. The choice to strip down the forces required to perform Ciel d’hiver have given it new life on concert stages around the world, but almost nothing was lost in the translation. Sound is more than volume, color, and texture for Saariaho. It also contains density, temperature, and liquidity, and this new version of “Winter Sky,” though less expansive, brims with just as much sonic innovation as the original. This is not music of comic observation. No, this is music of cosmic habitation, as if for ten brief minutes the orchestra itself has left the Earth to sample what passes for life in the firmament. In the unpredictable soundscape of Kaija Saariaho’s “open ears,” we learn that it is cold up there. It is lonely. And it is ancient beyond counting.
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HISTORY OF THE MUSIC
THE WORLD – Elsewhere in 2013, the Boston Marathon bombings occurred, India launched a Mars Orbiter, a powerful meteor explosion near Chelyabinsk in Russia injured 1500 people, and Lance Armstrong finally admitted to doping in all seven of his Tour de France victories.
By Jeff Counts
THE HISTORY – Saariaho composed Orion, a suite for very large orchestra, in 2002. In Peter Laki’s program note for the Cleveland Orchestra premiere, he confirmed that “Images of night, dreams, myths, and distant memories have always loomed large in Kaija Saariaho’s work.” The myth, in this case, concerns the mortal son of the sea-lord Poseidon. Orion, a giant who could walk on water and wielded an unbreakable bronze club, was among antiquity’s greatest hunters. He was rewarded in death by Zeus with a place among the stars and the three lights that make up his belt are highly recognizable to even the most casual observer of constellations. As with the
THE CONNECTION – The rarely performed Violin Concerto of Khachaturian has not been heard on a Utah Symphony concert since 2008. Michael Christie conducted and Karen Gomyo was soloist.
THE COMPOSER – ARAM
Concerto for Violin
THE HISTORY – Unlike a few of his perhaps more famous colleagues who bristled under Soviet supervision in the 1940s, Khachaturian always played the part of the dutiful model Party Man. Even so, he was censured in 1948 with Prokofiev, Shostakovich, and others for writing music that was too advanced for the masses (labeled “formalism” in that it lacked easily perceived extramusical contexts for the common listener). He quickly issued a public apology for his failings and the contrition definitely helped his cause. The effusive score he supplied for a Lenin biopic later in the year didn’t hurt either, so Khachaturian was soon back in good graces. Interestingly, his music changed very little after reinstatement. His scores were as lush, entertaining and multi-lingual as ever, which proves that his inclusion in
the 1948 sweep was due to his status as president of the Composers Union, an institution constantly in the crosshairs of the Party censors. Previous to all of this political fuss, however, was the Violin Concerto. Written over the course of two months in 1940 for the venerable virtuoso David Oistrakh, Khachaturian was riding a “wave of happiness” in anticipation of the birth of his son. He poured this “love of life” into the music, as he always did, and the dance-y, folky idioms he favored throughout his career here project his emotional generosity with ease. Oistrakh first played through the solo part at Khachaturian’s cottage for a summer audience of fellow musicians and wellwishers. According to the composer, his muse “played as if he had been practicing it for months, when in fact it was only a few days…” Many years after the premiere, Oistrakh crafted his own cadenza to replace the one Khachaturian originally fashioned, an act the everagreeable composer saw as proof of his soloist’s continued support. “It is an honor for me,” Khachaturian wrote, no doubt with a smile, “to have provoked your creative imagination.”
KHACHATURIAN (1903 –1978) – Born to Armenian parents in the Georgian capital of Tbilisi, Khachaturian was, right from the start, a man of many cultures in the expanding Russian, and later Soviet, sphere of influence. He was surrounded by Armenian, Azerbaijani, and Georgian folk traditions as a child (the “joyous and sad events in the life of the people always accompanied by music”) but did not study music until he moved to Moscow (without knowing how to speak Russian) at 18 to pursue a degree in biology. He found the cello instead and, once he learned how to read music, he could not be talked out of writing it.
Duration: 35 minutes in three movements.
MASTERWORKS SERIESHISTORY OF THE MUSIC
THE WORLD – Elsewhere in 1940, Mount Vesuvius erupted, the “Great Escape” from Stalag Luft III occured, the United Negro College Fund was founded in America, and Iceland issued its final declaration of independence from Denmark.
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THE COMPOSER – BÉLA BARTÓK (1881–1945) – With the situation in Europe worsening by the day, Béla Bartók sent many of his most important scores abroad and then reluctantly immigrated to the United States in 1940. As an outspoken critic of fascism, the slack in his perceived circle of safety had disappeared as Hungary’s nationalistic government attempted to silence him. Once settled in New York, Bartók began to suffer the first symptoms of his long undiagnosed leukemia that would take him so quickly. He never was fully at home in America (he felt just as underappreciated there as he had in Hungary), but it would be here that he received the 1943 commission that would forever define his place as a 20th century titan.
THE CONNECTION – The Concerto for Orchestra has been a favorite of Music Directors and Guest Conductors alike at Abravanel Hall. Maestro Ilan Volkov conducted it most recently in 2014.
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THE HISTORY – The new work, a Concerto for Orchestra (commissioned by Serge Koussevitzky in memory of his recently deceased wife Natalie), premiered in Boston the following season and would become Bartók’s most popular and important masterpiece. Sadly, it was one of the last pieces he would complete before succumbing to his illness in 1945. In the end, it was a monument not just to Natalie Koussevitzky, but to himself, and it is a pity Bartók never experienced the Concerto’s ascendance to the first rank of 20th century compositions. He didn’t necessarily break new ground with his version of the nonsymphony since Hindemith and Kodály had each already written a Concerto for Orchestra in the previous two decades.
It was Bartók, however, who brought a level of perfection to the form and whose masterwork still serves as its finest example. The piece is structured as a large palindrome and Bartók himself often spoke to his Concerto’s “tendency to treat the single instruments and instrument groups” in a “soloistic manner.” Indeed, the writing is highly virtuosic, and every section of orchestra is featured expertly at a time when American orchestral talent was burgeoning under the leadership of many imposing European maestros. “The general mood of the work represents,” he wrote in a brief program note for the premiere, “apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one…” With all the Bartók hallmarks on display—the depthless well of melodic ingenuity, the rhythmic vitality, the formal creativity, the scathing wit (refer here to the “jesting” Bartók mentions in his note and the Shostakovich parody that “interrupts” the Intermezzo movement) this is the work of a genius who was in total, effortless possession of his skills. Not one note is out of place.
HISTORY OF THE MUSIC Concerto Orchestrafor
THE WORLD – Elsewhere in 1944, Operation Overlord, code named D-Day, commences with the landing of 155,000 Allied troops on the beaches of Normandy in France. Paris is liberated from Nazi occupation. Allied troops attempt the largest airborne military operation with Operation Market Garden and Mahatma Gandhi is released from jail.
Duration: 36 minutes in five movements (with pauses).
III. Valse: Allegro moderato
II. Andante cantabile con alcuna licenza
OCTOBER 20, 2022 / 7:30 PM Noorda Center for the Performing Arts, UVU
INTERMISSION
IV. Finale: Andante maestoso - Allegro vivace
TCHAIKOVSKY’S SYMPHONY NO. 5
II. Andantino
DAVID DANZMAYR, conductor ANDREW STAUPE, piano UTAH SYMPHONY
MUSSORGSKYPROKOFIEVTCHAIKOVSKY
I. Andante - Allegro
III. Allegro ma non troppo ANDREW STAUPE, piano
Concerto No. 3 in C Major for Piano and Orchestra, Op. 26
Symphony No. 5 in E minor, Op. 64
I. Andante - Allegro con anima
Prelude to Khovanshchina
GUEST ARTIST SPONSOR THE ROSENBLATTEVELYNYOUNGARTISTAWARD
UTAHSYMPHONY.ORG / (801) 533-NOTE 23
MASTERWORKS SERIES
The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould, and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.
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EVELYN ROSENBLATT
EVELYN ROSENBLATT YOUNG ARTIST
This weekend’s concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2022–23 Artist of Distinction is Andrew Staupe, this evening’s talented pianist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Andrew Staupe as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Lukáš Vondráček, Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Inmo Yang, Stefan Jackiw, Veronika Eberle, Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers, and Matthew Zalkind; and conductors KeriLynn Wilson, Andrew Grams, and Karina Canellakis.
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Josep Caballé-Domenech. He has performed across the United States and extensively in Europe, appearing in Russia, Holland, the Czech Republic, Austria, Hungary, Latvia, Romania, France, Germany, and Bulgaria. On tour in Europe, he has appeared in distinguished concert venues including the Concertgebouw in Amsterdam, Rachmaninov Hall in Moscow, the Salle Cortot in Paris, and the Ateneul Român in Romania.
Danzmayr also serves as Music Director of the creative and unique Pro Music Chamber Orchestra, an orchestra comprised of musicians from all over the US. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context.
David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy.
ANDREW STAUPE Piano DAVID DANZMAYR Conductor
Deeply committed to teaching, Staupe is an Assistant Professor of Piano at the University of Utah, and gives frequent master classes around the country. A native of Saint Paul, Minnesota, he earned his Doctorate at Rice University with Jon Kimura Parker, and studied at the University of Minnesota with Lydia Artymiw.
David Danzmayr is widely regarded as one of the most talented and exciting European conductors to emerge from his generation. As the newly appointed Music Director of the Oregon Symphony, Danzmayr began his tenure there at the start of the 2021–22 season. Following a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history. Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein.
ARTISTS’ PROFILES
Pianist Andrew Staupe is emerging as one of the distinctive voices of a new generation of pianists. Staupe has appeared as soloist with the Baltimore Symphony, San Diego Symphony, Minnesota Orchestra, Houston Symphony, Fort Worth Symphony, Colorado Symphony, Indianapolis Symphony, Utah Symphony, Arkansas Symphony, Tallahassee Symphony, and many other orchestras throughout the United States. He has collaborated with distinguished conductors Osmo Vänskä, Bobby McFerrin, Jahja Ling, Gerard Schwarz, Andrew Litton, Cristian Măcelaru, Larry Rachleff, Lucas Richman, Rossen Milanov, Daniel Hege, and
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HISTORY OF THE MUSIC
Introduction to Khovanshchina
THE HISTORY – 1874 was not without some good news for Mussorgsky. Boris Godunov premiered with great public success that year, which for another artist might have signaled a professional pinnacle. But Mussorgsky was highly sensitive to the critical reactions to Boris, which ran counter to those of the audience and included some particularly harsh words from his colleague Cesar Cui. Mussorgsky was already lamenting the steady disintegration of The Five (the group of influential composers who defined a nationalistic Russian sound in the mid-19th century), calling them “traitors” in his letters, so the rebuke from a member of his squad hit very hard. Though
Duration: 5 minutes.
incomplete at the time of his death in 1881, the opera Khovanshchina (The Khovansky Affair) may have provided a measure of intellectual solace for Mussorgsky. He began his slow work on it in 1872 and by 1874 had sketched out the present prelude in piano form. “The Introduction to Act I,” he wrote to a friend, “—dawn over the Moskva River, the matins of the cock-crow, the patrol, the taking down of the gate chains—and the first incursions into the action are already prepared.” Prepared, perhaps, but even Mussorgsky had to admit that the “incursions in the action” were not yet written down. He labored over the project for the rest of his short life, but its realization and orchestration were left to others, Rimsky-Korsakov most notably. The story of the drama centers on Peter the Great and his palace intrigues with the various groups bent on preventing his rise to ultimate power. Prince Ivan Khovansky was a leader of the old nobility who, along the implacable churchmen and the accommodating “Europeans,” is crushed under Peter’s boot. Though you wouldn’t know it from its peaceful introduction, the opera depicts a distinctly Russian (and distinctly current) struggle between old and new, and the brutal price such a conflict extracts from the combatants.
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 Khovanschina Prelude has been performed rarely by Utah Symphony, most recently in 1992 under the baton of Joseph Silverstein.
THE COMPOSER – MODEST MUSSORGSKY (1839–1881) – If melancholy were a job, Mussorgsky would have enjoyed a very successful career. Haunted by the loss of his dear friend, Victor Hartmann (the inspiration for Pictures at an Exhibition), and left alone after his roommate Arseny GolenishchevKutozov moved out of their tiny shared flat to get married, Mussorgsky in 1874 was drinking a lot and wallowing in the misery of his own mortality. The departure of his friend Golenishchev-Kutozov was particularly tough on the composer, as the two companions (who were distant relatives) had shared a bond over the gloomy poetry Arseny wrote. In fact, the pair of song cycles Mussorgsky composed with Arseny’s words have titles that capture his mood at the time perfectly— Sunless and Songs and Dances of Death
By Jeff Counts
THE WORLD – Elsewhere in 1921, the Irish War of Independence ended in a truce, the Tulsa Race Riot occurred, the infamous Sacco and Vanzetti trials concluded, and Communist political parties began forming throughout Europe.
HISTORY OF THE MUSIC
THE COMPOSER – SERGE PROKOFIEV (1891–1953) – Prokofiev’s American years (the years when he lived here, rather than just toured here) were a disappointment. Though he performed often as a pianist and composed important pieces during the period, he never felt fully understood by American audiences or critics. Prokofiev had attempted to capture the same lightning that Rachmaninoff seemed to so effortlessly ignite in North America, and he had the goods to back up the ambition, but his results were never better than mixed. At least he met his future wife Lina in America, but the two left for Europe for good in 1922 with “nil” to show for his final season here.
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Duration: 27 minutes in three movements.
THE CONNECTION – Prokofiev’s Piano Concerto No. 3 was last performed by the Utah Symphony on the Masterworks series in 2014 with Conrad Tao as soloist and Thierry Fischer on the podium. Continued on page 30…
overly difficult (not to mention a little arch as compositional ideas go). Two themes from the second movement of the quartet found their way into the finale of the new concerto. Prokofiev completed the piece in 1921 while vacationing in coastal France and, perhaps in an effort to give it one last shot in America, he returned there for the premiere in December of 1921. Both the 3rd Concerto and The Love for Three Oranges earned positive, if measured, receptions in Chicago but neither garnered any support whatsoever from the New York critics two months later. Prokofiev modestly recalled his works being “splendidly accepted by the audience” in New York but likened their critics to a “pack of dogs” hell bent on “tearing his trousers to shreds.” With responses like that, it’s little wonder that Prokofiev set to packing for Europe right away. He found what he was looking for on the other side of the Atlantic, in Paris specifically, where his incredibly enchanting and inventive concerto quickly gained its aforementioned confirmation as a truly great 20th-century exemplar of the form. France, though equally baffling to him at times, would prove a stylistic turning point for Prokofiev on his slow but steady march home to Russia, torn trousers and all.
THE HISTORY – The rather grim summation of “nil” fails to take two things into account, at least in hindsight. Both The Love for Three Oranges and the 3rd Piano Concerto had succeeded nicely in Chicago that previous December. Nice success was only the first global impression of the concerto, however, as European audiences would soon proclaim it the finest yet of Prokofiev’s concerti. Much of the thematic material for the concerto was taken from older sketches and unfinished projects, some of which dated as far back as 1913 (and maybe even earlier). Most intriguing of the repurposed music was the “white” string quartet (white meaning composed without accidentals or “black” piano keys) that Prokofiev challenged himself to write but was forced to abandon as
Piano Concerto No. 3 in C Major, Op. 26
The Music of SymphonyMountain Caricatures of Williaman Track 01: At Work Track 02: At Home Track 03: Atravelin’ Track 04: The Circus Parade
Mountain West Composer Symphony #4 Irretrievable Past William Call Listen and view pdf score FREE by scanning code or visiting williamcall.net/symphony-4
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THE CONNECTION – Tchaikovsky’s 5th was last performed by the Utah Symphony on the Masterworks Series in 2016. Thierry Fischer conducted.
THE COMPOSER – PIOTR ILYICH TCHAIKOVSKY (1840-1893) – Like most of the snapshot moments of Tchaikovsky’s life (and so many other of our most beloved composers it seems), the year 1888 could be accurately remembered for either its professional successes or its personal setbacks. He was awarded a lifetime pension that year by Alexander III and was enjoying recognition across the musical map, but he was also reeling from the loss of his friend Nikolai Kondratiev and what he considered his own “final illness.” Expecting the end to come at any moment during these up and down times, Tchaikovsky had drafted his will two years earlier. New triumphs were just around the corner, in America no less, but there was no telling him that.
THE HISTORY – Though 11 years separate the 4th and 5th Symphonies, Tchaikovsky was by no means idle during that stretch in his orchestral pursuits as a composer. He wrote a few thrilling suites (of which two could have been rightly called a symphony) and the unnumbered Manfred Symphony. As his official return to the form, the 5th Symphony was not as explicitly “programmatic” as the 4th, though many have tried to pin similar notes to its coat. The impulse was not wholly without reason or possible evidence. It still isn’t. Tchaikovsky’s own notes on early sketches of the new symphony speak of a “complete resignation before fate” and “the predestination of Providence.” He
Duration: 44 minutes in three movements.
THE WORLD – Elsewhere in 1888, Wilhelm II was crowned German Emperor, Jack the Ripper was terrorizing London, Louisa May Alcott died of a stroke, and Vincent Van Gogh famously removed a portion of his ear.
Symphony No. 5 in E minor, Op. 64
also wrote of “reproaches against XXX” and asked whether or not he should “throw [himself] into the embraces of faith?” These are tantalizing fragments of thought, real ones, and they almost match the mood of the symphony’s opening movement. The mention of “fate,” whether in the Beethovian sense or something much more personal, surely needs no introduction as a lifelong obsession of Tchaikovsky’s. But what in the world was “XXX?” Tchaikovsky’s diaries contain the frequent use of codes like “X” and “Z” when he wished to be coy about something, but the hidden subjects (homosexuality? gambling addiction? something else?) represented by these sterile designations have never left the realm of theory. In the end, he might well have had a narrative in mind for Symphony No. 5 but simply abandoned it. “A wonderful programme,” his notes on the sketch also stated, “if only it could be fulfilled.” Perhaps it couldn’t be. Regardless, the music does not believably match the suppositions. There is far too much conquering will (and too little resignation) in the score to see it as a journey past Tchaikovsky’s many personal demons, before which he was not done cowering in 1888.
HISTORY OF THE MUSIC
Symphony No. 2
I. Andante moderato
III. Adagio cantabile
II. Andantino semplice
The Noorda Center for the Performing Arts, UVU
Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23
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MASTERWORKS SERIES
THIERRY FISCHER, conductor ANDREI KOROBEINIKOV, piano
IV. Lento maestoso
II. Allegro
GUEST ARTIST SPONSOR
V. Allegro molto vivace
TCHAIKOVKSYSALIERI
INTERMISSION
Dance Foldings
Prima la musica poi le parole (First the music and then the word)
TCHAIKOVSKY’S PIANO CONCERTO NO. 1
III. Allegro con fuoco ANDREI KOROBEINIKOV, piano
NOVEMBER 3, 2022 / 7:30 PM
AUGUSTA READ THOMASIVES
I. Allegro non troppo e molto maestoso
UTAH SYMPHONY
Korobeinikov has performed concerts in more than 40 countries of the world
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has won the 1st prize at the Scriabin International Piano Competition in Moscow (2004), the 2nd prize and the audience prize at the Rachmaninoff International Piano Competition in Los Angeles (2005), special prize of the Moscow Conservatory, and the diploma for best performance of music by Tchaikovsky at the XIII Tchaikovsky International Competition in Moscow (2007).
Korobeinikov has recorded discs of works by Scriabin, Shostakovich, Beethoven, Elgar, and Grieg on the labels Olympia, Classical Records, Mirare, and Naxos. His CDs comprising works by Scriabin (Mirare, 2008) and Shostakovich (Mirare, 2012) have been given the most prestigious awards of French musical critics, Diapason d’Or, Diapason découverte, and Choc
ARTISTS’ PROFILES
Andrei Korobeinikov was born in 1986 Dolgoprudny,inMoscow
ANDREI KOROBEINIKOV Piano
and has collaborated with many musicians including Iván Fischer, Vladimir Fedoseyev, Vladimir Ashkenazy, Leonard Slatkin, Alexander Vedernikov, Okko Kamu, Jean-Claude Casadesus, Antoni Wit, Gintaras Rinkevicius, Alain Altinoglu, Maxim Shostakovich, Alexander Rudin, Mikhail Pletnev, Vakhtang Jordania, Dmitri Liss, Vadim Repin, Dmitri Makhtin, Alexander Kniazev, Johannes Moser, and Henri Demarquette. He has appeared with the Borodin Quartet, Philharmonia Orchestra (London), Orchestre National de France, NHK Symphony Orchestra (Tokyo), NDR StateFestivalPhilharmonicPhilharmonicPhilharmonicKonzerthausorchesterSymphonieorchester,Berlin,LondonOrchestra,CzechOrchestra,TokyoOrchestra,BudapestOrchestra,SinfoniaVarsovia,AcademicSymphonyOrchestra
of Russia (Svetlanov Symphony Orchestra), Tchaikovsky Symphony Orchestra, Russian National Orchestra, National Philharmonic Orchestra of Russia, Moscow Symphony Orchestra, and many other Russian and European orchestras.
Region. He started to play the piano at the age of five and at the age of seven he won the 1st prize at the Tchaikovsky International Piano Competition for Young Musicians (Khimki and Klin, Moscow Region). In 2006, he graduated from the Tchaikovsky Moscow State Conservatory where he studied with Andrei Diev, and afterwards he did a postgraduate course with Diev at the same conservatory. He also studied with Vanessa Latarche at the Royal College of Music (London). At the same time, Korobeinikov got a degree in law. In 2003, he graduated from the European University of Law Justo in Moscow; in 2004–2007 he completed his postgraduate course at the Lomonosov Moscow State University (Department of Civil KorobeinikovLaw).
See page 8 for Thierry Fischer’s profile.
VC)LlJNTEEf{INC; WITH UTAH SYMPHONY I UTAH OPERA Volunteers are the backbone of Utah Symphony I Utah Opera. Besides being an official part of the company and helping to bring world-class music to your community, you receive tickets to upcoming performances, make new friends, and explore networking possibilites. As a part of our team you may assist with any of the following areas: VIP events, guest artists, boutique and gitt shops, greeting, and more! FOR MORE INFORM ATION ON VOLUNTEERING WITH USUO VISIT UTAHSY MPHONY.ORG/SUPPORTNOLUNTEER, CONTACT VOLUNTEERS@USUO.ORG OR CALL 801.869.9067 UTAH SYMPHONY THIERRY FISCHER, MUSIC DIRECTOR:
SOULFUL HOLIDAY WITH THE UTAH SYMPHONY
DECEMBER 15, 2022 / 7:30 PM
GUEST ARTIST SPONSOR SELECTIONS TO BE ANNOUNCED FROM STAGE.
The Noorda Center for the Performing Arts, UVU
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UTAH
MORGAN JAMES, vocalist SYMPHONY
TEDDY ABRAMS, conductor
As a guest conductor, Teddy has worked with such distinguished ensembles as the Los Angeles Philharmonic and the Chicago, San Francisco, National, Houston, Pacific, Indianapolis, Milwaukee, Vancouver, Colorado, Utah, and Phoenix Symphonies. Internationally, he has worked with the Royal Scottish National Orchestra, Orchestre Philharmonique du Luxembourg, and the Malaysian Philharmonic. He served as Assistant Conductor of the Detroit Symphony from 2012 to 2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony.
ARTISTS’ PROFILES
She grew up listening to everyone from Joni Mitchell, to Paul Simon, to Prince, to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School and performing in the original companies of five Broadway productions, James
MORGAN JAMES Vocalist
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Soul singer Morgan James has been heralded by The Wall Street Journal as “the most promising young vocalist to come along so far this century.” Her latest full album, Memphis Magnetic, was recorded live to analog tape in Memphis, Tennessee.
began writing and recording her own music. Meeting her mentor Berry Gordy, Jr., led to a record deal at Epic Records, where she recorded and released her solo album Hunter in 2014. In addition to her three studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal Blue as well as The Beatles’ White Album in 2018 to celebrate the 50th anniversary.
he started the Louisville Orchestra Rap School. In recognition of his groundbreaking work, Teddy Abrams was named Musical America’s 2022 Conductor of the Year.
An unusually versatile musician, Teddy Abrams is Music Director of the Louisville Orchestra. Now in his eighth season, Teddy has fostered interdisciplinary collaborations with the Louisville Ballet and Speed Art Museum, and led Louisville’s cultural response to the pandemic with the Lift Up Lou initiative. Among other works, the 2021-22 season includes the world premieres of Teddy’s new piano concerto written for Yuja Wang. His rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an all-star cast that included Rhiannon Giddens and Jubilant Sykes, as well as Jecorey “1200” Arthur, with whom
TEDDY ABRAMS Conductor
“I feel like I am a part of the lineage of soul music. My guiding force throughout my creative process is: ‘What would Aretha say? What would Otis say?’ It’s not a retro or throwback by any means. This music is me: classic elements, timeless melodies, and lyrics from my soul and experience.”
MUSIC BY MASON BATES DIRECTED BY GARY RYDSTROM WRITTEN BY MASON BATES AND JIM CAPOBIANCO
Premiered in the 2021–22 season, the work was commissioned by the Chicago Symphony Orchestra, Dallas Symphony
Philharmonia Fantastique is planned to be released in theatres and on a major streaming platform. The soundtrack is available on SONY Classical and the film-in-concert package can be rented through Justin Ellis (North America) or Intermusica (rest of world).
Orchestra, National Symphony Orchestra, Pittsburgh Symphony Orchestra, San Francisco Symphony, and the American Youth Symphony. The work received support from the Sakurako Foundation, the John & Marcia Goldman Foundation, and the Paul S. Sekhri Family Foundation.
Guided by a magical Sprite, we see violin strings vibrate, brass valves slice air, and drum heads resonate. Imaginatively blending traditional and modern animation styles, it is a kinetic and cutting edge guide to the orchestra. By the film’s end, the orchestra overcomes its differences to demonstrate “unity from diversity” in a spectacular finale.
SELECTIONS TO BE ANNOUNCED FROM STAGE.
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Philharmonia Fantastique: The Making of the Orchestra is a 25-minute concerto for orchestra and animated film that flies through the instruments of the orchestra to explore the age-old connection of creativity and technology. Philharmonia Fantastique is a collaboration between composer and DJ Mason Bates, Oscarwinning director and sound designer Gary Rydstrom, and animator Jim Capobianco.
Specialist education consultants, The Edie Demas Group, are developing a compelling range of educational content identifying the work’s major themes, core objectives, curriculum connections, and support materials spanning print and digital mediums.
APRIL 11, 2023 / 7:30 PM The Noorda Center for the Performing Arts, UVU
PHILHARMONIA FANTASTIQUE: THE MAKING OF AN ORCHESTRA
Jim Capobianco (Story/Animation) has worked as a story artist on many major animated films, including The Lion King, Fantasia 2000, Finding Nemo, and Inside Out. He received an Academy Award nomination for Best Original Screenplay for Ratatouille. His love of traditional animation is evident in the imaginative
his Pixar short film Lifted, and in 2015 directed Strange Magic, a Lucasfilm/ Disney musical that features innovative integration of music and animation. He has contributed sound design for the Mason Bates orchestral pieces Alternative Energy and Mass Transmission
ARTISTS’ PROFILES
Mason Bates (Composer/Writer) was the first composer-in-residence at the Kennedy Center for the Performing Arts. Championed by legendary conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin, his symphonic music is the first to receive widespread acceptance for its unique
end credits he created for Wall-E, in his Pixar short Your Friend the Rat, and in Leonardo, a hand-drawn animation that has been screened at numerous international film festivals. He recently completed supervising the animation sequences for Disney’s new live-action feature film Mary Poppins.
integration of electronic sounds, and he was recently named the second mostperformed living composer. His opera The (R)evolution of Steve Jobs was hailed as one of the best-selling productions in the history of Santa Fe Opera and was awarded a 2019 Grammy.
Gary Rydstrom (Director/Writer) has been nominated for 18 Academy Awards, winning seven for his work in film sound, including Jurassic Park, Titanic, and Saving Private Ryan. As an animation director, he was nominated for an Academy Award for
UTAHSYMPHONY.ORG / (801) 533-NOTE 41
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PeterE.BruceBarryCindyDanKellyBetsyReneeGerardRichardSalDouglasToniRaySpitzberg-RothmanSnarrFoundation&AnnStebenStein&SusanTerry&DeniseTorrisiValliere&SheilaWalsh&DaleWaters&ScottWertheimer&JamesWhitcomb&AmyWilcoxWilliams&FranWilsonWoollenWoolston&ConnieJoHepworth-WoolstonZutty
Spencer & Christy Knight Les Kratter
Donald L. & Alice A. Lappe
46 UTAHSYMPHONY.ORG / (801) 533-NOTE
Klancy & Noel† DeNevers Karen
Blair Childs & Erin Shaffer
Jeffrey LaMora
Michael Liess
William J. Coles & Joan L. Coles Dr. & Mrs. David Coppin David & Carol Coulter David & CharlesGardnerKarenDeeDeneris
Mr. & Mrs. Fred L. Carter, Jr. Wan P. MichaelChang&Beth Chardack
Ted A. McKay Karen & Mike McMenomy George & Nancy Melling John MJZRMertensCharitable Trust
Pat & Charlotte O’Connell
Austin & Dr. Ann Berghout-Austin Fred & Linda Babcock Marlene Abbott Barber Marlene Barnett Tom & Carolee Baron Sue SarahBarsamianBienvenue & Jake Tingley Donna Birsner C. Kim & Jane Blair
Mr.Powell&Mrs. Robert Rollo Rebecca Roof & Gary Smith Mark & Loulu Saltzman
Diane Banks Bromberg & Dr. Mark Bromberg Dana Carroll & Jeannine Marlowe Carroll Linda Jo Carron
Anonymous [6]
INDIVIDUAL SUPPORT
DavidConnieLexLeeAnnR.MarkKennethTravisEmilyJohnRalphBobHeidiShawnFletcherFojtikGardner&MaryGilchrist&RoseGochnour&IlaunaGurr&ChaunceyHallW.Hancock&KateHandley&KimberlyHaroldsenGlennandVirginiaHarrisHavnerHemphill&NancyMelichC.Holbrook&CarolineHundley
Neone F. Jones Family
Margaret P. Sargent Dr. S. Brent & Janet JamesScharman&Janet Schnitz
ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED
Tim & Angela Laros
FRIEND ($1,000 TO $2,499)
Shasha and Brian Mann Peter Margulies & Louise KathrynVickerman&Jed Marti
Lisa & Joel Shine Gibbs† & Catherine W. SherylSmith& James
Daniel & Noemi P. Mattis Dale & Carol Matuska
Christine A. Allred Margaret Anderson Drs. Crystal & Dustin Mr.IanArmstrongArnoldDennisD.
Mr. and Mrs. James S. W.E.Pignatelli&Harriet R. Rasmussen
Linda & Bret Laughlin Harrison & Elaine Levy
Glenn & Dav Mosby Ashton & Becky Newhall Vincent & Elizabeth Novack
Glenn Ricart
Dr. Wallace Ring Nathan KennethRoyallRoach & Cindy
MichaelKatsikas& Amy Kennedy
Dr. Michael A. Kalm Dr. James & Carolyn
John & Kristine Maclay Keith & Vicki Maio Miriam Mason & Greg Glynis Heidi & Edward D. Makowski
Gail T. Rushing
Jeanne Kimball
Umur
Eldon Jenkins & Amy Calara
Warren K.† & Virginia G. BradMcOmber&TrishMerrill
Dan & Janet Myers
Mary Pat McCurdie Edward J. & Grace
Richard & Robin Milne
Stefan Pulst
Dr.JanetteBarbaraFoxSlaymakerSmith&Mrs.MichaelH.StevensDonnaWalshDr.JamesC.WarenskiStephenWatsonEmily&DannyWeingeistFrank&JanellWeinstockDavid&JerreWinderDavidB.&AnneWirthlinMichael&JudithW.WolfeGayle&SamYoungbloodLaurieZeller&MatthewKaiser
Ms. Susan Loffler
Stephen Tanner Irish
Perry Patterson
Nicholas Markosian
Megan A. Rasmussen
Barry & Kathy Mower
Shrieve
Silver
FRIEND ($1,000 TO $2,499) CONTINUED
Neylan McBaine & Elliot Smith
SusanKavlakogluKeyes&Jim Sulat
David & Nickie McDowell
Marilyn H. Neilson
David B. & Colleen A. JamesMerrill&Nannette
David & Elodie Payne
Mary McDonough
Michie
Rolfs, Jr. Miguel Rovira
Mr. August L. Schultz
Lee K. Osborne
Robert & Rochelle Light
Leona Sadacca
Gina DianeRieke&Dr. Robert
Olszanskyj
Janet Schaap
INDIVIDUAL SUPPORT
Sheri DennisShepherd&Annabelle
Bryce & Karen† Johnson Chester & Marilyn Johnson
Dr. Stephen H. & Mary MauraRuzenaNicholsNovak&Serge
Gary & Debbie Lambert
The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler Steven P. Sondrop Family Trust
Alex CarolMartinAnderson Leslie JoannePetersonShiebler
Anne & Ashby Decker Barbara Scowcroft
The Elizabeth Brown Dee Fund for Music in the LawrenceSchoolsT.&Janet T. Dee ThomasFoundationD.DeeIII & Dr. Candace Dee Hearst Foundation John RogerHenkels&Susan Horn
ENDOWMENT
C. Pace
Kenneth†Perkins-ProthroFoundation&Jerrie Randall
DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT
Glade & Mardean Peterson
GIFTS MADE IN HONOR
Carolyn T. TheRevocableIrishTrustRightReverendCarolynTannerIrish† and Mr. Frederick Quinn Loretta M. Kearns Vicki EstateEdwardMcGregorMoretonofPauline
James R. & Susan Swartz Clark L. Tanner Foundation Norman C. & Barbara L. Tanner Charitable Trust Norman C. & Barbara L. Tanner EdwardJackM.FredericO.C.CharitableSecondTrustTannerCompany&MarilynWagnerWalker&SueWallace&MaryLoisWheatleyFamilyTrust&Marelynn†Zipser
Julie Lee Lawrence Burton Gordon
Kathy Hall Scott Landvatter
EdwardAnonymousR.Ashwood & Candice A. Johnson Gael Benson C. Comstock Clayton EstateFoundationofAlexander Bodi
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 and stability of USUO, and through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015.
GIFTS MADE IN MEMORY
48 UTAHSYMPHONY.ORG / (801) 533-NOTE
* in-kind donation ** in-kind & cash donation
INSTITUTIONAL DONORS
We thank our generous donors for their annual support of Utah Symphony | Utah Opera.
LawrenceFoundationT.&Janet T. Dee GeorgeMarrinerFoundationS.EcclesFoundationS.&Dolores Doré Eccles Foundation
$25,000 TO $49,999
S.J. & Jessie E. Quinney Foundation
Charles Maxfield & Gloria F. Parrish Foundation
Family ZionsSorensonFoundationLegacyFoundationBank
BMWAnonymousofMurray/BMW of Pleasant Grove Dominion Energy
The Grand America Hotel & Little America Hotel* Janet Q. FoundationLawson
The Kahlert Foundation McCarthey MicrosoftFoundationFamilyCorporation*
O.C. Tanner Company
Family NoraSummitStruck*SimmonsFoundationFamilyFoundationSotheby’sEcclesTreadwellFoundation
Carol Franc Buck Foundation
$100,000 OR MORE
The Church of Jesus Christ of Latter-day Saints
John & Marcia Price
Arnold BereniceMachineryJ.Bradshaw Trust
The Florence J. Gillmor EmmaFoundationEccles Jones FrederickFoundationQ. Lawson LarryLOVEFoundationCommunications**H.&GailMillerFamilyFoundation
$50,000 TO $99,999
Cache Valley Electric C. Comstock Clayton DeerFoundationValleyResort*
Joseph & Kathleen Sorenson Legacy Foundation
Promontory Foundation
Joanne L. Shrontz
UTAHSYMPHONY.ORG / (801) 533-NOTE 49
Arts
Utah State Board of Education
Western Office
Utah Division of Arts & Museums
The Val A. Green & Edith D. Green Foundation Victor Herbert Foundation Holland & Hart Hotel Park City* Hyatt Centric Park City J. Wong’s Thai & Chinese Bistro* Lee’s Marketplace
Orem City CARE Tax
Reliable Controls
Matthew B. GoldmanGardnerFoundationEllisCompanySachs& Co. LLC GreenbergGorjana* Traurig
National Endowment for the
$1,000 TO $9,999
Henry W. & Leslie M. Eskuche TheEveryFoundationCharitableBloomingThing*FanwoodFoundation
The Marion D. & Maxine C. Hanks Foundation Millcreek Coffee Roasters* Ray, Quinney & Nebeker RedFoundationRockBrewingCompany*
Summit County Restaurant Tax / RAP Tax
Utah Office of Tourism
Grandeur Peak Global Advisors
Rocky Mountain Power SaltFoundationLakeBrewing Co. Sea to Ski Premier Home Management Snell & Wilmer Snow, Christensen & Martineau VictoryUtahSwireSummitSummerhaysFoundationMusicCenterEnergyCoca-Cola,USA*AutismFoundationRanch&Conservancy
Caffé Molise* Marie Eccles Foundation-RussellCaine Family
$10,000 TO $24,999 INSTITUTIONAL DONORS Utah Symphony | Utah Opera would like to especially thank our major sources of public funding that help us to fulfill our mission and serve our community.
Richard K. & Shirley S. Hemingway Foundation Johnson Foundation of the MarriottRockiesInternational, Inc.
Regence
Utah State Legislature
Raymond James & Associates
4Girls SpencerCityChevronCBREBerkshireAnonymousAmazonFoundationHathawayHomeServicesMatchingEmployeeFundCreekCenterF.&Cleone P. Eccles Family Foundation
Salt Lake County Zoo, Arts and Parks
The Christian V and Lisa D Young Family Foundation Cranshaw Corporation
50 UTAHSYMPHONY.ORG / (801) 533-NOTE
Parr Brown Gee & Loveless
WCFW.TeomaTheSt.SemnaniTheBlueShieldBlueCrossofUtahJoseph&EvelynRosenblattCharitableFundFamilyFoundationRegis/DeerCrestClub**SwartzFoundationCorporateLlcMackandJuliaS.WatkinsFoundationInsurance
Salt Lake City Arts Council
Utah Department of Cultural & Community Engagement
R.BertinBrentHJBWY2AltabankAnalytics*BastianFoundation&BRBarlowFoundation&BonnieJeanBeesleyFoundationFamilyFoundationHaroldBurtonFoundation
Cultural Vision Fund
ADMINISTRATION
Donor Engagement (DVMF) & Special Events Coordinator
Verona Green Costume Rentals & Stock Manager
PATRON SERVICES
Stephanie Ogden
Robyne Anderson 2nd Assistant Stage Manager
Director of Patron Engagement Jaron Hatch
EDUCATION
MARKETING COMMUNICATIONS&
Janae Graham
OPERA TECHNICAL
Cee-Cee Swalling Costume Director
Walt Zeschin
Paula Fowler
Director of Special Events & DVMF Donor Relations
Director of Orchestra Personnel
OPERA ARTISTIC
Lisa Ann De Lapp Rentals Assistant Aoibheann Herrmann Rentals Assistant & Stitcher Lauryn Nebeker
Scenic Charge Artist
President & CEO
Lyndsay Keith Operations Manager
DEVELOPMENT
Executive Assistant to the CEO
Symphony Music Director
Milivoj Poletan Master Tailor
Cutter/Draper & Costume Shop Foreman Amanda Meyer First Hand Nyssa Startup
Sam Miller Technical Director Kelly Nickle Properties Master Dusty Terrell
Director of Human Resources & Organizational Culture
Michelle Peterson Director of Production
Hannah Thomas-Hollands Orchestra Personnel Manager
Anthony Tolokan
Artistic Planning Coordinator & Assistant to the Music Director
Artistic Planning Manager
Steve Hogan
Beth Foley Opera Education Assistant Paul Murphy Symphony Education Assistant
Barlow Bradford Symphony Chorus Director
Lisa Poppleton Grants Manager
Nina Starling Website Content Coordinator Ellen Lewis Marketing & Communications Coordinator
Patron Services Operations Assistant Genevieve Gannon Group Sales Associate Alicia Ross
Director of Institutional Giving Heather Weinstock
Vice President of Development Jessica Proctor
Leslie Peterson
SYMPHONY OPERATIONS
UTAHSYMPHONY.ORG / (801) 533-NOTE 51 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.
Bobby Alger Accounts Payable Specialist
Thierry Fischer
SYMPHONY ARTISTIC
Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach
Meredith Kimball Laing
Lorraine Fry Naomi Newton Ian AnandaPainterSpike
ACCOUNTING & INFORMATION TECHNOLOGY
ADMINISTRATION
Morgan Moulton
Director of Orchestra Operations Melissa Robison Program Publication & Front of House Director Chip Dance Production & Stage Manager
Ticket Agents
Val Tholen Sales Associates
Director of Education & Community Outreach Kyleene Johnson Symphony Education Manager
Sally McEntire Stitchers
Senior Vice President & COO Micah Luce
Jared Mollenkopf Patron Information Systems Manager Zac Cameron Payroll Clerk
Erin Marr
Wardrobe Supervisor & Rentals Assistant
Director of Individual Giving Katie Swainston Individual Giving Manager
Patron Services Manager
COSTUMES
Vice President of Marketing & Communications Robert Bedont Marketing Manager
Artistic Consultant
Steven Brosvik
Faith Myers
Isabella Zini
David Green
Cassandra Dozet
Jeff F. Herbig Properties Manager & Assistant Stage Manager
Julie McBeth
Ashley Tingey Production Coordinator
Vice President of Finance & CFO Mike Lund Director of Information Technologies Melanie Giles Controller Alison Mockli Payroll & Benefits Manager
Dallin Mills Development Database Manager Ellesse Hargreaves Stewardship & Event Coordinator
Tiffany Lent
account, life insurance
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 policy, if you have any other questions.
or
Leave a Legacy. Ensure the future. MAKE A PLANNED GIFT TODAY
Find out 801-869-9012more:| usuo.giftplans.org
Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.
Mr.Anonymous&Mrs.William C. Bailey
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
TANNER SOCIETY OF UTAH SYMPHONY
Turid V. Lipman Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato
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 EdwardSvikhartJ.&Marelynn† Zipser
†Deceased
~T.S. Eliot
TANNER & CRESCENDO SOCIETIES
James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., RobertM.D.&Diane Miner Glenn KennethPrestwichA.†&Jeraldine S. Randall
UTAHSYMPHONY.ORG / (801) 533-NOTE 53
“YOU ARE THE MUSIC WHILE THE LASTS.”MUSIC
Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn
Mahler
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson
Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker
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
Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson
CRESCENDO SOCIETY OF UTAH OPERA
Ms.VirginiaRichardRobertPaulMr.Dr.Eva-MariaAnonymousCircle(3)AdolphiRobertH.†&MarianneHardingBurgoyne&Mrs.KennethE.Coombs(Hap)&Ann†Green&CaroleeHarmonG.&Shauna†HorneA.HughesMarilynLindsay†
Anne C. FlemmingEwers&Lana Jensen
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
Dr. J. Richard Baringer Haven J. Barlow† Dr. Melissa J. Bentley Marcy & Mark Casp Shelly RaymondCoburn&Diana Compton
Dr. Richard J.† & Mrs. Barbara N.† Eliason Anne C. Ewers Edwin B. Firmage
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate Pleaseplanning.contactLeslie
ACKNOWLEDGMENTS
UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626
54 UTAHSYMPHONY.ORG / (801) 533-NOTE
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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.
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.
Photo Credit: Austen Diamond
Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.
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ACCESS TO EXCELLENCE
Healthcare is personal. We each have preferences for how and where we seek care, but everyone expects excellence. Residents across Utah County will find that at Intermountain Healthcare.
