Utah Symphony Nov/Dec 2022

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STEVEN BROSVIK President & CEO

Welcome to Maurice Abravanel Hall and this concert featuring your Utah Symphony. We can think of no better way to enjoy the wonder of the holiday season and promise of the New Year than through the magic of sharing live music together with you.

We are thrilled to make music with a host of incredible guest artists in November and December. From esteemed conductors and soloists joining us from around the world, to beloved vocalists Bernadette Peters and Morgan James, to Utah’s best young musicians performing with the Utah Symphony in our Salute to Youth concert. Whether it is the timeless appeal of Handel’s Messiah and Beethoven’s Symphony No. 5, the rich Slavic orchestration of Tchaikovsky, Rachmaninoff, Prokofiev, and Shostakovich, exciting new music from living composers, or performances with the stars of today and tomorrow, you will hear the musicians of the Utah Symphony demonstrate their extraordinary versatility and expertise as they deliver moments that will live long in your memory.

THIERRY FISCHER Music Director

In honor of the holiday season, we would like to express our deep appreciation to all of you for supporting Utah Symphony | Utah Opera. Because of the generosity of friends like you, USUO brings the gift of music yearround to audiences throughout the state and region— with a remarkable one third of that audience comprised of students experiencing one of our many free education performances. If you haven’t yet made a contribution to USUO this calendar year, please consider doing so. Thinking of holiday gift-giving? Contributions can be made in honor of others and tickets to our performances make wonderful gifts for those special people in your life. Share a performance with them and create musical memories together.

On behalf of the musicians, staff, and board members at Utah Symphony | Utah Opera, we wish you the happiest of holiday seasons and a joyful 2023!

BRIAN GREEFF Board of Trustees Chairman

the

of

by William Call

MUSIC DIRECTOR

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.

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.

THIERRY FISCHER

Music Director

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

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.

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.

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.

Thierry Fischer is represented by Intermusica.

ASSOCIATE CONDUCTOR

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. Mr. Manis returns to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.

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.

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

BOARD OF TRUSTEES

ELECTED BOARD

Brian Greeff* Chair

Doyle L. Arnold* Vice Chair

Annette W. Jarvis* Vice Chair & Secretary

Joanne F. Shiebler* Vice Chair

Steven Brosvik* President & CEO

Austin Bankhead* Dr. Stewart E. Barlow Judith M. Billings George Cardon-Bystry Gary L. Crocker John D’Arcy

LIFETIME BOARD

William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones

David L. Dee* Barry L. Eden*

Senator Luz Escamilla Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen Daniel Hemmert* Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Miguel R. Rovira Stan Sorensen Dr. Shane D. Stowell Naoma Tate

Thomas Thatcher W. James Tozer

David Utrilla Kelly Ward Dr. Richard B. Williams Kim R. Wilson Thomas Wright* Henry C. Wurts

MUSICIAN REPRESENTATIVES

Edward Merritt* Hugh Palmer*

EX-OFFICIO REPRESENTATIVE

Jennifer Webb

Onstage Ogden

TRUSTEES EMERITI

Carolyn Abravanel Dr. J. Richard Baringer John Bates

Herbert C. Livsey, Esq. Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen

Patricia A. Richards* Harris Simmons David B. Winder

HONORARY BOARD

Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Howard S. Clark Kristen Fletcher Richard G. Horne

Ronald W. Jibson E. Jeffery Smith

Lisa Eccles Spencer F. Eccles Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

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

* Executive Committee Member

SYMPHONY

Thierry Fischer, Music Director

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

Benjamin Manis 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

Laura Ha 2nd Associate Concertmaster

Claude Halter Principal Second

Wen Yuan Gu# Associate Principal Second

Evgenia Zharzhavskaya Assistant Principal Second

Karen Wyatt•• Sara Bauman~ Erin David Joseph Evans Lun Jiang Rebekah Johnson Tina Johnson~ Jennifer Kozbial Posadas~ Veronica Kulig David Langr Shengnan Li 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

VIOLA*

Brant Bayless Principal

The Sue & Walker Wallace Chair

Yuan Qi Associate Principal

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Sjogren Leslie Richards~

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 Hannah Thomas-Hollands~ 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 Associate Principal

Caitlyn Valovick Moore

Leave

PICCOLO

Caitlyn Valovick Moore

OBOE Zachary Hammond Principal

The Gerald B. & Barbara F. Stringfellow Chair

James Hall

Associate Principal

Lissa Stolz

ENGLISH HORN Lissa Stolz

CLARINET

Tad Calcara Principal

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

Erin Svoboda-Scott Associate Principal

Lee Livengood

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 Jessica Danz Principal Edmund Rollett Associate Principal

Nate Basinger~ Julia Pilant~ Stephen Proser

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Paul Torrisi

TROMBONE Mark Davidson Principal Sam Elliot Associate Principal

BASS TROMBONE Graeme Mutchler

TUBA Alexander Purdy Principal

TIMPANI George Brown Principal Eric Hopkins Associate Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape

KEYBOARD Jason Hardink Principal

LIBRARIANS Clovis Lark Principal Claudia Restrepo

ORCHESTRA

PERSONNEL Walt Zeschin Director of Orchestra Personnel

Hannah Thomas-Hollands Orchestra Personnel Manager

Substitute Member

SEASON SPONSORS

SEASON SPONSOR

MASTERWORKS SERIES SPONSOR

FAMILY SERIES SPONSOR

TCHAIKOVSKY’S PIANO CONCERTO NO. 1

NOVEMBER 4 & 5, 2022 / 7:30 PM Maurice Abravanel Hall

THIERRY FISCHER, conductor

ANDREI KOROBEINIKOV, piano

UTAH SYMPHONY SALIERI

Sinfonia from Prima la musica poi le parole (First the music and then the word)

TCHAIKOVKSY

Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23

I. Allegro non troppo e molto maestoso

II. Andantino semplice III. Allegro con fuoco ANDREI KOROBEINIKOV, piano

INTERMISSION

AUGUSTA READ THOMAS IVES

Dance Foldings

Symphony No. 2

I. Andante moderato

II. Allegro III. Adagio cantabile

IV. Lento maestoso

V. Allegro molto vivace

CONDUCTOR SPONSOR

ARTIST’S PROFILE

ANDREI KOROBEINIKOV Piano

Andrei Korobeinikov was born in 1986 in Dolgoprudny, Moscow 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 graduated from the Tchaikovsky Moscow State Conservatory where he studied with Andrei Diev, and afterwards he did a postgraduate course at the same conservatory with the same professor, and studied with Vanessa Latarche at the Royal College of Music (London). At the same time, Andrei Korobeinikov got a degree in law. In 2003

See page 8 for Thierry Fischer’s profile.

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 Law).

Andrei Korobeinikov has performed concerts in more than 40 countries of the world and has cooperated 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.

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HISTORY OF THE MUSIC

By Jeff Counts

Sinfonia from Prima la musica poi le parole

Duration: 3 minutes.

THE COMPOSER – ANTONIO SALIERI (1750-1825) – Ask any reasonablyinformed person who Salieri was, and they will say “didn’t he kill Mozart?” If we choose to be simplistic about it, we could blame this response solely on Miloš Forman’s 1984 film Amadeus with F. Murray Abraham’s award-winning portrayal of Wolfgang’s supposed rival and possible poisoner. But the impulse goes back much further than that. Salieri himself had to endure the murder rumors just before he died in 1825, and Pushkin wrote a play about it five years later. Rimsky-Korsakov made good use of the myth in 1897, as did British playwright Peter Shaffer, who updated and modernized Pushkin’s idea in 1979. From there, after a century and a half of patient barrel aging, we got Miloš.

THE HISTORY – What little fuel does exist for the flames of this controversy comes from Mozart’s letters, which allude to a certain amount of frustration over Salieri’s stature and success but offer no reason to believe their relationship was anything other than one of professionally proximate competitors. In fact, a 2015 discovery of a brief cantata co-written by the two composers and another man called Cornetti aims this tale of supposed backstabbery in an entirely different direction, one of cordiality and (dare we say) respect. Salieri was a prolific creator of vocal music during his career. He wrote 45 operas in both the Italian and French styles and left behind

a huge catalogue of cantatas, oratorios, and church music. As a man steeped in the traditions of musical drama, Salieri surely had opinions about what was more important in that realm, the music or the drama. His operetta Prima la musica poi le parole (literally, First the Music, Then the Words) was, in fact, a meta-narrative about backstage life at an opera house, in which the very nature of the art form was under humorous scrutiny. Richard Strauss would take up the same question in 1941 with his “opera about opera” Capriccio. Prima was “commissioned” by Emperor Joseph II for an exclusive party at his Schönbrunn Palace in 1786, and it was not the only command performance at that event. Two stages were prepared at either end of the Palace Orangerie for the contrasting works demanded by the Emperor. On one side was Salieri’s Prima la musica, while on the other was a piece called Der Schauspieldirektor (The Impresario) by, you guessed it, Mozart. Mozart’s piece was an expert parody of opera life too, but Salieri’s was the better received on the day. By all accounts, Salieri deserved the praise, though the benefits offered by his reputation at court cannot be lightly considered in the accounting. He was a highly skilled, highly successful artist, but if not for Pushkin’s and Rimsky-Korsakov’s and Forman’s stretched truths, we might not know him at all today.

THE WORLD – Elsewhere in 1786, the city of Reykjavik was founded, Mont Blanc was climbed for the first time, and American frontiersman Davy Crockett was born.

THE CONNECTION – This is the first Utah Symphony performance of the Sinfonia from Salieri’s operetta Prima la musica poi le parole.

on page 23…

HOUSING LENDER

Piano Concerto No. 1 in B-flat Minor, Op. 23

Duration: 32 minutes in three movements.

THE COMPOSER – PIOTR ILYICH TCHAIKOVSKY (1840-1893) – As successful as he already was in late 1874, Tchaikovsky (prone to insecurity even in the best of times) was very anxious to receive the approval of eminent pianist Nikolai Rubinstein on his new concerto. He said as much in a letter to his brother that November and admitted the pressure of his expectations caused the work to proceed with “much difficulty.” Tchaikovsky presented it to Rubinstein privately on Christmas Eve and the story of the pianist’s immediate and rather unfriendly disapproval has become legendary, thanks to the composer’s willingness to tell the tale, and the uncharacteristic stiffness of his backbone in the moment.

THE HISTORY – “Clumsy…badly written… vulgar…with only two or three pages worth preserving.” These were among the uncharitable assessments Nikolai Rubinstein offered upon hearing the First Piano Concerto. He even went so far as to suggest that the composer had stolen material from others. To his credit, Tchaikovsky weathered the storm of critique with dignity and, according to his letters, refused to rewrite the piece according to Rubinstein’s demands, stating, “I shall not alter a single note.” The dream of a Rubinstein imprimatur (not to mention a first performance) was now thoroughly dashed, so Tchaikovsky rededicated the concerto to Hans van Bülow, who played the 1875 premiere in Boston. The reaction of the audience was overwhelmingly positive

HISTORY OF THE MUSIC

and, in that bygone 18th and 19th century ovation tradition, they demanded an encore of the entire last movement on the spot. Successful European premieres were soon to follow, and it wasn’t long before all the leading soloists of the day (including, yes, one Nikolai Rubinstein!) began adding it to their regular repertoire.

An overstatement of the First Concerto’s current popularity would be difficult to accomplish. Other than those initial harsh comments on Christmas Eve of 1874, this music has known nothing other than the most effusive possible praise and loyalty. The stunning introduction alone, which contains one of Tchaikovsky’s most enduring tunes (a tune that strangely never returns once the concerto proper has commenced), is worthy of enshrinement. Rubinstein’s early objections likely centered on the historical shift he was witnessing. He knew the concerto form, then among the last bastions of Classicalera tradition, could never be the same after this. Rubinstein’s eventual embrace of the work was welcomed by the composer, and Tchaikovsky did allow another pianist (Alexander Siloti) to lightly “alter” the piano part (not the formal structure) in 1888.

THE WORLD – Elsewhere in 1875, The Moldau was premiered by Smetana as was Carmen by Bizet, BYU was established (first as the Brigham Young Academy), and Matthew Webb became the first person to swim the English Channel.

THE CONNECTION – Tchaikovsky’s First Piano Concerto is programmed regularly by the Utah Symphony. The most recent Masterworks performance was in 2016. Thierry Fischer conducted and Alexander Gavrylyuk was soloist.

PROGRAM

Dance Foldings

Duration: 14 minutes

By August Read Thomas

THE COMPOSER - AUGUSTA REED THOMAS (b. 1964 in New York) is nuanced, majestic, elegant, capricious, lyrical, and colorful—“it is boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music” (Philadelphia Inquirer). She is a University Professor of Composition in Music and the College at The University of Chicago. Thomas was the longest-serving Mead Composerin-Residence with the Chicago Symphony Orchestra for conductors Daniel Barenboim and Pierre Boulez (1997–2006). Not only is Thomas one of the most active composers in the world, but she is a long-standing, exemplary citizen with an extensive history of being deeply committed to her community.

COMPOSER’S NOTE - In celebration of the diversity and the mission statement of the Royal Albert Hall on the occasion of the venue’s 150th anniversary, the BBC Radio 3 commissioned Dance Foldings for orchestra for which the commission prompt was to reflect the arts and sciences as they are now. Composers were free to choose their own subject, so long as there was a clear link to the sciences or to other art forms. The musical materials of Dance Foldings for orchestra take as their starting point the metaphors, pairings, counterpoints, foldings, forms, and images inspired by the biological “ballet” of proteins being assembled and folded in our bodies. Online, one can easily find many beautiful animations which show the process of protein folding. Some resemble assembly lines, and many look like ballets; both are extremely suggestive of musical possibilities. For example, proteins are made in cells by linking together amino acids one at a time to make a linear chain, i.e., the primary structure,

or unfolded protein, which is akin to a wiggling chain of beads. These chains take musical form as animated, rhythmic, and forwardmoving lines of music which unfold with kaleidoscopic sonic variety. An amino acid chain gradually self-organizes into nicely lined up shorter strands of beads forming pleated sheets or helices, nestled next to each other; interconnecting strands form loops crossing over in three dimensions. Musically speaking, those three-dimensional forms are affiliated to counterpoint, harmony, flow, flux, and form. Notated on the score are indications including: “Like Chains of Amino Acids,” “An Amino Acid Chain starting to fold and become a protein,” “Brass Protein Foldings #1, Like jazz big band meets Stravinsky,” and “Another Amino Acid Chain-making Machine.” No matter what the external inspiration, music must work as music. As such, I create music that is organic and, at every level, concerned with transformations and connections, which should be played so that the interconnectivity of the different rhythmic, timbral and pitch syntaxes are made explicit and are then organically allied to one another with characterized phrasing of rhythm, color, harmony, counterpoint, tempo, breath, keeping it alive—continuously sounding spontaneous. All of this, hopefully, working toward the fundamental goal: to compose a work in which every musical parameter is nuanced and allied in one holistic gestalt. Commissioned by BBC Radio 3 and first performed by BBC National Orchestra of Wales conducted by Ryan Bancroft on August 8, 2021 at the Royal Albert Hall as part of BBC Proms 2021. Dedicated with admiration and gratitude to BBC National Orchestra of Wales, Ryan Bancroft and Lisa Tregale and to The Boston Symphony Orchestra, Andris Nelsons and Anthony Fogg.

Special thanks to the Sounds of Science Commissioning Club for contributing support to this project. The US Premiere was given by the Boston Symphony Orchestra, Andris Nelsons, conducting in Boston Symphony Hall 2022. Augusta sends special thanks to Andris Nelsons and to Anthony Fogg.

Symphony No. 2

Duration: 37 minutes in five movements.

THE COMPOSER – CHARLES IVES (1874-1954) – Quite simply America’s most iconoclastic musical artist, Charles Ives was a radically unique innovator for most of his compositional life. No voice was more distinct, no music more ahead of its time than that of Ives. Proper adulation and reward came very late for him however and, right after his graduation from Yale, he pursued a parallel career as an insurance salesman (and eventual top executive) as a means of making sure his future wife and kids would never “starve on his dissonances.” This pragmatism was an abiding principal of his life, and resulted compositionally as a prediction of the found object art movement.

THE HISTORY – Symphony No. 2 dates from as early as 1900 but was not completed and fully scored until around 1910. Though he was already leaning in a more modern direction, his professors at Yale required him to write a traditionally European symphony to complete his degree. That was the Symphony No. 1 which, by every measure, met their demands nicely. For a successor work, Ives was eager to incorporate the sounds and traditions of America in ways no previous musician had yet attempted. He would grab up great armloads of existing material and assemble them into a fascinating sonic collage. Symphony No. 2 was the first largescale work by Ives to use this scrapbooking method for its construction, and he did not limit his ingredients to American culture alone. Embedded among quotations from “Columbia, Gen of the Ocean”, “America the Beautiful”, and “Camptown Races”

HISTORY OF THE MUSIC

are fragments of Dvořák’s “New World” Symphony, Beethoven 5, and even something from Wagner’s Tristan and Isolde What point Ives was attempting to make by juxtaposing the “high” and the “low” of musical expression is something he kept to himself, then and ever, but he often spoke of the need for art to reflect actual common life as much as the cloistered tastes of the elite among us.

The premiere of Symphony No. 2 did not occur until February of 1952. Leonard Bernstein conducted the first performance with the New York Philharmonic at Carnegie Hall but Ives himself did not attend. He had to be forced to listen to a radio broadcast of the performance and, as the story goes, he did so without comment or celebration. Not even the enthusiastic applause of the recorded audience earned a smile from the composer who, according to biographer Jan Swafford, “got up, spat in the fireplace and walked into the kitchen without a word.” Perhaps this equivocal piece, caught as it was between old world history and new world innovation, was far too “soft” (Ives’ own term for it) by his own mid-century standards. Perhaps he was just too proud to still be proud of it. Either way, like usual, Ives wasn’t talking.

THE WORLD – Elsewhere in 1910, Halley’s Comet appeared, Montenegro declared itself an independent kingdom and the Olympic, first ship of the class that included the Titanic launched.

THE CONNECTION – The most recent Masterworks series performances of Symphony No. 2 were in 2017 as part of Thierry Fischer’s exploration of Ives’ complete symphonic cycle.

STEPHEN HOUGH PERFORMS RACHMANINOFF

NOVEMBER 11 & 12, 2022 / 7:30 PM

Maurice Abravanel Hall

THIERRY FISCHER, conductor STEPHEN HOUGH, piano UTAH SYMPHONY

UNSUK CHIN WAGNER (arr. Philippe Jordan)

Chóros Chordón

“Prelude, Interludes & Entry of the Gods into Valhalla” from Das Rheingold

INTERMISSION

RACHMANINOFF

Piano Concerto No. 3 in D minor for Piano and Orchestra, Op. 30

I. Allegro ma non tanto

II. Intermezzo

III. Finale

STEPHEN HOUGH, piano

CONDUCTOR SPONSOR GUEST ARTIST SPONSOR

with the Royal New York.

HISTORY OF THE MUSIC

By Jeff Counts

Chorós Chordón

Duration: 11 minutes.

THE COMPOSER – UNSUK CHIN (b. 1961) – Berlin-based composer Unsuk Chin was born in Seoul, South Korea but moved to Germany in her late 20s. Her road from an eight-year-old self-taught pianist to a leading voice in contemporary orchestral music was marked by moments of genuine grit, like when she cold-wrote György Ligeti from Korea and asked to be his student. Since then, Chin has won virtually every award the field has to offer and has been commissioned and featured by all the world’s most prestigious institutions. When speaking of her process in a 2013 interview for her publisher Boosey & Hawkes, Chin admitted that her work is often striving for a “certain intellectual level”, but she is also keenly aware that the music “has to have communication with the audience” to succeed.

subscribers. For her contribution to the endeavor, Chin wrote Chorós Chordón

THE HISTORY – When Berlin Philharmonic Music Director Simon Rattle had the idea for the 2017-18 season to commission several short works by the world’s top living composers, Unsuk Chin was an obvious choice to participate, especially for the concerts he planned to tour in Asia. Rattle called these brief works “tapas” in that they were meant to be, not appetizers, but potent small bites of serious art in juxtaposition with the longer, more established repertoire on his programs. It was hardly a new concept at the time, and conductors around the globe still use it to inject contemporary music into their seasons without upsetting the more risk-averse among their

Translated from the Greek as “Dance of the Strings”, the music highlights Chin’s lifelong fascination with astrophysics and cosmology. She was inspired by her avid readership of those topics to loosely reflect “concepts and scenarios from the beginning to a possible end of the universe.” In an interview with the Berlin Philharmonic just before the premiere, Chin remarked that she enjoys how such “expansive thoughts” make her “own small frustrations and sufferings while working seem so minor” and how that perspective informs Chorós Chordón’s subtle musical recounting of everything from the Big Bang to a speculative distant future. The sounds of the piece are meant to figuratively depict the particle collisions and other chaotic processes that underpin our existence, while allowing occasional melodic and harmonic manifestations of hope to shine hesitantly through. Chorós Chordón premiered in Berlin on November 11, 2017, and then enjoyed a quick succession of performances in Hong Kong, Shanghai, Seoul, Kawasaki, and Tokyo.

THE WORLD – Elsewhere in 2017, the Woman’s March on Washington occurred in America, as did a total solar eclipse from coast to coast, Robert Mugabe was ousted in Zimbabwe, and Harry and Meghan got engaged.

THE CONNECTION – These concerts mark the Utah Symphony premiere of Unsuk Chin’s Chorós Chordón.

Das Rheingold: Introduction, Preludes and Entry of the Gods into Valhalla

Duration: 22 minutes.

THE COMPOSER – RICHARD WAGNER (1813-1883) – Before Wagner could address the music for his grand mythological tetralogy Der Ring des Nibelungen, he needed to get the story straight. According to author and biographer Charles Osborne, Wagner’s original intention in the late 1840s seems to have centered on a single opera based on the final days of the heroic Siegfried, but the composer quickly realized that more context was needed. A lot more. Working backwards from Siegfried’s death (Götterdämmerung, fourth in narrative order), Wagner sketched out libretti for Siegfried, Die Walküre and lastly, Das Rheingold. With that final (but first, actually) part of the epic tale ultimately penned in 1852, Wagner set about crafting the Rheingold music score in 1853.

THE HISTORY – When he completed the music in 1854, Wagner set Das Rheingold aside to begin work on Siegfried. He knew the Ring project was a long road, but he couldn’t have predicted the 20-plus years it would take to reach the end. Life filled the spaces in between the work, as it does, and Wagner’s family (not to mention his non-Ring composing career) expanded meaningfully over the decades. The cycle premiered at last in 1876, and Das Rheingold at that point must have felt like a half-remembered dream. It wasn’t the first time Wagner had heard it in performance,

however. The composer’s patron King Ludwig II of Bavaria was instrumental in the creation of the Festival at Bayreuth and he funded the building of the first theater there. Contingent to his support was the notion that the four Ring operas would each be premiered separately. Wagner was initially in favor of the concept but soon changed his mind. The King’s mind was immovable though and in 1869, Wagner could hold him off no longer. The composer attempted to undermine the production in hopes of gaining greater control over the new theater’s staff but succeeded only in making himself a nuisance. So great, in fact, was the animosity between the composer and the project that Wagner found himself unwelcome at rehearsals. Consequently, the standalone premiere of Das Rheingold occurred on September 22 without him, seven years too early by his later reckoning. The Entry of the Gods into Valhalla at the end of Rheingold portends much about what will come in the later works of the Ring. Wotan and Loge have just concluded their mucking about in the affairs of the Earthly races, leaving greed and murder in their wake. Content with the fruitful endgame he believes he has set in motion, Wotan retires with the other gods to his celestial fortress over a rainbow bridge. Only Loge declines to join him. He knows it is the beginning of their fall.

THE WORLD – Elsewhere in 1869, War and Peace was published in book form, the Red River Rebellion set off in Canada, the Suez Canal was inaugurated, the Cutty Sark was launched in Scotland, and the “Golden Spike” was driven in Utah.

THE CONNECTION – This marks the Utah Symphony premiere of these selections from Das Rheingold.

HISTORY OF THE MUSIC Concerto No. 3 in D minor for Piano and Orchestra, Op. 30

Duration: 39 minutes in three movements.

eventual history of course and, though it took a few decades for the Third Concerto to approach the popularity of the Second, it was clear from the start that Rachmaninoff was evolving as a creative artist.

THE COMPOSER – SERGEI RACHMANINOFF (1873-1943) –Rachmaninoff was, in many ways, the most reluctant of history’s great composer/ pianists. Last in a line drawn from Mozart through Beethoven, Brahms and only a few others, he was heir to a demanding tradition that made him an international celebrity. Rachmaninoff introduced his brand-new Third Piano Concerto on his first American tour in 1909, a trip he had been extremely anxious about in theory and hated nearly every minute of in practice. The two New York performances were both successful but the second iteration under Gustav Mahler was the sole highlight for Rachmaninoff, who reportedly thought very highly of the Austrian maestro and his New York Philharmonic.

THE HISTORY – The Concerto was composed during a peacefully productive 1909 summer at his family estate Ivanovka Among the other important works he produced there during contemporaneous visits were the Second Symphony, The Isle of the Dead, and the First Piano Sonata. It is interesting that this favorite creative setting would be linked through the Third Concerto with the United States, a place he did not enjoy very much. Later, in one of fate’s great ironic insults, they would be linked again by the Russian Revolution, an event that would destroy Rachmaninoff’s beloved Ivanovka and necessitate a last resort emigration to, of all places, America. The music of the piece is free of this

Aside from the now legendary technical challenges presented to the soloist (it was much more demanding than the Second), the structure and craft of the concerto indicate that he was asking quite a bit more of himself as a composer too. Fans of Rachmaninoff’s glorious tune-smithing need not worry though, for Concerto No. 3 includes one of his most subtly perfect. “It simply wrote itself!” he said of the generous, generative opening melody from which the piece is built. Beautiful as it was, the concerto was too difficult for any pianist but Rachmaninoff, whose own judgement on its demands could be dismissed as an early 20th century humble brag (if he were that kind of person). In his opinion, one that still must find very little support from professional pianists, the Third is “more comfortable” than the Second. Maybe for him, but it is more telling that Josef Hofmann, the work’s dedicatee, never dared to perform it. In Hofmann’s defense, few had the nerve to attempt it in those early years, until Vladimir Horowitz finally proved it possible in the 1930s.

THE WORLD – Elsewhere in 1909, the city of Tel Aviv was founded, Joan of Arc was beatified by Rome, Ernest Shackleton claimed the South Magnetic Pole, and British Petroleum had its beginnings as the Anglo-Persian Oil Company.

THE CONNECTION – Rachmaninoff’s Piano Concerto No. 3 has been performed often in Abravanel Hall, most recently in 2019 with Boris Giltburg as soloist and Carlos Miguel Prieto on the podium.

62ND ANNUAL SALUTE TO YOUTH

NOVEMBER 23, 2022 / 5:30 PM

Maurice Abravanel Hall

NA’ZIR MCFADDEN, conductor CHRISTINA SUNG, piano

MARQUESSA TORBENSEN, piano

NESYA FERTEL, violin

MENDELSSOHN

BACH MOZART SAINT-SAËNS

PROKOFIEV

COLEMAN COLERIDGE-TAYLOR TCHAIKOVSKY

LOGAN PURSER, viola ELISABETH COLLINGS, harp EVELYN MEIWES, violin YOUTH SYMPHONY ALL-STARS

Concerto No. 1 in G minor for Piano and Orchestra, Op.25

III. Presto - Molto allegro e vivace CHRISTINA SUNG, piano

Piano Concerto No. 1 in D minor for Clavier and String Orchestra III. Allegro

MARQUESSA TORBENSEN, piano

Sinfonia Concertante in E-flat Major for Violin, Viola, and Orchestra

III. Presto

NESYA FERTEL, violin

LOGAN PURSER, viola

Morceaux de concert for Harp and Orchestra, Op. 154 Allegro non troppo Andante sostenuto

Molto allegro quasi presto Allegro non troppo

ELISABETH COLLINGS, harp

Concerto No. 2 in G minor for Violin and Orchestra, Op. 63 III. Allegro, ben marcato Evelyn Meiwes, violin

INTERMISSION

Seven O’Clock Shout

Danse Negre, Op. 35, No. 4 from African Suite

Romeo and Juliet Fantasy Overture

ARTISTS’ PROFILES

NA’ZIR MCFADDEN Conductor

American conductor Na’Zir McFadden is the newly appointed Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra. In this position, he’ll work closely with Music Director Jader Bignamini and guest conductors on both the PVS Classical Series and

William Davidson Neighborhood Concert Series. Additionally, he’ll lead pre-concert lectures at Orchestra Hall, and conduct a variety of programs on the Educational Concert Series, Young People’s Family Concert Series, PNC Pops Series, as well as DTE Community Concerts. Upcoming engagements include a series of commissions with Orchestra 2001 and appearances with the Detroit Symphony Orchestra and the Philadelphia Ballet.

CHRISTINA SUNG Piano

Christina Sung (12) is a passionate young pianist who currently studies with Jihea Hong-Park. Christina has been a prize winner at numerous piano competitions, including first prize at the 2022 OPUS State Music Competition and the 2022 University of Utah SummerArts

Piano Competition in both the Solo and Concerto divisions. She won third prizes at the 2022 Henle International Piano Competition and the 2022 OPUS National Music Competition. She was a finalist in the 2021 Sejong National Music Competition. She received the President’s Volunteer Service Award from AmeriCorps and Points of Light with over 100 hours of service this past year. Christina is fluent in four languages.

MARQUESSA TORBENSEN Piano

Marquessa Torbensen (18) started piano at age five. She taught piano lessons throughout junior high and high school, played weekly in the hospital lobby, and played bassoon in the Davis High School band. Marquessa received many first place honors including the Encore Keyboard

Competition, Salt Lake Piano Competition, Encore Concerto Piano Competition, and UMTA concerto competition. In 2021, she was a soloist in Timpanogos Symphony Orchestra’s Aspiring Musician Concert, and in June 2022 she was selected as a winner of the Youth Guild Recital Competition. She is currently studying piano performance on scholarship at Brigham Young University under Dr. Ralph van der Beek, her teacher for the past six years.

ARTISTS’ PROFILES

NESYA FERTEL Violin

Nesya Fertel (13) attends the Gifted Music School and studies violin under Eugene Watanabe. She started studying violin at the age of 3 with Emily Price. As the winner of the American Fork Symphony Salute to Youth Concerto Competition 2022, Nesya performed the Wieniawski

Concerto. Nesya was selected as the 1st Place Winner in the Utah MTNA Competition Junior Performance 2021 and advanced to the regional competition. She was the First Prize Winner in Charleston Romantic Music Competition 2021 and a prize winner in the Bellagrande International Music Competition 2021. She has taken masterclasses with Brian Lewis, Alex Kerr, and Midori.

LOGAN PURSER

Viola

Logan Purser (16) is a violist from Lehi, Utah and studies viola with John T. Posadas, a violist in the Utah Symphony. He is also a student in the Gifted Music School’s Conservatory program. His recent accomplishments include placing 2nd in the 2022 OPUS Competition Utah

Division, earning an Honorable Mention in the 2021 Southern California Viola Society Youth Competition held in conjunction with the international Primrose Viola Competition, soloing with the Timpanogos Symphony Orchestra, and taking 1st at the 2021 Utah ASTA Chamber competition as the violist of the Gloria String Quartet. His passion for music is equaled only by his passion for fine automobiles.

ELISABETH COLLINGS Harp

Elisabeth Collings (16) started harp lessons at age 8 as a student of Lysa Rytting and currently studies with ShruDeLi Ownbey. Elisabeth won first place in the intermediate division of the Southern Utah Performing arts festival (2021) and was on Utah Valley

Symphony’s young artists program (2018). She has played twice in the Suzuki Harp Celebration concert (2015, 2021) and participates annually in the Utah Harp Festival. She is the principal harpist of the Lyceum Philharmonic Orchestra and a member of its harp ensemble. She would like to thank Dr. Nicole Brady, Principal Harpist of the Utah Symphony Louise Vickerman, and Matthew Tutsky for coaching her on this piece.

ARTISTS’ PROFILES

EVELYN MEIWES

Violin

Evelyn Meiwes (15) is a violin student of William Hagen. Previously, she studied with Eugene Watanabe at the Gifted Music School. Evelyn has played with symphonies since age 8 including the Utah Symphony. Evelyn has won multiple first prizes at the UMTA Concerto

Competition, Weber State Stringfest, and MTNA State Competition. Most recently, she won first place in the Junior Strings Division of the 2022 UMTA Concerto Competition and was a winner of the Utah Symphony’s Youth Guild Recital for the third time. She has also participated in master classes with Simon James, Ian Swenson, Laurie Smukler, Fabiola Kim, Danielle Belen, Benjamin Beilman, and Inmo Yang.

Violin I

Ezekiel Sokoloff

Alina Baron David Rosado

Eva Harmon Alice Leppert

Vaughn Myers Elizabeth Margetts

Avery Perry Enoc Estrada

Violin II

Sarah Kendell Soonhwi Kwon

Claire Mayfield Eliza Andersen

Brianna Price

Maya Dean

Dane Trimble

Viola

Sayuri Chacón

Emily Williams

DC Lee

Viren Ghuman

Ali Seely Carissa Haddock

Cee Diamond

Cello

Andrew Jeppson Kiersten Schaub Oliver Moore Anela Stinson Rebecca Gabbitas Nicholas Kelley Bass Adeline Hiemstra Avrie Brown Dallin Ivie Flute Clara Hainsworth Sadie Akin Emmy Lovell Oboe Gabriel Chodos

Clarinet

Nicholas Zhang Julene Cox

Horn

Alexander Christean Ellie McClellan Judd Thorley Emilee Garcia

Trumpet

Joshua Miller

Trombone

Hezekiah Bowden Darien Oborn Jarin Oxborrow

Tuba Julian Wyckoff

Harp

Elisabeth Collings

Percussion

Joseph Schmuhl

Isaac Cummings Hudson Jones Octavio Valentan

CONCERT SPONSOR

UTAH SYMPHONY AND UTAH OPERA’S MESSIAH SING-IN

NOVEMBER 26 & 27, 2022 / 7:30 PM

Maurice Abravanel Hall

BENJAMIN MANIS, conductor

JASMINE RODRIGUEZ, soprano

WINONA MARTIN, mezzo-soprano

Sinfonia

G. Schirmer Baerenreiter

Comfort ye, comfort ye my people 7 4

Ev’ry valley shall be exalted 10 7

And the Glory of the Lord** 16 12

Thus saith the Lord 24 22

But who may abide the day 27 25

And he shall purify** 36 35

Behold, a virgin shall conceive 47 45

O thou that tellest good tidings to Zion** 47 46

For behold, darkness shall cover the earth 60 58

The people that walked in darkness 62 60

For unto us a Child is Born** 66 64

There were shepherds abiding in the field 79 83

And the angel said unto them 80 84

And suddenly, there was with the angel 81 85

Glory to God in the Highest** 82 86

Rejoice Greatly, O daughter of Zion 87 101 His yoke is easy, and His burthen is light 98 105

INTERMISSION

Part II

Behold the Lamb of God** 104 113

He was despised and rejected of Men 108 118 Surely He hath borne our griefs** 113 123

And with His stripes we are healed** 117 128

All we like sheep have gone astray** 122 135

All they that see Him laugh Him to scorn 131 148 He trusted in God** 132 150

He was cut off 141 162

But Thou didst not leave His soul in Hell 141 163

Why do the nations so furiously rage 174 215

He that dwelleth in Heaven 189 233

Though shalt break them with a rod of iron 189 234

Hallelujah** 193 238

Part III

I know that my Redeemer liveth 204 251

Since by man came death 210 257

Behold, I tell you a mystery 214 260

The trumpet shall sound 214 261 Worthy is the Lamb** 237 287

Amen**

pieces

JEHÚ OTERO, tenor TSHILIDZI NDOU, bass UTAH OPERA CHORUS

ARTISTS’ PROFILES

Jasmine Rodriguez is a Latinx crossover artist from Santa Fe Springs, Southern California. She received a BM in Vocal Performance from Chapman University and an MM in Musical Theatre and Opera Performance from Arizona State University. Some of her favorite operatic roles performed include Musetta (La bohème), Laetitia (The Old Maid

See page 9 for Benjamin Manis’ profile.

and the Thief), Susannah (Susannah), and Lauretta (Gianni Schicchi). She is an Encouragement Award winner from the 2020 Met Opera National Council Auditions. She’s had the pleasure of studying at the Taos Opera Institute, American Institute of Musical Studies in Graz, and the Seagle Festival. Most recently, she covered the role of Michaela in Arizona Opera’s production of Carmen and performed Musetta in Chandler Opera Company’s inaugural performance of La bohème.

Winona Martin (she/her) is a mezzo-soprano from Dallas, TX. She was the Jost J. and Reine C. Fleck Opera Scholar at Boston Conservatory at Berklee, where she received her Master of Music in Opera Performance. Her notable recent roles include Nancy (Albert Herring), Sesto (La clemenza di Tito), The Mother (Thumbprint), and El gato (El gato con botas). Ms. Martin

JEHÚ OTERO Tenor

Tenor, Jehú Otero is an upcoming singer from Puerto Rico. He completed his master’s degree at Rice University (2020) and two bachelor’s degrees (2014, 2018) at the Puerto Rico Conservatory of Music. He was a District Winner of the Laffont Competition (2021) in Puerto Rico. He has sung the roles of

has won the Shreveport Opera Mary J. Smith Singer of the Year, Denver Lyric Opera Guild, Regional and National NATS, National Opera Association’s Carolyn Bailey Argento, and Classical Singer competitions. Most recently, she was named an Encouragement Award Winner at the Rocky Mountain Region of the Metropolitan Opera Laffont Competition. This past summer, she joined the Wolf Trap Opera as a Studio Artist, where she sang the role of Mrs. McLean in Carlisle Floyd’s Susannah

Tamino in Mozart’s Die Zauberflöte, Pane in Cavalli’s La Calisto, Mr. Erlanson in the Sondheim’s musical A Little Night Music, Miles Zegner in Proving Up, among others. He has sung with the Puerto Rico Symphony Orchestra, the Houston Grand Opera, Pro Arte Musical, and recently debuted as Bazile at the Kennedy Center with Lafayette Opera’s production of Silvain by Grétry. Jehú is a founding member of Fourte Guitar Quartet.

Baritone, Tshilidzi Ndou, is from Johannesburg, South Africa. He holds a B.A in Vocal Performance, a Diploma in Music from NWU, South Africa, and a Performer’s Diploma in Voice, from Southern Methodist University, where he is currently pursuing his Master of Music in Vocal Performance under Professor Barbara Hill-Moore. Tshilidzi has

performed roles including Count Almaviva (Le nozze di Figaro), Mr Webb (Our Town), Luther Billis (South Pacific), Guglielmo (Così fan tutte), and the baritone soloist in Mozart’s Requiem. Tshilidzi was named District Winner and Western Region Encouragement Award Winner, at the 2021 MONCA competition; First Place District Winner at the Mary E. Singletary NVAC, 2021; First Place at NATS National, 2020; Second Place and the Legacy Award winner at the NOA 2022 Carolyn Bailey Argento Vocal Competition.

JASMINE RODRIGUEZ Soprano

TSHILIDZI NDOU Baritone

WINONA MARTIN Mezzo-Soprano

UTAH OPERA CHORUS

Preparation by Benjamin Manis and Carol Anderson

SOPRANO

Jenny Andrus

Jessica Benson Lindsay Browning Anadine Burrell

Lauren Cartwright

April Meservy Genevieve Gannon Carolyn Talboys-Klassen Felicia Lundie

ALTO Holly Banfield

Paula Fowler

Bryn McDougal

Rachel Peterson Michelle Swenson Val Tholen

Sammie Tollestrup

Will Turner

Dawn Veree

TENOR

Keanu Aiono-Netzler Brynnen Green Brady Hodgson

HISTORY OF THE MUSIC

By Jeff Counts

Messiah

Duration: 120 minutes in three parts.

THE HISTORY – The commission opportunity that stalled the (presumed) flight back to the continent was nothing less than Messiah. Done for good with opera and the fickle tastes that governed its relevance, Handel found in Messiah a return to a more weatherproof genre (in England at least)—that of the oratorio. He completed the score during a 24day fury in the late summer of 1741 and by the reactions of the Irish press during the rehearsals and 1742 Dublin premiere, it was clear that the quickness of its creation did not speak to a lack of assured quality or effectiveness. “The finest composition of music that ever was heard,” went one comment and another claimed, “Words are wanting to describe the exquisite delight it afforded the admiring and crowded audience.”

Edward Lopez Brian Rowe Scott Tarbet

BASS Buddy Eyre Dyson Ford Tom Klassen Gary Later Nelson LeDuc Sam Thomas Daniel Tuutau

As much as the piece meant to Handel’s career at the time, he couldn’t know it was destined for the truly rarified air of “official annual tradition” throughout the Englishspeaking world in the centuries to come. The practice of standing for the Hallelujah Chorus comes from a convenient, if completely speculative, legend. No one really knows for sure whether or not King George II stood for it in 1743, making it necessary for all of his subjects to do the same and inadvertently setting a precedent.

THE WORLD – Elsewhere in 1742, Swedish scientist Anders Celsius created the first version of his temperature scale, Benjamin Franklin invented what was to become the “Franklin Stove,” and Russian Czarina Elizabeth cruelly ordered the expulsion of the Jews from her kingdom.

THE CONNECTION – Messiah is performed every season by the Utah Symphony as part of the traditional “sing-in.”

BEETHOVEN’S FIFTH

DECEMBER 2, 2022 / 7:30 PM DECEMBER 3, 2022 / 5:30 PM Maurice Abravanel Hall

MARKUS POSCHNER, conductor

MAXIMILIAN HORNUNG, cello

RAMINTA ŠERKŠNYTĖ

SHOSTAKOVICH BEETHOVEN

Fires Cello Concerto No. 1

MAXIMILIAN HORNUNG, cello INTERMISSION Symphony No. 5

CONCERT SPONSOR

GUEST ARTIST SPONSOR

LAWRENCE T. AND JANET T. DEE FOUNDATION

ARTISTS’ PROFILES

MARKUS POSCHNER Conductor

Born in Munich, Markus Poschner was awarded the German Conductors Prize in 2004 and has since then received regular invitations from top orchestras both on the national and international platform. Nowadays he is above-all known for his breath-taking interpretations and recordings of Beethoven, Brahms and Mahler. Having studied at the local conservatory in Munich and as assistant of Sir Roger Norrington and Sir Colin Davies, Markus Poschner became Kapellmeister (conductor) at Komische Oper Berlin in 2006. His collaboration with directors like Nicolas Stemann, Hans Neuenfels, Peter Konwitschny, Andreas Homoki and

MAXIMILIAN HORNUNG Cello

With his striking musicality, instinctive stylistic certainty and musical maturity, the cellist Maximilian Hornung is taking the international music scene by storm. Today, he regularly performs as a soloist with such renowned orchestras as the London Philharmonic Orchestra, Pittsburgh Symphony Orchestra, Philharmonia Orchestra, Tonhalle Orchestra Zurich and Bavarian Radio Symphony Orchestra under conductors such as Mariss Jansons, Esa-Pekka Salonen, Yannick Nézét-Séguin and Manfred Honeck.

Highlights of previous seasons include

Sebastian Baumgarten lead the Neue Zürcher Zeitung to describe him as the “most promising up-and-coming talent.”

Markus Poschner has been invited by many of the most renowned orchestras and opera houses, including Staatskapelle Dresden, Dresdner Philharmoniker, Bamberger Symphoniker, Münchner Philharmoniker, Wiener Symphoniker, Konzerthausorchester Berlin, the radio symphony orchestras in Berlin, Leipzig, as well as Staatsoper Berlin, Komische Oper Berlin, Hamburgische Staatsoper, Oper Köln, Oper Frankfurt and Opernhaus Zürich. In July 2010 Markus Poschner was appointed professor at the Institute of Musicology by the University of Bremen. Since the season 2017-18, Markus Poschner is Chief Conductor of the Bruckner Orchester Linz.

re-invitations to the Bavarian Radio Symphony Orchestra under Mariss Jansons, the Staatsphilharmonie Rheinland-Pfalz and the Florida Orchestra, both under Michael Francis, the Bern Symphony Orchestra under Mario Venzago, the Munich Symphony under Kevin John Edusei, the Bochum Symphony under Hans Graf and the Nationaltheater-Orchester Mannheim under Roderick Cox. Maximilian Hornung, born 1986 in Augsburg, began taking cello lessons at the age of eight. The teachers with whom he has studied most intensely are Eldar Issakadze, Thomas Grossenbacher and David Geringas. Maximilian Hornung has been supported and sponsored by the Anne-Sophie Mutter Circle of Friends Foundation and Borletti-Buitoni Trust London.

HISTORY OF THE MUSIC

By Jeff Counts

Fires

Duration: 11 minutes in two movements.

THE COMPOSER – RAMINTA ŠERKŠNYTĖ (b. 1975) – Lithuanian composer Raminta Šerkšnytė currently finds herself in the vanguard of Baltic art music and enjoys a reputation as the most important voice of her home country. Her biography speaks of a wide-ranging catalogue that refuses to be bound by style or school. Equally comfortable with the traditional and the experimental, the grand and the intimate, Šerkšnytė’s music searches for the “coexistence of archetypes from both Western and Eastern cultures. She has developed her own unique tonal language (“a fusion of major and minor”) and uses it to imbue her work with a sense of meditative mystery that defines the special region of Europe she hails from.

THE HISTORY – Fires was commissioned by the Bavarian Radio Symphony in 2010 for a multi-season project that premiered six works by contemporary composers, each reflecting on the life and music of Beethoven and designed to share programs with his symphony cycle. “In this piece,” Šerkšnytė wrote in her program note, “I have drawn inspiration from several sources. First of all, I knew long beforehand that it will be premiered in the program before Beethoven’s Fifth Symphony, and thus picked some of its motifs, which became basis for the harmonic

development in my composition. I also kept thinking about the fateful circumstances, including progressing deafness, which surrounded Beethoven at the time he was writing his Fifth. This provoked me to compose music of heightened dramaticism and evergrowing inner tension.” “On the other hand,” she continued, “Fires is a sequel in the series of orchestral works, whose titles directly refer to the natural phenomena and elemental forces (also including Iceberg Symphony, Mountains in the Mist, and Glow); even though any other indirect association that those titles imply might prove equally important. In this particular work, I tried to reflect diverse ‘faces’ of fire: from distant perception of the approaching calamity to thunderous explosions of the accumulated energy— the whole variety of shades and shapes, in which fire appears during the processes of heating, burning, and melting. Consequently, the composition is wrought as a continuous process of harmonic, rhythmic, textural, and timbral variation of several initial motifs.”

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

THE CONNECTION – These concerts represent the Utah Symphony premiere of Fires and the first performance of a work by Raminta Šerkšnytė.

HISTORY OF THE MUSIC

Concerto No. 1 for Cello in E-flat Major, Op. 107

Duration: 28 minutes in four movements (the final three performed without pause).

THE COMPOSER – DMITRI

SHOSTAKOVICH (1906-1975) – Stalin’s death in 1953 closed dark chapters in the stories of many Soviet artists. The system he built was still putatively in place, but without his iron fist to enforce it, people like Shostakovich could finally release a decades-long held breath. Shostakovich’s life in the late 1950s was so surprisingly “normal”, in fact, that his opera Lady Macbeth of the Mtsensk District (yes, that same harshly forbidden work Stalin called “muddle instead of music” back in 1936) was again in production at the Kirov Theater. Humbled and still well aware of how fragile his existence once was, Shostakovich used this moment of national calm to reward the loyalty of a close friend and colleague.

THE HISTORY – When Shostakovich was dismissed from the Moscow Conservatory in 1948 during one of the Party’s many capricious cultural purges, his star pupil Mstislav Rostropovich abandoned his studies immediately in solidarity. From that early comradeship grew a deep and respectful friendship. The two performed Shostakovich’s Op. 40 Cello Sonata quite often and for years Rostropovich nursed a secret hope that Shostakovich would write a concerto for him. The hope was secret because of some good advice the cellist received from the composer’s first wife Nina. Shostakovich kept his own counsel with regards to future projects and

could be quite moody about suggestions from others. No doubt he had earned the right to be wary after years under Stalin’s deadly gaze and Nina told Rostropovich that if he ever wanted a concerto from her temperamental husband, he better make sure to never actually ask for it. Rostropovich took the hint but continued to drop his own over the years and, in 1959, Shostakovich surprised him (and everyone else) by announcing a concerto as his next project. By the time he was ready to talk about it, Shostakovich had completed the march-like first movement but stayed quiet about how the rest of the work would unfold. The completed score comprised four movements (the last three linked without pause) and Shostakovich sent the piano reduction to Rostropovich on August 2. Four days later, the cellist was in Leningrad with his accompanist to perform a private run-through (from memory!) and the official premiere was given in October to great effect. The concerto was unique in Shostakovich’s catalogue, in that it featured a rather small ensemble (no brass, save for a heroically prominent single horn), but typical in its use of quotations. The clear influence of Prokofiev’s SymphonieConcertante is heard throughout, as is Shostakovich’s ubiquitous DSCH (D, E-flat, C, B) calling card.

THE WORLD – Elsewhere in 1959, Castro ousted Batista as the leader of the Cuban government, the 14th Dalai Lama fled Tibet for exile in India, and William S. Burroughs published his infamous book The Naked Lunch

THE CONNECTION – Shostakovich’s First Cello Concerto was last performed in Abravanel Hall in 2017 under Thierry Fischer. Narek Hakhnazaryan was soloist.

Symphony No. 5 in C minor, Op. 67

Duration: 31 minutes in four movements.

THE COMPOSER – LUDWIG VAN BEETHOVEN (1770-1827) – Times of financial plenty were rare for Beethoven. He was never destitute for long, but the regular rises and falls of his fortune made him a rather nervous citizen. Which is why, in 1807, Beethoven sent a proposal to the Imperial Theatre Directors of Vienna for a yearly opera commission and a separate benefit concert also to be held annually in one of the performance halls. This request, if granted, would have provided him with some muchneeded stability and would have provided posterity with the boon of a full operatic catalogue from the great master. Imagine a scenario where Beethoven wrote as many operas as Mozart, or Verdi, or…

THE HISTORY – Sadly, it wasn’t meant to be, and the single 1808 concert offered by the Directors was to be the sole fruit of Beethoven’s ambitious suggestion. The unfulfilling circumstances of the event in general and the premiere of the Fifth Symphony specifically are now legendary. The concert was notable not only for its prodigious length (four hours!) and poor preparation (only one rehearsal!) but also its rather uncomfortable hospitality (the hall was unheated on that bitterly cold December night!). The massive program included the shaky premiere of Symphony No. 5, yes, but also the first performances of Symphony No. 6, the Choral Fantasy, the Fourth Piano Concerto, and assorted vocal pieces. If that weren’t enough to manage, Beethoven served as soloist on the new concerto, his last public

HISTORY OF THE MUSIC

appearance in that setting. It’s hard to imagine that those present could recall anything specific from such a sonic and intellectual onslaught, but the stubborn frankness of the Fifth Symphony must surely have lingered in their minds afterward. In any case, the circumstances were not conducive to success. History, however, makes its own magic with the ingredients provided by fate and that night is revered today for good reason.

The Fifth Symphony owes its fame to the four notes that mark the opening of the first movement, but its importance is grounded in the paradigm-shifting impact of the entire work. Compositional innovations abound in the score and brass players the world over laud the piece for making the first purely symphonic use of the trombone. The initial insistent motif of the symphony has been referred to as “Fate knocking at the door” and even if we are no longer certain that Beethoven himself used that phrase it is aptly put. The stark energy of that simple idea contains a microcosmic completeness that informs all four movements and serves as the first fearless steps on the journey from darkness to light—a frequent emotional ideal in Beethoven’s music but one employed here more perfectly than ever before.

THE WORLD – Elsewhere in 1808, Scottish poet Walter Scott’s Marmion was published including the memorable line “Oh, what a tangled web we weave/ When first we practice to deceive” and Thomas Jefferson’s presidency came to an end.

THE CONNECTION – Utah Symphony, like all professional orchestras, programs Beethoven 5 frequently. The most recent performance was in 2017 under the direction of Music Director Thierry Fischer.

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PROKOFIEV’S PIANO CONCERTO NO. 2

FINISHING TOUCHES REHEARSAL: DECEMBER 9, 2022 / 10 AM DECEMBER 9 & 10, 2022 / 7:30 PM MAURICE ABRAVANEL HALL

DAVID ROBERTSON, conductor

BEHZOD ABDURAIMOV, piano UTAH SYMPHONY

JOHN ADAMS PROKOFIEV

The Chairman Dances: Foxtrot for Orchestra

Piano Concerto No. 2

I. Andantino

II. Scherzo: Vivace III. Moderato

IV. Finale: Allegro tempestoso

BEHZOD ABDURAIMOV, piano INTERMISSION

SHOSTAKOVICH

Symphony No. 1

I. Allegretto - Allegro non troppo

II. Allegro III. Lento

IV. Allegro molto – Lento

CONCERT SPONSOR

ARTISTS’ PROFILES

DAVID ROBERTSON Conductor

David Robertson— conductor, composer, artist, thinker, and American musical visionary—occupies some of the most prominent platforms on the international music scene. A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized. A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.

Continuing a ubiquitous presence in Europe, this season Robertson makes his debut with the Leipzig Gewandhaus Orchestra, and conducts the Finnish Radio Symphony, and the WDR Symphony Orchestra Cologne at Dortmund and the Elbphilharmonie Hamburg. In Asia, he makes debuts with the Seoul Philharmonic and the Taiwan National Symphony Orchestra at the Kaohsiung Festival, and also appears at Korea’s Tongyeong International Music Festival. In late June he returns to the São Paulo State Symphony Orchestra for a two-week residency.

Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham, and lives in New York.

BEHZOD ABDURAIMOV Piano

Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He performs with renowned orchestras worldwide including Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris and Concertgebouworkest, and with prestigious conductors such as Juraj Valčuha, Vasily Petrenko, Lorenzo Viotti, James Gaffigan, Jakub Hrůša, SanttuMatias Rouvali and Gustavo Dudamel.

2022–23 European performances include concerts with Accademia Nazionale di Santa Cecilia, Czech Philharmonic Orchestra, Wiener Symphoniker, SWR Symphonieorchester, Rundfunk-Sinfonieorchester Berlin, Philharmonia Orchestra, Swedish Radio Symphony Orchestra and as part of Belgian National Orchestra’s Rachmaninov Festival. In North America Behzod will return to The Cleveland Orchestra, San Francisco Symphony, Cincinnati Symphony and the Los Angeles Philharmonic amongst others. He will also return to NHK Symphony Orchestra under Gianandrea Noseda to perform Prokofiev Piano Concerto No.2. Other conductor collaborations include Semyon Bychkov, Karina Canellakis, Constantinos Carydis, Aziz Shokhakimov and Xian Zhang.

HISTORY OF THE MUSIC

The Chairman Dances: Foxtrot for Orchestra

Duration: 12 minutes.

THE COMPOSER – JOHN ADAMS (b. 1947) – Few American composers have an opera catalogue as robust or varied as that of John Adams. Carlisle Floyd comes close, and Philip Glass has perhaps set a bar too high for anyone to reach, but Adams has earned his reputation as one of our country’s greatest living opera creators through savvy thematic choices and a roguish toughness in the face of controversy. His highly personal musical language is present throughout his stage music career, of course, but the subjects he tackles are varied and thought-provoking. From The Death of Klinghoffer to The Gospel According to the Other Mary to Doctor Atomic, a John Adams production might not always illicit protest, but intense conversation is a common guarantee.

THE HISTORY – Nixon in China , based on the American President’s 1972 visit to the People’s Republic, was premiered by Houston Grand Opera in 1987. While completing that score, Adams was inspired to coincidentally explore the topic in a stand-alone concert piece he called The Chairman Dances : Foxtrot for Orchestra. As always, nobody writes better about a John Adams piece than John Adams. He describes The Chairman Dances as “an ‘outtake’ of Act III of Nixon in China . Neither an ‘excerpt’ nor a ‘fantasy on themes from’, it was in fact a kind of warmup for embarking on the creation of the full opera.” Adams admits that, at that moment in 1985, he was behind on a commission project

for the Milwaukee Symphony and found inspiration in the scenario he had been presented for his new opera’s final Act. “So,” he continues, “ The Chairman Dances began as a foxtrot for Chairman Mao and his bride, Chiang Ch’ing, the fabled ‘Madame Mao, firebrand, revolutionary, executioner, architect of China’s calamitous Cultural Revolution, and (a fact not universally realized) a former Shanghai movie actress.” As promised by Adams’ explanation, the scenario of The Chairman Dances indeed departs slightly from the related moment in the opera that influenced it. To better explain the divergence, he included a synopsis of the orchestral work in the score, in which we learn that “Madame Mao has gatecrashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and split up the hip. She signals the orchestra to play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall and they begin to foxtrot together. They are back in Yenan, dancing to the gramophone…”

THE WORLD – Elsewhere in 1985, the Live Aid concerts took place around the world, New Coke was introduced to disastrous effect, Mikhail Gorbachev became leader of the Soviet Union, and the Italian cruise liner Achille Lauro was highjacked.

THE CONNECTION – The most recent performances of The Chairman Dances by Utah Symphony where in 2005 under the baton of Scott O’Neil.

HISTORY OF THE MUSIC

Piano Concerto No. 2 for Violin in G minor, Op. 16

Duration: 31 minutes in four movements.

THE COMPOSER – SERGE PROKOFIEV (1891-1953) – Just before graduating from the St. Petersburg Conservatory as one of its most beloved enfants terrible, Prokofiev made one of the closest friendships of his life. It was also one of the briefest.

Maximilian Schmidthof was a kindred spirit if there ever was one, delighting in the same kind of philosophical sparring that Prokofiev loved and inspiring the young composer to expand his already intrepid reading habits. Tragically, Max was also a deeply troubled person, and he killed himself in April of 1913. “I am writing to tell you the latest news,” wrote Max bluntly in a suicide letter to Prokofiev, “I have shot myself…The reasons are unimportant.”

THE HISTORY – Prokofiev was understandably devastated, and he dedicated his new piano concerto (parts of which he had previewed for Max over the preceding months) in memory of his dear, lost friend. The intensely dramatic concerto that continued to grow out of this difficult time, his Second, premiered a few months later in the St. Petersburg suburb of Pavlovsk with Prokofiev at the keyboard. Accounts of that performance do vary, but only with regards the ferocity of the negative audience reaction. They were “frozen with fright, hair standing on end” in the words of one critic. “The audience is scandalized,” claimed another, “most of them hiss…the cats at home can make better music than this!” Prokofiev’s

own diary entry for the event speaks to a more equivocal response from the patrons in their mix of “applause and boos” and the composer claimed, in the moment at least, to be “pleased that the Concerto provoked such strong feelings…” His claims that an encore was demanded by such a crowd are perhaps hard to accept, but he did apparently play one, likely with an impish grin on his face throughout.

No matter whose memory we trust most, we today cannot ever know exactly what the audience heard that night since the score was destroyed in a revolutionary fire just a few years later. Prokofiev rebuilt it from notes and sketches in 1924 for a Paris re-premiere but later told a friend that the new version of the Second Concerto was different enough to be “considered the Fourth” (the Third was already in existence then). Few of those lucky enough to have heard both concerts agreed with him and, either way, it must be assumed that a great deal of the raw emotional power and uncompromising technical demands of the original remained. Even altered, it is a mighty work, an insistent and incendiary work, and there amidst all the virtuosic flourishes and daring formal brilliance, if you listen closely, you can still hear the pain of losing Max in it.

THE WORLD – Elsewhere in 1913, civil war raged in Mexico, King George I of Greece was assassinated, George Bernard Shaw’s Pygmalion premiered in Vienna, and New York’s Grand Central Terminal was opened in February.

THE CONNECTION – The most recent Masterworks performance of the Second Piano Concerto was in 2018. Karina Canellakis conducted and Conrad Tao was soloist.

Continued on page 57…

Selection, Value and Style

YOU

FIGHT

Symphony No. 1 in F minor, Op. 10

Duration: 28 minutes in four movements.

THE COMPOSER – DMITRI SHOSTAKOVICH (1906-1975) – At the age of 19, young Dmitri Shostakovich was showing exceptional potential in the composition class at the Leningrad Conservatory. But he struggled financially. It’s a common enough theme, and only the most fortunate among us get through college without having to take a job we didn’t like—several, more likely. So, to help make ends meet, Shostakovich applied to be a film accompanist at the Splendid Palace cinema. It was his second such position and, though it paid better than the previous one, he was just as bored with the repetition and frustrated to be distracted from composing. He was sure his fortunes would change for the better if he could somehow arrange a live performance of his graduation piece.

THE HISTORY – That piece was none other than his First Symphony, an initial utterance in a genre about which Shostakovich would have so much to say throughout his life. The Conservatory, at that time in the mid-1920s, was a highly conservative place. Shostakovich’s teachers were Maximilian Steinberg and Alexandre Glazunov. Glazunov is well known to us, but Steinberg, not so much. He was the son-in-law of Rimsky-Korsakov and the once great hope of Russian music lovers who thought Stravinsky was taking their national traditions in too modern a direction. Steinberg saw right away how special Shostakovich was and, even as he tried to instill a 19th-century ethic

HISTORY OF THE MUSIC

in him, he knew couldn’t stop his pupil from becoming, if not another Stravinsky, himself—Dimitri Shostakovich. It is to Steinberg’s eternal credit that he never let his disappointment shade his duties as a guide and a nurturer. He supported his star student with care, even as the younger man strayed off onto paths of compositional thought he could not follow. The story of First Symphony premiere, in fact, provides proof of Steinberg’s commitment to Shostakovich’s awakening as a cypher for his time and people. Shostakovich had been hopeful that another professor, Nikolai Malko, would agree to conduct the first public performance of the piece with the Leningrad Philharmonic. It was a bold enough ask under any circumstances but, here again, a lack of funds threatened to derail the idea before it could even be considered. Even with the movie house job, Shostakovich could not afford to have the orchestra parts copied. In those analog times, this would have meant the end of the discussion, but Steinberg stepped in and convinced the Conservatory to cover the expense. The audience response to the concert was incredibly positive. They couldn’t have known it then, but the career of the 20th-century’s greatest symphonist had just begun.

THE WORLD – Elsewhere in 1925, Mussolini assumed dictatorial control of Italy, British Explorer Percy Fawcett sent his final telegram before disappearing into the Amazon, F. Scott Fitzgerald published The Great Gatsby, and The New Yorker magazine released its first issue.

THE CONNECTION – Shostakovich’s First Symphony was last performed in Abravanel Hall in 2008. Keith Lockhart conducted.

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ADMINISTRATION

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OPERA ARTISTIC

Christopher McBeth Opera Artistic Director

Carol Anderson

Principal Coach

Michelle Peterson Director of Production

Ashley Tingey Production Coordinator

DEVELOPMENT

Leslie Peterson

Vice President of Development

Jessica Proctor

Director of Institutional Giving

Heather Weinstock

Director of Special Events & DVMF Donor Relations

Stephanie Ogden

Director of Individual Giving Katie Swainston

Individual Giving Manager

Lisa Poppleton

Grants Manager

Dallin Mills Development Database Manager

Ellesse Hargreaves

Stewardship & Event Coordinator

Erin Marr

Donor Engagement (DVMF) & Special Events Coordinator

MARKETING & COMMUNICATIONS

Meredith Kimball Laing

Vice President of Marketing & Communications

Robert Bedont

Marketing Manager

Nina Starling

Website Content Coordinator Ellen Lewis Marketing & Communications Coordinator

PATRON SERVICES

Faith Myers

Director of Patron Engagement

Jaron Hatch

Patron Services Manager

Janae Graham

Patron Services Operations Assistant

Genevieve Gannon

Group Sales Associate

Amber Bartlett

Lorraine Fry

Jodie Gressman

Michael Gibson

Sean Leonard

Naomi Newton

Ian Painter

Toby Simmons

Ananda Spike Val Tholen

Josh West Patron Services Associates

ACCOUNTING & INFORMATION TECHNOLOGY

Steve Hogan

Vice President of Finance & CFO

Mike Lund

Director of Information Technologies

Melanie Giles Controller

Alison Mockli

Payroll & Benefits Manager

Jared Mollenkopf

Patron Information Systems Manager

Zac Cameron

Payroll Clerk

Bobby Alger Accounts Payable Specialist

EDUCATION

Paula Fowler

Director of Education & Community Outreach

Beth Foley

Opera Education Assistant

Paul Murphy

Symphony Education Assistant

OPERA TECHNICAL

Sam Miller

Technical Director Kelly Nickle Properties Master Dusty Terrell Scenic Charge Artist

COSTUMES

Cee-Cee Swalling

Costume Director

Verona Green Costume Rentals & Stock Manager

Milivoj Poletan

Master Tailor

Tiffany Lent Cutter/Draper & Costume Shop Foreman

Amanda Meyer First Hand

Maxwell Paris Wardrobe Supervisor & Rentals

Assistant Liz Wiand

Rentals Assistant

Lauryn Nebeker

Sophie Thoms Kelen Wright Stitchers

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of

TANNER & CRESCENDO SOCIETIES

Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning.

Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY

Beethoven Circle (gifts valued at more than $100,000)

Anonymous (3)

Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow† Dr. Melissa J. Bentley Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton

Mahler Circle

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

Anne C. Ewers

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

Turid V. Lipman

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

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

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

Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Edward J. & Marelynn† Zipser

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

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

ACKNOWLEDGMENTS

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

EDITOR Melissa Robison

HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611

AUDITING AND ACCOUNTING SERVICES PROVIDED BY Tanner, llc

LEGAL REPRESENTATION PROVIDED BY Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, llp Holland & Hart, llp Jones Waldo

ADVERTISING MEDIA & WEBSITE SERVICES PROVIDED BY Love Communications, Salt Lake City

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