DVOŘÁK’S SERENADE FOR STRINGS WITH TOWER, TAKEMITSU, COPLAND & MORE OCTOBER 22–24, 2020
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CONTENTS
TONIGHT’S CONCERT
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Welcome
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Utah Symphony
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Board of Trustees
9
USUO 2020 Pandemic Activities
16
Season Sponsors
30
Donors
37
Administration
38
Planned Giving
39
Tanner & Crescendo Societies
19
40
Utah Symphony Guild
44
Education
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Acknowledgments
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ARTIST’S PROFILE
Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.
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NOTES ON THE PROGRAM
@UtahSymphony
Purchase tickets at utahsymphony.org or call 801-533-6683 PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR/PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGN Ken Magleby UTAHSYMPHONY.ORG
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GRAPHIC DESIGN/ WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas ADMINISTRATIVE ASSISTANT Jessica Alder EDITOR Melissa Robison (801) 533-NOTE
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 2020
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WELCOME
Music, Mission, Art, Community, Pandemic, Safety, Flexibility, Patience, Excitement, Music…Together. This is merely a string of words until you place it into our current moment. Much has been said about the state of life amidst this pandemic. The state of the performing arts, our communities, business, the economy, and individual lives. As we continue to learn more and make progress, we remain committed to the journey with you.
Steven Brosvik President & CEO
I’m honored and excited to be entering my time as President & CEO of Utah Symphony | Utah Opera just as we’re able to resume live performances. From the beginning of the search process, I’ve been impressed by the support for the music and mission by everyone I’ve encountered. USUO is an organization of great depth, history and service to the region. I look forward to building our future together as we become ever more present and relevant to our entire community. I am inspired by the extraordinary work Pat Richards has done in her role as Interim CEO. I am grateful for the direction and commitment of our Board of Trustees, our incredible donors, and the patience of our ticketholders. I am impressed by the work being done by the staff team to create and realize plans in coordination with members of the orchestra, and I am excited to finally be able to hear our musicians live in Abravanel Hall and the Janet Quinney Lawson Capitol Theatre. It has taken everyone in this list, including you, to make live performances possible. All of us at USUO believe strongly in the powerful healing effect of music to connect communities. This has long been true, but especially during trying historical times such as these. It is with great deliberation and joy that we resume these live performances and welcome you back to your musical home.
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UTAH SYMPHONY Thierry Fischer, Music Director
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Associate Conductor
VIOLA* Brant Bayless
Principal The Sue & Walker Wallace Chair
Barlow Bradford Symphony Chorus Director
Yuan Qi
VIOLIN* Madeline Adkins
Associate Principal
Elizabeth Beilman† Julie Edwards Joel Gibbs Carl Johansen Scott Lewis John Posadas Whittney Thomas
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
CELLO* Matthew Johnson
Ralph Matson†
Associate Concertmaster
Acting Principal The J. Ryan Selberg Memorial Chair
Laura Ha
Andrew Larson
Acting Associate Concertmaster
Acting Associate Principal
John Eckstein Walter Haman Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
David Park
Assistant Concertmaster
Claude Halter
Principal Second
Wen Yuan Gu
BASS* David Yavornitzky
Associate Principal Second
Evgenia Zharzhavskaya
Principal
PICCOLO Caitlyn Valovick Moore
TRUMPET Travis Peterson
OBOE James Hall
Jeff Luke
Principal The Gerald B. & Barbara F. Stringfellow Chair
Robert Stephenson Associate Principal
Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda-Scott BASSOON Lori Wike
Caitlyn Valovick Moore
Llewellyn B. Humphreys Brian Blanchard Stephen Proser
• First Violin •• Second Violin
* String Seating Rotates † On Leave
# Sabbatical †† Substitute Member
UTAHSYMPHONY.ORG
Principal The Val A. Browning Chair
Lisa Byrnes
Associate Principal
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Principal
Sam Elliot
Associate Principal
BASS TROMBONE Graeme Mutchler
PERCUSSION Keith Carrick
Associate Principal
James Allyn Andrew Keller Edward Merritt Jens Tenbroek Thomas Zera
FLUTE Mercedes Smith
TROMBONE Mark Davidson
Erin Svoboda-Scott
Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry• Julie Wunderle
Principal
Peter Margulies Paul Torrisi
TIMPANI George Brown
Corbin Johnston
HARP Louise Vickerman
Associate Principal
Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Assistant Principal Second
Associate Principal
Principal
Principal The Edward & Barbara Moreton Chair
Leon Chodos
Associate Principal
Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett
Principal
Eric Hopkins
Associate Principal
Principal
Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal
LIBRARIANS Clovis Lark Principal
Katie Klich ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel
Andrew Williams
Orchestra Personnel Manager
Acting Principal
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BOARD OF TRUSTEES ELECTED BOARD Thomas M. Love* Chair
David L. Dee* Alex J. Dunn Dr. Julie Aiken Hansen Senator Daniel Hemmert Stephen Tanner Irish Thomas N. Jacobson Abigail E. Magrane Brad W. Merrill Robin J. Milne Judy Moreton Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Jason Price Shari H. Quinney Miguel R. Rovira Dr. Shane D. Stowell Naoma Tate Thomas Thatcher W. James Tozer Jr.
Dr. Astrid Tuminez David Utrilla Kelly Ward Kim R. Wilson Thomas Wright* Henry C. Wurts
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker David A. Petersen
Patricia A. Richards* Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
John Bates Howard S. Clark Kristen Fletcher
Richard G. Horne Ron Jibson E. Jeffery Smith
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler
Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith
Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington D.C.)
Doyle L. Arnold* Brian Greeff* Joanne F. Shiebler* Vice Chairs Annette W. Jarvis* Secretary John D’Arcy* Treasurer Steven Brosvik* President & CEO Dr. Stewart E. Barlow Judith M. Billings Gary L. Crocker
MUSICIAN REPRESENTATIVES Kathryn Eberle* Julie Edwards* EX OFFICIO Doyle Clayburn Utah Symphony Guild Nancy Pinto-Orton Onstage Ogden
LIFETIME BOARD William C. Bailey Edwin B. Firmage† Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL
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*Executive Committee Member † Deceased UTAHSYMPHONY.ORG
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USUO 2020 PANDEMIC ACTIVITIES
It’s been six months since Utah Symphony took the stage at Abravanel Hall! We express gratitude and thanks for the heartwarming support received from our community and colleagues during a time of uncertainty. While we haven’t been able to offer typical performances due to the COVID-19 pandemic, we’ve still been busy finding ways to connect the community—from a distance—through great live music. Below, discover how Utah Symphony has brightened social media feeds, curated online educational resources, contributed to pandemic relief efforts, and even given world premieres of new pieces from home during quarantine. Within a week of Utah’s schools closing in March, our Education Department organized existing digital content, converted other items to be shared digitally, and developed new ideas to help support teachers, parents and students in our suddenly digital-only learning environment. Utah Symphony’s School from Home page now offers Virtual Assemblies, education videos featuring the Musicians of the Utah Symphony, symphony bingo, listening music scavenger hunts, and “Ask a Musician” boxes. In addition, the new Virtual Listening Room on utahsymphony.org includes links to streaming, curated playlists, past performance clips, and Ghost Light Podcast episodes. The latter series includes a special edition talking about the ways that music has connected humanity in times of crisis throughout history, as well as “Music Knows Exactly How You Feel” and “Live Music After Corona.”
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In April, our orchestra musicians, staff, opera chorus members, and our volunteer network teamed up to express thanks to all of our supporters who have donated tickets to cancelled performances and stepped up their donations to make sure this organization continues well into the future. The Utah Opera costume shop team also completed several hundred masks in just two weeks to donate to Salt Lake Regional Medical Center. KSL TV included our very own Tad Calcara (whose Good Mornin’ video on has 16,000+ shares and over 1 million views on Facebook) in a feature about the creative ways that people are finding to use music as salve during isolation. Tad’s other popular videos include arrangements of George Gershwin’s Somebody Loves Me and Irving Berlin’s Puttin’ on the Ritz. Four Utah Symphony trumpet players also
Tad Calcara
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USUO 2020 PANDEMIC ACTIVITIES
Fanfare of Hope and Solidarity
recorded the theme song for ‘CBS Sunday Morning’ from their homes. Other creative musical endeavors shared by Utah Symphony musicians include Associate Principal Trombone Sam Elliot playing a Bach two-part invention with a ‘Sam Elliot from the past’; Violin Lynn Rosen playing Jean-Marie Leclair’s Sonata for Two Violins with herself; Associate Principal Clarinet Erin SvobodaScott playing all three parts of a klezmer folk tune; and Principal Trumpet Travis Peterson, with the aid of recent guest conductor Jerry Steichen (all the way from his living room in Manhattan), performing “The Lord’s Prayer” for Easter. Violin Yuki MacQueen took social distancing seriously by performing a duet from a distance of 2000 miles with a student of hers from Haiti, Alexandre Santya. Concertmaster Madeline Adkins also joined seven of her concertmaster
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colleagues from around the country to perform the slow movement of Bach’s Double Concerto in D Minor, all from their respective homes. In May, Utah Symphony shared a musical thank you to essential workers featuring Utah Symphony musicians playing Aaron Copland’s Fanfare for the Common Man. Governor Gary Herbert, Congressional Representative Ben McAdams, and Senator Luz Escamilla joined Utah Symphony Musical Director Thierry Fischer and Interim President & CEO Pat Richards in a special introduction to the glorious music by our musicians set to photos of the valiant healthcare workers, essential staff, and first responders risking their lives to help us through this stressful time. On May 8th, Utah Symphony celebrated our 80th anniversary! Our online birthday
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USUO 2020 PANDEMIC ACTIVITIES
community. Humanity has and will always work together to further music’s flexible, diverse capacity and innate power. The magnificence and energy of massed musical resources, such as an orchestra, are humbling, inspiring, and exemplify hope, solidarity and teamwork.”
Augusta Read Thomas
party included interviews with Music Director Thierry Fischer, former orchestra members, and recent guest artist Augustin Hadelich; performances by Utah Symphony musicians; birthday wishes from previous guest artists; a special message from Interim President & CEO Pat Richards; and even cake! We hope that you were able to join the celebration. May also brought the two world premieres of pieces commissioned by Utah Symphony. First was Fanfare of Hope and Solidarity by Augusta Read Thomas. This piece was composed in late April and early May and recorded by the musicians of the orchestra in their homes, then audio engineered by Stoker White and Funk Studios and video produced and edited by Andrea Peterson. We believe this was the first world premiere by an American orchestra during the time of COVID-19. Thomas shared her thoughts on the project: “I believe music feeds our souls. Unbreakable is the power of art to build
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The second premiere was Longing from Afar by Dai Fujikura. This piece is about being together even when we’re physically apart, and was recorded live via a video conference. Fujikura drew inspiration for this piece by “considering how all musicians make sound together even when we are all physically far apart.” Both premieres are still available on the Utah Symphony Facebook and YouTube pages.
One of the most exciting announcements of the summer was of the 2021 Deer Valley Music Festival, a year in advance! If you bought tickets for the 2020 festival performances or the Temptations at Abravanel Hall, you will be sent new tickets for the corresponding 2021 concerts. For all of you who are dreaming of escaping into great live music in the mountains again, tickets for the 2021 festival are on sale now at deervalleymusicfestival.org. Another exciting announcement came in June, with the appointment of Steven Brosvik as the next President and CEO of Utah Symphony | Utah Opera. Steve has many years’ experience in leadership roles with Baltimore Symphony, San Antonio Symphony, Houston Symphony and Nashville Symphony. He loves “Being one of the people who helps support
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USUO 2020 PANDEMIC ACTIVITIES getting the music on the stage and supporting incredible musicians to be able to make that music for the audience.” Another wonderful opportunity to support USUO came thanks to the Alternative Visions Fund, an anonymous donor advised fund of the Chicago Community Foundation, which has awarded USUO a matching challenge grant in support of the Alternative Visions COVID-19 Relief Fund Challenge at USUO. All contributions received before October 1 will be matched on a 1:1 basis up to a total maximum match of $500,000. If you have been considering a contribution to USUO or increasing your annual gift, doing so before October 1 will make your investment go twice as far. In August, a new 5,000 square foot public art piece was unveiled in downtown Salt Lake City that celebrates the impact
of Utah women—past and present— in commemoration of the centennial anniversary of the 19th Amendment. The mural was commissioned by Zions Bank and is located on the east-facing wall of the Dinwoody Building located at 37 West 100 South. It includes current Utah Symphony musicians Concertmaster Madeline Adkins and Principal Flute Mercedes Smith, as well as long-time volunteer Lona Mae Lauritzen, and is a beautiful contribution to our community. At another small, outdoor Park City event this summer, one guest remarked, “It was a thrill to just hear a live performance. I had to wipe a tear away to hear such beautiful music.” We feel the same way, and hope you do tonight as well. Thank you for helping Utah Symphony to once again connect the community through great live music. Please enjoy our reimagined 2020–21 season!
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DVOŘÁK’S SERENADE FOR STRINGS WITH TOWER, TAKEMITSU, COPLAND & MORE
OCTOBER 22–24 / 2020 / 7:30PM / ABRAVANEL HALL
David Robertson, conductor
CO N CER T S PO N SOR
RICHARD K. & SHIRLEY S. HEMINGWAY FOUNDATION
WALKER: Lyric for Strings DVOŘÁK: Serenade in E Major for String Orchestra, Op. 22
I. II. III. IV. V.
Moderato Tempo di valse Scherzo: Vivace Larghetto Finale: Allegro vivace
JOAN TOWER: Fanfare for the Uncommon Woman No. 1 GABRIELI (arr. David Robertson): Sonata pian’ e forte TOMASI: Fanfares Liturgiques II. Evangile III. Apocolypse
GRIEG (Arr. Geoffrey Emerson): Funeral March in Memory of Rikard Nordraak TŌRU TAKEMITSU: Night Signal - Signals from Heaven II COPLAND: Fanfare for the Common Man
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ARTIST’S PROFILE David Robertson—conductor, artist, thinker, and American musical visionary—occupies some of the most prominent platforms on the international music scene. A highly soughtafter 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.
David Robertson Conductor
Robertson has served in numerous artistic leadership positions, such as Chief Conductor and Artistic Director of the Sydney Symphony Orchestra, and a transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra. With St. Louis, he solidified its status as among the nation’s most innovative ensembles, establishing fruitful relationships with a spectrum of artists, and garnering a 2014 Grammy Award for the Nonesuch release of John Adams’ City Noir, in addition to numerous other recordings releases, such as Wynton Marsalis’s Swing Symphony, with the Jazz at Lincoln Center Orchestra, on Blue Engine Records, and Mozart Piano Concertos, No. 17 in G Major K.453 and No. 24 in C Minor K.491, with Orli Shaham, on Canary Classics. Earlier artistic leadership positions include at the Orchestre National de Lyon; as a protégé of Pierre Boulez, the Ensemble InterContemporain; and as Principal Guest Conductor at the BBC Symphony Orchestra. David Robertson holds a rich and enduring collaboration with the New York Philharmonic, and in the Americas conducts many noted ensembles, including the Cincinnati, Pittsburgh, National, Houston, Dallas, Montréal and Sao Paulo Symphony Orchestras. Robertson has served as a Perspectives Artist at Carnegie Hall, where he has also conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra. He appears regularly with the Royal Concertgebouw Orchestra, Czech Philharmonic, Bayerischen Rundfunk, Netherlands Radio Philharmonic Orchestra, Staatskapelle Dresden, and other major European and international orchestras and festivals, ranging from the BBC Proms, to Musica Viva in Munich, to the New Japan Philharmonic and Beijing’s NCPA Orchestra. With The Metropolitan Opera, Robertson continues to build upon his deep conducting relationship, which includes
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ARTIST’S PROFILE James Robinson’s 2019-20 season opening premier production of Porgy and Bess, and the premiere of Phelim McDermott’s celebrated 2018 production of Così fan tutte, set in Coney Island. Since his 1996 Met Opera debut, The Makropulos Case, he has conducted a breathtaking range of projects, including the Met premiere of John Adams’ The Death of Klinghoffer (2014); the 2016 revival of Janáček’s Jenůfa, then its first Met performances in nearly a decade; the premiere production of Nico Muhly’s Two Boys (2013); and many favorites, from Mozart’s Le Nozze di Figaro to Britten’s Billy Budd. Robertson conducts at the world’s most prestigious opera houses, including La Scala, Teatro dell’Opera di Roma, Théâtre du Châtelet, and the San Francisco and Santa Fe Operas. Since 2018, David Robertson has served as Director of Conducting Studies, Distinguished Visiting Faculty, of The Juilliard School. In Fall 2019, he joined the newly formed Tianjin
Juilliard Advisory Council, an international body created to guide the emerging Chinese campus of the Juilliard School. He conducts the Juilliard Orchestra annually at Carnegie Hall. Robertson is the recipient of numerous awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France. He is devoted to supporting young musicians and has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at the Paris Conservatoire, Music Academy of the West, and the National Orchestra Institute. In 2014, he led the Coast to Coast tour of Carnegie Hall’s National Youth Orchestra of the USA. 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.
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NOTES ON THE PROGRAM by Michael Clive
George Walker (1922–2018)
Lyric for Strings Performance time: 6 minutes
When the American composer George Theophilus Walker died in 2018 at the age of 96, tributes on National Public Radio and in Fanfare Magazine acclaimed him as one of the greatest composers of our time—accomplished as a pianist and organist, and the first African American to have won the Pulitzer Prize for Music. He was born of West Indian-American parents in Washington, D.C., where his father had emigrated, eventually graduating from Temple University Medical School in Philadelphia and becoming a physician. George’s mother, Rosa, supervised her son’s first piano lessons, beginning when he was five years old. Before graduating from Dunbar High School at age 14, George Walker was presented in his first public recital at Howard University’s Andrew Rankin Memorial Chapel. He was admitted to Oberlin College as a scholarship student in 1937, studying piano with David Moyer and organ with Arthur Poister. In 1939, he became the organist for the Graduate School of Theology of Oberlin College. Graduating at 18 from Oberlin College with the highest honors in his Conservatory class, he was admitted to the Curtis Institute of Music to study piano with Rudolf Serkin and chamber music with William Primrose and Gregor Piatigorsky. He graduated from the Curtis Institute with Artist Diplomas in piano and
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composition in 1945, becoming its the first Black graduate. Walker’s more than 90 major compositions include commissions from important ensembles including the New York Philharmonic (Cello Concerto), the Cleveland Orchestra (Dialogus for Cello and Orchestra), the Boston Symphony (Lilacs for Voice and Orchestra), the Eastman School of Music (An Eastman Overture) , the Kennedy Center for the Performing Arts (Sonata for Violin and Piano, No. 2), the David Ensemble (Five Fancies for Clarinet and Piano Four Hands), Affiliate Artists and Xerox (Guido’s Hand), the Pew Charitable Trust (Piano Sonata No. 4), The Boys Choir of Harlem (Cantata), The Cleveland Chamber Symphony (Orpheus), New Jersey Symphony (Pageant and Proclamation), the Mary Flagler Cary Charitable Trust (Modus), the New Jersey Chamber Music Society (Wind Set), Maryland International Piano Competition (Bauble), Columbus Pro Musica Chamber Orchestra (Tangents), New Jersey Youth Symphony (Icarus In Orbit), and the Network for New Music (Abu). The Boston Symphony commission, Lilacs, was his Pulitzerwinning work. The intensely lyrical, heartfelt Lyric for Strings was originally titled “Lament,” and was composed after the death of Walker’s grandmother in 1946. It has often been compared to Barber’s Adagio for Strings: Like Barber, Walker studied composition with Rosario Scalero at Curtis, and like the Adagio, the Lyric for Strings was originally the central movement of a string quartet. Its expressiveness and popularity prompted
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NOTES ON THE PROGRAM
Walker to make an arrangement for string orchestra that has won a permanent place in the American concert repertory. Antonin Dvořák (1841–1904)
Serenade for Strings Performance time: 27 minutes
Nationalist movements in Western classical music owe much to Antonín Dvořák, who believed passionately in composers’ use of indigenous sources for their compositions. In his own music, native Czech sources account for the distinctive, echoing melodies and an everpresent sense of “swing.” We hear these elements in his delightful Serenade for Strings, a youthful work that he completed in only two weeks. The sheer pleasure of listening to Dvořák’s Serenade for Strings suggests the relaxed enjoyment of a divertimento such as Mozart’s Eine Kleine Nachtmusik—not only in its loose structure, but also in the feeling of a glowing twilight that suffuses the music. Dvořák composed this fivemovement suite in 1875, a productive and happy year for him: his marriage was new, his first son was born, and he was finally enjoying financial self-sufficiency as a composer of high repute. The sense of relaxation in the Serenade was seemingly reflected in its ease of composition, which reportedly took less than two weeks for all five movements. From the opening moderato movement, which overlays a serene yet expectant theme over pulsing eighth notes, each
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movement until the finale is presented in a simple ABA pattern: an expressive melody leading to the development of a second theme, leading back to the original theme. In the final movement, a brisk allegro vivace, the development is more complex, hewing more closely to the Classical sonata allegro form and to Dvořák’s beloved Bohemian dance rhythms. (Dvořák’s music never really strays far from dancing.) The suite ends in a swirl of presto energy and three final chords in emphatic E major. Joan Tower (b. 1938)
Fanfare for the Uncommon Woman, Part I Performance time: 3 minutes
Vigorous and eclectic, Joan Tower’s distinctive musical style reflects both her talent and the remarkable circumstances of her life. Born in New Rochelle, New York, she moved to Bolivia with her family when she was nine years old. There the complex, dynamic rhythms of Bolivian music became part of her life—one reason why rhythm would later become such an important element in her work. Aware of his daughter’s early talent in music, Tower’s father insisted that she receive musical training, especially in piano studies. Her mastery of the keyboard enabled her to begin her career as a pianist including with the ensemble she co-founded, the Da Capo Chamber Players.
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NOTES ON THE PROGRAM
Tower’s undergraduate studies were at Bennington College, and she earned a PhD in Columbia University’s composition program, a bastion of academic serialism and modernism. Mastering the rigors of this approach to composition gave Tower a strong foundation for developing a strongly personal style. In the 1970s and 1980s, Tower wrote many pieces for the Da Capo Chamber Players. In their sound and even in their titles we can see a legacy from her father, who was a mineralogist, as Tower explores subjects inspired by nature and finds in them the contrasts of soft and hard textures, large and small scale, calmness and forcefulness. We hear these juxtapositions in the poetic tension Tower conveys between instrumental textures, loud and soft passages, and complex, energetic rhythms. In the 1990s and beyond, many listeners heard Tower’s style being pulled away from the strictness of serialism toward the more fluid expressiveness of George Crumb and Olivier Messiaen. Works such as the Bassoon Quintet demonstrate Tower’s development of a uniquely poetic style, but also her potent mastery of musical contrasts. Often her choice of instruments, combining the plangent, reedy resonance of the bassoon with the luster of strings, speaks to us in a special way. In the case of her Fanfare for the Uncommon Woman, a series of six short compositions that comprise a suite of approximately twentyfive minutes’ duration, instrumentation is critical. Parts I, II, III and V are scored exclusively for brass along with percussion, reminiscent of Aaron Copland’s Fanfare for the Common Man. Part II, composed in 1989, augments the percussion forces.
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The Fanfares are among the most popular of Tower’s modern compositions. Written in tribute to women risk-takers and adventurers in history, they have been performed by more than 500 orchestras worldwide. Giovanni Gabrieli (1556?–1612) (arr. Robertson)
Sonata pian’ e forte Performance time: 7 minutes
The glories of the Italian Renaissance are evident throughout Gabrieli’s music. His birthplace, the city-state of Venice, was one of the most cosmopolitan places on earth during his lifetime, an economic and cultural crossroads that was also home to Claudio Monteverdi, who was born about a decade later. Monteverdi and Gabrieli were exposed to the most advanced and far-ranging musical ideas of the day, and were themselves fearless innovators. Together, these two giants helped Italian music make the transition from Renaissance to Baroque styles. Originally scored for eight instruments, the Sonata pian’ e forte is a study in contrasts: “Pian’ e forte” means loud and soft, and the juxtaposition of contrasting textures, colors, and dynamics is showcased in this work— as it is not only in music but also in painting of the time. The responsive structure of the work, with instrumental voices “answering” each others’ melodic statements, makes these contrasting patterns especially striking. The Sonata is thought to be the first known musical composition scored for specific brass instruments.
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NOTES ON THE PROGRAM
Like much of Gabrieli’s and Monteverdi’s music, the Sonata was almost certainly composed for performance in St. Mark’s Basilica—the spectacular, onion-domed cathedral that dominates the Piazza San Marco in Venice. There, the cathedral’s remarkable architecture becomes integral to musical performance, with instruments located in separate performance spaces throughout the interior to create special effects. In this case, the original scoring indicates two groups of four instruments to be placed in opposite sides of the cathedral, for an early version of stereophonic sound. Henri Tomasi (1901–1973)
“Evangile” and “Apocalypse” from Fanfares liturgiques Performance time: 7 minutes
In researching Henri Tomasi’s fascinating Fanfares liturgiques, your intrepid annotator found it useful to compare it with other operatic excerpts that have transcended the operas for which they were originally composed—including Glinka’s overture for Ruslan and Lyudmila, the aubade from Edouard Lalo’s Le roi d’Ys, and “The Chairman Dances,” the swinging fox trot that never quite made it into the performing edition of John Adams’s Nixon in China. Tomasi originally composed the Fanfares for his opera Don Juan de Mañara, but from the very beginning its three movements have had an orchestral life of their own, and they
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have always been more widely performed than the opera for which they were written. They premiered in 1947 in Monte Carlo, where Tomasi had recently become music director of the highly respected opera company, and were published as a stand-alone score in 1952. The opera’s premiere did not occur until four years after that, in Munich. In keeping with the suave, worldly man who made his living in one of the world’s most elegant resort towns, Tomasi’s music can be described as suave, sophisticated, and luxuriously entertaining. He counted Puccini, Mussorgsky, Bizet, and Debussy among his decisive early musical influences. “In the end,” he noted on his website, “what I have retained from Ravel and Debussy is a bit of harmonic inspiration.” In a 1969 interview with his son, he described his compositional style in greater depth: A rumor says that I’m allergic to serial or dodecaphonic music – balderdash! I even used these modes in the Silence de la Mer and the Symphonie du Tiers-Monde. But I only use them occasionally, when needed, at times when I feel they are called for. What I did say was that I can’t stand systems and sectarianism. And I do maintain that the continual absence of modulation weakens a piece and can only result in monotonous, boring music. In my opinion, color is necessary, as in the juxtaposition of reds and greens, at least in the theater… The Fanfares are a brilliant showcase
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NOTES ON THE PROGRAM
for the brasses. They comprise three movements; in the opera they accompany a religious procession in Seville, part of the Catholic observance of Holy Week. In this dramatic context, the three movements begin with a fiery opening statement. The final two movements, Evangile and the Apocalypse, are respectively more somber and more vividly devotional. The Apocalpyse movement has the immediacy of a prophetic vision and is as long as the other two movements combined. Edvard Grieg (1843–1907) (arr. Emerson)
Funeral March in Memory of Rikard Nordraak Performance time: 7 minutes
Born seven years before the midpoint of the 19th century, Edvard Grieg emerged as an internationally important composer at a time when classical composers throughout Europe were exploring roots music and regional culture, developing the national voices of their respective countries. Today Grieg remains the foremost classical voice of his native Norway. There is a monumentality to Grieg’s two best-known works, his Piano Concerto and the Peer Gynt Suite, which are staples in the concert hall. The concerto, which he began composing when he was only 24, shows us something quite different from the early Funeral March: Though he was a
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virtuoso pianist who originally expected to make his career as a soloist, it is his only concerto, and thunders with grandeur and solemnity from its opening bars. He composed it during the summer of 1868, while on holiday in the Danish town of Søllerød. As for the Peer Gynt Suite, we can easily forget that it, too, is large scale, traversing in its many movements the entire Norwegian national epic. The Funeral March displays a side of Grieg that is more introspective than these familiar works—equally passionate and fully committed to Norwegian nationalism, but far more intimate. Grieg composed the Funeral March in memory of his friend Rikard Nordraak, a composer who died in March of 1866. Both men were in their early 20s that year. Grieg conceived the March as a work for piano in A minor, then produced arrangements in B-flat minor for brass choir and wind band. It remained important to him throughout his life, perhaps as a touchstone for emotional truth in his music. He brought the score with him on all his travels. In accordance with his wishes, it was performed at his own funeral. Tōru Takemitsu (1930–1996)
Night Signal—Signals from Heaven II Performance time: 3 minutes
Japanese composer Tōru Takemitsu, who died in 1996 at the age of 65, was
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one of the first to combine elements of Eastern and Western music into a unique international style. He was innovative and influential not only in his compositions, but also in his writing on aesthetics and music theory. His compositions reached millions of people during his lifetime, mainly through his scores for major Japanese films such as Ran (1985), Rising Sun (1993) and Harakiri (1962), working with major directors such as Akira Kurosawa, and his music was revered by no less a composer than Igor Stravinsky. At the time of his death, Takemitsu’s portfolio included over 180 concert pieces, 93 film scores, and several major works for theater and dance, making him one of the most prolific and significant composers on the classical scene in the latter half of the 20th century. Yet even in the 21st, his reputation in the U.S. does not yet reflect the depth of his compositions. But it may have begun to catch up. Takemitsu seems to have been almost mythically destined not only to become a composer, but to bring divergent musical worlds together. His first exposure to Western music came when he was enduring a hellish existence toward the end of World War II, one among thousands of Japanese civilians living underground in a network of shelters in the mountains west of Tokyo that had been excavated as a civil defense measure against invasion. The 14-year-old Takemitsu had never heard non-Japanese music, and no music was permitted in the shelters except for patriotic songs. But in the midst of these bleak,
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militarized conditions, an officer played some unauthorized music to distract some children including Takemitsu. His revelation came at an unlikely moment, as he listened to the French monologist and chanteuse Lucienne Boyer singing her biggest hit, the romantic “Parlezmoi d’amour.” But he credited it as the beginning of his musical awareness. Combining deep naturalism with urbane sophistication, Takemitsu’s music provides a continuous flow of rich color and texture. Even the silences are dense and expressive. Playing it effectively requires a degree of stylistic sensitivity that his pieces did not consistently receive in the concert hall until recently. In the Night Signals Suite, his Japanese heritage echoes in his use of brass and wind instrumental textures. The suite’s movements are described as “antiphonal fanfares,” with brass instrumental voices answering each other responsively, playing “against” each other —much as Gabrieli’s brasses did in St. Mark’s Cathedral almost five centuries ago. Aaron Copland (1900–1990)
Fanfare for the Common Man Performance time: 3 minutes
In England and American during World War II, cultural forces mobilized on the home front. Moviemakers provided entertainment that honored the armed forces and reminded the rest of us what they were fighting for. Pop singles
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were like letters between home and the theater of battle. It was in this tradition that the conductor Eugene Goossens, a native of England who was conductor of the Cincinnati Symphony, asked Aaron Copland to compose what became Fanfare for the Common Man, an iconic work of the American classical repertory. No fewer than 18 composers responded. “It seemed to me that if the fighting French got a fanfare,” wrote Copland, “so should the common man, since, after all, it was he who was doing the dirty work in the war.” Copland’s concerns were also in the spirit of the Pulitzer Prizewinners Ernie Pyle, who wrote about the “dogface” infantry soldiers as a roving correspondent throughout World War II, and Bill Mauldin, whose cartoons about his composite infantry archetypes “Willie and Joe” showed the dangers and difficulties faced by GIs. The work of both men nettled armed forces higherups while delighting the “common man” soldier much the way the Dilbert comic strip and the sitcom The Office have captured the affection of modern-day cubicle drones.
characteristically American. But from the opening bars, it is the distinctive and majestic use of percussion—timpani, bass drum, and tam tam—that give the fanfare its sense of importance. Of the 18 original fanfares that Goossens commissioned, Copland’s Fanfare for the Common Man was one of only ten that Goossens included when he anthologized them. Of those, only Copland’s survived to find a life in the concert hall after World War II.
If his subject is down-to-earth, Copland’s treatment of it is exalted. While many fanfares have a quick tempo and a martial air, if not an outright march rhythm, Fanfare for the Common Man elevates its subject with a slower pace that suggests gravitas—”a certain nobility of tone, which suggested slow rather than fast music,” as Copland described it. (The marking calls for it to be played “very deliberately.”) In it we hear the familiar, wide-open intervals of fifths and fourths that make Copland’s music sound so
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INDIVIDUAL SUPPORT We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29 2020. * in-kind donation
** in-kind & cash donations
† deceased
ENCORE ($100,000 OR MORE) Anonymous Kem & Carolyn Gardner
Anthony & Renee Marlon Estate of Linda & Don Price
Jacquelyn Wentz
BRAVO ($50,000 TO $99,999) Scott & Kathie Amann Diane & Hal Brierley James A.† & Marilyn Parke
Patricia A. Richards & William K. Nichols** Elizabeth Solomon
Naoma Tate & the Family of Hal Tate Jim & Zibby Tozer Jack Wheatley
OVERTURE ($25,000 TO $49,999) Doyle Arnold & Anne Glarner Judy Brady & Drew W. Browning Michael & Vickie Callen John & Flora D’Arcy Brian & Detgen Greeff
Kristen Fletcher & Dan McPhun Susan & Tom Hodgson Tom & Lorie Jacobson G. Frank & Pamela Joklik Chuck & Crystal Maggelet Edward Moreton
Fred & Lucy Moreton Mark & Dianne Prothro Alice & Frank Puleo George Speciale John & Jean Yablonski Edward & Marelynn Zipser
MAESTRO ($10,000 TO $24,999) Anonymous A. Scott & Jesselie Anderson AKBankhead FundBerenice J. Bradshaw Trust Thomas Billings & Judge Judith Billings Carol, Rete & Celine Browning Judy & Larry Brownstein Howard & Betty Clark Larry Clemmensen Marian Davis & David Parker Kathleen Digre & Michael Varner Pat & Sherry Duncan Spencer & Cleone† Eccles 30
Midge Farkas Thierry & Catherine Fischer** Doug & Connie Hayes Mary P.† & Jerald H. Jacobs Family Mr. & Mrs. Christopher J. Lansing Herbert† & Helga Lloyd Tom & Jamie Love Mr. & Mrs. Charles McEvoy Carol & Anthony W. Middleton, Jr., M.D. Amanda & Spencer Millerberg Richard & Robin Milne Terrell & Leah Nagata
James & Ann Neal Leslie Peterson & Kevin Higgins Stephen & Cydney Quinn Albert J. Roberts IV Carmen Rogers Sandefur Schmidt Dr. & Mrs. Charles W. Sorenson, Jr. Mr. & Mrs. G. B. Stringfellow Steve & Betty Suellentrop James R. & Susan Swartz Jonathan & Anne Symonds Norman C.† & Barbara L. Tanner † Tim & Judy Terrell
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INDIVIDUAL SUPPORT ALLEGRO ($5,000 TO $9,999) Anonymous (5) Alan, Carol, & Annie Agle Edward R. Ashwood & Candice A. Johnson Dr. J.R. Baringer & Dr. Jeannette J. Townsend Dr. & Mrs. Clisto Beaty Mr. & Mrs. Neill Brownstein Mark & Marcy Casp John Clukey Marc & Kathryn Cohen Mr. & Mrs. Kenneth R. Cutler Willard & Julia Dere Patricia Dougall Eager Trust Mrs. Sarah Ehrlich Robert & Elisha Finney Wen Flatt Nash Foster Diana George David & SandyLee Griswold** Ray & Howard Grossman Chuck & Kathie Horman
The Right Reverend Carolyn Tanner Irish & Mr. Frederick Quinn Ken & Margo Jacobs Annette & Joseph Jarvis M. Craig Johns Michael Liess Bill Ligety & Cyndi Sharp Daniel & Deena Lofgren Beatrice Lufkin Nick Markosian Christopher & Julie McBeth Hallie & Ted McFetridge Michal & Maureen Mekjian Carol & Anthony W. Middleton, Jr., M.D. Joanne Mitchell Dr. Louis A. Moench & Deborah Moench Marilyn H. Neilson Dr. Stephen H. & Mary Nichols O. Don & Barbara Ostler
Dr. Thomas Parks & Dr. Patricia Legant Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon Brooks & Lenna Quinn Dr. & Mrs.† Marvin L. Rallison James & Gail Riepe James & Anna Romano Ted & Lori Samuels Peggy & Ben Schapiro Barbara & Paul Schwartz D. Brent† & Suzanne Scott Gerald† & Sharon Seiner Dr. John Shigeoka Stuart & Mary Silloway Gibbs† & Catherine W. Smith Sidney Stern Memorial Trust Thomas & Marilyn Sutton Paul L. Wattis Dr. Rasmus Wegner Kathie & Hugh Zumbro
ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) Anonymous (6) Fred & Linda Babcock Tom & Carolee Baron Tina & John Barry Jennifer & Charles Beckham Dr. Melissa Bentley Donna Birsner Roger & Karen Blaylock Bill & Susan Bloomfield Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Michael & Christy Bush Mr. & Mrs. William D. Callister Vincent Cannella Hal & Cecile Christiansen The Chung Family George & Katie Coleman Debbi & Gary Cook Dr. Thomas D. & Joanne A. Coppin Thomas D. Dee III & Dr. Candace Dee UTAHSYMPHONY.ORG
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Elizabeth deForest John D. Doppelheuer & Kirsten A. Hanson Blake & Linda Fisher Mr. Joseph F. Furlong III Robert & AnnieLewis Garda Heidi Gardner David & Sherrie Gee Jeffrey L. Giese, M.D. & Mary E. Giese Andrea Golding Sue & Gary Grant Arlen Hale Kenneth & Kate Handley Dr. Bradford D. Hare & Dr. Akiko Okifuji Mary Haskins Jeff & Peggy Hatch John Edward Henderson Deborah & Steve Horton Sunny & Wes Howell Dixie S. & Robert P. Huefner
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ABRAVANEL & PETERSON SOCIETY ($2,500 TO $4,999) CONTINUED Daniel & Noemi P. Mattis Tom & Janet McDougal David & Nickie McDowell George & Nancy Melling Brad Merrill John Mertens Mr. & Mrs. Richard Mithoff Ruth & William Ohlsen Dr. S. Keith & Barbara Petersen Ray Pickup
Gregory & Ann Robison Marilynn Roskelley & Paul Dorius Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz Dewelynn & J. Ryan† Selberg Mary & Doug Sinclair Jeffrey Starr Paul Taylor
Denise Torrisi Thomas† & Caroline Tucker Peter Margulies & Louise Vickerman Susan & David† Wagstaff Susan Warshaw Robert R. & Sue A. Webb Dan & Amy Wilcox David & Jerre Winder
PATRON ($1,500 TO $2,499) Anonymous (3) Fran Akita C. Kim & Jane Blair Mr. & Mrs. Lee Forrest Carter Mr. & Mrs. Fred L. Carter, Jr. William J. Coles & Joan L. Coles David & Karen Gardner Dee Michael Deputy Lawrence Dickerson & Marcela Donadio Margarita Donnelly Dr. Paul Dorgan
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Thomas Fuller Dr. & Mrs. John Greenlee C. Chauncey & Emily Hall Christine St. Andre & Cliff Hardesty E. Art Woolston & Connie Jo Hepworth-Woolston Connie C. Holbrook Gordon Irving Bryce & Karen† Johnson Carl & Gillean Kjeldsberg Heidi & Edward Makowski Clifton & Terri McIntosh Warren K†. & Virginia G. McOmber
Joe Mulvehill Kenneth Roach & Cindy Powell Dr. Barbara S. Reid Frances Reiser Susan Rothman Janet Schaap Mr. August L. Schultz Thomas & Gayle Sherry Douglas & Susan Terry Astrid S. Tuminez Dr. Ralph & Judith Vander Heide John & Susan Walker Frank & Janell Weinstock
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FRIEND ($1,000 TO $1,499) Anonymous (5) Madeline Adkins & John Forest Jim Alexander Christine A. Allred Clayton Anderson Dr. & Mrs. Jeffrey L. Anderson Pj Aniello Drs. Crystal & Dustin Armstrong Ian Arnold Curtis Atkisson, Jr. Mr. & Mrs. Lawrence R. Barusch Diane Banks Bromberg & Dr. Mark Bromberg Kevin Burdette Michael Carnes Dana Carroll & Jeannine Marlowe Carroll Michael & Beth Chardack William & Patricia Child Dr. & Mrs. David Coppin David & Carol Coulter Sandra Covey† Dorothy B. Cromer David & Donna Dalton James Dashner Dr. Kent C. DiFiore & Dr. Martha R. Humphrey Alice Edvalson Eric & Shellie Eide Larry Gerlach Bob & Mary Gilchrist Ralph & Rose Gochnour Kenneth & Amy Goodman Mr. Keith Guernsey John & Ilauna Gurr Dr. Elizabeth Hammond
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Geraldine Hanni Jonathan Hart Lex Hemphill & Nancy Melich Craig & Tiffany Hess Peggy Hudson Stephen Irish Thomas Jacobson Eldon Jenkins & Amy Calara Chester & Marilyn Johnson Jill Johnson James R. Jones & Family Mr. & Mrs. Bruce M. Lake Gary Lambert Guttorm & Claudia Landro Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Harrison & Elaine Levy Julie & John Lund Miriam Mason & Greg Glynis MS. Mary Pat McCurdie Edward J. & Grace Mary McDonough MR. Jeffrey McNeal David Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Hal & JeNeal Miller Drs. Jean & Richard R. Miller Henriette Mohebbizadeh Glenn & Dav Mosby Sir David Murrell IV & Mary Beckerle Renate B. Nebeker Ruzena Novak Dr. & Mrs. Richard
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T. O’Brien Lee K. Osborne Joseph J.† & Dorothy Moyle Palmer Dr. Marzia Pasquali & Ms. Nicola Longo Linda S. Pembroke Rori & Nancy Piggott Charles R. Pikler Arthur & Susan Ralph W.E. & Harriet R. Rasmussen Gina Rieke Lousje & Keith Rooker Miguel Rovira David & Lois Salisbury Brent & Jan Scharman James & Janet Schnitz Barbara Slaymaker Jerilyn McIntyre & David Smith Sheryl & James Snarr Dr. & Mrs. Michael H. Stevens Richard and Shannon Straight Richard & Janet Thompson Kenneth Uy David H. & Barbara S. Viskochil Dr. James C. Warenski Renee Waters Cindy Williams Mary Ann & Charles Williams Margaret & Gary Wirth David B. & Anne Wirthlin Marsha & Richard Workman Paul Wright
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ENDOWMENT DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being & stability of USUO, & through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9015. Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation Thomas & Candace Dee
Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Barbara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation Kenneth† & Jerrie Randall
The Evelyn Rosenblatt Young Artist Award Bill & Joanne Shiebler James R. & Susan Swartz Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner Company M. Walker & Sue Wallace
GIFTS MADE IN HONOR Marie Nelson Bennett Neill & Linda Brownstein Peggy Chase Dreyfous Paula Fowler Kem Gardner
Burton & Elaine Gordon Barbara Scowcroft & Ralph Matson Matthew & Maria Proser Pat Richards
Bill & Joanne Shiebler Grant Gill Smith Dale Strobel Whittney Thomas J. Brian Whitesides
GIFTS MADE IN MEMORY Dennis Austin Jay T. Ball Dawn Ann Bailey Betty Bristow Robert H. Burgoyne, M.D. Doris Macfarlane Corry Kathie Dalton Dr. James Drake Robert Ehrlich William K. Evans, Jr. Crawford Gates Lowell P. Hicks Jamila Janata 34
Dr. Gary B. Kitching M.D. Harry Lakin Julia Lawrence Frank & Maxine McIntyre Warren K. (Sandy) McOmber Clyde Dennis Meadows Dr. Richard George Middleton Mary Muir Mary E. Nelson Jack Newton Richard Perkins
Glade & Mardean Peterson Rhoda Ramsey Richard Reiser Norman B. Ross Shirley Corbett Russell J. Ryan Selberg Venice Shields Ann O’Neill Shigeoka, M.D. Robert C. Sloan Dorotha Smart Barbara Tanner Maxine Winn
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INSTITUTIONAL DONORS We thank our generous donors for their annual support of Utah Symphony | Utah Opera. This list includes donations received from July 1, 2019 to September 29, 2020. USUO’s 2020–21 season is funded in part by the CARES Act and the Utah State Legislature through Utah Arts & Museums. * in-kind donation
** in-kind & cash donation
$100,000 OR MORE The Church of Jesus Christ of Latter-Day Saints Foundation Lawrence T. & Janet T. Dee Foundation George S. & Dolores Doré Eccles Foundation Marriner S. Eccles Foundation The Florence J. Gillmor Foundation
Emma Eccles Jones Foundation Larry H. & Gail Miller Family Foundation John & Marcia Price Foundation O.C. Tanner Company Salt Lake County Shiebler Family Foundation Sorenson Legacy Foundation
State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank
Kahlert Foundation League of American Orchestras
Grand America Hotel* William Randolph Hearst Foundation
Goldman Sachs Janet Q. Lawson Foundation Frederick Q. Lawson Foundation McCarthey Family Foundation Nora Eccles Treadwell Foundation
Charles Maxfield & Gloria F. Parrish Foundation Moreton Family Foundation Schmidt Family Foundation Simmons Family Foundation Utah Office of Tourism
$50,000 TO $99,999 Anonymous AHE/CI Trust Dominion Energy
$25,000 TO $49,999 Arnold Machinery Brent & Bonnie Jean Beesley Foundation Carol Franc Buck Foundation Cache Valley Electric Chevron Corporation C. Comstock Clayton Foundation
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INSTITUTIONAL DONORS
$10,000 TO $24,999 Anonymous B.W. Bastian Foundation Bank of America Caffé Molise* HJ & BR Barlow Foundation Johnson Foundation of the Rockies Marie Eccles Caine FoundationRussell Family
Matthew B. Ellis Foundation Onstage Ogden Orange County Community Foundation Park City Chamber / Visitors Bureau Promontory R. Harold Burton Foundation Regence Blue Cross Blue Shield
Richard K. & Shirley S. Hemingway Foundation S.J. & Jessie E. Quinney Foundation The Christian V. & Lisa D. Young Family Foundation The Joseph & Evelyn Rosenblatt Charitable Fund WCF Insurance W. Mack & Julia S. Watkins Foundation
M Lazy M Foundation Microsoft Corporation Millcreek Coffee Roasters* Morris Murdock Travel Orem City CARE Tax Park City Community Foundation Rancho Market Ray, Quinney & Nebeker Foundation Raymond James & Associates Robert S. Carter Foundation Rocky Mountain Power Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Rotary Club of Salt Lake Salt Lake City Arts Council
Snow, Christensen & Martineau Foundation Spitzberg-Rothman Foundation Summerhays Music Center Tesoro Petroleum Corporation Texas de Brazil* The Fanwood Foundation Western Office The Val A. Green & Edith D. Green Foundation US Bank Utah Autism Foundation Victor Herbert Foundation
$1,000 TO $9,999 AC Hotel Salt Lake City/Downtown* Adib’s Rug Gallery Bambara* Bertin Family Foundation Better Days CBRE City Creek Center Corning Incorporated Foundation D’Addario Foundation David Dee Fine Arts Grandeur Peak Global Advisors Henry W. & Leslie M. Eskuche Charitable Foundation Holland & Hart J. Wong’s Thai & Chinese Bistro*
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ADMINISTRATION ADMINISTRATION Steven Brosvik
Barlow Bradford
Symphony Chorus Director
PATRON SERVICES Faith Myers
David Green
Director of Orchestra Personnel
Merry Magee
President & CEO
Walt Zeschin
Senior Vice President & COO
Julie McBeth
Executive Assistant to the CEO
Collette Cook
Executive Assistant to the Sr. VP and COO & Office Manager
OPERA ARTISTIC Christopher McBeth
Andrew Williams
Orchestra Personnel Manager
Lance Jensen
Executive Assistant to the Music Director Symphony Chorus Manager
SYMPHONY OPERATIONS Cassandra Dozet
Director of Orchestra Operations
Opera Artistic Director
Melissa Robison
Carol Anderson Principal Coach
Program Publication & Front of House Director
Director of Production
Production & Stage Manager
Chip Dance
Michelle Peterson
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Michaella Calzaretta
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Opera Production Coordinator
OPERA TECHNICAL Jared Porter
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Lyndsay Keith
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Properties Master
DEVELOPMENT Leslie Peterson
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Scenic Charge Artist
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COSTUMES Verona Green
Jessica Proctor
Director of Institutional Giving
Costume Director
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Olivia Custodio
Kierstin Gibbs LisaAnn DeLapp
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Tailor
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SYMPHONY ARTISTIC Thierry Fischer
Symphony Music Director
Renée Huang
Vice President of Symphony Artistic Planning
Kathleen Sykes
Marketing Manager - Patron Loyalty
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Andrew J. Wilson
Patron Services Manager
Hallie Wilmes
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Kyle Siedschlag
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EDUCATION Paula Fowler
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Kyleene Johnson
Symphony Education Manager
Annie Farnbach
Symphony Education Assistant
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Anthony Tolokan
Conner Gray Covington
Director of Patron Engagement
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Associate Conductor & Principal Conductor of the Deer Valley® Music Festival
Robert Bedont
Marketing Manager - Audience Development
Nina Starling
Website Content Coordinator We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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PLANNED GIVING
We never know what the future holds, but our eyes have been opened to how crucial planning ahead is. The pandemic has caused many of us to contemplate our legacy, assess our priorities, and plan for the future. Perhaps now more than ever, we recognize how important and meaningful it is to have a place where we can gather as a community to be uplifted and inspired by great music. If you want to ensure the future legacy of Utah Symphony | Utah Opera for future audiences to enjoy, please include USUO in your estate planning.
SUPPORT THE ANNUAL FUND WILL YOU RISE TO THE CHALLENGE? Thanks to a generous matching challenge grant from the Alternative Visions Fund, your donation will go twice as far! Until October 1, all contributions will be matched 1:1 up to a maximum total of $500,000. Make your gift today and double your impact on great live music in our community.
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TANNER AND CRESCENDO SOCIETIES
“YOU ARE THE MUSIC WHILE THE MUSIC LASTS.”~T.S. Eliot
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Leslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY
Beethoven Circle (gifts valued at more than $100,000) Anonymous (3) Doyle Arnold & Anne Glarner Edward R. Ashwood & Candice A. Johnson Dr. J. Richard Baringer Haven J. Barlow Marcy & Mark Casp Shelly Coburn Raymond & Diana Compton Anne C. Ewers
Mahler Circle
Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Virginia A. Hughes Ms. Marilyn Lindsay† Turid V. Lipman
Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Diane Miner Glenn Prestwich Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer
Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffery & Joyce Smith G.B. & B.F. Stringfellow Norman† & Barbara† Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn
Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† JoLynda Stillman Joann Svikhart Frederic & Marilyn† Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean† Henkels Edward R. Ashwood & Candice A. Johnson Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Richard W. & Frances P. Muir Marilyn H. Neilson
Carol & Ted Newlin Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
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UTAH SYMPHONY GUILD OUR MISSION
Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote, and facilitate the operation of the Utah Symphony Orchestra financially, socially, and educatonally. It is our honor to maintain a gift shop throughout the year which raises funds for our orchestra. We have added all our available items to the “online store” and all proceeds go to USUO. We will continue adding events as social distancing requirements allow to aid in rasing funds for our great orchestra. We will sponsor the Youth Guild and outreach violin lessons again this season, and we appreciate your ongoing support of these important community programs. To join or renew your membership in the guild you may go to our web page and fill out the new members information. www.utahsymphonyguild.org Carolyn Abravanel Eva-Maria Adolphi Wendy Ajax Fran & Tom Akimoto Georgia L. Anderson Reva Anderson Margaret Anderson Wirth Linda Babcock Brenda Bailey William Scot Barraclough & Tom D. Camomile Dominic Barsi Randy & Jeni Bathemess Jean E. Barton Charmaine Bauer Suzanne & Clisto Beaty Maxine Beckstead Karol Behling Janet Bennett Heather Benson Eve Bertran-Hales & Don Hales Joan Blanck Rose Marie Breinholt Chip & Anne Browne Nancy Browning & Michael Homer Mary Ellen B. Caine Akemi Call Gertrud Carpenter
Mary A. Carter Renee Christensen Cecile Christiansen Lynne Church Dianne Clark Doyle Clayburn Melou Cline Beth & Boyle Cole Kathleen Coon Peggy Cordon Marcia Cowley-Keen Janet Cox Tom Cox Carolyn Creek-McCallister Susan L. Croft Wendy & John Crossman Kathryn C. Culbertson Robert & Caprene Curtis William and Bonnie Daniloff Frances Darger Marlene Dazley Joyce De Forest & Robert Duke De Forest Laura Diaz Moore Nancy Dietzler Amy Dixon Carol Elliott Judy Emery Jennifer Fairbourn Rosemary Fairbourn
Reece Fawcett Thierry & Catherine Fischer Carolyn Fredin Patricee Annee Gallagher Patricia A. Giovanazzo Marian & Sidney Green Simon Gretsch SandyLee & David Griswold Janet Hales Kathleen Hall Laurie Hallam Gerry Hanni Shirley M. Hanson Carolee Harmon Nancy Hayes Janet Healy Kristin Hill Sally W. Hodel Kathie & Chuck Horman Rebecca & Stephen Howard Leigh Hutchison Isabella Iasella Mateusz Jagiello Darlene Jenkins Carl Johansen Scott Johnson & Rebecca McGarry Beverly C. Johnson Arlene Jonsson Charlotte Jordan Continued on page 36…
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UTAH SYMPHONY GUILD
Ingrid Kaufman Cynthia Kilian Mary Lynn Kinsel Kathy Knowlton Allison Knudson Martin Krueger Kari Landro Angela Laros Lona Mae Lauritzen Nancy Laursen Liz Le Fevre Nora Linscott Wilma S. Livsey Donna Lyon Susan MacIan Carole & Malcolm MacLeod Jennifer & Gideon Malherbe Heidrun I. Mandy Rebecca Marriott-Champion Tonya Marshall Janice Maughan Maybell McCann Camilla McLaughlin Melissa Robison Ann Mentes Julia & Anna Meredith Henriette Mohebbizadeh Heather Moore Karen Morgan Jill Moriearty Sabra Moyes Renate Baron Nebeker Kent & Denise Nelson Bradley & Laurissa Neuenschwander Sylvia Newton Christine Nickerson
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Jean Nielsen Carol Nixon Patti Noel Wilma Odell Delmira & Gary Pactoulick Catherine Paiz Judy Parmelee Barbara Patrick Helen Petersen Ann Petersen Leslie Peterson & Kevin Higgins Marilyn Phillips Mrs. Jane O. Piercey Mary-Margaret Pingree Janis Pope Marilyn Poulsen Sherry Poulson Jeana Quigley Carol & Gunter Radinger Hildegard Rayner Joanne Rich Marilyn Poulsen Gina Rieke Della V. Roberts and Warren Gilmour Lynn Rohland Alene M. Russon Martha Sammond Margaret Sargent Amanda & Jonathan Schmieder Glenda Shrader Nan Sibbett Joyce Skidmore Wilson Dorotha Smart Michele Smith
Dianne R. Smith Rita Smith Donna & Ron Smith Joan J. Smith Janette P. Sonnenberg Carol L. Sonntag Elise Stanley Sandra Steiner Marsh Robert Stephenson & Lisa Byrnes Ramona Sterling Jennifer Stroud Lorraine & Walter Stuecken Joann Svikhart Cayman L. Thomas Deborah Tuttle Shirley Van Wagenen Beth V. Cole and Dr. B. Cole Jenette L. Voss Susan Walles Robert & Tilda Wangerien Miriam H. Waterman Paul & Cynthia Watson Suzanne Weaver Heather Weinstock Susan & Brent Westergard Bonnie White Mr. & Mrs. Frank W. Williams Connie & Glenn Wimer Jerre Winder Pamela Wing Nicole Woodland Ethnie Wright & Hunter Gundersen Betty & Frank Yanowitz Red York Dwan Young
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THANK YOU! During the time when concerts in Abravanel Hall, Capitol Theater, and the Deer Valley Music Festival were cancelled, the Excellence Concert Series featured Utah Symphony and Utah Opera musicians in live streamed concerts from the Gallivan Center. Thank you for featuring our musicians and giving us quality performance opportunities during this difficult time.
ACKNOWLEDGMENTS
UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
Photo Credit: Austen Diamond
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