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UTAHSYMPHONY.ORG / (801) 533-NOTE 5 CONTENTS PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART PRODUCTIONDIRECTOR/MANAGER Jackie Medina GRAPHIC DESIGN Ken Magleby GRAPHIC DESIGN/WEB DEVELOPER Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Dan Miller Paul Nicholas EDITOR Melissa Robison The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801467-8833 Email: advertising@millspub. com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2022 UTAH SYMPHONY SEPTEMBER/OCTOBER 2022 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. 6 Welcome 8 Music Director 10 Board of Trustees 12 Utah Symphony 14 Season Sponsors 50 Donors 53 Support USUO 59 Administration 60 Planned Giving 61 Tanner & Crescendo Societies 62 Acknowledgments Purchase tickets at utahsymphony.org or call 801-533-6683@UtahSymphony HORNMOZART’SCONCERTO NO. 3 SEPTEMBER 9 & 10 / 2022 / 7:30 PM 17 VIOLINKHACHATURIAN’SCONCERTO FINISHING TOUCHES: SEPTEMBER 15, 2022 / 10 AM SEPTEMBER 16, 2022 / 7:30 PM SEPTEMBER 17, 2022 / 5:30 PM 27 CELEBRACIÓN SINFÓNICA: LATIN FIRE SEPTEMBER 20, 2022 / 5 PM (PLAZA FESTIVAL) / 7 PM (CONCERT) 37 TCHAIKOVSKY’SSYMPHONYNO.5 OCTOBER 21, 2022 / 7:30 PM OCTOBER 22, 2022 / 5:30 PM 41 Please scan this QR code with your phone’s camera if you would like to view the digital publication.
THIERRY FISCHER Music Director GREEFF Board of Trustees Chairman
Sincerely,
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6 UTAHSYMPHONY.ORG / (801) 533-NOTE
WELCOME
STEVEN BROSVIK President & CEO
On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Maurice Abravanel Hall and our 2022–23 Season. We are so pleased that you have joined us as we commence our finale season of Thierry Fischer’s remarkable 14-year tenure as Music Director of this outstanding orchestra. Under Maestro Fischer’s leadership, the Utah Symphony has become increasingly recognized as one of the nation’s top orchestras, offering artistic and educational experiences at the highest level. We are part of the economy, artistic fabric, and cohesiveness of our growing community. It is our honor and responsibility to steward this wonderful organization so that it can make a difference in the lives of our citizens. Our vision is to continue creating ever-greater performance experiences for you, our current listeners, while at the same time welcoming new audiences and building passion for the music we perform. We start the season boldly with Thierry leading the orchestra and four horn soloists—including the Berlin Philharmonic’s Principal Horn Stefan Dohr along with Jessica Danz, Edmund Rollett, and Stephen Proser from our own horn section—in a dynamic and virtuosic program of music by Richard Strauss, Mozart, Wagner, Robert Schumann, and John Adams. For our other Masterworks concerts in September and October, the orchestra will be led by esteemed conductors Alexandre Bloch and David Danzmayr and joined by exciting soloists including violinist Nemanja Radulović and pianist Andrew Staupe. Trumpeter José Sibaja and soprano Mónica Ábrego join conductor Enrico Lopez-Yañez and the orchestra for this year’s Celebración Sinfónica concert which will highlight a wonderful variety of Latin American music. Be sure to join us early on the plaza in front of Abravanel Hall for a cultural festival featuring local Latino and Hispanic community artisans. Thank you for your support of Utah Symphony | Utah Opera. We are deeply appreciative of your trust.
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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.
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.
MUSIC DIRECTOR
THIERRY FISCHER Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
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.
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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.
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.
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.
ASSOCIATE CONDUCTOR BENJAMIN MANIS Associate Conductor 308 E 200 S Salt Lake City, UT 84111 | 801.364.3651 info@prierviolins.com | prierviolins.com PROFESSIONAL INSTRUMENTS, BOWS, & RESTORATIONS
Mr. Manis returns to HGO in the 2022–23 season to lead productions of Tosca and El Milagro del Recuerdo.
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.
TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer John Bates Howard S. Clark Kristen Fletcher Richard G. Horne Ronald W. Jibson E. Jeffery Smith HONORARY BOARD Jesselie B. Anderson Kathryn Carter R. Don Cash Bruce L. GeralynRaymondChristensenJ.DardanoDreyfous
ELECTED BOARD Brian Greeff* Chair Doyle L. Arnold* Vice Chair Annette W. Jarvis* Vice Chair and 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 David L. Dee* Barry L. Eden* Senator Luz Escamilla Theresa A. Foxley Brandon Fugal Dr. Julie Aiken Hansen Daniel Dr.JudyBradAbigailThomasStephenHemmert*TannerIrishN.JacobsonE.MagraneW.MerrillMoretonDineshC.Patel
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
10 UTAHSYMPHONY.ORG / (801) 533-NOTE BOARD OF TRUSTEES
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. HenryThomasWilsonWright*C.Wurts
REPRESENTATIVESMUSICIAN Kathryn Eberle* Hugh Palmer* EX OFFICIO Doyle Clayburn Utah Symphony Guild Jennifer Webb Onstage Ogden * Executive Committee Member
LIFETIME BOARD William C. Bailey Kem C. Gardner* Jon Huntsman, Jr. G. Frank Joklik Clark D. Jones Herbert C. Livsey, Esq. Thomas M. Love* David T. Mortensen Scott S. Parker David A. Petersen Patricia A. Richards* Harris Simmons David B. Winder
ThePrincipalGerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara
PERSONNELORCHESTRA Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager
TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Paul Torrisi TROMBONE Mark Davidson Principal Sam Elliot Associate Principal BASS TROMBONE Graeme Mutchler
Thierry Fischer, Music Director
BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James JensEdwardAndrewAllynKellerMerrittTenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith ThePrincipalValA. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore
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Benjamin Manis Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins honorHuntsmanTheConcertmasterJonM.&KarenChair,inofWendellJ. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Laura Ha 2nd ConcertmasterAssociate Claude Halter Principal Second Wen Yuan Gu# Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Sara Bauman~ Erin TinaRebekahLunJosephDavidEvansJiangJohnsonJohnson~ Jennfier Kozbial Posadas~ Veronica Kulig David ShengnanLangrLi Hannah Linz•• Yuki RebeccaAlexanderMacQueenMartinMoench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• Ju Hyung Shin• Bonnie Terry Julie Wunderle
TUBA Alexander Purdy Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric MichaelHopkinsPape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Claudia Restrepo
ThePrincipalEdward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Jessica Danz Principal Edmund Rollett Associate Principal Nate Basinger~ Julia StephenPilant~Proser
ThePrincipalNorman 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
• First Violin •• Second Violin * String Seating Rotates ** On Leave # Sabbatical ~ Substitute Member UTAH SYMPHONY
OBOE Zachary Hammond
VIOLA* Brant Bayless ThePrincipalSue & Walker Wallace Chair Yuan Qi Associate Principal Julie Edwards Joel Gibbs Carl LeslieWhittneyJohnScottJohansenLewisPosadasSjogrenRichards~ CELLO* Matthew Johnson Acting Principal The J. Ryan Selberg Memorial Chair Andrew Larson Acting Associate Principal John Louis-PhilippeAnneWalterEcksteinHamanLee Robillard Kevin PegsoonHannahShumwayThomas-Hollands~Whang
The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
PICCOLO Caitlyn Valovick Moore
GET TICKETS AT NOV 30 – DEC 11 AT THE ECCLES THEATER WINNER! 10 TONY AWARDS INCLUDING BEST MUSICAL®
SEASON SPONSOR MASTERWORKS SERIES SPONSOR FAMILY SERIES SPONSOR SEASON SPONSORS
2022-23
George S. and Dolores Doré Eccles Foundation Board of Directors (l to r): Robert M. Graham , Spencer F. LisaEccles,Eccles Saluting Maestro Thierry Fischer for his inspiring passion for excellence … and his lasting impact in Utah! UTAH SYMPHONY SEASON SPONSOR
ARNOLD MACHINERY ARNOL CONSTRUCTION EQUIPMENT | MATERIAL HANDLING EQUIPMENT | MINING EQUIPMENT | GENERAL IMPLEMENT DISTRIBUTORS ARNOLD MACHINERY COMPANY CONGRATULATES MAESTRO THIERRY FISCHER AND THE UTAH SYMPHONY ON THE OPENING OF THE 2022-23 SEASON SALT LAKE CITY, UT • OGDEN, UT • SPRINGVILLE, UT • BOISE, ID • IDAHO FALLS, ID • TWIN FALLS, ID • PORTLAND, OR • BILLINGS, MT • DENVER, CO • COLORADO SPRINGS, CO GRAND JUNCTION, CO • JOHNSTOWN, CO • WACO, TX • LAS VEGAS, NV • RENO, NV • ELKO, NV • FLAGSTAFF, AZ • PHOENIX, AZ • TUCSON, AZ • JAMESTOWN, ND GILLETTE, WY • CASPER, WY SCOTT BRADLEE’S POSTMODERN JUKEBOX LIFETHEIN PAST LANETOUR NOV 11 IVINS, UTAHTUACAHN AMPHITHEATRE OCT 29-31 JAY LENO NOV 4
UTAHSYMPHONY.ORG / (801) 533-NOTE 17 MASTERWORKS SERIES CONCERT CONDUCTORSPONSORSPONSOR MOZART’S HORN CONCERTO NO. 3 SEPTEMBER 9 & 10 / 2022 / 7:30 PM Maurice Abravanel Hall THIERRY FISCHER, conductor STEFAN DOHR, horn EDMUND ROLLETT, horn JESSICA DANZ, horn STEPHEN PROSER, horn UTAH SYMPHONY
I.
IV.
II.
V.
III.
Konzertstück
Concerto
GUEST ARTIST SPONSOR
R.JOHNSMITH/KEYWAGNERADAMSSCHUMANNMOZARTR.STRAUSS
VI.
horn INTERMISSION
Star Spangled Banner “Ride of the Valkyries” from Die Walküre Short Ride in a Fast Machine in F major for Four Horns and Orchestra, Op. 86 I. Lebhaft II. Romanze. Ziemlich langsam III. Sehr lebhaft STEFAN DOHR, horn; EDMUND ROLLETT, horn; JESSICA DANZ, horn; STEPHEN PROSER, horn No. 3 in E-flat Major for Horn and Orchestra, K. 447 I. Allegro II. Romanza: Larghetto III. Allegro STEFAN DOHR, Ein Heldenleben (A Hero’s Life) Der Held (The Hero) Des Helden Widersacher (The Hero’s Adversaries) Des Helden Gefährtin (The Hero’s Companion) Des Helden Walstatt (The Hero’s Battlefield) Des Helden Friedenswerke (The Hero’s Works of Peace) Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World and Fulfillment)
A native of Santa Fe, New Mexico, Edmund Rollett joined the Utah Symphony in 2014 as Associate Principal Horn, and served as Acting Principal Horn for six seasons. He appears regularly with the Grand Teton Music Festival, and has held Principal positions in the National Symphony of Mexico, and the Mexico City Philharmonic.
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In addition to serving as horn faculty at Westminster College, Rollett is a noted solo and chamber musician, concertizing in Mexico, Europe and throughout the intermountain West. He is a frequent collaborator on the Intermezzo and NOVA chamber series, notably including the Utah premiere and secondever performance of Last Autumn, Michael Hersch’s monumental cycle for Horn and Cello, together with Nori Kishi. Rollett was privileged to study horn under several of the world’s great players and pedagogues, in Chicago with Gail Williams and William Barnewitz, and in Pittsburgh with Dennis Abelson and William Caballero. When not on stage, he enjoys time with his wife and two daughters, serving in church, and exploring the beauty of the Wasatch Front in all seasons.
See page 8 for Thierry Fischer’s profile.
After studying in Essen and Cologne he became Principal Horn of the Frankfurt Opera and Museum Orchestra, and engagements followed with the Bayreuth Festival Orchestra, the Orchestre Philharmonique de Nice, and the Deutsches Symphonie-Orchester of Berlin before, in 1993, he finally became a member of the Berliner Philharmoniker. As a soloist he has collaborated with such conductors as Daniel Barenboim, Bernard Haitink, Claudio Abbado, and Sir Simon Rattle. Along with the Classical and Romantic horn repertoire, he is also interested in contemporary works by Ligeti, Knussen, and Kirchner. Dohr has premiered many horn concertos dedicated to him, including those by Herbert Willi (2008), Jorge E. López (2009), Johannes Wallmann (2010), Toshio Hosokawa (2011), and Wolfgang Rihm (2014). He is also a member of the Ensemble Wien-Berlin, the Philharmonic Octet, and the Horns of the Berliner Philharmoniker. Dohr, who prefers to spend his free time with his family, has taught as a visiting professor at the Hanns Eisler School of Music Berlin and at the Orchestra Academy.
EDMUND ROLLETT Horn STEFAN DOHR Horn
ARTISTS’ PROFILES
Jessica Danz, from Spanish Fort, Alabama, joined the Utah Symphony as Principal Horn in 2021. She received a Master of Music degree from The Juilliard School in 2020 studying with Jennifer Montone, and she holds a Bachelor of Music degree with a minor in Social and Emotional Development as well as a Performer’s Certificate from the Eastman School of Music. Danz has held fellowships with the New World Symphony, National Repertory Orchestra, Music Academy of the West, Texas Music Festival, and Pacific Music Festival. Danz was selected as a winner of the 2019 National Repertory Orchestra concerto competition, won first prize at the 2016 Northeast Horn Solo Competition, and was the recipient of the 2018 International Horn Society Jon Hawkins award.
UTAHSYMPHONY.ORG / (801) 533-NOTE 19
ARTISTS’
Stephen Proser joined the Utah Symphony in 1992. Born in Pennsylvania and raised in Connecticut, Argentina, and England, Proser began his study of the horn at the age of nine under the tutelage of his cousin, Raul Maestro, a professional hornist in Argentina. He completed his undergraduate studies at the Peabody Conservatory of Music in Baltimore, under David Bakkegard, followed by a Master’s degree at Northwestern University under Dale Clevenger. Before coming to Utah, Proser played with the New Orleans Symphony Orchestra and the Alabama Symphony Orchestra, and has also performed with the Chicago Symphony, Pittsburgh Symphony, Milwaukee Symphony, Columbus Symphony, and the Grand Teton Festival, among others. He has also recorded extensively for film and Prosertelevision.serveson the faculty of University of Utah, where he maintains a large and active teaching studio and is a frequent guest as a chamber musician in Salt Lake City for the Nova, and Intermezzo Chamber Music Series and with University of Utah Faculty Chamber Musicians. He and his wife, Susan Kohler, have two children, Matthias and Helena.
JESSICA DANZ Horn STEPHEN PROSER Horn
PROFILES
– Though it was not premiered as a complete, four-day Bühnenfestspiel (stage festival play) until August of 1876, Wagner had been working on parts of Der Ring des Nibelungen since as far back as 1848. He completed the text of the four operas in 1853 (a five-year process itself) and only then began to craft the music, a monumental endeavor that occupied him off and on for another 21 years. It’s no wonder it took so long. Wagner was attempting to realign the operatic cosmos with his “music dramas”, a coinage and concept that purported to guarantee each word in the name would receive equal importance in his new world.
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THE COMPOSER – RICHARD WAGNER (1813–1883)
THE WORLD – Elsewhere in 1876, Custer’s Last Stand occurred at the Battle of the Little Bighorn, the most famous moment in telephonic history happened when Alexander Graham Bell said, “Mr. Watson, come here. I want to see you” and Ibsen’s Peer Gynt was premiered in Norway.
Duration: 5 minutes.
HISTORY OF THE MUSIC
Ride of the Valkyries
THE HISTORY – Act III of Die Walküre begins with the image of a rocky mountaintop flanked by storm-driven clouds. All of Brünnhilde’s Valkyrie sisters wait there in full armor, ready to perform their noble duty—the transportation of fallen heroes to Valhalla on their winged steeds. What follows for the next several minutes is perhaps the most popular music Wagner ever wrote and is certainly still among the most beloved orchestral opera excerpts ever written by anyone. The Ride of the Valkyries is most often heard today in its shorter instrumental iteration, but the operatic version includes the passionate war whoops of the sisters as they scan the mortal battlefields below. It makes for an incredibly exciting listening experience in a live performance and, in the hands of a great director, the dramatic visual possibilities are nearly endless. Though he received many requests, Wagner originally objected to (expressly forbade, in fact) the idea of The Ride taken out of its operatic context and presented as a stand-alone concert work. According to his wife Cosima he considered the proposal an “utter indiscretion” and complained in writing when it was published that way anyhow in the early 1870s. Clearly, at some point, the tide of interest in a concert version of The Ride became too strong to resist, but Wagner managed to hold it back until the full cycle finally premiered in 1876. After that, knowing he would not be able to keep The Ride locked in place much longer, he relaxed his stance on the matter and even succumbed to the temptation himself as a conductor now and then. It is impossible to discuss The Ride of the Valkyries without mentioning how frequently it appears in modern popular culture. From video games to advertising to television shows, this music is everywhere. The most memorable quotation, by far, is the helicopter assault scene of the 1979 film Apocalypse Now, where the cinematic similarities between Brünnhilde’s kin and the Vietnam-era war machines is both stunning and troubling.
THE CONNECTION – Ride of the Valkyries is programmed often by Utah Symphony, in virtually every concert setting. The most recent Masterworks Series performance was in 2011 under Thierry Fischer.
By Jeff Counts
The purpose of this scholarship is to provide financial assistance to students and credit union members whose values and goals reflect the credit union and our outstanding community. In order to qualify for this scholarship, you must be a member of UFirst Credit Union and be currently enrolled in an accredited 2 year or 4 year university or college. Each year, UFirst Credit Union awards $20,000 in scholarships to collegiate students. Those funds are awarded to twelve different individuals: two scholarships in the amount of $5,000, and ten scholarships in the amount of $1,000. Each regular semester (Fall and Spring), UFirst will award six scholarships to qualified applicants. This means that if you are not selected to receive a scholarship in the current semester, you may apply again during a subsequent semester. Awardees may only receive one scholarship over the course of their collegiate career. Scholarship funds will be deposited into the recipients’ accounts to be used as they deem necessary for their schooling needs. Awardees are determined by a committee of UFirst Credit Union employees. Selection is made without regard to applicant’s race, color, national origin, religious belief, sex, marital status, age, sexual orientation, or disability. Must qualify for membership and must have a valid SSN/ITIN to join. Membership requires a $10 minimum deposit which must be maintained in a savings account. All applicable taxes, including any federal, state, or local tax liabilities are the sole responsibility of the winner(s). Applications must be submitted by November 30, 2022. Recipients will be awarded January 3, 2023. UFirst Credit Union may use the name or likeness of scholarship awardees for marketing purposes and/or social media. Other restrictions may apply. Scan QR Code or see our website for full details. Federally insured by NCUA.
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THE HISTORY – Commissioned by Michael Tilson Thomas as a music festival curtain-raiser, Short Ride in a Fast Machine was composed in 1986. A thrilling 4-minute sprint of color and rhythm, this fanfare is built from familiar stuff. From its motoric undergirding to its unpretentious consonance, Short Ride in a Fast Machine refracts the rigors of minimalist technique through the prism of Adams’ own personality. The resulting experience, while fully recognizable as linguistic syntax, also serves up the subjective pleasures that have become a staple of this composer’s singular voice. Speaking of voice, nobody speaks or writes about the music of John Adams better than John Adams. In a brief video on his website, Adams says the following about the genesis of Short Ride in a Fast Machine: “Since I had recently taken a ride in a very fancy Italian sportscar driven by a friend of mine, I had not yet recovered from that rather terrifying experience,” Adams relates, “and it was somewhat still on my brain when I began to think about what kind of fanfare I would write.” With a characteristically impish smile, he continues by saying, “So, Short Ride in a Fast Machine is an evocation of that experience which was both thrilling and also kind of a white-knuckle anxious experience.” Adams refers to the omnipresent woodblock that opens the piece as a “rhythmic gauntlet through which the orchestra has to pass” and uses that “resolute and inflexible pulse” to fragment various attempts by the brass instruments to settle into a proper celebratory state. “It’s only at the end of the piece,” he tells us, “when the woodblock finally stops that the orchestra suddenly feels free, as if it’s the third stage of a rocket that’s finally broken loose of Earth’s gravity.” Though technically demanding, Short Ride in a Fast Machine has earned a place in the standard repertory of orchestras around the world, something very few late-20th century works can boast. THE WORLD – Elsewhere in 1986, the nuclear disaster at Chernobyl occurred, Halley’s Comet visited Earth’s sky, the Space Shuttle Challenger exploded 73 seconds after liftoff, and Auschwitz survivor Elie Wiesel won the Nobel Peace Prize. THE CONNECTION – The most recent performances of Short Ride in a Fast Machine by Utah Symphony where in 2007 under the baton of Keith Lockhart.
THE COMPOSER – JOHN ADAMS (b. 1947) – Whether you call John Adams a minimalist or a post-minimalist or care one whit about the distinction, you can acknowledge that his contributions to the American classical music tradition place him above such stylistic debate. Adams is among the rare but notable spiritual successors to Charles Ives, a man whose eclecticism also defied attempts at easy classification. The music of both men projects a fascination with the conflation of ideas and elements which, for Adams, grew out of childhood experiences in a household where “Benny Goodman and Mozart were not separated.” Through his irreverent charm and boundless productivity, the road from “expressionism” back to plain-old “expression” was open to all.
UTAHSYMPHONY.ORG / (801) 533-NOTE 23
HISTORY OF THE MUSIC Short Ride in a Fast Machine Duration: 4 minutes.
Duration: 18 minutes in three movements.
24 UTAHSYMPHONY.ORG / (801) 533-NOTE HISTORY OF THE MUSIC Konzertstück for Four Horns and Orchestra, Op. 86
THE HISTORY – Tucked neatly in and amongst the titans of this productive moment was a rather odd little duck of a piece. The Konzertstück for Four Horns and Orchestra is as singular now as it was when Schumann composed it. No instrument projected the mood of Germanic Romanticism quite like the horn. Both a beloved relic and a flag-bearer of nationalistic potential, the horn was subtle enough (in the right hands) to span generations of musical thought. Valves were coming into fashion for the horn in the middle years of the 19th century, an innovation which hinted at incredible virtuosic possibilities that Schumann was eager to exploit. He was living in Dresden in 1849 and while there he heard performances by Joseph-Rudolph Lewy, one of the first great masters of the valve horn. The inspiration of those experiences led to the creation of something truly novel in the Konzertstück, a concerto grosso of sorts that placed not one but four horns in front of the orchestra as soloists. Like any good composer of ambition, Schumann chose not just to merely confirm the capabilities of this exciting new instrument, he sought to thoroughly challenge them.
The Konzertstück was written to showcase the talents of the Leipzig Gewandhaus Orchestra horn section but, given how daunting the work still is today, it must have given those poor chaps a fit at the premiere. As feature work for multiple horns, no composer has ever equaled it. Few have even tried. From technical dexterity to high register fearlessness, much is asked of any quartet brave enough to take it on. They must execute the hairpin passage work with grace and courage, all without the safety net of a string section between themselves and the audience. Cast in three fleet movements, the Konzertstück is an exemplar of Schumann’s efforts to tackle more complex formal structures and orchestral configurations. The brief period of good health and creative fertility in the late 1840s would not last, sadly, but its many gems still shine.
THE WORLD – Elsewhere in 1849, gold was discovered in California, Dostoevsky was arrested and nearly executed in St. Petersburg, Edgar Allen Poe died under mysterious circumstances, and Charles Dickens published David Copperfield
THE COMPOSER – ROBERT SCHUMANN (1810–1856) – Robert Schumann’s legacy is defined by two things—his critical catalog of romantic-era masterpieces and his lifelong struggles with physical and mental infirmity. A faulty hand put an end to his dreams of life as a virtuoso pianist, and his deeply troubled mind eventually ended everything else. There were, however, periods of relative calm in the soul of this most tragic of geniuses, and the last half of the 1840s found him “recovered” and producing excellent work. The list from this time includes the Piano Concerto, his one and only opera Genoveva and a dramatic overture to accompany Byron’s Manfred.
THE CONNECTION – The most recent Utah Symphony Masterworks Series performance of the Konzertstück was way back in 2000. Keith Lockhart conducted.
THE WORLD – Elsewhere in 1787, the United States Constitution was signed, Turkey declared war on Russia, and 11 shiploads of convicted criminals left Great Britain with the intention of establishing a penal colony in Australia.
THE CONNECTION – Mozart’s Horn Concerto No. 3 was most recently performed by Utah Symphony in 1983. Joseph Silverstein conducted and Jeffry Kirschen was soloist.
THE COMPOSER – WOLFGANG AMADEUS MOZART (1756–1791) – It is widely known that the move from Salzburg to Vienna in 1781 was among the most important turning points in Mozart’s career. Life under the insulting yoke of the Archbishop Colloredo had become unbearable, a circumstance for which the composer’s own father found little sympathy. In fact, Leopold often took the Archbishop’s side in the running debate over Wolfgang’s career so when Colloredo finally fired Mozart the younger, it put the family relationship under significant strain. Trips home to Salzburg where likely pretty tense for a while after that, but Mozart sought solace in hard work and friendship to keep things light.
Duration: 16 minutes in three movements.
UTAHSYMPHONY.ORG / (801) 533-NOTE 25 HISTORY OF THE MUSIC Concerto No. 3 in E-flat Major for Horn and Orchestra, K. 447
THE HISTORY – What was it like to be friends with an impish genius like Mozart? Was it non-stop pranks, jibes and elbows to the ribs? Joseph Leutgeb could tell you. Leutgeb was an accomplished horn player who spent time in the Salzburg court ensemble while Mozart was there and became close with the composer and his family. Quite close, it turns out, since when Leutgeb moved to Vienna himself in 1877, it was Mozart’s father Leopold he approached for a house loan. Leopold agreed to fund the purchase of the apartment/cheesemonger’s shop, but there is no indication that Leutgeb ever paid him back (or sold a single block of cheese for that matter). The friendship with Wolfgang not only survived, the composer actually defended his friend whenever the issue of non-payment came up. Leutgeb was a master of the valve-less hand horn. The instrument required a lot of physical manipulation to perform chromatic passages and he was a pioneering expert on the “stopping” technique the best players used. Mozart was aware of this, clearly, and the four concerti he wrote for his comrade over the mid to late 1780s all test the virtuosic fences of the day. But back to that question of how a friendship might manifest. It would seem, from the hilarious inscriptions found in the scores of three of the concerti, that these two gentlemen were very tight, and not afraid to laugh at themselves. “Wolfgang Amadeus Mozart,” he wrote of himself in the dedication of the K. 417 concerto, “has taken pity on Leutgeb, ass, ox, and fool in Vienna on 27 May 1783.” Other inserted comments included jabs like: “Try to play at least one in tune!” and “Ah—a billy-goat impression!.” The K. 447 Concerto (No. 3) doesn’t have any of this good-natured ribbing on the page, the same generosity of spirit and genuine respect remain obvious throughout. The slow Romanze movement was written, possibly as a stand-alone gift, in 1783. but the outer movements are more likely from 1787.
THE COMPOSER – RICHARD STRAUSS (1864–1949)
THE HISTORY – Packed in Strauss’ luggage (both kinds—the literal and the figurative) was the score-in-progress for his latest massive tone poem, Ein Heldenleben He had been exploring and, in most ways, perfecting the tone poem genre for over a decade by that point and, though he would write two more after, Ein Heldenleben was the apotheosis of his efforts. In Strauss’ hands, the perceived limits of programmatic orchestral sound were shattered. There was no subject he could not render accurately in music, no scene he could not paint with a hyper-realistic symphonic clarity that threw open the doors of the modern era. Strauss detailed his intentions for Ein Heldenleben in a letter from the summer of 1898. “Since Beethoven’s Eroica is so unpopular with conductors and rarely performed,” he claimed, “I intend to fill the void with a large tone poem called A Hero’s Life.” It is difficult to imagine such a void having actually existed, and harder still to believe Strauss was ever in need of pretexts or contexts for his grandiose aims. He was a man of unbreakable self-assurance and he rarely withered before the bladed pen of a critic. This toughness would be tested by Ein Heldenleben, once it became clear who the hero (not to mention the adversaries) at the center of the drama really was. As he predicted in very notes of the piece itself (see below), reviewers were initially unkind in their assessment of Strauss’ autobiographical music, one calling a “monstrous act of egotism.”
HISTORY OF THE MUSIC Ein Heldenleben, Op. 40 Duration: 46 minutes.
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– The late 1890s found Richard Strauss in high demand as an opera conductor and at the zenith of his creative powers as an orchestral tone poet. His four-year stint at the Bavarian State Opera in Munich, though incredibly fertile compositionally, was coming to a necessary professional end and offers for a new post were lining up nicely. From New York to Hamburg (Mahler’s old job) to Berlin, he had options. In the end, the compensation package and flexible summer composing schedule proposed by the German capital city won out, and Strauss entered this new phase of his career with a great deal of confidence, something he never seemed to lack.
Strauss, newly established in Berlin as one of Germany’s most important musicians, simply shrugged off the charge. He supplied no literal synopsis for the piece, but he did furnish evocative section titles in the score. 1. The Hero (Strauss himself); 2. The Hero’s Adversaries (the very music critics who would attempt to punish him for his various blasphemies); 3. The Hero’s Companion (his beloved wife Pauline); 4. The Hero’s Battlefield; 5. The Hero’s Works of Peace; 6. The Hero’s Retreat from the World and Fulfillment THE WORLD – Elsewhere in 1898, the Spanish-American War was kicked off by the sinking of the USS Maine, the Five Burroughs of New York City were established, the Philippines declared independence from Spain, and Empress Elisabeth of Austria was assassinated in Geneva. THE CONNECTION – Ein Heldenleben appears at least once per decade on Utah Symphony seasons and was most recently presented in 2015 with Thierry Fischer on the podium.
UTAHSYMPHONY.ORG / (801) 533-NOTE 27 MASTERWORKS SERIES CONCERT SPONSOR KHACHATURIAN’S VIOLIN CONCERTO FINISHING TOUCHES REHEARSAL: SEPTEMBER 15, 2022 / 10 AM SEPTEMBER 16, 2022 / 7:30 PM SEPTEMBER 17, 2022 / 5:30 PM Maurice Abravanel Hall ALEXANDRE BLOCH, conductor NEMANJA RADULOVIĆ, violin UTAH SYMPHONY KAIJAKHACHATURIANSAARIAHOBARTÓK Ciel d’hiver (Winter Sky) Concerto for Violin and Orchestra I. Allegro con fermezza II. Andante sostenuto III. Allegro vivace NEMANJA RADULOVIĆ, violin INTERMISSION Concerto for Orchestra I. Introduzione: Andante non troppo - Allegro vivace II. Giuoco delle coppie: Allegretto scherzando III. Elegia: Andante non troppo IV. Intermezzo interrotto: Alletretto V. Finale: Pesante - Presto CONDUCTOR SPONSOR GUEST ARTIST SPONSOR THE LINDA AND DON PRICE GUEST ARTIST FUND
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ALEXANDRE BLOCH Conductor
ARTISTS’ PROFILES
French-born Alexandre Bloch assumed the position of Music Director of Orchestre National de Lille at the start of the 2016–17 season and has been Principal Guest Conductor of Düsseldorfer Symphoniker since September 2015. Recent highlights include debuts with Deutsches Symphonie-Orchester Berlin (concerts and commercial recording with Daniel Müller-Schott), Tiroler Landestheater Orchester Innsbruck, and Gurzenich-Orchester Köln and his acclaimed debut for Opéra de Lyon conducting George Benjamin’s Lessons in Love and Violence. Work with Orchestre National de Lille has included many symphonic programs, a critically acclaimed Mahler cycle, performances at the Festival de St Denis and at the Philharmonie de Paris, Stravinsky’s major ballet scores, and commercial recordings. Earlier seasons have taken him to Orchestre de la Suisse Romande, Orchestra of the National Centre for Performing Arts Beijing and Vancouver Symphony, Musikkollegium Winterthur, Royal Northern Sinfonia, BBC National Orchestra of Wales, and a tour to Kuwait with London Symphony Orchestra. Born in 1985, Alexandre first graduated with diplomas in cello performance, harmony and conducting from Tours, Orléans and Lille. He then entered the Conservatoire National Supérieur de Musique et de Danse de Paris, to further his studies in music writing and conducting. In 2012, he completed his Master’s Degree in Conducting in the studio of Zsolt Nagy, prior to gaining a Diploma and the Sir John Zochonis Junior Fellowship (2012–13 season) at the Royal Northern College of Music. Admired for his musicality, enthusiasm, and energy, his First Prize at the 2012 Donatella Flick LSO Conducting Competition attracted international attention and brought him the opportunity to serve as Assistant Conductor of the London Symphony Orchestra.
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ARTISTS’ PROFILES
Concerto
virtuosity,
Bournemouth
Born in Serbia in 1985, Nemanja Radulović studied at the Faculty of Arts and Music in Belgrade, the Saarlandes Hochschule für Musik und Theater in Saarbrücken, the Stauffer Academy in Cremona with Salvatore Accardo, and the
Winner of the 2015 Echo Klassik Award for Newcomer of the Year, Radulović is an artist who seeks to broaden the boundaries of classical music and has amassed a legion of loyal fans around the world who have enjoyed his performances with many of the world’s leading orchestras. Signed as an exclusive recording artist to Warner Classics in 2021, Radulović’s recent and forthcoming highlights include an extensive European tour with the Russian State Academic Symphony and Andrey Boreyko and a special collaboration with clarinettist Andreas Ottensamer, accordionist Ksenija Sidorova, and pianist Laure Favre-Kahn, performing to audiences at festivals across Germany, Switzerland, and France.
Serbian-French violinist Nemanja Radulović champions the power of music to bring people together with his unique energy and candour, thrilling depth of expression, and adventurous programming. His hotlyanticipated, “magical” (Barry Creasy, musicOMH ) BBC Proms debut in 2019 with the Symphony Orchestra and Kirill Karabits featured a Barber Violin whose “lyric delicacy and last-movement super-virtuosity were caught to near perfection” (The Times).
HISTORY OF THE MUSIC Ciel d’hiver (Winter Sky)
THE WORLD – Elsewhere in 2013, the Boston Marathon bombings occurred, India launched a Mars Orbiter, a powerful meteor explosion near Chelyabinsk in Russia injured 1500 people, and Lance Armstrong finally admitted to doping in all seven of his Tour de France victories. THE CONNECTION – These performances represent the Utah Symphony premiere of Saariaho’s Ciel d’hiver.
Duration: 10 minutes.
THE COMPOSER – KAIJA SAARIAHO (b. 1952) – In addition to a robust and ongoing literary tradition (with a not insignificant emphasis on noirish fiction), the countries that make up Scandinavia continue to produce important classical musicians at a rate that rivals any other part of the world. Conductors and composers are a primary export, and Finland does more than its share. Born in Helsinki and trained at the Sibelius Academy, Kaija Saariaho helped found the “Ears Open” group, a progressive collective of like-minded Finns dedicated to experimentation and freedom from the hide-bound expectations of previous generations. She later entered the IRCAM Research Institute in Paris and there learned many of the electronic techniques that inform her acoustic orchestra writing.
THE HISTORY – Saariaho composed Orion, a suite for very large orchestra, in 2002. In Peter Laki’s program note for the Cleveland Orchestra premiere, he confirmed that “Images of night, dreams, myths, and distant memories have always loomed large in Kaija Saariaho’s work.” The myth, in this case, concerns the mortal son of the sea-lord Poseidon. Orion, a giant who could walk on water and wielded an unbreakable bronze club, was among antiquity’s greatest hunters. He was rewarded in death by Zeus with a place among the stars and the three lights that make up his belt are highly recognizable to even the most casual observer of constellations. As with the celestial belt, Saariaho’s Orion comprises three movements. Appropriately, the first (“Memento mori”) depicts what Laki describes as an “amorphous interstellar space”, while the third (“Hunter”) runs down its prey in a fleet but increasingly uncertain rush. It is from the second movement (“Winter Sky”) that Ciel d’hiver is derived. Saariaho excerpted it for a commission by Musique Nouvelle en Liberté in 2013 and took the opportunity to re-arrange the score for a more conventional orchestra complement. The choice to strip down the forces required to perform Ciel d’hiver have given it new life on concert stages around the world, but almost nothing was lost in the translation. Sound is more than volume, color, and texture for Saariaho. It also contains density, temperature, and liquidity, and this new version of “Winter Sky”, though less expansive, brims with just as much sonic innovation as the original. This is not music of comic observation. No, this is music of cosmic habitation, as if for ten brief minutes the orchestra itself has left the Earth to sample what passes for life in the firmament. In the unpredictable soundscape of Kaija Saariaho’s “open ears”, we learn that it is cold up there. It is lonely. And it is ancient beyond counting.
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By Jeff Counts
THE HISTORY – Unlike a few of his perhaps more famous colleagues who bristled under Soviet supervision in the 1940s, Khachaturian always played the part of the dutiful model Party Man. Even so, he was censured in 1948 with Prokofiev, Shostakovich, and others for writing music that was too advanced for the masses (labeled “formalism” in that it lacked easily perceived extramusical contexts for the common listener). He quickly issued a public apology for his failings and the contrition definitely helped his cause. The effusive score he supplied for a Lenin biopic later in the year didn’t hurt either, so Khachaturian was soon back in good graces. Interestingly, his music changed very little after reinstatement. His scores were as lush, entertaining and multi-lingual as ever, which proves that his inclusion in the 1948 sweep was due to his status as president of the Composers Union, an institution constantly in the crosshairs of the Party censors. Previous to all of this political fuss, however, was the Violin Concerto. Written over the course of two months in 1940 for the venerable virtuoso David Oistrakh, Khachaturian was riding a “wave of happiness” in anticipation of the birth of his son. He poured this “love of life” into the music, as he always did, and the dance-y, folky idioms he favored throughout his career here project his emotional generosity with ease. Oistrakh first played through the solo part at Khachaturian’s cottage for a summer audience of fellow musicians and wellwishers. According to the composer, his muse “played as if he had been practicing it for months, when in fact it was only a few days…” Many years after the premiere, Oistrakh crafted his own cadenza to replace the one Khachaturian originally fashioned, an act the everagreeable composer saw as proof of his soloist’s continued support. “It is an honor for me,” Khachaturian wrote, no doubt with a smile, “to have provoked your creative imagination.”
THE WORLD – Elsewhere in 1940, Mount Vesuvius erupted, the “Great Escape” from Stalag Luft III occured, the United Negro College Fund was founded in America, and Iceland issued its final declaration of independence from Denmark.
Concerto for Violin
UTAHSYMPHONY.ORG / (801) 533-NOTE 31 MASTERWORKS SERIESHISTORY OF THE MUSIC
THE CONNECTION – The rarely performed Violin Concerto of Khachaturian has not been heard on a Utah Symphony concert since 2008. Michael Christie conducted and Karen Gomyo was soloist.
Duration: 35 minutes in three movements. THE COMPOSER – ARAM KHACHATURIAN (1903 –1978) – Born to Armenian parents in the Georgian capital of Tbilisi, Khachaturian was, right from the start, a man of many cultures in the expanding Russian, and later Soviet, sphere of influence. He was surrounded by Armenian, Azerbaijani, and Georgian folk traditions as a child (the “joyous and sad events in the life of the people always accompanied by music”) but did not study music until he moved to Moscow (without knowing how to speak Russian) at 18 to pursue a degree in biology. He found the cello instead and, once he learned how to read music, he could not be talked out of writing it.
Concerto Orchestrafor
THE COMPOSER – BÉLA BARTÓK (1881–1945)
– With the situation in Europe worsening by the day, Béla Bartók sent many of his most important scores abroad and then reluctantly immigrated to the United States in 1940. As an outspoken critic of fascism, the slack in his perceived circle of safety had disappeared as Hungary’s nationalistic government attempted to silence him. Once settled in New York, Bartók began to suffer the first symptoms of his long undiagnosed leukemia that would take him so quickly. He never was fully at home in America (he felt just as underappreciated there as he had in Hungary), but it would be here that he received the 1943 commission that would forever define his place as a 20th century titan.
Duration: 36 minutes in five movements (with pauses).
THE WORLD – Elsewhere in 1944, Operation Overlord, code named D-Day, commences with the landing of 155,000 Allied troops on the beaches of Normandy in France. Paris is liberated from Nazi occupation. Allied troops attempt the largest airborne military operation with Operation Market Garden and Mahatma Gandhi is released from jail.
THE CONNECTION – The Concerto for Orchestra has been a favorite of Music Directors and Guest Conductors alike at Abravanel Hall. Maestro Ilan Volkov conducted it most recently in 2014.
HISTORY OF THE MUSIC
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THE HISTORY – The new work, a Concerto for Orchestra (commissioned by Serge Koussevitzky in memory of his recently deceased wife Natalie), premiered in Boston the following season and would become Bartók’s most popular and important masterpiece. Sadly, it was one of the last pieces he would complete before succumbing to his illness in 1945. In the end, it was a monument not just to Natalie Koussevitzky, but to himself, and it is a pity Bartók never experienced the Concerto’s ascendance to the first rank of 20th century compositions. He didn’t necessarily break new ground with his version of the nonsymphony since Hindemith and Kodály had each already written a Concerto for Orchestra in the previous two decades. It was Bartók, however, who brought a level of perfection to the form and whose masterwork still serves as its finest example. The piece is structured as a large palindrome and Bartók himself often spoke to his Concerto’s “tendency to treat the single instruments and instrument groups” in a “soloistic manner.” Indeed, the writing is highly virtuosic, and every section of orchestra is featured expertly at a time when American orchestral talent was burgeoning under the leadership of many imposing European maestros. “The general mood of the work represents,” he wrote in a brief program note for the premiere, “apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one…” With all the Bartók hallmarks on display—the depthless well of melodic ingenuity, the rhythmic vitality, the formal creativity, the scathing wit (refer here to the “jesting” Bartók mentions in his note and the Shostakovich parody that “interrupts” the Intermezzo movement) this is the work of a genius who was in total, effortless possession of his skills. Not one note is out of place.
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The Music of SymphonyMountain Caricatures of Williaman Track 01: At Work Track 02: At Home Track 03: Atravelin’ Track 04: The Circus Parade
Mountain West Composer Symphony #4 Irretrievable Past William Call Listen and view pdf score FREE by scanning code or visiting williamcall.net/symphony-4
Maurice Abravanel hall
“El Cumbanchero” (Puerto Rico) “Tico-Tico no Fubá” (Brazil) “La Llorona” (Mexico) “Lucía” (Costa Rica) “Huapango” (Mexico) “Libertango” (Argentina) “Bésame Mucho” (Mexico) “Aquarela do Brasil” (Brazil) INTERMISSION “Cachita, for orchestra” (Cuba) “Granada” (Mexico) “Pelea de Gallos” (Chile) “Júrame” (Mexico) “En el Barco Viene Una Rosa” from Cocorí (Costa Rica) “Estrellita” (Mexico) Carmen Suite
SEPTEMBER 20, 2022 / 5 PM (PLAZA FESTIVAL) / 7 PM (CONCERT)
UTAHSYMPHONY.ORG / (801) 533-NOTE 37 SPECIAL CELEBRACIÓN SINFÓNICA: LATIN FIRE
ENRICO LOPEZ-YAÑEZ, conductor JOSÉ SIBAJA, trumpet MÓNICA ÁBREGO, soprano UTAH SYMPHONY HERNÁNDEZ (arr. Albert Gonzales) ABREU (arr. Lopez-Yañez) TRADITIONAL (arr. Lopez-Yañez) VINICIOPIAZZOLLAMONCAYOMEZA (arr. Sibaja) VELÁZQUEZ (arr. Sibaja) BARROSO (arr. Lopez-Yañez) HERNÁNDEZ (arr. Cerón) LARA (arr. Lopez-Yañez) GARRIDO (arr. Lopez-Yañez) GREVER (arr. E. Magallanes) PONCESOTO (arr. Jeff Nevin) BIZET (arr. Lopez-Yañez)
ARTISTS’ PROFILES
José Sibaja es uno de los trompetistas costarricenses más aclamados de su generación con audiencias mundiales y medios de difusión en los géneros de música clásica, latina, jazz y pop. Su carrera abarca desde presentaciones internacionales como solista de orquesta con la Orquesta Sinfónica de Springfield, la Orquesta Sinfónica de Venezuela y la Orquesta Sinfónica Nacional de Costa Rica hasta giras mundiales con Ricky Martin para las giras Vuelve y Livin’ la Vida Loca de Martin. Sibaja toca la trompeta principal con el mundialmente famoso Boston Brass. Recibió su formación musical en New World School of the Arts y la Universidad de Miami y ha ocupado cargos como Trompeta Principal en la Orquesta Sinfónica de Miami, Sinfonietta de Caracas y Orquesta Sinfónica Venezuela. Ha aparecido en los American Music Awards, MTV Video Music Awards, Grammy Awards y Latin Grammy Awards, así como en Conan, Saturday Night Live, The Tonight Show con Jay Leno, The Today Show, Late Night con David Letterman y muchos otros programas de televisión. presentaciones en más de 40 países. Sibaja ha grabado con los artistas Ricky Martin, Alejandro Sanz, Luis Enrique, Rey Ruiz, Marc Anthony, Celia Cruz y Gloria Estefan, entre otros. Sibaja se puede escuchar con Boston Brass en los CD Latin Nights, Reminiscing, Rewired y Simple Gifts del grupo, así como en sus discos en solitario Inner Voice y Spanish Air. Sibaja es un artista intérprete o ejecutante de Yamaha que imparte clases magistrales como clínico en todo el mundo. Es profesor asociado de trompeta en la Blair School of Music de la Universidad de Vanderbilt en Nashville, TN.
Enrico López-Yáñez es el director principal de pops de la Sinfónica de Nashville, donde dirige la serie Pops y la serie familiar de la sinfónica. López-Yáñez se está estableciendo rápidamente como uno de los principales directores de música popular de la nación y se está haciendo conocido por su estilo único de participación de la audiencia. También un arreglista activo, López-Yáñez ha sido comisionado para escribir para la Orquesta Pops de Cincinnati y la Sinfónica de Houston, y sus obras han sido interpretadas por orquestas como la Sinfónica de Detroit, la Filarmónica de Rochester y la Sinfónica de Omaha. Como productora, compositora y arreglista, el trabajo de López-Yáñez se puede escuchar en numerosos álbumes, incluido el álbum benéfico de la UNESCO Action Moves People United y álbumes de música para niños, incluido The Spaceship that Fell in My Backyard, ganador del concurso de composición de canciones John Lennon, Hollywood Music and Media Awards, Family Choice Awards y Kokowanda Bay, ganador de un Global Media Award así como de un Parents’ Choice Award donde López-Yáñez fue elogiado por sus “arreglos pegadizos” (Parents’ Choice Foundation). López-Yáñez ocupó anteriormente el puesto de Director Asistente en la Sinfónica de Nashville y la Sinfónica de Omaha. Tiene una Maestría en Música de la Universidad de Maryland y recibió una Maestría en Música y su Bachillerato de UCLA, donde se graduó summa cum laude.
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JOSÉ SIBAJA Trumpet ENRICO LOPEZ-YAÑEZ Conductor
life and
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UTAHSYMPHONY.ORG / (801) 533-NOTE 39 ARTISTS’ PROFILES
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and experience
Mónica Ábrego es una de las sopranos más destacadas de México. Ha actuado en escenarios de todo el mundo con un repertorio diverso que incluye ópera, lied, oratorio, folklore y música popular. Milisegundo. Ábrego se ha presentado con muchas orquestas como las orquestas sinfónicas de San Diego, Colorado, Iowa, Key West, Delaware, La Jolla, Aguascalientes y Bulgaria. Ha interpretado los papeles de Serpina (La Padrona Serva), Norina (Don Pasquale), Lauretta (Gianni Schicchi), Gilda (Rigoletto), Magda (La Rondine), Violetta (La Traviata), Manon (Manon) y Musetta ( La bohemia), Olimpia (Los cuentos de Hoffmann), Nanetta (Falstaff), Susana (Las bodas de Fígaro), Gretel (Hansel y Gretel), María (Tango Ópera - María de Buenos Aires) y recientemente como Micaela (Carmen). Milisegundo. Ábrego hizo su debut en el Carnegie Hall en 2003 como solista de la compañía Pacific Opera Encore; también ha cantado en el Merking Hall del Lincoln Center y ha continuado actuando en estos lugares en numerosas ocasiones. Su pasión por la música le ha dado la oportunidad de interpretar con orgullo la música tradicional mexicana junto al mariachi Champaña Nevin, tanto en México como en los Estados Unidos, en varios conciertos en el Jacobs Music Center. En 2012, South Winds Productions lanzó su primer álbum My Soul. Su grabación debut incluye bossa nova, música mexicana, teatro musical y tango. Mónica Ábrego es Licenciada en Música por la Manhattan School of Music. Ha recibido premios de la Asociación Nacional de Maestros de Canto de EE. UU. (1998), La Jolla Symphony & Chorus en California (1997-1998), RYLA Rotary International Club (1998) y el Fondo Nacional para la Cultura y las Artes de México (1999- 2002) y la Fundación al Mérito Musical de San Diego (1998-2002). Actualmente vive en la ciudad de Nueva York donde continúa desarrollándose profesionalmente. Soprano
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UTAHSYMPHONY.ORG / (801) 533-NOTE 41 MASTERWORKS SERIES CONCERT SPONSOR TCHAIKOVSKY’S SYMPHONY NO. 5 OCTOBER 21, 2022 / 7:30 PM OCTOBER 22, 2022 / 5:30 PM Maurice Abravanel Hall DAVID DANZMAYR, conductor ANDREW STAUPE, piano UTAH SYMPHONY
64 I. Andante
MUSSORGSKYPROKOFIEVTCHAIKOVSKY No. 3 in C Major for Op.No. 5 in E minor, Op. - con con
Piano and Orchestra,
Allegro II. Andantino III. Allegro ma non troppo ANDREW STAUPE, piano INTERMISSION Symphony
Prelude to Khovanshchina Concerto
42 UTAHSYMPHONY.ORG / (801) 533-NOTE EVELYN
This weekend’s Masterworks concerts mark the annual Evelyn Rosenblatt Artist recognition created to honor a young soloist or conductor of exceptional promise who has an emerging national reputation. The 2022–23 Artist of Distinction is Andrew Staupe, this evening’s talented pianist. This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Andrew Staupe as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Lukáš Vondráček, Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia, and Denis Kozhukhin; violinists Inmo Yang, Stefan Jackiw, Veronika Eberle, Viviane Hagner, Scott St. John, Baiba Skride, and Will Hagen; cellists Narek Hakhnazaryan, Julie Albers, and Matthew Zalkind; and conductors KeriLynn Wilson, Andrew Grams, and Karina Canellakis. The love of great music always played an important role in the life of Evelyn Rosenblatt. As a high school student, Evelyn took the train from Ogden to Salt Lake City every Saturday to study piano. Following her marriage to Joseph Rosenblatt in 1930, she hosted many of Utah Symphony’s musicians and guest artists in her home over the years. These include Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould, and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004. Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.
EVELYN ROSENBLATT
ROSENBLATT YOUNG ARTIST
Danzmayr also serves as Music Director of the creative and unique Pro Music Chamber Orchestra, an orchestra comprised of musicians from all over the US. Here, he regularly commissions worldrenowned composer/performers to appear in the first performances of their works alongside the great classics, a mission that extends the creative spirit of classical music and places the core repertoire in a modern context. David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. Danzmayr was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy.
ARTISTS’ PROFILES
ANDREW STAUPE Piano DAVID DANZMAYR Conductor
Pianist Andrew Staupe is emerging as one of the distinctive voices of a new generation of pianists. Staupe has appeared as soloist with the Baltimore Symphony, San Diego Symphony, Minnesota Orchestra, Houston Symphony, Fort Worth Symphony, Colorado Symphony, Indianapolis Symphony, Utah Symphony, Arkansas Symphony, Tallahassee Symphony, and many other orchestras throughout the United States. He has collaborated with distinguished conductors Osmo Vänskä, Bobby McFerrin, Jahja Ling, Gerard Schwarz, Andrew Litton, Cristian Măcelaru, Larry Rachleff, Lucas Richman, Rossen Milanov, Daniel Hege, and Josep Caballé-Domenech. He has performed across the United States and extensively in Europe, appearing in Russia, Holland, the Czech Republic, Austria, Hungary, Latvia, Romania, France, Germany, and Bulgaria. On tour in Europe, he has appeared in distinguished concert venues including the Concertgebouw in Amsterdam, Rachmaninov Hall in Moscow, the Salle Cortot in Paris, and the Ateneul Român in Romania.
David Danzmayr is widely regarded as one of the most talented and exciting European conductors to emerge from his generation. As the newly appointed Music Director of the Oregon Symphony, Danzmayr began his tenure there at the start of the 2021–22 season. Following a very successful tenure as Chief Conductor of the Zagreb Philharmonic Orchestra, Danzmayr was appointed Conductor Laureate, the youngest ever to hold this title in the orchestra´s history. Performing regularly to sold-out audiences in Zagreb´s Lisinski Hall and having been awarded the Zagreb City Award, Danzmayr and his orchestra also repeatedly toured to the Salzburg Festspielhaus, where they received standing ovations performing the prestigious New Year’s concert, and to the Wiener Musikverein.
Deeply committed to teaching, Staupe is an Assistant Professor of Piano at the University of Utah, and gives frequent master classes around the country. A native of Saint Paul, Minnesota, he earned his Doctorate at Rice University with Jon Kimura Parker, and studied at the University of Minnesota with Lydia Artymiw.
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44 UTAHSYMPHONY.ORG / (801) 533-NOTE
By Jeff Counts
THE WORLD – Elsewhere in 1874, Denmark granted Iceland a constitution and limited home rule, Far from the Madding Crowd was published by English novelist Thomas Hardy, and cartoonist Thomas Nast first symbolized the American Republican Party with the image of an elephant.
THE COMPOSER – MODEST
THE CONNECTION – The Khovanschina Prelude has been performed rarely by Utah Symphony, most recently in 1992 under the baton of Joseph Silverstein.
HISTORY OF THE MUSIC
THE HISTORY – 1874 was not without some good news for Mussorgsky. Boris Godunov premiered with great public success that year, which for another artist might have signaled a professional pinnacle. But Mussorgsky was highly sensitive to the critical reactions to Boris, which ran counter to those of the audience and included some particularly harsh words from his colleague Cesar Cui. Mussorgsky was already lamenting the steady disintegration of The Five (the group of influential composers who defined a nationalistic Russian sound in the mid-19th century), calling them “traitors” in his letters, so the rebuke from a member of his squad hit very hard. Though incomplete at the time of his death in 1881, the opera Khovanshchina (The Khovansky Affair) may have provided a measure of intellectual solace for Mussorgsky. He began his slow work on it in 1872 and by 1874 had sketched out the present prelude in piano form. “The Introduction to Act I,” he wrote to a friend, “—dawn over the Moskva River, the matins of the cock-crow, the patrol, the taking down of the gate chains—and the first incursions into the action are already prepared.” Prepared, perhaps, but even Mussorgsky had to admit that the “incursions in the action” were not yet written down. He labored over the project for the rest of his short life, but its realization and orchestration were left to others, Rimsky-Korsakov most notably. The story of the drama centers on Peter the Great and his palace intrigues with the various groups bent on preventing his rise to ultimate power. Prince Ivan Khovansky was a leader of the old nobility who, along the implacable churchmen and the accommodating “Europeans”, is crushed under Peter’s boot. Though you wouldn’t know it from its peaceful introduction, the opera depicts a distinctly Russian (and distinctly current) struggle between old and new, and the brutal price such a conflict extracts from the combatants.
Introduction to Khovanshchina
Duration: 5 minutes.
MUSSORGSKY (1839–1881) – If melancholy were a job, Mussorgsky would have enjoyed a very successful career. Haunted by the loss of his dear friend, Victor Hartmann (the inspiration for Pictures at an Exhibition) and left alone after his roommate Arseny GolenishchevKutozov moved out of their tiny shared flat to get married, Mussorgsky in 1874 was drinking a lot and wallowing in the misery of his own mortality. The departure of his friend Golenishchev-Kutozov was particularly tough on the composer, as the two companions (who were distant relatives) had shared a bond over the gloomy poetry Arseny wrote. In fact, the pair of song cycles Mussorgsky composed with Arseny’s words have titles that capture his mood at the time perfectly— Sunless and Songs and Dances of Death
UTAHSYMPHONY.ORG / (801) 533-NOTE 45 HISTORY OF THE MUSIC
Piano Concerto No. 3 Major, Op. 26
Duration: 27 minutes in three movements.
THE WORLD – Elsewhere in 1921, the Irish War of Independence ended in a truce, the Tulsa Race Riot occurred, the infamous Sacco and Vanzetti trials concluded, and Communist political parties began forming throughout Europe.
THE HISTORY – The rather grim summation of “nil” fails to take two things into account, at least in hindsight. Both The Love for Three Oranges and the 3rd Piano Concerto had succeeded nicely in Chicago that previous December. Nice success was only the first global impression of the concerto, however, as European audiences would soon proclaim it the finest yet of Prokofiev’s concerti. Much of the thematic material for the concerto was taken from older sketches and unfinished projects, some of which dated as far back as 1913 (and maybe even earlier). Most intriguing of the repurposed music was the “white” string quartet (white meaning composed without accidentals or “black” piano keys) that Prokofiev challenged himself to write but was forced to abandon as overly difficult (not to mention a little arch as compositional ideas go). Two themes from the second movement of the quartet found their way into the finale of the new concerto. Prokofiev completed the piece in 1921 while vacationing in coastal France and, perhaps in an effort to give it one last shot in America, he returned there for the premiere in December of 1921. Both the 3rd Concerto and The Love for Three Oranges earned positive, if measured, receptions in Chicago but neither garnered any support whatsoever from the New York critics two months later. Prokofiev modestly recalled his works being “splendidly accepted by the audience” in New York but likened their critics to a “pack of dogs” hell bent on “tearing his trousers to shreds.” With responses like that, it’s little wonder that Prokofiev set to packing for Europe right away. He found what he was looking for on the other side of the Atlantic, in Paris specifically, where his incredibly enchanting and inventive concerto quickly gained its aforementioned confirmation as a truly great 20th-Century exemplar of the form. France, though equally baffling to him at times, would prove a stylistic turning point for Prokofiev on his slow but steady march home to Russia, torn trousers and all.
THE COMPOSER – SERGE PROKOFIEV (1891–1953) – Prokofiev’s American years (the years when he lived here, rather than just toured here) were a disappointment. Though he performed often as a pianist and composed important pieces during the period, he never felt fully understood by American audiences or critics. Prokofiev had attempted to capture the same lightning that Rachmaninoff seemed to so effortlessly ignite in North America, and he had the goods to back up the ambition, but his results were never better than mixed. At least he met his future wife Lina in America, but the two left for Europe for good in 1922 with “nil” to show for his final season here.
in C
THE CONNECTION – Prokofiev’s Piano Concerto No. 3 last appeared on the Masterworks series in 2014 with Conrad Tao as soloist and Thierry Fischer on the podium.
THE CONNECTION – Tchaikovsky 5 was last performed by the Utah Symphony on the Masterworks Series in 2016. Thierry Fischer conducted.
TCHAIKOVSKY (1840-1893) – Like most of the snapshot moments of Tchaikovsky’s life (and so many other of our most beloved composers it seems), the year 1888 could be accurately remembered for either its professional successes or its personal setbacks. He was awarded a lifetime pension that year by Alexander III and was enjoying recognition across the musical map, but he was also reeling from the loss of his friend Nikolai Kondratiev and what he considered his own “final illness”. Expecting the end to come at any moment during these up and down times, Tchaikovsky had drafted his will two years earlier. New triumphs were just around the corner, in America no less, but there was no telling him that. THE HISTORY – Though 11 years separate the 4th and 5th Symphonies, Tchaikovsky was by no means idle during that stretch in his orchestral pursuits as a composer. He wrote a few thrilling suites (of which two could have been rightly called a symphony) and the unnumbered Manfred Symphony. As his official return to the form, the 5th Symphony was not as explicitly “programmatic” as the 4th, though many have tried to pin similar notes to its coat. The impulse was not wholly without reason or possible evidence. It still isn’t. Tchaikovsky’s own notes on early sketches of the new symphony speak of a “complete resignation before fate” and “the predestination of Providence.” He also wrote of “reproaches against XXX” and asked whether or not he should “throw [himself] into the embraces of faith?” These are tantalizing fragments of thought, real ones, and they almost match the mood of the symphony’s opening movement. The mention of “fate,” whether in the Beethovian sense or something much more personal, surely needs no introduction as a lifelong obsession of Tchaikovsky’s. But what in the world was “XXX?” Tchaikovsky’s diaries contain the frequent use of codes like “X” and “Z” when he wished to be coy about something, but the hidden subjects (homosexuality? gambling addiction? something else?) represented by these sterile designations have never left the realm of theory. In the end, he might well have had a narrative in mind for Symphony No. 5 but simply abandoned it. “A wonderful programme,” his notes on the sketch also stated, “if only it could be fulfilled.” Perhaps it couldn’t be. Regardless, the music does not believably match the suppositions. There is far too much conquering will (and too little resignation) in the score to see it as a journey past Tchaikovsky’s many personal demons, before which he was not done cowering in 1888.
46 UTAHSYMPHONY.ORG / (801) 533-NOTE HISTORY OF THE MUSIC
Symphony No. 5 in E minor, Op. 64
Duration: 44 minutes in three movements.
THE WORLD – Elsewhere in 1888, Wilhelm II was crowned German Emperor, Jack the Ripper was terrorizing London, Louisa May Alcott died of a stroke, and Vincent Van Gogh famously removed a portion of his ear.
THE COMPOSER – PIOTR ILYICH
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62ND ANNUAL SALUTE TO YOUTH WEDNESDAY, NOVEMBER 23 - 5:30 PM The 2022-23 Salute to Youth Concert will be the biggest celebration of youth musicians to date. For the first time in its history, this concert will feature not only talented student soloists, but also high-school juniors and seniors playing side-by-side with Utah Symphony musicians on the second half of the concert. Please join us for a magical evening To learn more about Salute to Youth visit UtahSymphony.org/SaluteToYouth
Na’Zir McFadden
guest conductor
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SYMPHONY OPERATIONS
Jeff F. Herbig Properties Manager & Assistant Stage Manager Lyndsay Keith Operations Manager Robyne Anderson 2nd Assistant Stage Manager OPERA ARTISTIC
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 - Audience Development Nina Starling Website Content Coordinator Ellen Lewis Marketing & Communications Coordinator PATRON SERVICES Faith Myers Director of Patron Engagement Jaron Hatch Patron Services Manager
Kyleene Johnson Symphony Education Manager Beth Foley Opera Education Assistant Paul Murphy Symphony Education Assistant OPERA TECHNICAL Kelly Nickle Properties Master Dusty Terrell Scenic Charge Artist COSTUMES
Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Director of Production Ashley Tingey Production Coordinator DEVELOPMENT
utah
Anthony Tolokan Artistic Consultant Barlow Bradford Symphony Chorus Director Walt Zeschin Director of Orchestra Personnel Hannah Thomas-Hollands Orchestra Personnel Manager
Morgan Moulton Artistic Planning Manager
Isabella Zini Artistic Planning Coordinator & Assistant to the Music Director
We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | opera
ADMINISTRATION
UTAHSYMPHONY.ORG / (801) 533-NOTE 59
Steven Brosvik President & CEO David Green Senior Vice President & COO Micah Luce Director of Human Resources & Organizational Culture
Cassandra Dozet Director of Orchestra Operations Melissa Robison Program Publication & Front of House Director Chip Dance Production & Stage Manager
Steve Hogan Vice President of Finance & CFO
Janae Graham Patron Services Operations Assistant Genevieve Gannon Group Sales Associate Alicia Ross Val Tholen Sales Associates Lorraine Fry Naomi Newton Ian AnandaPainterSpike Ticket Agents
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
Thierry Fischer Symphony Music Director
ADMINISTRATION
.
ACCOUNTING & INFORMATION TECHNOLOGY
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 Nyssa Startup Wardrobe Supervisor & Rentals Assistant Lisa Ann De Lapp Rentals Assistant Aoibheann Herrmann Rentals Assistant & Stitcher Lauryn Nebeker Sally McEntire Stitchers
Leslie Peterson Vice President of Development
SYMPHONY ARTISTIC
Julie McBeth Executive Assistant to the CEO
Jessica Proctor Director of Institutional Giving Heather Weinstock Director of Special Events & DVMF Donor Relations
Find out 801-869-9012more:| usuo.giftplans.org Utah Symphony | Utah Opera is grateful to all those who help provide for the future of great live music in our community by including USUO in their financial and estate planning. If the pandemic has caused you to think about your legacy and instilled a desire to share what you love with generations to come, please join USUO’s Tanner and Crescendo Societies. Contact our development department or go online for more information about how to quickly and easily designate USUO as a beneficiary of your will, retirement account, life insurance policy, or if you have any other questions. Leave a Legacy. Ensure the future. MAKE A PLANNED GIFT TODAY
TANNER SOCIETY OF UTAH SYMPHONY
Mr.Anonymous&Mrs.William C. Bailey
Carol & Ted Newlin
Compton Anne C. Ewers Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., RobertM.D.&Diane Miner Glenn KennethPrestwichA.†&Jeraldine S. Randall
ARE THE
THE
Beethoven Circle (gifts valued at more than $100,000)
CRESCENDO SOCIETY OF UTAH OPERA
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 RaymondCoburn&Diana
Mahler Ms.VirginiaRichardRobertPaulMr.Dr.Eva-MariaAnonymousCircle(3)AdolphiRobertH.†&MarianneHardingBurgoyne&Mrs.KennethE.Coombs(Hap)&Ann†Green&CaroleeHarmonG.&Shauna†HorneA.HughesMarilynLindsay†
Turid V. Lipman Herbert C. & Wilma Livsey Dianne May Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson
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
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 MUSIC WHILE LASTS.”MUSIC ~T.S. Eliot
TANNER & CRESCENDO SOCIETIES
Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate Pleaseplanning.contactLeslie Peterson at lpeterson@usuo.org or 801-869-9012 for more information, or visit our website at usuo.giftplans.org.
Patricia A. Richards & William K. Nichols
UTAHSYMPHONY.ORG / (801) 533-NOTE 61
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
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
62 UTAHSYMPHONY.ORG / (801) 533-NOTE ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR Melissa Robison HUDSON PRINTING COMPANY 801-486-4611Salt241www.hudsonprinting.comWest1700SouthLakeCity,UT84115 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
ADVERTISING CREATIVE & BRANDING SERVICES PROVIDED BY Struck, Salt Lake City / Portland
Photo Credit: Austen Diamond
Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.
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