Brahms' Symphony No. 2

2016–17 UTAH SYMPHONY SEASON / JAN – FEB

COVER

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Contents

January & February 2017 Performances Purchase tickets at utahsymphony.org or call 801-533-6683

6 Welcome

JANUARY 6–7 | 7:30 PM

8 Utah Symphony

TCHAIKOVSKY’S VIOLIN CONCERTO

10 Board of Trustees 15 Music Director 16 Ghost Light

JANUARY 13 | 10 AM

17 Access to Music 18 Support USUO

JANUARY 13–14 | 7:30 PM

19 Legacy Giving

TRISTAN AND ISOLDE

20 Tanner & Crescendo Societies 22 Composing History 25 Who we Are

JANUARY 18 | 7:30 PM

29 Tagged & Hashtagged!

SERENADE FOR STRINGS

30 Season Sponsors 31–38 Today’s Concert(s) FEBRUARY 3–4 | 7:30 PM

BRAHMS’ SYMPHONY NO. 2

41 Season Honorees 44 Corporate & Foundation Donors 46 Individual Donors 50 Utah Symphony Guild 54 Administration

FEBRUARY 10–11 | 7:30 PM

59 House Rules

JERRY HERMAN: THE BROADWAY LEGACY CONCERT

60 A Post-Concert Talkback…

63 Education 64 Acknowledgments

FEBRUARY 17–18 | 7:30 PM

MOZART’S REQUIEM

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

FEBRUARY 24–25 | 7:30 PM

BRAHMS’ SYMPHONY NO. 4

@UtahSymphony

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

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ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Ruth Gainey EDITOR Melissa Robison

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 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 2017

5

Welcome

Photo Credit: Brandon Flint

Did you know that, in addition to the more than 100 subscription concerts and operas at our home venues every year, we perform a combined total of 240 symphony education concerts and in-school opera presentations?

And that nearly one-third of our total audience is comprised of students? Utahns have long recognized that a person’s quality of life rests, in part, on the community’s commitment to the arts to inspire the human spirit and motivate the betterment of mankind.

Utah Symphony | Utah Opera reflects this value through a deep commitment to education and strives to impact every urban and rural community in the state with our education and outreach programs.

Our annual Fifth-Grade Concerts represent a great example of this commitment. In the months of February and March, nearly 20,000 fifth-grade students will attend special concerts in Abravanel Hall. The concerts embody themes that relate to other fifth-grade curriculum concepts, and teachers receive classroom materials as well as personal visits from volunteer docents to help prepare students. These concerts are just a few of the many programs we offer to every public school in the state of Utah over a three- to five-year cycle. Our efforts

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are focused primarily towards underserved districts and are available free of charge to supplement the core music curriculum for Utah students. Last year, we served over 143,000 students with our symphony and opera education programs.

Much credit goes to the Utah State Legislature, which values these programs and provides over one-third of the support towards their cost. The remainder of that credit goes to our many individual donors, corporate sponsors and foundation sponsors who cumulatively match the state’s support.

Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music!

Sincerely, Paul Meecham President & CEO

Thierry Fischer Symphony Music Director

David Petersen Chair, Board of Trustees

UTAH SYMPHONY

456 Trolley Square Salt Lake City, Utah 84102 801.359.2020 www.thespectacle.com

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

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Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

CONTRABASSOON Leon Chodos

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal

Jennifer Rhodes

HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Nathan Lutz Interim Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

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GEORGE S. AND DOLORES DORE EcCLES F

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SLCRDA

excellenceconcerts.org • 801 718 3862

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew S. Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik

Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards

Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

Burton L. Gordon Richard G. Horne Warren K. McOmber

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles

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 Ardean Watts

NATIONAL ADVISORY COUNCIL 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.)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO

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MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH SYMPHONY

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Music Director

Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.

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

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning.

In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence.

Guesting in the past couple of years has also included Boston Symphony, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducts the Sao Paulo Philharmonic—his first visit to South America.

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 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

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(801) 533-NOTE

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Ghost Light

The stage is dark, but the conversation is just beginning.

Listen in on conversations related to our performances and performers with the Utah Symphony’s new podcast, The Ghost Light. Each episode is 10–15 minutes long (perfect for a commute!) and focuses on topics related to the orchestra and classical music. The podcast is now 14 episodes in and past episodes have included conversations with Thierry Fischer, Mary Anne Huntsman, Mike Pape, Paul Meecham, and Christopher McBeth. The Utah Symphony’s General Manager and Vice President of Operations, Jeff Counts, hosts each episode.

If you were to walk on the stage in Abravanel Hall or Capitol Theater when the venue was closed and no one was there, you wouldn’t be alone in the dark. A ghost light is a single bulb that is left on and placed on the stage after each performance.

There are different explanations for ghost lights, which is a tradition in most venues. Some believe it keeps ghosts away from the stage. Others think it appeases the ghosts and keeps them happy. The pragmatic see it as an important safety measure to keep people from falling over things that have been left on stage (or off the stage itself!). In that spirit, each episode includes a bonus feature—a ghost story!

You can now subscribe to Ghost Light via iTunes, Stitcher, or SoundCloud or search for “Utah Symphony” in your podcast app. New episodes are released each Monday.

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UTAH SYMPHONY

Access to Musis

A Concert for Children with Special Needs and their Families Thursday, January 26, 2017 | 7 PM | Capitol Theater 50 West 200 South Salt Lake City Utah Symphony | Utah Opera offers an annual concert for children with special needs and their families. We present this concert because we know that many families with children with special needs have difficulty attending cultural events together.

We feature the Utah Opera Resident Artists with the Utah Symphony on the Capitol Theater Stage this special concert.

This concert is FREE but registration is required.

Children with special needs of ANY age are welcome to attend.

The doors of Capitol Theater will open at 6:30PM, and the concert will begin at 7PM. Seating is general admission.

After the concert, please join us for cookies in the lobby. (Unfortunately, we cannot accommodate special allergies) To register visit www.usuo.education.org/specialneeds.

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(801) 533-NOTE

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Support USUO

Utah Symphony Associate Conductor Rei Hotoda and members of the orchestra perform at a high school in Utah County.

Thank you for joining Utah Symphony | Utah Opera for a winter of stunning music. We sincerely appreciate your support as a patron! We ask that you take that support a step further, with a donation to our Annual Fund. In addition to our main-stage performances, our education and outreach programs allow us to connect with over 140,000 children across the state of Utah every single year. We visit each of Utah’s 41 school districts on a three- to five-year rotation.

We also perform in the community for a variety of audiences, including those with autism, vision impairment, memory loss, and other special needs. In our 2015–16 season alone, Utah Symphony’s musicians and Utah Opera’s Resident Artists performed in 99 community collaborations.

To offer our education and outreach programs free of charge and to keep our tickets affordable, we rely on donations from patrons like you. Please donate today by visiting usuo.org/give or by calling our Development staff at 801-869-9015.

T H e a r T o f g o o d e aT i n g .

D o w n to w n

60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com

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UTAH SYMPHONY

Legacy Giving

There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider.

From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come.

You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrow’s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education.

Your gift will make a difference.

To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

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Tanner & 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 Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 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 Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

Grace Higson† Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall

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

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dianne May Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson

Thomas A. & Sally† Quinn Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace†

Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased

UTAH SYMPHONY

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Composing History:

Why orchestras commission

By Jeff Counts

“The creation of new music is important to the Utah Symphony and we take great pride in the ambitious legacy of ‘living’ art we are building.”

These are the words of Music Director Thierry Fischer, spoken last season before the world premiere performance of Switch

by Andrew Norman. At the time, Switch was the second of three commissions

by American composers planned for performance, live recording and album release as part of the orchestra’s 75th Anniversary celebrations. Big projects such as these are common during celebratory seasons and many orchestras choose landmark anniversary years for expensive but artistically-rewarding work like touring, recording and commissioning.

Of those three ideals, the commissioning of a new work, in particular, is the most immediately apt way to commemorate something important and has been for as long as orchestras and art music have existed. Most ensembles, however, have commissioning strategies that go beyond the memorialization of specific dates or events.

Regular, active relationships between living composers and orchestras can enrich the culture of a city in many ways, thanks to the immersive process that each new piece demands of its creator. Composers, like embedded reporters, must exist for a time alongside the orchestra that hires them, sometimes quite literally, as they learn its strengths, its trajectory and general artistic personality.

If, like in the case of the Jarrell/Leleux commission (February 24–25), a soloist is involved, the role of the composer as a

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translator of multiple perspectives is even more pronounced. Utah Symphony has been exploring this fertile collaborative ground on an annual basis for several years now and, as a result, has curated a fairly comprehensive study of this century’s symphonic voice as it currently stands.

Each commissioned composer has interacted with Maestro Thierry Fischer throughout the development of their music and the conversations helped make certain the end result matched the overarching vision of great music played with excellence, regardless of when it was written. The composers don’t likely know that they are part of a grand plan but they don’t need to. Their job is to make something new and thrilling that reflects the aspirations of their benefactor/muse, even though they know full well that fresh ideas have always been potentially frightening for an audience. We must never forget that Beethoven’s 2nd Symphony was likened to a “wounded dragon” that “refuse[d] to die” during its premiere.

Thankfully, Maestro Fischer understands that commissions are a critical component of any healthy orchestra’s identity and remains undaunted. “It is not enough simply to interpret history,” he has stated, “we must also help make history.”

Jeff Counts is General Manager and Vice President of Operations for Utah Symphony.

He hosts a regular podcast called “Ghost Light” and writes regularly for Utah Opera.

UTAH SYMPHONY

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2016/17 UTAH SYMPHONY SEASON

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March 21

2017 / 7:30 PM / ABRAVANEL HALL PINK MARTINI guest artists

SPEND A COLORFUL AND CLASSY EVENING with Portland’s favorite “little orchestra” as they join the Utah Symphony in Abravanel Hall to perform their cosmopolitan blend of vintage pop, jazz, classical and global styles.

Reserve your seats today!

801-533-NOTE (6683) / UTAHSYMPHONY.ORG SE A SON SPONSOR:

Who We Are

Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round professional orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra.

Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony performed the nationally covered Mighty 5® Tour in 2014, visiting all five national parks

in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall.

Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support.

In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 140,000 students annually from all Utah school districts in more than 240 educational outreach performances and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.

Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts.

6:45 PM in the First Tier Room, Abravanel Hall

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/upcoming concerts Pokémon: Symphonic Evolutions March 4, 2017 / 7:30 PM / ABRAVANEL HALL Jeron Moore, lead creative Chad Seiter, composer

Susie Benchasil Seiter, conductor

Executive Producer: Princeton Entertainment Organization/Ed Kasses.

Brought to life by the Utah Symphony, Pokémon: Symphonic Evolutions gives fans and newcomers of all ages the chance to experience the evolution of the Pokémon franchise like never before. Meet up with friends of all ages to catch, battle and trade Pokémon from your favorite games. Enjoy all-new orchestral arrangements and carefully timed visuals drawn from recent and classic Pokémon video games.

Pink Martini with the Utah Symphony March 21, 2017 / 7:30 PM / ABRAVANEL HALL Pink Martini, guest artist

Spend a colorful and classy evening with Portland’s favorite “little orchestra” as they join the Utah Symphony in Abravanel Hall to perform their cosmopolitan blend of vintage pop, jazz, classical and global styles.

The Mozart Experience WITH Magic Circle Mime Co. March 18, 2017 / 11 AM / ABRAVANEL HALL Magic Circle Mime Company

Experience a one-of-a-kind morning at the symphony, with this double threat of classical entertainment. The performers of the Magic Circle Mime Company join forces with the Utah Symphony to act out the tale of Mozart’s life as it’s relived by a mischievous street performer.

It’s a show you have to hear to appreciate and see to believe.

An Evening of Bach March 24 & 25, 2017 / 7:30 PM / ABRAVANEL HALL Richard Egarr, conductor & piano Mercedes Smith, flute Madeline Adkins, violin

J.S. BACH J.S. BACH J.S. BACH J.S. BACH

Orchestral Suite No. 3 Brandenburg Concerto No. 5 Piano Concerto in D Minor Orchestral Suite No. 4

MASTERWORKS

FAMILY

ENTERTAINMENT

SPECIAL

Pictures at an Exhibition April 7 & 8, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor

ELGAR ELGAR RAVEL/BOULEZ MUSSORGSKY/ RAVEL

Fumiaki Miura, violin

Pomp and Circumstance March No. 1 Violin Concerto Frontispice Pictures at an Exhibition

Bronfman plays Beethoven Piano Concerti 3 & 4 April 14 & 15, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor

BEETHOVEN BERG BEETHOVEN

Yefim Bronfman, piano

Piano Concerto No. 3 Three Pieces for Orchestra Piano Concerto No. 4

The Spy Who Loved Me April 21 & 22, 2017 / 7:30 PM / ABRAVANEL HALL Randall Craig Fleischer, conductor

Rachel York, vocalist

Be carried away to exotic locations with fast cars and scheming villains as you experience your favorite spy themes performed live by acclaimed Broadway star Rachel York and the Utah Symphony. Enjoy music from Skyfall, Goldfinger, Austin Powers, Mission Impossible, Pink Panther, Get Smart, and more.

Gershwin’s Magic Key FROM Classical Kids Live!

April 22, 2017 / 11 AM / ABRAVANEL HALL Rei Hotoda, conductor

Classical Kids Live!

This educationally-entertaining theatrical symphony will have all ages smiling as the extraordinary life and music of Gershwin take center stage. Lighting, costumes, props, and serious talent create an engaging look at one of the greatest American composers of all time.

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UTAH SYMPHONY

Brahms’ Symphony No. 2

program

Brahms’ Symphony No. 2 February 3–4 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor NAREK HAKHNAZARYAN, Cello

BRAHMS SHOSTAKOVICH

Academic Festival Overture, Opus 80 Concerto No. 1 in E-flat Major for Cello and Orchestra, Opus 107 I. Allegretto II. Moderato III. Cadenza IV. Allegro con moto NAREK HAKHNAZARYAN, Cello

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Symphony No. 2 in D Major, Opus 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

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Brahms’ Symphony No. 2

artist profile

See page 15 for Thierry Fischer’s artist profile.

Since winning the Cello First Prize and Gold Medal at the XIV International Tchaikovsky Competition in 2011 at the age of 22, Narek Hakhnazaryan has performed with most major orchestras across the globe and has established himself internationally as one of the finest cellists of his generation.

Hakhnazaryan has performed with orchestras such as the London Symphony, Chicago Symphony, Seattle Symphony, Sydney Symphony, Rotterdam Philharmonic, Czech Philharmonic, Frankfurt Radio, NHK Symphony, and Seoul Philharmonic orchestras and Orchestre de Paris, and with conductors such as Gergiev, Guerrero, Hrůša, Koopman, Neeme Järvi, Pletnev, Slatkin, Sokhiev, Robertson, and Bělohlávek. He made a hugely successful debut with the LA Philharmonic and Bringuier at the Hollywood Bowl in 2015 and toured Spain with the WDR Symphony/Saraste in the same year.

Narek Hakhnazaryan Cello GUEST ARTIST SPONSOR

EVELYN ROSENBLATT YOUNG ARTIST AWARD

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Highlights of Hakhnazaryan’s 2016-17 season include debuts with orchestras such as Berlin Konzerthaus, Netherlands Philharmonic, Utah Symphony, Teatro Dell’Opera (Rome), Munich Chamber, and Essen Philharmonic, as well as returns to the BBC Philharmonic, New Zealand Symphony, Orchestre della Toscana and to the Warsaw Easter Festival. In recital, Hakhnazaryan will perform in cities such as London, Lugano and Eindhoven and in Summer 2017 he tours Southeast Asia with concerts in Taipei, Seoul, Kyoto and Tokyo.

Narek Hakhnazaryan was born in Yerevan, Armenia, into a family of musicians: his father is a violinist and his mother a pianist. Mentored by the late Rostropovich, Hakhnazaryan received an Artist Diploma from the New England Conservatory of Music in 2011 where he studied with Laurence Lesser. Prior to this he studied at the Moscow Conservatory with Alexey Seleznyov and at the Sayat-Nova School of Music in Yerevan with Zareh Sarkisyan. Hakhnazaryan has received scholarships from the Rostropovich Foundation and the Russian Performing Arts Fund, and his prizes include First Prize in the 2006 Aram Khachaturian International Competition in Armenia and First Place in the 2006 Johansen International Competition for Young String Players. As First Prize winner in the 2008 Young Concert Artists International Auditions, Hakhnazaryan made his debut at Carnegie’s Zankel Hall and in Washington, DC.

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Brahms’ Symphony No. 2

evelyn rosenblatt young artist

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 2016–17 Artist of Distinction is Narek Hakhnazaryan, this evening’s talented cellist.

This annual recognition is endowed in perpetuity by Evelyn Rosenblatt and her family, who personally selected Mr. Hakhnazaryan as this year’s honored artist. Previous Rosenblatt tributes have been awarded to pianists Joyce Yang, Olga Kern, Yu Kosuge, Denis Matsuev, Cédric Pescia and Denis Kozhukhin; violinists Viviane Hagner, Veronika Eberle, Scott St. John, Baiba Skride and Will Hagen; cellists Julie Albers and Matthew Zalkind; and conductors Keri-Lynn Wilson and Andrew Grams.

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 included Leonard Bernstein, Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Beverly Sills, Glenn Gould and Isaac Stern. The Rosenblatt sculptural plaque, designed to honor Evelyn Rosenblatt for her care and love of the Utah Symphony, is located in the lobby outside the First Tier Reception Room in Abravanel Hall. In 1997–98, Mr. and Mrs. Rosenblatt served as the first chairs of the Symphony’s Annual Fund Committee. In January 2000, the Rosenblatt family created the Evelyn Rosenblatt Young Artists Endowment to honor Mrs. Rosenblatt on the occasion of her 90th birthday. Mr. Rosenblatt passed away in May 1999, and Mrs. Rosenblatt in April 2004.

Utah Symphony | Utah Opera gratefully thanks and recognizes Evelyn Rosenblatt.

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Brahms’ Symphony No. 2

program notes

1/5

Notes by Michael Clive

Dmitri Shostakovich (1906–1975)

Concerto No. 1 in E-flat Major for Cello and Orchestra, Opus 107 INSTRUMENTATION: 2 flutes, 2nd flute doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2nd doubling contrabassoon; horn; timpani; celesta; strings PERFORMANCE TIME:

BACKGROUND

28 minutes

The controversy surrounding the book Testimony—the purported memoir by Dmitri Shostakovich—continues. Published in a 1979 English version edited by musicologist Solomon Volkov, Testimony details the horrors of an artist’s existence in Stalin’s Russia, but its authenticity is far from proven. As if to rescue us from the debate, we have the 1988 film version of Shostakovich’s life with Ben Kingsley as the embattled composer, and now The Noise of Time, the new novel by Man Booker Prize-winning author Julian Barnes covering the same ground. As an avowed work of fiction, The Noise of Time does not need to establish the authenticity of the events it describes.

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And as for the ideas, they are not in doubt: As a composer in Soviet Russia who had been denounced by Stalin himself in Pravda, Shostakovich endured artistic repression that is almost beyond our imagining. Every new composition was scrutinized as a test of loyalty. Every day was lived in fear for his family’s safety and his own. He kept a bag packed just in case, but knew full well that there was no escaping the consequences of the state’s displeasure.

So when we say that Shostakovich composed his Cello Concerto No. 1 during a welcome period of tranquility, remember: everything’s relative. In 1959, when he worked on this concerto, he was 53, and Stalin had been dead for six years. The Premier of the USSR and head of the Communist Party was Nikita Khrushchev, who was known to be more international and more permissive in his views on Soviet art. Though Khrushchev believed in the necessity of art’s service to the Soviet people, he also—unlike Stalin—believed in the utility of art in enhancing Soviet prestige in the world. This made Shostakovich’s international standing as the USSR’s greatest surviving composer a political asset.

(Stravinsky had become an American citizen, and Prokofiev had died in 1953—the same year as Stalin.)

Whatever the reason—perhaps the years of repression had taken their toll—the 1950s were not productive years for Shostakovich, even with Stalin gone. This adds significance to his 1959 cello concerto.

Shostakovich was a major exponent of the concerto form, and his return to it

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Brahms’ Symphony No. 2

program notes

2/5

was overdue. He dared to dedicate this concerto to the politically outspoken cellist Mstislav Rostropovich, an international star who later became an American citizen.

Shostakovich dedicated his 1966 cello concerto to Rostropovich as well.

WHAT TO LISTEN FOR

Perhaps the most controversial aspect of Testimony is its insistence that every note Shostakovich composed was an implicit indictment of Soviet rule, and that common listeners heard these meanings clearly though government bureaucrats were deaf to them. It’s an extreme claim, but one that Shostakovich’s music can support. Listening to compositions such as this concerto, we can hear that no composer has ever surpassed Shostakovich in his ability to communicate a sardonic mood, an ironic narrative line, a suggestive double meaning. In the first movement, with its tense energy, many listeners detect a mood of uncertainty and nervousness, with a repeated three-note figure looming in the background like a watchful big brother.

Respite comes in the second movement with a slower, more lyrical mood that allows the voice of the cello to sing. Then, in traditional concerto form, the final movement brings a surge of energy and speed. With many of the initial movement’s elements recapitulated here, a positive, optimistic conclusion shines through: a resolution of the concerto’s initial themes in a statement of affirmation and endurance triumphing over adversity…perhaps the adversity of life under Soviet repression.

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Johannes Brahms (1833–1897)

Academic Festival Overture, Opus 80 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; strings; percussion PERFORMANCE TIME:

10 minutes

Johannes Brahms (1833–1897)

Symphony No. 2 in D Major, Opus 73 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani; strings PERFORMANCE TIME:

39 minutes

BACKGROUND

Brahms was 44 when he composed the Academic Festival Overture—just three years after his Symphony No. 2. Both were produced during the summertime. Yet they could hardly be more different. Brahms never produced a more lighthearted work than the

35

Brahms’ Symphony No. 2

program notes

Academic Festival Overture; listening to it we have the impression of a casually mixed olio of academic melodies that could only have been cooked up in a place with a centuriesold tradition of college drinking songs and student choruses. In truth, of course, Brahms was never casual about anything musical, and the overture is crafted with consummate skill. To paraphrase Dolly Parton, it takes a lot of care to sound that carefree.

But the overture is not without a connection to Brahms’ symphonies and his stature as a serious composer. Every symphonist since Beethoven has labored in his shadow, but this shadow fell with particular darkness upon Brahms, and seemed to bedevil him. In Germany and throughout Europe, musical insiders saw in Brahms a composer of superb craft and a certain gravitas that were perfectly suited to the symphonic form. Here, at last, was someone who could keep the symphony alive and growing after Beethoven’s towering, form-busting Ninth.

Brahms, for his part, was uneasy about these high expectations. He did not produce his first symphony until age 43, after 10 years of agonized labor; despite all the revising and polishing, he suffered fearsome anxiety before the premiere. After its great success one might have expected him to relax and wear the mantle of symphonist more comfortably; instead, he worried about his second, facing what writers today call the “sophomore curse” as they wonder how to follow a successful first novel.

Despite his nerves, Brahms was not about to spend another 43 years fretting about a

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3/5

symphony. In 1877, during the summer after the premiere of his Symphony No. 1, he isolated himself in the Austrian lake resort of Pörtschach, in a tranquil villa on the banks of the Wörthersee. There, agreeably isolated in a picturesque setting, he threw himself into the composition of his Symphony No. 2.

By the end of the summer, it was essentially complete. Though the symphony was not greeted with the same enthusiasm as his First, today we recognize it not only as the First’s equal in stature, but also as its necessary complement: a symphony that does not look back to Beethoven in tribute, but instead looks ahead to a progressive future for the form.

At this point we see Brahms’ career as a composer of greatness coming to fruition.

It’s interesting to view portraits of Brahms in chronological order: in his twenties and thirties, when he was humbly seeking the advice of Robert and Clara Schumann, we see a handsome young man whose features could be described as sensitive and even delicate, but with time he starts to look more robust— and eventually ursine and curmudgeonly.

This was the Brahms we know as a fierce individualist and uncompromising craftsman who held his own counsel above all.

It was also the Brahms who was receiving various awards and honors, including an honorary doctorate from the University of Breslau in 1880. His friend Bernhard Scholz, a conductor who had nominated him for the award, put Brahms on notice that his simple thank-you note was not sufficient for such an occasion, and that a celebratory composition would be expected. In the end,

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Brahms’ Symphony No. 2

program notes

Brahms gave Scholz and his colleagues more than they bargained for: a pièce d’occasion in which brilliant orchestration raises familiar college ditties and homely drinking songs to a new level of celebratory excitement. It’s probable that the famous tune “Gaudeamus igitur,” synonymous with the bygone glories of college life, owes its universal familiarity to the Academic Festival Overture.

In analyzing Brahms’ second symphony, some scholars have looked at it in the context of two symphonic pairs: Brahms’ First and Second symphonies and Beethoven’s Fifth and Sixth. The evidence is circumstantial, but fascinating. When we compare all four, the earlier symphony in each pair is an impassioned statement exploring human fate in a metaphysical way; each later symphony has a lyrical, pastoral feeling. Each earlier symphony had a long, agonized gestation; each later symphony was composed with relative speed, in a burst of creative energy. (For both Beethoven and Brahms, composition was more usually a process of great deliberation.) In fact, Brahms’ Second is sometimes referred to as his pastoral symphony. But as musicologist Sarah Gerk points out, the pattern of propulsive inspiration for a symphony following prolonged labor on another is common among symphonists—as is the pattern of following a profound, fateful symphony with one that is more relaxed. And isn’t it also possible that Brahms was both inspired and calmed by his beautiful lakeside surroundings?

WHAT TO LISTEN FOR

The Academic Festival Overture starts with

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4/5

an air of expectation and cheer. From its opening moments to the triumphant finale, the drama builds and the excitement never stops. The climax, of course, comes with the final glorious iteration of the college hymn “Gaudeamus igitur” (“Let us rejoice”) rendered with pyrotechnical enthusiasm that makes it impossible not to imagine hundreds of mortarboards flying through the air.

Throughout the overture, Brahms’ skillful braiding of melodies combines with brilliant orchestration to lend gravitas to the festivities.

His Symphony No. 2, on the other hand, opens in a manner that is pleasantly relaxed, with the calmness of nature suffusing it.

That is our impression upon hearing the symphony’s lovely opening theme—based on a four-note motif that, as it develops in the cellos and basses, takes on a wistful quality that pervades three of its four movements.

“The new symphony is so melancholy that you will not be able to bear it,” he wrote to his publisher, Fritz Simrock. Though this was intentionally an comical overstatement— Brahms knew his reputation for grim seriousness, and was hedging his bets—he was sincere in his belief that melancholy is the symphony’s overriding emotion; its relative lightness of mood took early audiences by surprise. Most of the work’s melodic materials are exposed in the first movement.

After the lyrical opening, Brahms gives us a second motif in the horns that is taken in new directions by the woodwinds. This passage displays Brahms’ deep mastery of sonata allegro development if we choose to listen for it, but his greatest mastery was his sense

37

Brahms’ Symphony No. 2

program notes

of flow, and the sheer impetus of the music keeps our mind off of technical details and on the notes. As the second movement opens with a noble theme in the cellos, we detect a gathering darkness that intensifies the melancholy mood without becoming weighty or somber. But this did not deter Brahms from describing this movement to Herr Simrock as unbearably long and formal. Nonetheless, it is his only true symphonic adagio, and a superb example of the form. Astute listeners will notice the second theme’s resemblance to the famous “Brahms Lullaby,” the “Wiegenlied.”

Together these opening movements take us through an absorbing half-hour of music—more than twice the length of the

5/5

final two movements. As the third movement opens, the oboe intones a charmingly rustic melody suggesting a Ländler—the folk dance that Mozart so loved—that gives way to a traditional scherzo. The symphony reaches a rousing finale with the zesty final movement, marked allegro con spirito. Harvard musicologist Reinhold Brinkmann likens this to a Kehraus, a kind of joyful “last dance” favored by Haydn. If we consider that the symphony’s first movement is in waltz time (somewhat unusual for symphonies) and its third opens with a Ländler, it becomes clear that this symphony is bursting with dance.

Hardly what one might expect of a work “so melancholy that you will not be able to bear it.”

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Individual Donors Gibbs & Catherine W. Smith Elizabeth Solomon Marilyn Sorensen Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder E. Art Woolston & Connie Jo HepworthWoolston Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen

Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Christopher & Julie McBeth Warren K. & Virginia G. McOmber George & Nancy Melling Brad & Trish Merrill

Utah Symphony | Utah Opera is the proud recipient of Charity Navigator’s highest rating for sound fiscal management, commitment to accountability and transparency, and adherence to good governance and best practices—all of which allow us to execute our mission in a responsible way.

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Individual Donors Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman Margaret Sargent K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur Caroline & Thomas Wright PATRONS

$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine

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Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Edward & Grace McDonough

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Individual Donors Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.† & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat-Navarro Mr. & Mrs. Brad E. Walton Nadine Ward Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro *In-kind gift **In-kind & cash gift † Deceased Gifts as of 12/1/16

UTAHSYMPHONY.ORG

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“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF

Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Pam Harris Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma IN MEMORY OF

Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Bill Peters Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Alvin Richer Bert Schaap Ann O’Neill Shigeoka Ben Shippen Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D. 51

Stream KUER’s Classical Station on your mobile device.

Download the KUER app from the App Store or Google Play.

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THREE DELICIOUS COURSES ONE INCREDIBLE EVENING

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DINNER MENU

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dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service.

Private dining rooms for corporate and social events.

Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48

Most Popular Restaurant

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning.

The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe.

Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

–Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK YOU TO OUR ADVERTISERS Adib’s Rug Gallery Bank of American Fork BMW of Murray Challenger School City Creek Living Classical 89 Darling Me Avenue David Dee Fine Arts Daynes Music Excellence in the Community FINCA Five Wives Vodka Grand America Hale Centre Theatre KCPW KUED KUER MAC

New Yorker OC Tanner Paletti RC Willey Regency Royale Ruth’s Chris Steak House San Francisco Design Security National Mortgage The Spectacle Tuacahn Amphitheatre University Federal Credit Union University of Utah Health Care Utah Food Services Zions Bank

If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager

Melissa Klein Director of Individual Giving Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events

SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Nathan Lutz Interim Director of Orchestra Personnel Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Public Relations Chad Call Marketing Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager Aaron Sain Graphic Design & Branding Manager

SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations

PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Jackie Seethaler Powell Smith Sales Associates Nick Barker Christina Frena Mara Lefler Rhea Miller Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Greenwood Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk

EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Kyleene Johnson Education Assistant Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Daniel Hill Michelle Laino Wigs/Make-up Crew

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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UTAH SYMPHONY

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House Rules

ASSISTIVE LISTENING DEVICES

QUIET PLEASE

Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

YOUNG CHILDREN As a courtesy to other audience members, please ensure that children at performances are not disruptive during the show. Babes-in-arms are not allowed in the hall during performances unless specifically indicated.

UTAHSYMPHONY.ORG

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(801) 533-NOTE

CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

59

A Post-Concert Talkback in Your Own Living Room

We hope you take this performance home with you. If not in the shape of something from the Utah Symphony Guild Gift Shop, then in continued conversation with your friends, family and those who had this experience with you. Continue your pleasure for hours—even days—by exchanging ideas about it.

Here are some topics we can suggest: •

Jan 6–7 | When Tchaikovsky first wrote his Violin Concerto the critics hated it and now it is a cherished piece among audiences. What are some pieces of music that critics, or even you, hate today that you think could flip to the audience’s favor in the future.

•

Jan 13–14 | Tristan und Isolde is a famous love story that has been made come alive in almost every art form. Brainstorm to see where you have seen it last and what your favorite re-telling has been.

•

Feb 3–4 | An isolated figure, working under one of the 20th century’s most terrifying dictatorships, Dmitri Shostakovich’s music is emotional, controversial, misunderstood— and a guaranteed hall-filler. So why are we obsessed with Shostakovich?

•

Feb 17–18 | Which movement of Mozart’s Requiem moved you the most and why?

What musical part would you want to perform in this piece?

•

Feb 10–11 | Tonight we celebrated the music of Jerry Herman. What are your favorite Broadway musicals and if you were cast in one, who would you want to be cast as and why?

•

Feb 24–25 | Compared to most of the pieces we perform, the composer of Aquateinte, Michael Jarrell, is still composing today. Have you ever thought about writing a piece of music and if so what kind of music would it be? What instruments would it highlight?

Visit “The Musicians Lounge” to read more behind the scenes interviews with our artists and musicians. www.utahsymphony.org/blog/

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UTAH SYMPHONY

2017 SEASON k ENTERTAINMENT

FEB 15 through ~ APR 8

Call 801.984.9000 or online at www.HCT.org

SEASON TICKETS ON SALE NOW!

DEC 31 through ~ FEB 4

APR 15 through ~ MAY 20

JUNE 2 through ~ AUG 12

AUG 25 through ~ OCT 14

SEPT 1 through ~ NOV 15

OCT 21 through ~ NOV 30

NOV 17 through ~ JAN 20

DEC 1 through ~ DEC 23

T H A N K YOU T O OU R 2017 S E A S ON S P ONS OR

WHAT DO YOU REMEMBER ABOUT 5TH GRADE?

If you grew up along the Wasatch Front, your memories might include a field trip to Abravanel Hall to hear the Utah Symphony.

The tradition continues. Each year most of the 5th graders in Canyons, Davis, Granite, Jordan, Murray, Salt Lake and Tooele school districts ride their yellow school buses to hear the talented, professional musicians of our orchestra perform in the acoustical splendor of Abravanel Hall.

Before students come to the concert, their teachers receive materials about the concert and a trained Utah Symphony Docent visits their school to help prepare them for the concert. Slides are projected above the orchestra before and during the concert to entertain and help keep the learning lively.

In 2015–16, 18,899 STUDENTS and 814 TEACHERS from 218 SCHOOLS attended our 5th Grade Concerts.

for the 2016–17 concerts, Utah Symphony Associate Conductor Rei Hotoda has chosen the title All in the Family for the concert. Students will be introduced to the instrumental families of the orchestra piece by piece, and then enjoy an exciting finale with the full orchestra playing. We look forward to this annual chance to share great repertoire played by our dedicated musicians. This year’s 5th Grade Concerts take place between February 7 and March 1, 2017.

PLEASE SUPPORT OUR EDUCATION & COMMUNITY OUTREACH PROGRAMS. By donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of Utah, and support your Utah Symphony and Utah Opera. Donate today!

Contact our Development Department at (801) 869-9015.

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

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

Tanner, LLC LEGAL REPRESENTATION PROVIDED BY

Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE

Frank Pignanelli, Esq. NATIONAL PR SERVICES

Provided by Shuman Associates, New York City ADVERTISING SERVICES

Provided by Love Communications, Salt Lake City Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau.

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.

64

UTAH SYMPHONY

High School Senior Scholarship Competition 1.18.17 // 6:30–10:00p Dumke Recital Hall University of Utah

Tia Jaynes in Recital

Utah Flute Association Annual Flute Festival & Sonata Competition 2.25.17 // 9:00a–4:00p Westminster College

Denis Bouriakov in Recital

Flute Instructor, Salt Lake Community College 1.20.17 // 7:30p Dumke Recital Hall University of Utah

Principal Flute, Los Angeles Philharmonic 3.20.17 // 7:30p Vieve Gore Recital Hall Westminster College

Tia Jaynes Masterclass

Denis Bouriakov Masterclass

1.21.17 // 9:00a–12:00p Dumke Recital Hall University of Utah

Nicolas Duchamp in Recital Gaubert expert, International Performer & Teacher 2.24.17 // 7:30p Vieve Gore Recital Hall Westminster College

3.21.17 // 5:30–8:00p Dumke Recital Hall University of Utah

Sonata Competition Winners Recital 4.21.17 // 7:30p Dumke Recital Hall University of Utah

Become a member today!

Get exclusive access to concerts and masterclasses with prominent national and local flutists, competitions and workshops at the student and professional levels, and networking opportunities.

The Utah Flute Association is a non-profit organization created to foster great flute music in the Utah community and beyond.

To learn more, visit utahflute.org.

2016/17 CULTURAL FESTIVAL

ARTS IN SERVICE TO THE MILITARY

Our 2016–17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veterans’ active art-making as a means of self-expression.

FESTIVAL HIGHLIGHTS INCLUDE:

The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT

USUO.ORG/FESTIVAL

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