Brahms' Symphony No. 4 by Mills Publishing Inc.

2016–17 UTAH SYMPHONY SEASON / JAN – FEB

COVER

THE SOUND of INSPIRATION

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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

UTAHSYMPHONY.ORG

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

(801) 533-NOTE

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

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

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

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

GEORGE S. AND DOLORES DORE EcCLES F

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excellenceconcerts.org â&#x20AC;¢ 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

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.

UTAHSYMPHONY.ORG

(801) 533-NOTE

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.

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.

UTAHSYMPHONY.ORG

(801) 533-NOTE

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

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 tomorrowâ&#x20AC;&#x2122;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.

UTAHSYMPHONY.ORG

(801) 533-NOTE

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

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

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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

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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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.

Gershwinâ&#x20AC;&#x2122;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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MARCH 4 / 2017 / 7:30 PM / ABRAVANEL HALL 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 draw from recent and classic Pokémon video games. EXECUTIVE PRODUCER. PRINCETON ENTERTAINMENT ORGANIZATION/ED KASSES. / UTAH SYMPHONY ORCHESTRA JERON MOORE, LEAD CREATIVE / CHAD SEITER, COMPOSER / SUSIE BENCHASIL SEITER, CONDUCTOR

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UTAH SYMPHONY

Brahms’ Symphony No. 4

program

Brahms’ Symphony No. 4 February 24–25 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor FRANÇOIS LELEUX, Oboe

HUMMEL

Introduction, Theme and Variations, Opus 102 FRANÇOIS LELEUX, Oboe

MICHAEL JARRELL

Aquateinte (Utah Symphony commission and United States premiere) FRANÇOIS LELEUX, Oboe

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BRAHMS

B R A H M S C YC L E S P O N S O R

Symphony No. 4 in E minor, Opus 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

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MASTERWORKS

Brahms’ Symphony No. 4

artists’ proﬁles

See page 15 for Thierry Fischer’s artist profile. François Leleux’s pre-eminence as an oboist is internationally recognized. He is regularly invited by the world’s leading orchestras, festivals and concert series, both as soloist and player/director, with repertoire ranging from baroque to newly commissioned works. In recent seasons Leleux has in parallel developed a significant reputation as conductor and is now regularly in demand on the podium both with and without oboe in hand. During the 2014– 15 season Leleux was Guest Artistic Director of the Norwegian Chamber Orchestra and from 2012-14 was Artist in Association with the Orchestre de chambre de Paris. He has also been invited as guest conductor by orchestras such as Sydney and Swedish Radio Symphony Orchestras, WDR Sinfonieorchester Köln, Camerata Salzburg, and Tonkünstler-Orchester Niederösterreich.

François Leleux Oboe

The 2016–17 season reflects every aspect of Leleux’s performing life—including concerto performances with the Tonhalle-Orchester Zürich, Royal Liverpool Philharmonic Orchestra, Utah Symphony, Aurora Orchestra at the Beethovenfest Bonn, Münchener Kammerorchester, and Bamberger Symphoniker. He is also Artist in Residence with the hr-Sinfonieorchester in Frankfurt with which he will appear as soloist, conductor and chamber musician. As conductor and soloist he returns to Tonkünstler-Orchester Niederösterreich (with which he makes his conducting debut at Vienna’s Musikverein), Camerata Salzburg at the Mozartwoche, Stavanger, Aalborg and Gävle symphony orchestras, Norwegian Chamber Orchestra and Orchestre de chambre de Paris. Committed to expanding the oboe’s repertoire, Leleux has had many new works commissioned for him by composers such as Nicolas Bacri, Thierry Pécou, Gilles Silvestrini, Éric Tanguy, Giya Kancheli and Michael Jarrell. This season he will premiere a new oboe concerto, Aquateinte by Michael Jarrell, which was co-commissioned by the Hessischer Rundfunk, Printemps des Arts de Monte-Carlo, Utah Symphony and Berner Sinfonieorchester. During 2014–15 he—together with his wife Lisa Batiashvili—gave world premiere performances, with NDR Sinfonieorchester Hamburg and the New York Philharmonic, of Thierry Escaich’s Double Concerto for Violin and Oboe. François Leleux is a Professor at the Hochschule für Musik und Theater München.

MASTERWORKS

Brahms’ Symphony No. 4

artists’ proﬁles

With each newly created work, Michael Jarrell completes his musical self-portrait; it reflects a constant quest for clarity and precision in his work as a composer. Michael Jarrell studied composition with Eric Gaudibert in his native Geneva, attended various master classes at Tanglewood and completed his training with Klaus Huber in Freiburg. Between 1986 and 1988, he was a resident at the Cité des Arts in Paris and took part in the computer music course at Ircam. He resided at the Villa Médici in Rome during 1988–89 and then joined the Istituto Svizzero di Roma in 1989–90. Having also studied visual arts, the composer’s oeuvre is strongly influenced by both the music of Edgar Varèse and the art of Alberto Giacometti. Also characteristic of his work is the connection between compositional creativity and visual thinking: his Assonances, which he has been working on Michael Jarrell since 1983, are presented like a sketchbook. In turn, his first Composer major work for electronics, Congruences (1989), was inspired by spatial-geometric terms such as level, perspective, anamorphosis and figure, which he transferred into musical entities of time. Some aspects of Jarrell’s oeuvre—such as the lucidity of elaborated sound textures, a certain purism in reprocessing material, the ingenuity of his harmonics—indicate a sound close to that of French composers. Recent compositions include La Chambre aux échos, which Michael Jarrell composed for the Ensemble intercontemporain on the occasion of Pierre Boulez’ 85th Birthday in 2010, and…Ombres…(2011) for orchestra. In 2012, Jean-Guihen Queyras gave the premiere of his cello concerto Émergences (Nachlese VI) commissioned and premiered by the Utah Symphony, followed by his monodrama Siegfried, nocturne (for male voice and ensemble) at the Wagner Geneva Festival in 2013 and his piano concerto Reﬂets with Nicolas Hodges in 2014. The same year, the Arditti Quartet premiered his concerto for string quartet and orchestra with the Bamberg Symphony and Lucerne Symphony Orchestra. Stage works are also particularly important for Michael Jarrell: as well as his 1994 monodrama Cassandre and 2006 opera Galelei, his music theatre work Le père was first performed at the Schwetzingen Festival in 2010. Michael Jarrell has received numerous awards including the Prix Acanthes (1983), Beethoven Prize of the city of Bonn (1986), Prix Marescotti (1986) and the Siemens-Förderpreis (1990). In 2004 he was appointed Chevalier des Arts et Lettres in Switzerland and has been Professor of Composition at the University of Vienna since 1993 and at the Geneva Conservatory since 2004.

MASTERWORKS

Brahms’ Symphony No. 4

program notes

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Notes by Michael Clive

Johann Nepomuk Hummel (1778–1837)

Introduction, Theme and Variations, Opus 102

That theater was an enterprise of the highly entrepreneurial Emanuel Schikaneder, who was well known to Mozart; Schikaneder would eventually collaborate with him on the libretto for The Magic Flute and create the role of Papageno. But about five years before their work on the opera began, when Johann was eight years old, he was already displaying his prodigious musical talents, and Mozart accepted him as a pupil without charge. Mozart even provided two years’ free room and board.

If you are a fan of instrumental virtuosity that thrills the ear, Johann Nepomuk Hummel is a name you should know. His eight piano concertos, along with many other spectacular concertos and display pieces (and no symphonies or operas) are the work of a composer who loved to show off—and loved to hear other musicians do so as well.

Johann gave his first public performance at one of Mozart’s concerts at age nine, following which he toured Europe with his father, taking keyboard instruction from Muzio Clementi for four years in London. In 1791—the year of Mozart’s death—Hummel turned 13 and was established as a rising piano virtuoso. Haydn, who was also in London that year, dedicated a piano sonata to the young pianist, and was present when Hummel gave the premiere performance at Hanover Square; according to contemporary reports, he thanked Hummel and, in a gesture typical of Haydn’s fatherly generosity, gave the young performer a guinea coin (worth about $500 at current gold prices!).

A slightly younger contemporary of Beethoven’s who became one of Mozart’s most accomplished students, Hummel was born in Pressburg, Hungary, which was then a part of the Austrian Habsburg Monarchy, now part of Slovakia. His picturesque birthplace can still be viewed on Klobucnicka Street in Bratislava. Hummel’s father was an esteemed professional musician—director of the Imperial School of Military Music in Vienna and conductor of the orchestra at Theater auf der Wieden.

Hummel emerged from his child-prodigy years not just as a virtuoso pianist, but as a composer with a decided flair for showcasing soloists’ skills on a wide range of instruments. Beyond simply writing difficult music, this requires sensitivity to the qualities that make each instrument appealing, and to the capabilities of the players for whom he was composing. Stylistically, he is considered a transitional figure who was born into Mozartian Classicism, but who survived Beethoven by a decade, into the Romantic

INSTRUMENTATION: 2

flutes, 2 bassoons;

2 horns; strings PERFORMANCE TIME:

14 minutes

BACKGROUND

MASTERWORKS

Brahms’ Symphony No. 4

program notes

era. He composed the Introduction, Theme and Variations in 1824 in the German city of Weimar. Four years later he would publish his important reference on piano instruction, A Complete Theoretical and Practical Course of Instruction on the Pianoforte. Hummel’s principles of piano performance and his concertos exerted great influence on keyboard artists of the Romantic era, and were studied by Chopin. Felix Mendelssohn and Carl Czerny were among his many eminent students. WHAT TO LISTEN FOR

Like his book on piano instruction, this suite originally bore a somewhat unwieldy title: Introduction, Theme and Variations for Oboe and Orchestra. But even this generic description does not quite prepare us for what we hear. The “orchestra” of the scoring foregrounds wind instruments, as a concerto grosso might, and the “theme and variations” form—not surprisingly—comes off like an oboe concerto of spectacular dash. The suite’s “introduction” movement functions like the opening of a concerto, raising our expectations for the entrance of a solo instrumental voice. This comes with a transition from minor to major, as the mood of solemnity brightens and we hear the first statement of the theme. Typical of the spirit of a concerto—if not the form—we encounter seven variations of increasing complexity and pace, sometimes leading away from the original theme, but eventually returning to it. A soaring climax—what Kermit the Frog might call a “big finish”—was one of Hummel’s specialties, and here he does not disappoint: The suite builds to a brief, high-energy coda of rapid triplets capped by a lung-testing high note. MASTERWORKS

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Michael Jarrell (b. 1958)

Aquateinte INSTRUMENTATION: 2 flutes, 2nd flute doubling piccolo, oboe, English horn, 2 clarinets, 2nd clarinet doubling bass clarinet, bassoon, contrabassoon; 2 horns, 2 trumpets, 2 trombones, tuba; harp; strings; percussion PERFORMANCE TIME: 16

minutes

BACKGROUND

Michael Jarrell, a leading Swiss composer on today’s music scene, was born in Geneva in 1958. After studying composition at the Geneva Conservatory with Eric Gaudibert and at workshops in the U.S. (including Tanglewood), he completed his musical training with Klaus Huber at Germany’s Freiburg Staatliche Hochschule für Musik. Jarrell’s work is not easily pigeonholed, spanning many genres, but it has garnered international recognition and acclaim. His numerous prizes for composition include the prix Acanthes (1983); the Beethovenpreis, awarded by Beethoven’s home city of Bonn, in 1986; the Marescotti prize in 1986. Between 1986 and 1988 he was in residence at the Cité des Arts in Paris and took part in the computer music course at Ircam, the leading international organization for what was once called “electronic music.” He resided at the 35

Brahms’ Symphony No. 4

program notes

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Villa Médicis in Rome during 1988/89, and then joined the Istituto Svizzero di Roma in 1989/90. He has received the Music Prize from the City of Vienna (Musikpreis der Stadt Wien 2010). In addition, Jarrell was composer in residence with the Lyon Orchestra from 1991 to 1993 and at the Lucerne Festival in 1996. He was appointed professor of composition at the University of Vienna in 1993. Aquateinte is one of Jarrell’s most recent major compositions. It received its world premiere in Frankfurt am Main in October 2016. WHAT TO LISTEN FOR

Current composers’ styles are rarely easy to describe, but The New York Times has described Jarrell’s song cycle Nachlese Vb (Liederzyklus) as “intoxicating.” His music challenges preconceptions and invites immersive thought. It is not unfamiliar to Utah’s concertgoers; the Utah Symphony and Maestro Thierry Fischer have been effective advocates for his work. In 2012, when the orchestra presented the world premiere of Jarrell’s cello concerto, Emergences— which Maestro Fischer had commissioned—The Salt Lake Tribune noted that the concerto “showed the full house at Abravenel Hall the things they didn’t know a cello could do…” In the case of a composition as new as Aquateinte, we can’t really anticipate the sound of what we will hear—nor would we want to. But Jarrell’s titles are carefully chosen, and this one might provide a clue. It is the French word for “aquatint,” an art form that has the delicate look of watercolor…but can only be achieved through a process of painstaking etching with acid on a metal plate. Might that suggest a firm, durably crafted musical structure behind a delicate surface?

Johannes Brahms (1833–1897)

Symphony No. 4 in E minor, Opus 98 INSTRUMENTATION: 2 flutes, 2nd flute doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones; strings; percussion PERFORMANCE TIME:

40 minutes

BACKGROUND

Symphonic form loomed before the young Brahms like a mountain, and he was in his forties by the time he first scaled it. He completed his Symphony No. 4, his final attempt, eight years later. Was the burden of symphonic composition something he wanted to put behind him? It’s possible. Contemporary reports and later accounts by music historians give us oddly contradictory impressions of Brahms: In photographs we see the handsome, sensitive young composer and pianist turn into a great bear of a man, ursine and shaggy. Plenty of quotations demonstrate how gruff he could be in talking about his own music and others’. And yet, underneath it all, he seems to have remained easily bruised, still the fretful composer who worked and reworked his first MASTERWORKS

MASTERWORKS

Brahms’ Symphony No. 4

program notes

symphony for 14 years or more while the music world waited impatiently for the opus that might prove to be “Beethoven’s Tenth.” “You have no idea what it’s like to hear the footsteps of a giant like that behind you,” he said. He finally felt ready to present his first symphony to the public when he was 43, yet its eventual success—which seemed to fulfill music-lovers’ hopes for a worthy successor to Beethoven—made Brahms even more nervous about writing a second. Indeed, the writing of symphonies seems to have pushed all of Brahms’ buttons; for the sake of his nerves and to escape the pressure of expectations, he sought the solitude of country life for this kind of work when possible. In the case of the Fourth, he went to Muerzzuschlag, a quaint resort town in the Styrian region of Austria—a place of trout fishing, hiking and mountain climbing, where the inner workings of sonata allegro form would be the last thing on most people’s minds. The year was 1885, and Brahms was 52: old enough to be thinking about his musical legacy. In his fourth symphony, many listeners hear his farewell to the symphonic form. WHAT TO LISTEN FOR

In talking about the Fourth, he was up to his old obfuscatory tricks. He described the symphony as “a few entr’actes and polkas that I happened to have lying around”—rather like a fashionista who’s asked about her new dress and replies “what, this old thing?” (The reference to “entr’actes and polkas” is especially ironic coming from the brilliant technician whose mastery of flowing, integrated development is unexcelled among composers.) But his attitude can’t have been so relaxed or good-humored when, in a trial run-through with his friend Ignaz Bruell, he played a two38

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piano reduction for a group of close friends. These included the critics Eduard Hanslick and Max Kalbeck, the conductor Hans Richter, and Theodor Billroth, a surgeon and accomplished amateur musician. Their reception was glacial and their comments, with the benefit of hindsight, seem baﬄing. The next day, Kalbeck, a loyal supporter, suggested that the final movement’s form was inappropriate for a symphony; it is now considered one of the strongest elements in a symphony full of strengths. This movement encompasses the greatest emotional range of all Brahms’ symphonic finales, and it was greeted with tumultuous applause at most early performances. Based on a Bach chorale, the finale answers an opening movement that is noble yet austere by comparison. The second movement is marked andante moderato, a walking tempo. Launched with a beautiful horn theme, it is suffused with a feeling of fond remembrance. The gait is relaxed, yet Brahms’ contemporaries correctly sensed a note of valediction in the music: His friend and former pupil Elisabeth von Herzogenberg compared it to a walk through an idealized landscape with a glowing sunset in the distance, and the young Richard Strauss was reminded of a moonlit funeral march. (Strauss himself would later excel at the musical evocation of moonlight.) As for the third movement, a joyful allegro giocoso, we defer to the famous phrase of the late Olin Downes: “Brahms as Old Bear’s Paws.” Here Brahms not only hews to the traditional scherzo form for a symphonic third movement, but executes it with an exuberance rare in his music—including an uncharacteristically liberal use of glittering percussion. MASTERWORKS

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UTAH SYMPHONY

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

UTAHSYMPHONY.ORG

(801) 533-NOTE

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

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. Visit kuer.org/app for details

THREE DELICIOUS COURSES ONE INCREDIBLE EVENING

Prime Time EXPERIENCE OUR

DINNER MENU

offered nightly until 6:30pm 3 —COURSE MENU STARTING AT

$ 44. 95

OUT ON THE TOWN

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