Tchaikovsky's Violin Concerto 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

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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

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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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!

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program

Tchaikovsky’s Violin Concerto

Tchaikovsky’s Violin Concerto January 6–7 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor NOAH BENDIX-BALGLEY, Violin

IVES

Symphony No. 2 I. II. III. IV. V.

Andante moderato Allegro Adagio cantabile Lento maestoso Allegro molto vivace

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WEBERN TCHAIKOVSKY

Variations for Orchestra, Opus 30 Concerto in D Major for Violin and Orchestra, Opus 35 I. II. III.

Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo

NOAH BENDIX-BALGLEY, VIOLIN

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Tchaikovsky’s Violin Concerto

artist proﬁle

See page 15 for Thierry Fischer’s artist profile.

Noah Bendix-Balgley Violin

First Concertmaster of the Berliner Philharmoniker, Noah Bendix-Balgley has thrilled and moved audiences around the world with his performances. Since becoming a Laureate of the 2009 Queen Elisabeth Competition in Brussels and gathering acclaim at further international competitions, Noah has appeared as a soloist with the Pittsburgh Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Belgique, I Pomeriggi Musicali of Milan, and the Orchestre Royal Chambre de Wallonie (Belgium), among others. Recent and forthcoming highlights include recitals throughout Europe and the United States, and performances with the Adelaide and Auckland symphony orchestras, the Utah Symphony and Nagoya Philharmonic with Thierry Fischer, the China Philharmonic and Guangzhou Symphony with Long Yu, Brahms Double Concerto with cellist Alisa Weilerstein and Tomas Netopil at the Aspen Music Festival, and the premiere of Noah’s own klezmer concerto with the Pittsburgh Symphony conducted by Manfred Honeck.

From 2011 until 2015, Noah was Concertmaster of the Pittsburgh Symphony Orchestra. His Pittsburgh debut recital in January 2012 was named the “Best Classical Concert of 2012” by the Pittsburgh Post-Gazette. Noah’s performance with the Pittsburgh Symphony Orchestra of the Beethoven Violin Concerto, featuring his own original cadenzas, was acclaimed by critics and audiences alike. Noah also performed his own version of The Star-Spangled Banner for solo violin in front of 39,000 fans at the 2013 Pittsburgh Pirates Opening Day at PNC Park. Noah is a passionate and experienced chamber musician. He has performed on a North American tour with the Miró String Quartet. From 2008 to 2011, he was the first violinist of the Munich-based Athlos String Quartet, which won a special prize at the 2009 Felix MendelssohnBartholdy Competition in Berlin, and performed throughout Europe. He has performed with artists including Gidon Kremer, Yuri Bashmet, Gary Hoffman, Emanuel Ax, Lars Vogt, and percussionist Colin Currie. Noah has appeared at numerous festivals in Europe and North America, including the Verbier Festival, the Sarasota Festival, ChamberFest Cleveland, the Nevada Chamber Music Festival and Chamber Music Connects the World in Kronberg, Germany. Born in Asheville, North Carolina, Noah began playing violin at age 4. At age 9, he played for Lord Yehudi Menuhin in Switzerland. Noah graduated from the Indiana University Jacobs School of Music and the Munich Hochschule. His principal teachers were Mauricio Fuks, Christoph Poppen, and Ana Chumachenco. In his spare time, he enjoys playing klezmer music. He has played with world-renowned klezmer groups such as Brave Old World, and has taught klezmer violin at workshops in Europe and in the United States. Noah performs on a Cremonese violin made in 1732 by Carlo Bergonzi. 32

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program notes

Tchaikovsky’s Violin Concerto

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Notes by Michael Clive

a student, and in his second foray sought to produce a work of greater intellectual heft and maturity. Delayed by his exclusion from the American classical music establishment, the work finally received its premiere in 1951 with the New York Philharmonic under the baton of Leonard Bernstein. By then, Ives was in his seventies. Charles Ives (1874–1954)

Symphony No. 2 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones, tuba; strings; percussion PERFORMANCE TIME:

37 minutes

BACKGROUND

America’s love of the maverick spirit is two-sided. The “tails” side of the coin is our suspicion of independent thinkers who insist upon going their own way even when their ideas run counter to prevailing values. In considering Charles Ives’ work as a symphonist, we can sense a shift in the public’s attitudes toward his music—from skepticism and resistance to acceptance and affection—despite the utter consistency and rigor with which Ives himself approached it. His Symphony No. 2 is probably the most dramatic example of this shift. Ives probably began work on his Symphony No. 2 shortly after his graduation from Yale, and worked on it for about four years. He was known to have been dissatisfied with his first symphony, which he wrote while still

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The symphony was welcomed with a tumultuous ovation. But Ives, whose reaction was described as “ambivalent,” was almost certainly angry at what he heard. Listening from home to a radio broadcast of the performance, he reportedly spat in disgust. Bernstein’s score and the parts used by the orchestra are thought to have included about a thousand errors and unauthorized changes that soon became accepted performance practice despite the composer’s objections. That’s not the sort of thing that would have been permitted in presenting a symphony by, say, Brahms—or, these days, in a symphony by Ives. His compositions, once known mainly for their mischievous humor and distinctively American sound, are now more fully respected for the depth of their originality and craft, and are played accurately. Which means that the performances we enjoy today are richer than those early concerts from more than half a century ago, which have nonetheless earned legendary status in music history. WHAT TO LISTEN FOR

Like many of Ives’ compositions, the sound of his second symphony melds European classical traditions with the soundscape of small-town New England life. This is

Tchaikovsky’s Violin Concerto

program notes

a generously scaled symphony whose five-movement structure, incorporating an additional slow movement, is sometimes compared to Robert Schumann’s “Rhenish” symphony, which also has an “extra” slow movement in the same (fourth) position. But while both are descriptive of scenic geography (Schumann’s of Germany’s Rhine region), Ives’ symphony has a distinctively American sound that is like nothing else in the classical repertory. As we listen to its evocation of sun, space and the textures of life, we encounter fragmentary quotations from melodies so familiar that they’re almost in our bloodstream—“Camptown Races,” “Long, Long Ago,” and “America the Beautiful,” to name three. European composers had long used this kind of thematic development of folk sources. Another quoted theme, “Turkey in the Straw,” remains a favorite source for American writers and poets as well as composers. Ives also quotes—and tweaks— themes from Bach and Wagner, a practice long accepted in Europe, but daring in the hands of an American. Of all of these quotations, only one— “Columbia, the Gem of the Ocean”—is played in its entirety; some are mere suggestions, and you may hear others that have eluded past listeners. As deft, artistically crafted references to our musical heritage, these elements are surely impressive. But the best way to enjoy them is not for their precision and their cleverness, but as gorgeous elements in a tapestry that is pure Americana.

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Anton Webern (1883–1945)

Variations for Orchestra, Opus 30 INSTRUMENTATION: flute, oboe, clarinet, bass clarinet; horn, trumpet, trombone, tuba; timpani; harp; celesta; strings PERFORMANCE TIME:

7 minutes

BACKGROUND

It seems likely that the great German writer Johann Wolfgang von Goethe would have been surprised to learn where his aesthetic philosophy led the composer Anton Webern, who lived more than a century later. Webern was deeply influenced by Goethe, whose writing towers over the German cultural landscape much as Shakespeare’s does in English letters, but the opinions Goethe expressed were often modest. “One should hear a little music, read a little poetry, and see a fine picture every day of one’s life,” he wrote, “so that worldly cares might not obliterate the sense of the beautiful that God has implanted in the human soul.” In these words we can sense the artist finding the humanizing influence of beauty that can connect us to the divine. Goethe’s belief in principles common to nature and art can be

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Tchaikovsky’s Violin Concerto

program notes

traced back to writings from ancient Greece. In the music of Anton Webern, Goethe’s philosophy is applied with a rigor that borders on the epistemological. Webern believed that a work of music is no less a product of nature than a mountain—though in the case of his ethereal Variations for Orchestra, perhaps an alpine blossom such as a snowdrop would provide a more apt comparison. Webern, like Alban Berg, was a student of the influential teacher and theorist Arnold Schoenberg. Together, these three men are considered the seminal figures of the Second Viennese School, which explored atonality in composition as the 20th century began. But Webern’s knowledge and influences were diverse; for example, he was also influenced by his Ph.D. research on Renaissance composers and counterpoint.

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As with many classical compositions— especially modern ones—commentary on the sound of this work can be misleading. Study of the score reveals intricate, precise details in its construction, but awareness of these elements of craft does not necessarily deepen our experience. As listeners, we can best bring a willingness to go where the variations take us with the openness we might bring to observing a sunset or the sound of forest birds…or to the inner soundtrack of our unexpressed thoughts.

WHAT TO LISTEN FOR

While Goethe sought formal integrity in art that would reflect the harmonious forms in nature, Webern looked to natural, “primal” themes that he explored with a thoroughness that was Beethovenian, seeking unity and flawlessness of form. Composed in 1940, his Variations for Orchestra is an unexcelled example of this quest—symmetrical and polished in its architecture. Writing to his student Willi Reich, Webern described the work’s form as a theme with six variations; we hear the 12-tone theme first in an introduction that states the kernel of the variations. The sixth variation functions as a coda. Between these matched bookends, Webern develops the Variations with elegantly translucent string textures. A sense of poise and balance prevails.

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Pyotr Ilyich Tchaikovsky (1840–1893)

Concerto in D Major for Violin and Orchestra, Opus 35 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets; timpani; strings PERFORMANCE TIME:

34 minutes

BACKGROUND

When it comes to malicious fun, it’s hard to beat celebrating the stupidity of critics. The world of classical music is filled with poorly judged writing about masterpieces that have earned a cherished place in

Tchaikovsky’s Violin Concerto

program notes

our hearts and in the standard repertory, but were viciously panned by critics when they were introduced. Tchaikovsky’s Violin Concerto is a favorite case in point: The nearly universal popularity of this richly beautiful concerto, full of spirit and singing melodies, is now so firmly established that it is hard to imagine there were dissenters when it was new. But their negative opinions followed a well-worn pattern that has aﬄicted many other concertos that have gone on to eventual success: first, a key instrumentalist declares the work poorly written for the instrument, perhaps even unplayable; next an early critic derides it as crude or tasteless; then the clamorous public embraces it, demanding more performances; and finally, early detractors reconsider or forget their reservations. In this case, the manuscript was rejected by violinist Iosif Kotek, a friend and composition student of Tchaikovsky’s, after the composer chose the great Leopold Auer as dedicatee and premiere performer. Auer had misgivings about the work and was widely quoted as calling it “unplayable,” forcing the concerto’s first public performance to be postponed until still another violinist, Adolph Brodsky, could be found. Brodsky introduced the concerto in Vienna on December 4, 1881. More than three decades later, Auer recounted his early involvement with the concerto to a New York publication, the Musical Courier, in what amounted to a bit of self-justifying revisionist history. But the most famous incident in this concerto’s bumptious beginnings is surely the review of

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the premiere by Eduard Hanslick, the dean of the Viennese music critics and one of the era’s most influential tastemakers. Hanslick wrote: The Russian composer Tchaikovsky is surely not an ordinary talent, but rather an inﬂated one, with a genius-obsession without discrimination or taste. Such is also his latest, long and pretentious Violin Concerto…[by] the end of the first movement, the violin is no longer played; it is beaten black and blue. The Adagio [the canzonetta second movement] is again on its best behavior, to pacify and to win us. But it soon breaks off to make way for a finale that transfers us to a brutal and wretched jollity of a Russian holiday. We see plainly the savage vulgar faces, we hear curses, we smell vodka… Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear. Today we find such invective not only wildly inaccurate, but also shocking in its ethnic slander. “Music that stinks to the ear” remains one of the most infamous phrases in the annals of music history. If such writings amuse and astonish us with our benefit of hindsight, they were rarely fun for the composers involved—and especially not for Tchaikovsky, who brooded over negative critical opinion and reportedly read Hanslick’s review over and over, until he had committed it to memory. His pain was not just a matter of an artist’s sensitive ego (though he certainly had one of those); Tchaikovsky was well aware that he and his fellow-composers were belatedly creating a classical legacy

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Tchaikovsky’s Violin Concerto

program notes

for their country. A distinctive Russian sound was something he sought to cultivate, but not the smell of vodka—especially not as heard by a Viennese critic. Austrian and German music writers were notorious for believing their nations were the sole stewards of the European classical tradition. Ironically, the concerto itself might never have been composed if Tchaikovsky had not been in flight from such critical and personal insecurities, which tormented him constantly. Negative reviews and his marriage to his pupil Antonini Ivanova Milioukov, through whose infatuation he sought to obscure his own homosexuality, made his life a nightmare. Though he arranged for himself and his wife to travel separately, their reunion loomed, along with the frightful prospect of cohabitation. His resulting depression worsened his fragile health. A forged telegram from his brother Anatoly provided an excuse for him to travel to St. Petersburg, where a doctor prescribed a divorce and further travel. He left for Germany, Switzerland, and Italy less than two weeks later. Tchaikovsky found respite on the shores of Lake Geneva in the Swiss resort town of Clarens and began work on the concerto. Descriptions of his life there seem idyllic: the lakeside landscape of Switzerland, peaceful and picturesque, with an abundance of piano-and-violin arrangements to explore with his pupil Iosif Kotek. Their work on an arrangement of Édouard Lalo’s boisterous Symphonie espagnole—an expansive, five-movement violin concerto—may

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have provided some creative impetus for Tchaikovsky to tackle a violin concerto of his own. As he wrote to his patron, the legendary Madame von Meck, [Symphonie espagnole] has a great deal of freshness, lightness, piquant rhythms, and beautiful and excellently harmonized melodies…[Édouard Lalo], in the same manner as [French composers] Léo Delibes and Georges Bizet, does not strive after profundity, but rather he cautiously avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans. [Note the counter-argument to Hanslick’s ethno-centrism here. As music historian David Brown notes, Tchaikovsky “might almost have been writing the prescription for the violin concerto he himself was about to compose.”] Composition of the concerto proceeded swiftly, blessedly free of emotional encumbrance, with Tchaikovsky for once actually seeming to enjoy the act of creation. “For the first time in my life I have begun to work on a new piece before finishing the one on hand,” he wrote to Madame von Meck. “I could not resist the pleasure of sketching out the concerto…” in addition to a sonata he was working on. He wrote to her again on April 20 to announce the concerto’s completion scarcely six weeks after he had begun composing it, although other correspondence indicates he had been mulling its possibilties for years. Considering the harmonious process that engaged both Tchaikovsky and Kotek, the student’s

Tchaikovsky’s Violin Concerto

program notes

rejection of the piece—which followed Auer’s characterization of it as “unplayable”—must have come as a shock. “How lovingly [Kotek] busies himself with my concerto,” Tchaikovsky had told his brother Anatoly while composing it. “He plays it marvelously.” WHAT TO LISTEN FOR

130 years after the concerto’s premiere, Hanslick’s aesthetic judgments of it seem bizarre, but his contention that the violin is beaten “black and blue” is more understandable: Auer, one of the greatest virtuosos of his day, steadfastly maintained that the original version could not be played as written long after others were happily doing so. Since then, generations of violinists have found a way. As Auer finally told the Musical Courier, “The concerto has made its way in the world, and that is the most important thing.” The concerto’s first movement, an allegro moderato in D major, is all graceful lyricism— seemingly an affectionate description of the scenic charms of Clarens, where it was composed. But its virtuosity and vigor seem to delineate the existential questions that are

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always present and passionately articulated in Tchaikovsky’s major works, especially the symphonies. This emotional intensity reaches a climax in the buildup to the first cadenza. The second movement, a serenely mournful andante cantabile, contrasts markedly with the first; the violin’s entry is melancholy, and it voices a singing lament that eventually gives way to a happier pastoral melody, like a song of spring. Both moods shadow each other for the duration of the movement, as we alternate between brighter and darker soundscapes. The concerto’s final movement follows the second without pause. It is extravagantly marked allegro vivacissimo, and returns to the opening movement’s D major key, recapturing its exuberant energy. This movement also incorporates an energetic Russian dance (Hanslick’s whiff of vodka?) that leaps off the page as the violinist’s bow dances along with it. A nostalgic second theme provides an emotional counterpoint to the movement’s higher-energy passages, but is finally eclipsed by a passionate, exuberant finale.

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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. 48

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

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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

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

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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