2016–17 UTAH SYMPHONY SEASON / JAN – FEB
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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
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ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Ruth Gainey EDITOR Melissa Robison
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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2017
5
Welcome
Photo Credit: Brandon Flint
Did you know that, in addition to the more than 100 subscription concerts and operas at our home venues every year, we perform a combined total of 240 symphony education concerts and in-school opera presentations? And that nearly one-third of our total audience is comprised of students? Utahns have long recognized that a person’s quality of life rests, in part, on the community’s commitment to the arts to inspire the human spirit and motivate the betterment of mankind. Utah Symphony | Utah Opera reflects this value through a deep commitment to education and strives to impact every urban and rural community in the state with our education and outreach programs. Our annual Fifth-Grade Concerts represent a great example of this commitment. In the months of February and March, nearly 20,000 fifth-grade students will attend special concerts in Abravanel Hall. The concerts embody themes that relate to other fifth-grade curriculum concepts, and teachers receive classroom materials as well as personal visits from volunteer docents to help prepare students. These concerts are just a few of the many programs we offer to every public school in the state of Utah over a three- to five-year cycle. Our efforts
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are focused primarily towards underserved districts and are available free of charge to supplement the core music curriculum for Utah students. Last year, we served over 143,000 students with our symphony and opera education programs. Much credit goes to the Utah State Legislature, which values these programs and provides over one-third of the support towards their cost. The remainder of that credit goes to our many individual donors, corporate sponsors and foundation sponsors who cumulatively match the state’s support. Thank you for your support and advocacy of Utah Symphony | Utah Opera, and please thank your legislators for their support. It is through your involvement that we are able to connect the community through great live music! Sincerely, Paul Meecham President & CEO
Thierry Fischer Symphony Music Director
David Petersen Chair, Board of Trustees
UTAH SYMPHONY
456 Trolley Square Salt Lake City, Utah 84102 801.359.2020 www.thespectacle.com
Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal
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Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal
ENGLISH HORN Lissa Stolz
BASS TROMBONE Graeme Mutchler
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal
Erin Svoboda Associate Principal
Eric Hopkins Associate Principal
Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
Corbin Johnston Associate Principal
Leon Chodos Associate Principal
James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#
CONTRABASSOON Leon Chodos
HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal
Jennifer Rhodes
HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Nathan Lutz Interim Director of Orchestra Personnel STAGE MANAGEMENT Chip Dance Production & Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal
Lissa Stolz
UTAH SYMPHONY
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GEORGE S. AND DOLORES DORE EcCLES F
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SLCRDA
excellenceconcerts.org • 801 718 3862
Board of Trustees
ELECTED BOARD David A. Petersen* Chair
Naoma Tate Thomas Thatcher Bob Wheaton Kim R. Wilson Thomas Wright
Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew S. Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart
LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Patricia A. Richards
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates
Burton L. Gordon Richard G. Horne Warren K. McOmber
E. Jeffrey Smith Barbara Tanner
HONORARY BOARD Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles
Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler Stanley B. Parrish
Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts
NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)
Susan H. Carlyle (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO
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MUSICIAN REPRESENTATIVES
Mark Davidson* Lissa Stolz* EX OFFICIO
Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member
UTAH SYMPHONY
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Music Director
Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.
Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning. In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included Boston Symphony, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducts the Sao Paulo Philharmonic—his first visit to South America. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.
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(801) 533-NOTE
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Ghost Light
The stage is dark, but the conversation is just beginning. Listen in on conversations related to our performances and performers with the Utah Symphony’s new podcast, The Ghost Light. Each episode is 10–15 minutes long (perfect for a commute!) and focuses on topics related to the orchestra and classical music. The podcast is now 14 episodes in and past episodes have included conversations with Thierry Fischer, Mary Anne Huntsman, Mike Pape, Paul Meecham, and Christopher McBeth. The Utah Symphony’s General Manager and Vice President of Operations, Jeff Counts, hosts each episode. If you were to walk on the stage in Abravanel Hall or Capitol Theater when the venue was closed and no one was there, you wouldn’t be alone in the dark. A ghost light is a single bulb that is left on and placed on the stage after each performance. There are different explanations for ghost lights, which is a tradition in most venues. Some believe it keeps ghosts away from the stage. Others think it appeases the ghosts and keeps them happy. The pragmatic see it as an important safety measure to keep people from falling over things that have been left on stage (or off the stage itself!). In that spirit, each episode includes a bonus feature—a ghost story! You can now subscribe to Ghost Light via iTunes, Stitcher, or SoundCloud or search for “Utah Symphony” in your podcast app. New episodes are released each Monday.
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UTAH SYMPHONY
Access to Musis
A Concert for Children with Special Needs and their Families Thursday, January 26, 2017 | 7 PM | Capitol Theater 50 West 200 South Salt Lake City Utah Symphony | Utah Opera offers an annual concert for children with special needs and their families. We present this concert because we know that many families with children with special needs have difficulty attending cultural events together. We feature the Utah Opera Resident Artists with the Utah Symphony on the Capitol Theater Stage this special concert. This concert is FREE but registration is required. Children with special needs of ANY age are welcome to attend. The doors of Capitol Theater will open at 6:30PM, and the concert will begin at 7PM. Seating is general admission. After the concert, please join us for cookies in the lobby. (Unfortunately, we cannot accommodate special allergies) To register visit www.usuo.education.org/specialneeds.
UTAHSYMPHONY.ORG
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(801) 533-NOTE
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Support USUO
Utah Symphony Associate Conductor Rei Hotoda and members of the orchestra perform at a high school in Utah County.
Thank you for joining Utah Symphony | Utah Opera for a winter of stunning music. We sincerely appreciate your support as a patron! We ask that you take that support a step further, with a donation to our Annual Fund. In addition to our main-stage performances, our education and outreach programs allow us to connect with over 140,000 children across the state of Utah every single year. We visit each of Utah’s 41 school districts on a three- to five-year rotation. We also perform in the community for a variety of audiences, including those with autism, vision impairment, memory loss, and other special needs. In our 2015–16 season alone, Utah Symphony’s musicians and Utah Opera’s Resident Artists performed in 99 community collaborations. To offer our education and outreach programs free of charge and to keep our tickets affordable, we rely on donations from patrons like you. Please donate today by visiting usuo.org/give or by calling our Development staff at 801-869-9015.
T H e a r T o f g o o d e aT i n g .
D o w n to w n
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UTAH SYMPHONY
Legacy Giving
There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrow’s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.
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Tanner & Crescendo Societies
“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.
TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers
Grace Higson† Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall
Robert L.† & Joyce Rice Mr.† & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dianne May Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson
Thomas A. & Sally† Quinn Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman
CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
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Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin Pauline C. Pace†
Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
UTAH SYMPHONY
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Composing History:
Why orchestras commission By Jeff Counts
“The creation of new music is important to the Utah Symphony and we take great pride in the ambitious legacy of ‘living’ art we are building.” These are the words of Music Director Thierry Fischer, spoken last season before the world premiere performance of Switch by Andrew Norman. At the time, Switch was the second of three commissions by American composers planned for performance, live recording and album release as part of the orchestra’s 75th Anniversary celebrations. Big projects such as these are common during celebratory seasons and many orchestras choose landmark anniversary years for expensive but artistically-rewarding work like touring, recording and commissioning. Of those three ideals, the commissioning of a new work, in particular, is the most immediately apt way to commemorate something important and has been for as long as orchestras and art music have existed. Most ensembles, however, have commissioning strategies that go beyond the memorialization of specific dates or events. Regular, active relationships between living composers and orchestras can enrich the culture of a city in many ways, thanks to the immersive process that each new piece demands of its creator. Composers, like embedded reporters, must exist for a time alongside the orchestra that hires them, sometimes quite literally, as they learn its strengths, its trajectory and general artistic personality. If, like in the case of the Jarrell/Leleux commission (February 24–25), a soloist is involved, the role of the composer as a
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translator of multiple perspectives is even more pronounced. Utah Symphony has been exploring this fertile collaborative ground on an annual basis for several years now and, as a result, has curated a fairly comprehensive study of this century’s symphonic voice as it currently stands. Each commissioned composer has interacted with Maestro Thierry Fischer throughout the development of their music and the conversations helped make certain the end result matched the overarching vision of great music played with excellence, regardless of when it was written. The composers don’t likely know that they are part of a grand plan but they don’t need to. Their job is to make something new and thrilling that reflects the aspirations of their benefactor/muse, even though they know full well that fresh ideas have always been potentially frightening for an audience. We must never forget that Beethoven’s 2nd Symphony was likened to a “wounded dragon” that “refuse[d] to die” during its premiere. Thankfully, Maestro Fischer understands that commissions are a critical component of any healthy orchestra’s identity and remains undaunted. “It is not enough simply to interpret history,” he has stated, “we must also help make history.” Jeff Counts is General Manager and Vice President of Operations for Utah Symphony. He hosts a regular podcast called “Ghost Light” and writes regularly for Utah Opera.
UTAH SYMPHONY
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2016/17 UTAH SYMPHONY SEASON
PINK MARTINI
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UTAH SYMPHONY
March 21
2017 / 7:30 PM / ABRAVANEL HALL PINK MARTINI guest artists
SPEND A COLORFUL AND CLASSY EVENING with Portland’s favorite “little orchestra” as they join the Utah Symphony in Abravanel Hall to perform their cosmopolitan blend of vintage pop, jazz, classical and global styles.
Reserve your seats today! 801-533-NOTE (6683) / UTAHSYMPHONY.ORG SE A SON SPONSOR:
Who We Are
Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round professional orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra. Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony performed the nationally covered Mighty 5® Tour in 2014, visiting all five national parks
in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall. Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support. In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 140,000 students annually from all Utah school districts in more than 240 educational outreach performances and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.
Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in the First Tier Room, Abravanel Hall
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/upcoming concerts Pokémon: Symphonic Evolutions March 4, 2017 / 7:30 PM / ABRAVANEL HALL Jeron Moore, lead creative Chad Seiter, composer
Susie Benchasil Seiter, conductor
Executive Producer: Princeton Entertainment Organization/Ed Kasses.
Brought to life by the Utah Symphony, Pokémon: Symphonic Evolutions gives fans and newcomers of all ages the chance to experience the evolution of the Pokémon franchise like never before. Meet up with friends of all ages to catch, battle and trade Pokémon from your favorite games. Enjoy all-new orchestral arrangements and carefully timed visuals drawn from recent and classic Pokémon video games.
Pink Martini with the Utah Symphony March 21, 2017 / 7:30 PM / ABRAVANEL HALL Pink Martini, guest artist
Spend a colorful and classy evening with Portland’s favorite “little orchestra” as they join the Utah Symphony in Abravanel Hall to perform their cosmopolitan blend of vintage pop, jazz, classical and global styles.
The Mozart Experience WITH Magic Circle Mime Co. March 18, 2017 / 11 AM / ABRAVANEL HALL Magic Circle Mime Company
Experience a one-of-a-kind morning at the symphony, with this double threat of classical entertainment. The performers of the Magic Circle Mime Company join forces with the Utah Symphony to act out the tale of Mozart’s life as it’s relived by a mischievous street performer. It’s a show you have to hear to appreciate and see to believe.
An Evening of Bach March 24 & 25, 2017 / 7:30 PM / ABRAVANEL HALL Richard Egarr, conductor & piano Mercedes Smith, flute Madeline Adkins, violin
J.S. BACH J.S. BACH J.S. BACH J.S. BACH
Orchestral Suite No. 3 Brandenburg Concerto No. 5 Piano Concerto in D Minor Orchestral Suite No. 4
MASTERWORKS
FAMILY
ENTERTAINMENT
SPECIAL
Pictures at an Exhibition April 7 & 8, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor
ELGAR ELGAR RAVEL/BOULEZ MUSSORGSKY/ RAVEL
Fumiaki Miura, violin
Pomp and Circumstance March No. 1 Violin Concerto Frontispice Pictures at an Exhibition
Bronfman plays Beethoven Piano Concerti 3 & 4 April 14 & 15, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor
BEETHOVEN BERG BEETHOVEN
Yefim Bronfman, piano
Piano Concerto No. 3 Three Pieces for Orchestra Piano Concerto No. 4
The Spy Who Loved Me April 21 & 22, 2017 / 7:30 PM / ABRAVANEL HALL Randall Craig Fleischer, conductor
Rachel York, vocalist
Be carried away to exotic locations with fast cars and scheming villains as you experience your favorite spy themes performed live by acclaimed Broadway star Rachel York and the Utah Symphony. Enjoy music from Skyfall, Goldfinger, Austin Powers, Mission Impossible, Pink Panther, Get Smart, and more.
Gershwin’s Magic Key FROM Classical Kids Live! April 22, 2017 / 11 AM / ABRAVANEL HALL Rei Hotoda, conductor
Classical Kids Live!
This educationally-entertaining theatrical symphony will have all ages smiling as the extraordinary life and music of Gershwin take center stage. Lighting, costumes, props, and serious talent create an engaging look at one of the greatest American composers of all time.
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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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program
Tristan and Isolde
Tristan and Isolde January 13–14 / 2017 / 7:30PM / ABRAVANEL HALL MARK WIGGLESWORTH, Conductor FRANCESCO PIEMONTESI, Piano
MOZART
Concerto No. 27 in B-flat Major for Piano and Orchestra, K. 595 I. II. III.
Allegro Larghetto Allegro
FRANCESCO PIEMONTESI, Piano
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WAGNER ARR. HENK DE VLIEGER
Tristan und Isolde: An Orchestral Passion Einleitung Isoldes Liebensverlangen Nachtgesang Vorspiel und Reigen Tristans Vision Das Wiedersehen Isoldes Liebestod
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Tristan and Isolde
artists’ profiles
Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. While still a student, he formed the Premiere Ensemble, an orchestra committed to performing a new composition in every program. A few weeks after leaving the Academy, he won the Kondrashin International Conducting Competition in the Netherlands, and since then has worked with many of the leading orchestras and opera companies of the world. In 1992, he became Associate Conductor of the BBC Symphony Orchestra and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. In addition to working with most of the UK’s orchestras, Mark Wigglesworth has guest conducted many of Europe’s finest ensembles as well as those in North America. Mark Wigglesworth Conductor
Francesco Piemontesi Piano
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Francesco Piemontesi is a pianist of exceptional refinement of expression appearing with major ensembles worldwide. Piemontesi is also a natural and keen chamber musician and plays with a variety of partners—the Emerson Quartet, Antoine Tamestit and Jörg Widmann in trio, Renaud and Gautier Capuçon, Clemens Hagen, Angelika Kirchschlager, Daniel Müller-Schott and during his formative years, Heinrich Schiff. In solo recital, he has appeared in many prestigious venues including London Wigmore Hall, Amsterdam Concertgebouw, Rotterdam De Doelen, Carnegie Hall and Avery Fisher Hall in New York, Berlin Philharmonie, Zürich Tonhalle, Vienna Konzerthaus and Musikverein. Born in Locarno Switzerland, Francesco Piemontesi studied with Arie Vardi before working with Alfred Brendel, Murray Perahia, Cécile Ousset and Alexis Weissenberg. He rose to international prominence with prizes at several major competitions, including the 2007 Queen Elisabeth Competition, and between 2009–11 he was chosen as a BBC New Generation Artist. In 2012, Piemontesi was announced as Artistic Director of the Settimane Musicali di Ascona.
MASTERWORKS
Tristan and Isolde
program notes
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Notes by Michael Clive
end of his life to a satellite orbiting the earth at increasing speed. What might have happened, Gardner asks, if Mozart had lived longer? WHAT TO LISTEN FOR
Wolfgang Amadeus Mozart (1756–1791)
Concerto No. 27 in B-flat Major for Piano and Orchestra, K. 595 INSTRUMENTATION:
flute, 2 oboes, 2 bassoons;
2 horns; strings PERFORMANCE TIME:
BACKGROUND
31 minutes
Mozart wrote most of his great piano concertos after the age of 25—young for most of us, but not for him. That’s when, in 1781, he moved to Vienna and began producing piano concertos at an amazing rate, partly as a means of demonstrating his abilities both as a composer and a performer. By the time he produced his Piano Concerto No. 27, another phase of Mozart’s career was under way: his final years. Mozart was only 35 when he died in 1791, and his seemingly superhuman productivity toward the end of his life has always fascinated music historians. H.C. Robbins Landon, a distinguished Mozart scholar, wrote a book exploring Mozart’s achievements in 1791 alone, and the Harvard psychologist Howard Gardner, an authority on creativity, has compared the composer’s accelerating rate of inspiration and innovation toward the MASTERWORKS
Though there is some disagreement regarding the dates of this concerto’s composition—as early as 1788, as late as 1791—it is clearly from this final period, when Mozart seems to have composed for himself alone. We can hear this in the concerto’s construction: The orchestration is scant, lacking the trumpets and timpani that make earlier concertos a bit more dramatic. The concerto’s three movements are in a major key (B-flat), but their development flirts with minor keys. And the movements’ themes are integrated more strongly than in Mozart’s previous concertos, foreshadowing the form’s future as realized by Beethoven. Astute enthusiasts will recognize the melody of a late Mozart song in the concerto’s finale: “Sensucht nach dem Frühling” (“Longing for Springtime”), K. 596.
Richard Wagner (1813–1883) arr. Henk de Vlieger (b. 1953)
Tristan und Isolde: An Orchestral Passion INSTRUMENTATION:
3 flutes, 3rd flute doubling 33
Tristan and Isolde
program notes
piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani; harp; strings PERFORMANCE TIME:
1 hour, 4 minutes
BACKGROUND
Wagner’s impact was transformative not just in opera and in classical music, but throughout the arts. Not even Beethoven had so great an impact on our conception of art; it is said that modern painters might not paint as they do today had Wagner not composed as he did yesterday. Both a great composer and a rebellious aesthetic philosopher, Wagner published his revolutionary ideas about artistic and musical expression in impassioned essays long before his operas themselves began to sound revolutionary. It was not until he embarked on composing Tristan und Isolde and his huge operatic tetralogy, Der Ring des Nibelungen, that these ideas fully took root in his music. WHAT TO LISTEN FOR
Wagner completed work on Tristan in 1859, and at early performances the opening phrase of its prelude—which introduces us to what has come to be known as “the Tristan chord”—made some listeners swoon in their seats and quite literally terrified others. This is the music that philosopher Friedrich Nietszche called dangerously intoxicating, and that made painters of every discipline rethink their possibilities. What’s so special about a brief, inconclusive chord progression? Wagner had already challenged the music world with great operas such as Die Meistersinger and Tannhäuser as he honed his concept of all-encompassing music-drama: the Gesamtkunstwerk that unites design, music, 34
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and stagecraft into a totally immersive artistic experience. But in Tristan he combined these ideas with harmonies that proceed without traditional resolution—ambiguous and layered, like thought itself. They hang in the air expressing emotion rather than melody, as if the orchestra were within us and artistic boundaries were brushed away. If a composer could write music like this, anything was possible. Why, for instance, should a painting be a picture of something? Wagner’s building blocks are motivic phrases that are never classed as melodies, no matter how melodic they might sound, because they never seek to end in a musical resolution; instead, like our deepest feelings, they seem to have no particular beginning or end. Endless scholarship has been devoted to the meaning and interplay of Wagner’s motifs (Leitmotiven), but he did not expect us to track them as we listen. We sense their meaning and feel their impact more deeply through rapt listening than we could through conscious analysis. Created in 1994 as a commission for the Netherlands Radio Philharmonic, Henk de Vlieger’s orchestral compilation of music from Tristan artfully isolates seven episodes from this non-episodic opera. Vlieger, a Dutch percussionist and arranger, has made something of a specialty of creating such orchestral syntheses, including two other Wagner arrangements. His “orchestral passion” focuses solely on the characters Tristan and Isolde, excluding such major supporting players as Tristan’s sovereign, King Marke, and Isolde’s nurse-companion, Brangäne—though opera-lovers will protest that these characters have their share of magnificent music. But the result is a coherent and continuous orchestral work unified by the Tristan chord, which we hear throughout. MASTERWORKS
program
Serenade for Strings
Serenade for Strings January 18 / 2017 / 7:30PM / ST. MARY’S CHURCH, PARK CITY
MOZART
Divertimento for Strings in D Major, K.136 I. II. III.
BIBER HOLST
Allegro Andante Presto
Battalia à 9 St. Paul’s Suite for String Orchestra I. II. III. IV.
Jig Ostinato Intermezzo Finale (The Dargason)
/ INTERMISSION /
TCHAIKOVSKY
Serenade in C Major for Strings, Opus 48 I.
Peyzo in forma di sonatina: Andante non troppo Allegro moderato II. Walzer: Moderato - Tempo di valse III. Elégie: Larghetto elegiaco IV. Finale (Tema Russo): Andante - Allegro con spirito
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Serenade for Strings
program notes
Wolfgang Amadeus Mozart (1756–1791)
Divertimento for Strings in D Major, K. 136 In general, music of the Classical era is strictly classified, and we have to watch our vocabulary. But there were some labels that were so broad as to mean almost anything the composer might want—in particular, divertimenti and serenades. Usually, these were suites of movements written for no other purpose than to entertain—something quite literally diverting, often produced as a piece d’occasion for a social event. In the case of his three-movement Divertimento numbered K. 136, Mozart had good reason to undertake this kind of light entertainment. He was 16 when he composed it in 1772, during a period when he described himself as mad for opera and eager to try his hand at a large-scale music drama. He had just completed his most important Italian-language opera so far, Lucio Silla, but it was not to be mounted until the following year. His D major Divertimento could have served as a musical “palate cleanser”—something light to help him make the transition to his next musical “course” of serious composition in his career plan. Then again, perhaps not. Even Mozart’s divertimenti and serenades tend not to sound as casual as those of his 36
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contemporaries, and in this case, he did not even choose the term “divertimento” himself. It was added to the autograph score only after he finished composing it, and the order of its movements—fast, slow, fast, like a sinfonia—lends it more coherence than the typical divertimento. Mozart may well have composed this work for performance at one of the many musical salon evenings at the homes of prominent Salzburg families. Though we know Mozart better as a piano soloist, he was at that time the concertmaster of the Salzburg court orchestra and was one of the most accomplished violinists in Europe. The Divertimento is a showcase not just for the violin but for all its players, and unfolds with elegance and pleasing variety. It would undoubtedly have provided positive exposure for the ambitious, teen-aged Mozart—though, as commentator John Magnum notes, it also “was probably a nice way to blow off some steam, musical yoga for a stressed-out composer.” You know how it is for an overworked 16-year-old.
Heinrich Ignaz Franz von Biber (1644–1704)
Battalia à 9 Though their lives did not overlap and their musical styles were totally different, the names of Wolfgang Mozart and Heinrich Biber are often linked in music histories. The reason is nothing more than a quirk: On his way to Innsbruck on a job-related CHAMBER
Serenade for Strings
program notes
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trip to buy musical instruments for his employer, Biber seized an unexpected career opportunity that arose along the way and resettled in the Austrian city of Salzburg. He was 26—the same age as Mozart was when he fled Salzburg, his hometown, to enhance his career 110 years later. Mozart considered Salzburg a provincial backwater, and resettled in Vienna. As the eminent commentator James Keller notes, “Keep your eyes peeled next time you find yourself in Salzburg and you may spot the historical marker posted on [Biber’s] one-time residence at Kranzlmarkt Nr. 2, just a block from where crowds line up to enter the Mozart [birthplace].”
of the wounded, imitated with airs and dedicated to Bacchus…”
Musically speaking, the two composers inhabited different worlds. While Mozart represents the pinnacle of Classicism, Biber was a son of the Baroque, born more than four decades before Bach and Handel. In the dramatic Battalia, we hear a baroque specialty: dramatic imitation rather than formal elegance.
Gustav Holst (1874—1934)
Imitative “tone paintings” were a mainstay of Baroque musical craft; think of Vivaldi’s evocations of weather and landscape in compositions such as The Four Seasons. Biber’s catalog includes its fair share of imitative compositions depicting animals and the like. But in Battalia he accomplishes something more daring, rendering the sound of drunken soldiers celebrating after battle. Though they are victorious, the music is more frank than flattering—even depicting the drunkenness of the revelry and the pain of the wounded. The original full title is almost a descriptive literary work on its own: “Das leiderliche Schwarmen der Musquetirer, Mars, die Schlacht und Lamento der Verwundeten, mit Arien initirt und Baccho dedicirt…” or “The dissolute reveling of musketeers, march, the battle, and lament CHAMBER
Biber was a noted violin virtuoso, and his skill and knowledge of stringed instruments continue to challenge players today.
St. Paul’s Suite for String Orchestra Most of us know Holst mainly from his enormously popular 1916 suite The Planets, which is big in every way: subject (astronomical), scale (long, and for a very large orchestra), and hugely enjoyable. Though his St. Paul’s Suite is shorter and far more intimately scaled, it shares some essential elements with The Planets—most notably charm, cheer, and the sound of the British Isles in every bar. Born during the prim Victorian era in Cheltenham, an English spa town, Holst was a man of strict propriety and Swedish ancestry, with ethnic roots extending further back into Latvia and Russia, but in spirit he was English to his bones. The genial warmth of his music ran counter to the realities of his life, which was marked by poor health, unsociability, and dark moods. Even the enormous success of The Planets, which eclipsed his more serious religious and choral 37
Serenade for Strings
program notes
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works, wound up displeasing him. When neuritis curtailed Holst’s piano career, Holst accepted a position as Director of Music at St. Paul’s Girls’ School, for which the St. Paul’s Suite is named. He composed the suite in gratitude for the school’s construction of a music studio for his composing work. In this suite, as in The Planets, Holst uses familiar folk tunes from England, Ireland and Scotland as source materials in each movement—starting with the familiar jig and proceeding through the equally exuberant finale, which is based on the composer’s “Fantasia on the Dargason” from his Second Suite in F for Military Band. And, yes, that is the classic “Greensleeves” that you hear as a counter-melody in the fourth movement.
elegance—is a work he deemed one of his best. As with his Orchestral Suite No. 4, “Mozartiana”, this serenade was composed as an hommage and a loving imitation of the composer Tchaikovsky idolized above all others.
Pyotr Ilyich Tchaikovsky (1840–1893)
A moody elegy follows the lilt of the waltz: flowing and lyrical, but autumnal in contrast with the waltz’s vernal radiance. This leads us to the fourth movement, which is played vigorously but with muted strings. Based on a Russian folk song that has the rhythmic pull of a Volga River work chanty, it builds in energy and pace until it, like the third movement, seems to cry out for choreography. Finally, as the Serenade closes, Tchaikovsky reprises its solemn opening chorale, creating a perfect arch form and a sense of Mozartian symmetry.
Serenade in C Major for Strings, Opus 48 Some critics have described Tchaikovsky’s Serenade in C Major and his 1812 Overture, both composed during the autumn of 1880, as “bookends.” But they are actually musical opposites: Tchaikovsky was frankly embarrassed by the Overture, which he described as bombastic and crude. But, ah, the Serenade—all grace and
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As with Mozart’s Divertimento, the Tchaikovsky Serenade is crafted with more substance and finesse than the genre requires. It opens with a formally structured movement in sonata form with a stately introduction that seems almost solemn, like a salute to music’s past glories. It has the grandeur of a chorale and an almost religious seriousness. This opens onto a contrasting section that scurries with energy and rapid passagework. In the second movement—perhaps the Serenade’s most celebrated—we hear one of the most beguiling waltzes Tchaikovsky ever composed. Only a master of the ballet could have written it, and it has been choreographed many times—most notably by George Balanchine for the New York City Ballet.
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Individual Donors Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman Margaret Sargent K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur Caroline & Thomas Wright PATRONS
$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine
UTAHSYMPHONY.ORG
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Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Edward & Grace McDonough
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Individual Donors Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.† & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat-Navarro Mr. & Mrs. Brad E. Walton Nadine Ward Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro *In-kind gift **In-kind & cash gift † Deceased Gifts as of 12/1/16
UTAHSYMPHONY.ORG
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(801) 533-NOTE
“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
Most Popular Restaurant
West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning. The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668
MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe. Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328
–Zagat
48 W. Market Street (340 South) 801.322.4668
• An intimate euro café • Free Valet Parking 22 East 100 South
Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image
B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections
THANK YOU TO OUR ADVERTISERS Adib’s Rug Gallery Bank of American Fork BMW of Murray Challenger School City Creek Living Classical 89 Darling Me Avenue David Dee Fine Arts Daynes Music Excellence in the Community FINCA Five Wives Vodka Grand America Hale Centre Theatre KCPW KUED KUER MAC
New Yorker OC Tanner Paletti RC Willey Regency Royale Ruth’s Chris Steak House San Francisco Design Security National Mortgage The Spectacle Tuacahn Amphitheatre University Federal Credit Union University of Utah Health Care Utah Food Services Zions Bank
If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833
Administration ADMINISTRATION Paul Meecham President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager
Melissa Klein Director of Individual Giving Alina Osika Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Heather Weinstock Manager of Special Events
SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Nathan Lutz Interim Director of Orchestra Personnel Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager
MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations RenĂŠe Huang Director of Public Relations Chad Call Marketing Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager Aaron Sain Graphic Design & Branding Manager
SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Director of Operations Chip Dance Production & Stage Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Michael Spassov Opera Chorus Master Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Mandi Titcomb Opera Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations
PATRON SERVICES Nina Richards Starling Director of Ticket Sales & Patron Services Faith Myers Sales Manager Andrew J. Wilson Patron Services Manager Robb Trujillo Group Sales Associate Ellesse Hargreaves Patron Services Assistant Jackie Seethaler Powell Smith Sales Associates Nick Barker Christina Frena Mara Lefler Rhea Miller Ananda Spike Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Greenwood Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk
EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Kyleene Johnson Education Assistant Timothy Accurso Sarah Coit Markel Reed Abigail Rethwisch Christian Sanders Utah Opera Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter COSTUMES Verona Green Costume Director Melonie Fitch Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Amanda Reiser Meyer Wardrobe Supervisor Milivoj Poletan Tailor Tara DeGrey Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Chadwick Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Daniel Hill Michelle Laino Wigs/Make-up Crew
We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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UTAH SYMPHONY
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No tragedy to be found here! Performing in your community since 1956
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House Rules
ASSISTIVE LISTENING DEVICES
QUIET PLEASE
Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.
As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.
WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.
LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.
YOUNG CHILDREN As a courtesy to other audience members, please ensure that children at performances are not disruptive during the show. Babes-in-arms are not allowed in the hall during performances unless specifically indicated.
UTAHSYMPHONY.ORG
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(801) 533-NOTE
CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.
COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.
NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.
EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.
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A Post-Concert Talkback in Your Own Living Room
We hope you take this performance home with you. If not in the shape of something from the Utah Symphony Guild Gift Shop, then in continued conversation with your friends, family and those who had this experience with you. Continue your pleasure for hours—even days—by exchanging ideas about it. Here are some topics we can suggest: •
Jan 6–7 | When Tchaikovsky first wrote his Violin Concerto the critics hated it and now it is a cherished piece among audiences. What are some pieces of music that critics, or even you, hate today that you think could flip to the audience’s favor in the future.
•
Jan 13–14 | Tristan und Isolde is a famous love story that has been made come alive in almost every art form. Brainstorm to see where you have seen it last and what your favorite re-telling has been.
•
Feb 3–4 | An isolated figure, working under one of the 20th century’s most terrifying dictatorships, Dmitri Shostakovich’s music is emotional, controversial, misunderstood— and a guaranteed hall-filler. So why are we obsessed with Shostakovich?
•
Feb 17–18 | Which movement of Mozart’s Requiem moved you the most and why? What musical part would you want to perform in this piece?
•
Feb 10–11 | Tonight we celebrated the music of Jerry Herman. What are your favorite Broadway musicals and if you were cast in one, who would you want to be cast as and why?
•
Feb 24–25 | Compared to most of the pieces we perform, the composer of Aquateinte, Michael Jarrell, is still composing today. Have you ever thought about writing a piece of music and if so what kind of music would it be? What instruments would it highlight?
Visit “The Musicians Lounge” to read more behind the scenes interviews with our artists and musicians. www.utahsymphony.org/blog/
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UTAH SYMPHONY
2017 SEASON k ENTERTAINMENT
FEB 15 through ~ APR 8
Call 801.984.9000 or online at www.HCT.org
SEASON TICKETS ON SALE NOW!
DEC 31 through ~ FEB 4
APR 15 through ~ MAY 20
JUNE 2 through ~ AUG 12
AUG 25 through ~ OCT 14
SEPT 1 through ~ NOV 15
OCT 21 through ~ NOV 30
NOV 17 through ~ JAN 20
DEC 1 through ~ DEC 23
T H A N K YOU T O OU R 2017 S E A S ON S P ONS OR
WHAT DO YOU REMEMBER ABOUT 5TH GRADE?
If you grew up along the Wasatch Front, your memories might include a field trip to Abravanel Hall to hear the Utah Symphony. The tradition continues. Each year most of the 5th graders in Canyons, Davis, Granite, Jordan, Murray, Salt Lake and Tooele school districts ride their yellow school buses to hear the talented, professional musicians of our orchestra perform in the acoustical splendor of Abravanel Hall. Before students come to the concert, their teachers receive materials about the concert and a trained Utah Symphony Docent visits their school to help prepare them for the concert. Slides are projected above the orchestra before and during the concert to entertain and help keep the learning lively.
In 2015–16, 18,899 STUDENTS and 814 TEACHERS from 218 SCHOOLS attended our 5th Grade Concerts.
for the 2016–17 concerts, Utah Symphony Associate Conductor Rei Hotoda has chosen the title All in the Family for the concert. Students will be introduced to the instrumental families of the orchestra piece by piece, and then enjoy an exciting finale with the full orchestra playing. We look forward to this annual chance to share great repertoire played by our dedicated musicians. This year’s 5th Grade Concerts take place between February 7 and March 1, 2017.
PLEASE SUPPORT OUR EDUCATION & COMMUNITY OUTREACH PROGRAMS. By donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of Utah, and support your Utah Symphony and Utah Opera. Donate today! Contact our Development Department at (801) 869-9015.
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY
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Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE
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Provided by Shuman Associates, New York City ADVERTISING SERVICES
Provided by Love Communications, Salt Lake City Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau. The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.
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UTAH SYMPHONY
High School Senior Scholarship Competition 1.18.17 // 6:30–10:00p Dumke Recital Hall University of Utah
Tia Jaynes in Recital
Utah Flute Association Annual Flute Festival & Sonata Competition 2.25.17 // 9:00a–4:00p Westminster College
Denis Bouriakov in Recital
Flute Instructor, Salt Lake Community College 1.20.17 // 7:30p Dumke Recital Hall University of Utah
Principal Flute, Los Angeles Philharmonic 3.20.17 // 7:30p Vieve Gore Recital Hall Westminster College
Tia Jaynes Masterclass
Denis Bouriakov Masterclass
1.21.17 // 9:00a–12:00p Dumke Recital Hall University of Utah
Nicolas Duchamp in Recital Gaubert expert, International Performer & Teacher 2.24.17 // 7:30p Vieve Gore Recital Hall Westminster College
3.21.17 // 5:30–8:00p Dumke Recital Hall University of Utah
Sonata Competition Winners Recital 4.21.17 // 7:30p Dumke Recital Hall University of Utah
Become a member today!
Get exclusive access to concerts and masterclasses with prominent national and local flutists, competitions and workshops at the student and professional levels, and networking opportunities. The Utah Flute Association is a non-profit organization created to foster great flute music in the Utah community and beyond.
To learn more, visit utahflute.org.
2016/17 CULTURAL FESTIVAL
ARTS IN SERVICE TO THE MILITARY
Our 2016–17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veterans’ active art-making as a means of self-expression. FESTIVAL HIGHLIGHTS INCLUDE:
The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT
USUO.ORG/FESTIVAL
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University of Utah Health Care Ear, Nose and Throat is proud to support the Utah Symphony | Utah Opera. Our physicians artfully orchestrate the latest medical advances with personalized, ovation-worthy service. healthcare.utah.edu/ent | 801.587.8368
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