THE SOUND of the HUMAN EXPERIENCE
JAN – FEB / 2015–16 UTAH SYMPHONY SEASON
COVER
PREPRINT
The Painful Truth Pain is an unbidden guest, humanity’s shadow companion down through the ages. It is a despoiler of dreams and a thief. Chronic pain can appear suddenly in a person’s life, changing it forever. Dr. Lynn R. Webster puts a face on chronic pain through the lives of his patients, and provides an intimate view of what it is like to live with it. The Painful Truth will open your eyes to the world of those who are stigmatized and marginalized by our society and healthcare system. Yet the new book offers hope and a path forward for those willing to engage in a crusade against the human race’s primal enemy—pain.
“It is not often that you come across a book written by a physician that is filled with more than good advice; it is filled with compassion and understanding for people with pain. From his early childhood, Lynn Webster understood the torment of pain and the importance of just being there and accepting the person in spite of his or her pain. His accounts of his patients are heartfelt, and anyone with pain can relate to the struggles he so perceptively tells.” —Penney Cowan, founder and executive director, American Chronic Pain Association
www.thepainfultruthbook.com
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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow
New Year’s Celebration
Fischer Conducts Mozart & Mahler
January 2, 2016
January 8–9, 2016
Respighi, Grieg, Schreker & Korngold
Pahud Plays Carmen Fantasy
January 14, 2016
January 29–30, 2016
Jackiw Plays Mendelssohn
75 Years of Bravo! Broadway
February 5–6, 2016
February 12–13, 2016
ART DIRECTOR / PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Jody Martin EDITOR Melissa Robison Cover photo: Thierry Fischer 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 2016 @UtahSymphony
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Tonight’s Concert
6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Season Honorees 19 Season Sponsor 21 Maestro Maurice Abravanel 22 Community Collaboration 24 Trio 26 Ballet West Profiles 30 Season Sponsors 40 Healthcare Night at the Symphony 42 Perpetual Motion 44 Utah Symphony Guild 46 Tanner & Crescendo Societies 47 Plan Big 48 Corporate & Foundation Donors 50 Individual Donors 52 Sound Bites 54 Administration 59 Classical 89 Broadcasts 61 House Rules 62 Acknowledgments 64 Upcoming Performances
Ballet West with the Utah Symphony February 26–27, 2016
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Welcome
On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As the Utah Symphony nears the half-way point of this landmark 75th Anniversary Season, we pause to reflect and celebrate. The Beethoven Symphonies Festival that opened the season highlighted the excellent ensemble-playing of our musicians while providing a unique opportunity for our patrons to experience the range of Beethoven’s brilliant symphonic writing over an intensive two-week period. Our 75th Anniversary Gala Concert featuring Lang Lang was an exciting night in the concert hall and an amazing party in the lobby for the 2,500 friends in our community who celebrated the orchestra with us. The three world premieres of our 75th Anniversary Commissions—works by acclaimed American composers Nico
Thierry Fischer Symphony Music Director
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Muhly, Andrew Norman, and Augusta Read Thomas—demonstrated truly virtuosic performances by the orchestra. They also garnered extremely positive attention in the national music scene during performances and have been recorded for release this spring. The special projects of this season demand great preparation, concentration, and commitment from the entire orchestra. The resulting artistic excellence is inspiring to all of us: we see those results in enthusiastic audiences; and we hear those results in the unique shared experiences that characterize great, live music. Thank you for joining us, and we hope you take inspiration and pride as you witness some of the many ways that Utah Symphony is demonstrating the highest levels of artistic excellence. Our musicians are ready to reveal unlimited potential as they move mountains with sound. Sincerely,
Patricia A. Richards Interim President & CEO
David A. Petersen USUO Board of Trustees Chair
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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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* Ralph Matson 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 David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Jerry Chiu Joseph Evans LoiAnne Eyring Kristiana Henderson†† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen 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 8
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 Kevin Shumway Pegsoon Whang Joyce Yang†† 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 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 James Hall# Associate Principal Titus Underwood†† Acting Associate Principal
Jennifer Rhodes
HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal
TIMPANI George Brown Principal
PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy Matthew Searing†† ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager
Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser
STAGE MANAGEMENT Chip Dance Production & Stage Manager
TRUMPET Travis Peterson Principal
Mark Barraclough Assistant Stage & Properties Manager
Jeff Luke Associate Principal Peter Margulies Nick Norton TROMBONE Mark Davidson Principal
• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Sam Elliot†† Acting Associate Principal
Lissa Stolz
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah musicians on stage at the Gallivan Center
Pat Terry
January 7: Alan Michael Band January 14: Hot House West (formerly known as Hot Club of Zion) January 21: Joe McQueen Quartet January 28: Steve Lyman Quintet
Board of Trustees
ELECTED BOARD David A. Petersen* Chair
Bob Wheaton John W. Williams Thomas Wright
Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*
Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher
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
Mardean Peterson E. Jeffrey Smith Barbara Tanner
HONORARY BOARD Senator Robert F. Bennett 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. 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.)
Alvin Richer (Arizona)
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO
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MUSICIAN REPRESENTATIVES
Travis Peterson* Karen Wyatt* EX OFFICIO
Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Music Director
Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Maestro Fischer was Principal Conductor of the BBC National Orchestra of Wales 2006–12 and returned as a guest conductor at the 2014 BBC Proms. Recent engagements have included the Boston Symphony Orchestra, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Detroit Symphony, BBC Symphony, and London Sinfonietta. In 2015–16 he makes his debut with the London Philharmonic Orchestra (in subscription at the Royal Festival Hall), having recorded a Beethoven CD with them in 2014. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Maestro Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Maestro Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012. Maestro 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 then 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
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Season Honorees
Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received as of 11/15/2015.
M I LLE N I U M $250,0 0 0 & A B OV E
EDWARD ASHWOOD & CANDICE JOHNSON
GAEL BENSON
LAWRENCE T. & JANET T. DEE FOUNDATION
E.R. (ZEKE) & KATHERINE W.† DUMKE
MR. & MRS. MARTIN GREENBERG
DELL LOY & LYNETTE HANSEN
CAROL & TED NEWLIN
MARK & DIANNE PROTHRO CORPORATION
SHIEBLER FAMILY FOUNDATION
UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION
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JACQUELYN WENTZ
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Season Honorees
DIANE & HAL BRIERLEY
KEM & CAROLYN GARDNER
ANTHONY & RENEE MARLON
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
THEODORE SCHMIDT
NAOMA TATE & THE FAMILY OF HAL TATE
UTAHSYMPHONY.ORG
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Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E
DOYLE ARNOLD & ANNE GLARNER
DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND
R. HAROLD BURTON FOUNDATION
THIERRY & CATHERINE FISCHER**
ROGER & SUSAN HORN
RONALD & JANET JIBSON
EMMA ECCLES JONES FOUNDATION
FREDERICK Q. LAWSON FOUNDATION
EDWARD & BARBARA MORETON
GIB & SUSAN MYERS
WILLIAM & CHRISTINE NELSON
DR. DINESH & KALPANA PATEL
ANONYMOUS
**
RESTAURANT TAX RAP TAX
B R AVO $ 50, 0 0 0 & A B OV E
Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* The Right Reverend Carolyn Tanner Irish** Montage Deer Valley**
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Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Wheeler Foundation Lois A. Zambo
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah Symphony | Utah Opera 2015-16 Season Sponsor
George S. and Dolores Doré Eccles
Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles
The Tradition Continues
F
or more than 30 years, unwavering support from the George S. and
Dolores Doré Eccles Foundation has been integral to the success of Utah Symphony | Utah Opera. It remains so today!
Season Honorees OV E R T U R E $25, 0 0 0 & A B OV E
Arnold Machinery Mr. & Mrs. William C. Bailey
Richard K. & Shirley S. Hemingway Foundation
S. J. & Jessie E. Quinney Foundation Simmons Family Foundation
BMW of Murray
Janet Q. Lawson Foundation
Harris H. & Amanda Simmons
BMW of Pleasant Grove
Love Communications*
Stein Eriksen Lodge**
Rebecca Marriott Champion
Carol & Anthony W. Middleton,
Summit Sotheby’s
Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee
Jr., M.D.
Nora Eccles Treadwell Foundation
OPERA America’s Getty Audience Building Program
Vivint M. Walker & Sue Wallace
Delta Air Lines*
James A. & Marilyn Parke
Jack Wheatley
John H. & Joan B. Firmage
Charles Maxfield & Gloria F. Parrish
John W. Williams
Kristen Fletcher & Dan McPhun Holland & Hart**
Foundation
Workers Compensation Fund
Alice & Frank Puleo
Edward & Marelynn Zipser
Hyatt Escala Lodge at Park City** Tom & Lorie Jacobson Josh & Cherie James G. Frank & Pamela Joklik Robert & Debra Kasirer Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council
Lori & Theodore Samuels Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild U.S. Bancorp Foundation
M A E S T R O $10, 0 0 0 & A B OV E
Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale CenturyLink Howard & Betty Clark** Daynes Music* Skip Daynes* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco*
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See pages 48–51 for an additional listing of our generous donors whose support has made this season possible.
* In-Kind Gift ** In-Kind & Cash Gift † Deceased
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Maestro Maurice Abravanel By Heather L. King
meet one like that in life, where you can almost whole-heartedly just follow.” Claudia Norton, bass player with the Utah Symphony since 1967, recalls of Abravanel, “He made you great by just his ability to communicate the idea of the music, and I think everybody understood what he wanted.” Abravanel holds a special place in the hearts of Utahns for taking the part-time community orchestra known as the Utah State Symphony Orchestra and turning it into the world-renowned, 85-person professional Utah Symphony the state boasts today.
Maestro: A distinguished musician, especially a conductor of classical music. A great or distinguished figure in any sphere. Maurice Abravanel is a name beloved to music lovers the world over. Throughout his career, Abravanel conducted orchestras in Berlin, Paris, Austria, and Australia before arriving in New York City to lead the Metropolitan Opera at the age of 33. Two years later, in 1947, he was hired as Music Director for the Utah Symphony where he spent 32 years raising the ensemble to international prominence—leading the symphony on four international tours, in live radio broadcasts and releasing more than 100 commercial recordings with Vanguard, Vox, Angel, and CBS. Of his time spent working with Abravanel, Ardean Watts, former associate conductor of the Utah Symphony remarks, “Maurice is the greatest man I ever met personally. And a person is lucky to UTAHSYMPHONY.ORG
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Additionally, Abravanel lobbied for a permanent home for the orchestra— ultimately realized in September of 1979 when the architectural landmark Symphony Hall opened. Designed by FFKR Architects with acoustical engineering by Dr. Cyril M. Harris, attendees today enjoy a superior experience. The Hall was renamed in honor of Maurice Abravanel in 1993. Abravanel’s legacy with the Utah Symphony also includes the orchestra’s music education program, which under his guidance grew into one of the most extensive arts education programs in the region. For his work, Abravanel received the National Medal of Arts from President Bush in 1991. Says violinist Tom Baron, who played with Utah Symphony from 1968–2015, Abravanel was an inspiration to all those who worked with him. “He left his mark on us, whether we liked it or not, he was a formative influence for all of us. We were better people for having known him, guaranteed, 100%.” 21
Community Collaboration Spotlight: Ballet West Part of the Utah Symphony’s 75th Anniversary celebrations involves sharing the stage with other performing arts organizations in Masterworks collaborations that bring together various artforms. Below, Ballet West’s Artistic Director Adam Sklute talks about music, celebration and the art of dance. By Adam Sklute, Artistic Director, Ballet West Ballet and dance are a melding of several artistic forms of expression. How does the physical art of dance meld with the auditory art of music? To me, dance is a physical and emotional manifestation of music. There is music in all things, even silence. How this music makes us, as human beings, respond and react physically and how we move to it is based on the sound—be it uplifting, saddening, joyous or frightening. In classical ballet, as in classical music, the codified vocabulary is structured based on its history and development over hundreds of years. So the physical and emotional response in ballet to a more classical or baroque piece of music will likely (but not always) be more tightly structured, steps and movementwise, while later, more romantic, or contemporary music will generally bring out a freer dance vocabulary. Ballet West will be showcasing new choreography for its Masterworks collaboration with Utah Symphony, Debussy’s Jeux. How does the creative process unfold as it relates to music, dance and overall vision? Jeux was Debussy’s last orchestral work and he wrote it as a “Dance Poem.” It was originally commissioned in 1912 by Serge Diaghilev, impresario of the famed Ballets Russes, as a vehicle for his star dancer Vaslav Nijinsky to choreograph on himself and two leading ballerinas of the day. It was to be about a chance romantic encounter at night between a young man and two women in the Bois de Boulogne. 22
The ballet premiered in Paris in 1913 to respectable if puzzled reviews both for the suggestive subject matter of the libretto and the complexity of the score. Long held preconceptions about ballet and music were being significantly revolutionized during the era of the Ballets Russes between 1909 and 1929 with Nijinsky leading the way with such works as L’Après Midi d’un Faun (also to a score by Debussy) and Le Sacre du Printemps (to Stravinsky’s epic creation). I have long been fascinated by the works of the Ballets Russes and this period in dance and wanted to explore a reworking of Jeux. I wanted to see how the score and the libretto might lend itself to a modern day setting. Would it still be complicated to listen to? Would it still come across as scandalous? At the time I was planning this re-creation, with almost synchronistic coincidence, Thierry Fisher came to me asking if I would like to collaborate and in particular on a ballet to a piece of music he was fascinated by—Debussy’s Jeux. I remember asking rather ruefully if he knew the libretto and he said he did. We both agreed, however, that this was about art. It was about history, music, dance and how composers and choreographers delved into subject matter. I commissioned choreographer Helen Pickett, who is having great success with her works both abstract and narrative round the world, and she brilliantly adapted the original libretto into a current day setting working deftly with the unorthodox ebbs and flows of Debussy’s brilliant score. UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Community Collaboration Spotlight: Ballet West
How do some dancers use music and dance to celebrate in their personal life?
For someone who enjoys the auditory experience of classical music, what do the form, movement and visual elements of ballet bring to the enjoyment and overall experience? In my opinion, ballet is a complete art form, melding music with visual art and the power of movement through the human body. To see a dancer defy gravity with an amazing leap or balance or turn in conjunction with a beautiful piece of music adds a level of visceral dimension, context and sometimes profundity to the already powerful experience of listening to music.
I think dancers use music in their personal lives much as anyone else does. Dancing is their art and their profession, but just like all human beings it can be an expression of joy and celebration. Honestly, dancers are not different in that way, they don’t automatically express themselves in their daily lives through classical ballet any more than an opera singer or classical musician would. But one thing that all three have in common is a deep love for their art and the physical joy it brings them. I am, however, always struck by the fact that dance is in every culture (and species—human and animal as well I might add). In fact, over the past few years I have been to a number of my dancers’ weddings, each of a different faith and denomination, from Catholic Latin American, Jewish, Swedish Lutheran and more. They were culturally different, but all celebrated with dance and music.
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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TRIO TRIO is a collection of perspectives gathered by community writers from conductors, guest artists and Utah Symphony musicians surrounding a singular theme. As Utah Symphony celebrates its 75th anniversary season, we asked: “Describe the connection between music and celebration in your life.” By Connie Lewis For Jun Märkl guest conducting means becoming part of a new team and seeing what he might contribute to building an orchestra. He likes exploring the different approaches each orchestra takes, accepting suggestions and trying new repertoires. He enjoys working with the Utah Symphony and only wishes he had more time to explore the beauty of the state.
Jun Märkl Chief Conductor for the Basque National Orchestra and Principal Conductor of Pacific Music Festival
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For Maestro Märkl, making music is always a celebration. “Music celebrates specific moments or seasons in life. Music is about creating unforgettable moments. Music is hard work, but always a celebration. The beauty of the performance communicates with the audience. The orchestra plays for the audience and creates something special they won’t forget,” he described in a phone interview. “Music touches your heart in a profound, deep way that doesn’t happen anywhere else in life. Music is a reason to live. It builds a sense of beauty, a sense of value, a sense of life. It is being alive and being able to experience different levels of pure beauty.” Maestro Märkl notes that his role as a conductor is to use music to communicate on an emotional level with the audience. “Celebration is the excitement of seeing something created live on stage and is a close reflection of what a composer experiences in his life. As conductors we uncover the intent and message of the composers and convey that to the audience. We speak with music and tell a story.”
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
TRIO When Emmanuel Pahud was five years old growing up in France, he heard a tune playing at his neighbor’s house. He hummed that tune over and over, and one day he found out that it was Mozart’s Flute Concerto. The boy was so drawn to it, he started flute lessons that eventually led him to the Paris Conservatory, international competitions, and performing all over the world. Mozart’s concertos and sonatas for flute are still among the acclaimed flautist’s favorite pieces. “I was born on January 17 and so was Mozart. It was a good start for my life as a musician. I really love to rediscover the same excitement every time I perform it on-stage.” Music is a celebration for Mr. Pahud, “I see music as moments when people spend two hours together in a concert hall, not just the 200 people on stage, but also the people listening and taking time from hectic lives to make their lives better.” Emmanuel Pahud The Berlin-based flutist best known for his baroque and classical flute repertory
He views live performance as providing an escape from hardship and unifying us through an experience intrinsic to humanity. “We need this particularly in hard times like we are currently having. As a Frenchman, sensitive to what is happening in Europe, getting together, listening and playing music together, helps us be better human beings. After a concert we are all lighter in our hearts.” Karen Wyatt started the violin at the age of five in a public school program. At 13 her family moved to Belgium when her father was stationed there for the U.S. Navy. For three years, Ms. Wyatt studied with one of the violinists from the Belgian National Symphony. She continued her studies and went to Indiana University, earning a degree in violin performance. After graduation she won a fellowship with the New World Symphony in Miami. Now in her third season with the Utah Symphony, Ms. Wyatt says celebrating music comes after all the hard work. “It is widely understood that winning a job in an orchestra is incredibly difficult. Not only do you need to be at your best on the right day at the right time, a complete group of strangers all need to be in agreement that you are the right person for the job. I feel so lucky to have been chosen to play with this fantastic group of people in this amazing city.”
Karen Wyatt Violinist with the Utah Symphony
UTAHSYMPHONY.ORG
Not only did Ms. Wyatt connect with her fellow orchestra members, she also found a husband in percussionist Mike Pape. They wed earlier this spring. “We have reached a huge milestone in our organization’s history,” she added. “As I reflect on this time of celebration, I am reminded of the long road it took to get here and I now view each day in this city, and each concert with this group as a cause for celebration! Here’s to 75 more years!” /
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Ballet West Profiles Since 2007, Adam Sklute has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting Company premieres, increased touring and public exposure, and greater focus on Ballet West Academy and Ballet West II. Under Sklute’s leadership Ballet West has toured extensively, appearing three times at Washington DC’s Kennedy Center for the Performing Arts to sold out audiences; a weeklong engagement at New York City’s Joyce Theater; Chicago’s Auditorium Theater with two separate programs; twice at New York City Center’s Fall for Dance Festival; and twice at the Chicago Dancing Festival. The Company has also appeared at Wolf Trap National Park for the Performing Arts, The Laguna Dance Festival, Aspen, CO, Dallas, TX, twice in Las Vegas, NV, Minneapolis, MN, and Victoria, BC.
Adam Sklute Artistic Director, Ballet West & Ballet West Academy
Utah Symphony looks forward to their collaboration with Ballet West on February 26-27 at Abravanel Hall.
In 2009, Ballet West graced the cover of Dance Magazine for the first time in 25 years and again was on the cover in 2013. Under Sklute, the Company has garnered numerous reviews and articles in such publications as The New York Times, The Washington Post, Dance Magazine, Ballet Review, and Pointe, to name a few. Ballet West was the subject of the BBC Worldwide Production’s docu-drama television series Breaking Pointe which aired for two seasons on The CW channel. Sklute has introduced Ballet West audiences to such renowned contemporary choreographers as Nicolo Fonte, Jiri Kylián, Mark Morris, and Twyla Tharp, among others, all while expanding the company’s Balanchine repertoire and adding early 20th century Diaghilev-era masterpieces. In addition to reintroducing lost elements of Christensen’s production of The Nutcracker and reconstructing his The Firebird, Sklute conceived and produced his own new versions of Swan Lake, The Sleeping Beauty and Giselle. Sklute has created wildly successful annual programmatic additions to the Season, including Family Series and Innovations programs. All in all, in his eight years as Artistic Director, Sklute has introduced over thirty new works and nearly forty world premieres to Ballet West. A native of Berkeley, California, Sklute began dancing at the age of 16. His early training was at the Oakland Ballet and San Francisco Ballet schools. After only two years of formal study, Sklute became one of the last two artists personally chosen by Robert Joffrey for The Joffrey Ballet. He danced with The Joffrey from 1985 to 2000 and then rose through the ranks to Associate Director in 2005. He became Artistic Director for Ballet West in 2007. Sklute has served on the boards of Chicago’s Dance for Life, Salt Lake Community College, School of the Arts Advisory Board; and the Salt Lake County Cultural Facilities Master Plan Advisory Board. He currently serves on the Board of the Gerald Arpino/Robert Joffrey Foundation. A finalist judge and international representative for numerous ballet competitions including the Youth America Grand Prix, Los Angeles’ Spotlight Awards, The International Ballet Competition, The Japan Grand Prix, and an adjudicator for the American College Dance Festival Association, Sklute was listed as one of the 25 Movers and Shakers of the Utah Arts Scene in 2007. In 2014 he was named one of Utah’s Enlightened 50 and received the Utah National Guard’s Bronze Minuteman Award for outstanding service to Utah and the nation.
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Ballet West Profiles
George Balanchine Choreographer
Born on Staten Island, New York, Gerald Arpino studied ballet with Mary Ann Wells while stationed with the Coast Guard in Seattle, Washington. Arpino first met Robert Joffrey at Well’s school. He studied modern dance with May O’Donnell in whose company he appeared in the 1950’s. In 1956, Arpino became a founding member of the Robert Joffrey Theatre Ballet with Robert Joffrey. He served as codirector of the company’s school, the American Ballet Center, and was the leading dancer until an injury forced him to retire from dancing in 1963. By 1965, he had choreographed five works for the company and become the Joffrey’s co-director and resident choreographer. In the first 25 years of the company’s existence, Arpino created more than a third of all its commissioned ballets. After the death of Robert Joffrey in 1988, Arpino became the Artistic Director of the Joffrey Ballet and in 1995 moved the company to Chicago. In July 2007, he was named Artistic Director Emeritus as the search for a successor began. Arpino suffered from prostrate cancer for seven months before his death on October 29, 2008.
Gerald Arpino Choreographer
UTAHSYMPHONY.ORG
George Balanchine is regarded as one of the foremost contemporary choreographers in the world of ballet. He came to America in 1933 and established the School of American Ballet in 1934. In 1948, Balanchine established the New York City Ballet and presented its first program consisting of Concerto Barocco, Orpheus and Symphony in C. Balanchine served as ballet master for the New York City Ballet from 1948 until his death in 1983, choreographing the majority of the productions the company has introduced since its inception. An authoritative catalog of his works lists 425 works created by Balanchine in his lifetime. Balanchine’s style has been described as neoclassic. A gifted musician himself, his response to the Romantic Classicism was to deemphasize the plot in his ballets, preferring to let “dance and music be the star of the show”. Nevertheless, tantalizing hints of a story color his works in such ballets as Apollo, Harlequinade, Liebesliede Waltzer and La Sonnambula. The New York City Ballet and School of American Ballet remain dedicated to the preservation of Balanchine’s ideals.
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Helen Pickett was born in San Diego, California. 2016 marks 10 years for Helen as a choreographer, creating over 30 ballets in the U.S. and Europe. In addition to Helen’s contemporary ballet choreography, she has collaborated as a choreographer, coach and actress with installation video artists and filmmakers, including Eve Sussman, Toni Dove and Laurie Simmons. She danced with William Forsythe’s Ballet Frankfurt for 11 years, and performed with the theater company Wooster Group in New York for five years. Helen is the Resident Choreographer for Atlanta Ballet, and will choreograph for the Lyric Opera in 2016, and collaborate with Jeff Beal, composer of House of Cards, on new choreography, in the same year. Helen was nominated for the Isadora Duncan Dance Award in 2013, and was named Best Choreographer of Atlanta in 2014 and 2015. She is the producer and creator of the workshop, Choreographic Essentials. In 2006, Dance Europe published Helen’s article, Helen Pickett Considering Cezanne. She earned her Masters of Fine Arts in Choreographer Hollins11:12 University. www.helenpickett.com UFS_SymphonyAd2012.pdf2011 1 from 12/8/11 AM
A NEW PBS ORIGINAL SERIES
Sundays at 9PM Beginning Jan. 17 The lives of diverse characters intersect behind the front lines of the Civil War in the chaos of a hospital in Union-occupied Alexandria, Virginia.
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Utah Symphony gratefully acknowledges the following generous donors who are making our 2015–16 season possible.
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New Year’s Celebration
New Year’s Celebration January 2 / 2016 / 7PM / ABRAVANEL HALL THIERRY FISCHER , Con du ctor CELENA SHAFER , Sopr an o
J. STRAUSS, JR.
Overture to Die Fledermaus
J. STRAUSS, JR.
“Mein Herr Marquis” from Die Fledermaus Celena Shafer, Soprano
Drängender Walzer from Drei Walzer
WOLFGANG RIHM
Perpetuum Mobile, Opus 257
J. STRAUSS, JR.
Frühlingsstimmen, Opus 410
J. STRAUSS, JR.
Celena Shafer, Soprano
Feuerfest! Polka française, Opus 267
JOSEF STRAUSS
Overture to The Gypsy Baron
J. STRAUSS, JR.
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Overture to The Merry Widow
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Pizzicato Polka
J. STRAUSS, JR. PROKOFIEV LEHÁR
“New Year’s Eve Ball” from War and Peace “Meine Lippen, sie küssen so heiss” from Giuditta Celena Shafer, Soprano
J. STRAUSS, JR.
On the Beautiful Blue Danube, Opus 314
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New Year’s Celebration
Thierry Fischer’s biography can be found on page 15. Program notes can be found online at utahsymphony.org
After two summers as an apprentice at The Santa Fe Opera, the career of soprano Celena Shafer was launched to critical raves as Ismene in Mozart’s Mitridate, Re di Ponto. Anne Midgette wrote in The New York Times wrote, “It takes the debutante Celena Shafer, an alumna of the apprentice program here, to show how it should be done, singing the Oriental princess Ismene with flair, vocal balance and great cadenzas.” Since that breakthrough debut, Ms. Shafer has garnered acclaim for her silvery voice, fearlessly committed acting and phenomenal technique. She spends much of her time on the concert stage and has appeared with the orchestras in New York, Chicago, Philadelphia, San Francisco, and Los Angeles with leading conductors such as Christoph von Dohnanyi, Alan Gilbert, Bernard Labadie, Robert Spano, Nicholas McGegan, Kent Nagano, Donald Runnicles, Michael Tilson Thomas, David Robertson, and Sir Andrew Davis.
Celena Shafer Soprano
A beloved artist in her home state of Utah, Ms. Shafer has a long relationship with the Utah Symphony | Utah Opera where during the 2014–15 season she was Artist-in-Residence with the Symphony and returns this season for Beethoven Symphony No. 9, a New Year’s concert, and Mahler Symphony No. 8 all led by music director Thierry Fischer. Since first appearing with the USUO as a high school student, Ms. Shafer has performed operatic roles there including Constanze in The Abduction from the Seraglio, Rosina in Il barbiere di Siviglia, GIlda in Rigoletto, Norina in Don Pasquale, Lisette in La Rondine, Tytania in A Midsummer Night’s Dream, and Adele in Die Fledermaus. Concert repertoire with the USUO has included Mahler Symphonies 2 and 4, the Mighty 5® tour of Utah’s great national parks, the Brahms German Requiem, the Bach Magnificat and wedding cantata Jauchzet Gott in Allen Landen, Vivaldi Gloria, Poulenc Gloria and several concerts of chamber music with conductors such as Bernard Labadie, Raymond Leppard, and former music director Keith Lockhart. She completed her degree at the University of Utah and received a masters degree from the University of MissouriKansas City Conservatory of Music and Dance.
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Fischer conducts Mozart & Mahler
Fischer conducts Mozart & Mahler January 7 / 2016 / 7:30PM / DE JONG CONCERT HALL January 8 & 9 / 2016 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER , Con du ctor AUGUSTIN HADELICH , Violin
MOZART
Concerto No. 4 in D Major for Violin and Orchestra, K. 218 I. II. III.
Allegro Andante cantabile Rondeau: Andante grazioso - Allegro ma non troppo
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MAHLER
Symphony No. 7 in E Minor I. II. III. IV. V.
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Langsam - Allegro Nachtmusik Scherzo: Schattenhaft Nachtmusik Rondo - Finale
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Thierry Fischer’s biography can be found on page 15. Continuing to astonish audiences with his phenomenal technique, poetic sensitivity, and gorgeous tone, Augustin Hadelich has established himself as one of the great violinists of his generation. His remarkable consistency throughout the repertoire, from Bach and Beethoven to Ligeti and Adès, is seldom encountered in a single artist.
Augustin Hadelich Violin
Highlights of Mr. Hadelich’s 2015–16 season include debuts with the Chicago Symphony, Pittsburgh Symphony, the Orpheus Chamber Orchestra in Carnegie Hall, and the Finnish Radio Orchestra, as well as return performances with the London Philharmonic, The Philadelphia Orchestra, and the symphonies of Atlanta, Cincinnati, Detroit, Louisville, Milwaukee, New Jersey, Oregon, Seattle, Utah, and Vancouver. Other projects include a return to the Wigmore Hall in London, a recording with the London Philharmonic, a residency with the Bournemouth Symphony, and numerous recital appearances in Germany. Mr. Hadelich has collaborated with such renowned conductors as Roberto Abbado, Marc Albrecht, Marin Alsop, Herbert Blomstedt, Lionel Bringuier, Justin Brown, James Conlon, Christoph von Dohnányi, the late Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Jakub Hrůša, Christoph König, Jahja Ling, Hannu Lintu, Andrew Litton, Cristian Macelaru, Jun Märkl, Sir Neville Marriner, Fabio Mechetti, Juanjo Mena, Ludovic Morlot, Sakari Oramo, Andrés Orozco-Estrada, Peter Oundjian, Vasily Petrenko, Yan Pascal Tortelier, Gilbert Varga, Hugh Wolff, Edo de Waart, Kazuki Yamada, and Jaap van Zweden, among others. The son of German parents, Mr. Hadelich was born and raised in Italy. A resident of New York City since 2004 and now an American citizen, he holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.
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Fischer conducts Mozart & Mahler
Wolfgang Amadeus Mozart (1756—1791)
Concerto No. 4 in D major for Violin and Orchestra, K. 218 INSTRUMENTATION:
2 oboes; 2 horns; strings
PERFORMANCE TIME:
24 minutes.
BACKGROUND
Mozart’s brilliance on the piano is fixed in the popular imagination. We know that at age four he played the pianoforte with technical mastery and style that belied his age, and stories of his spectacular pranks at the keyboard have become part of his legend. Later in life, his superb piano concertos were written in part to showcase his skills as a piano virtuoso. Yet somehow we forget that he was also one of the greatest violin soloists of his era, a combination that has no parallel among the great composers. His five violin concertos are a cornerstone of the violin repertory. Make no mistake: Mozart’s early violin playing was equally prodigious as his keyboard skills, and is documented by one of the most famous letters in the Mozart bibliography. Written by family friend Johann Andreas Schachtner, it describes what happened when Mozart, probably age seven, received the gift of a violin. We were going to play trios, Papa [Amadeus’ father Leopold] playing the bass with his viola, Wenzl the first violin, and I was to play the second violin. Wolfgang had asked to be allowed to play the second violin, but Papa refused him this foolish request, because he had not yet had [any] instruction in the violin, and Papa thought he could not possibly play anything. Wolfgang said, “You don’t UTAHSYMPHONY.ORG
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need to have studied in order to play second violin,” and when Papa insisted that he should go away and not bother us any more, Wolfgang began to weep bitterly and stamped off with his little violin. I asked them to let him play with me. Papa eventually said, “Play [along] with Herr Schachtner, but so softly that we can’t hear you [so as not to disturb the group], or you will have to go.” And so it was. Wolfgang played [my part along] with me. I soon noticed with astonishment that I was quite superfluous. I quietly put my violin down, and looked at [Leopold]; tears of wonder and comfort ran down his cheeks at this scene. Though Leopold was hardly one to question his son’s incredible musical gifts—he was quite literally banking on them—in this case they seem to have taken him by surprise. Even today Mozart’s early violin skills, confirmed by modern scholarship, defy the imagination. The physical challenges of producing accurate intonation and bowing expressively are completely different from skills required at the keyboard, yet Mozart seems to have been a prodigy at both. Shortly after the incident with Johann Schachtner and Herr Wenzl, young Wolfgang began playing publicly on the violin as well as the piano throughout Europe. He became Michael Haydn’s second Concertmaster, Court Orchestra of the Archbishop of Salzburg at age 13, beginning a professional association about which he would later complain bitterly. He appeared throughout Austria and Germany as a violinist in his teens. Despite these achievements, his reputation as a violinist seems to have been as much in eclipse in his own lifetime as it would be in ours. In a letter to his father describing a MASTERWORKS
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1777 violin performance (he was by then 21), he averred that “I played as if I were the greatest fiddler in all of Europe.” Leopold’s response could serve equally well today: “… Many people do not even know that you play the violin, since you have been known from childhood as a keyboard player.” Always the disciplinarian (and the artist’s agent), Leopold advised his son to apply himself further so that he really could be known as Europe’s leading violinist, and to play with “boldness, spirit and fire.” Wolfgang’s response was to resume his concentration on the pianoforte and leave the violin playing mainly to others. But his violin compositions, which he continued to produce through the end of his life, show a fluent sensitivity informed by his own skill on the instrument. Mozart’s great set of violin concertos were all originally thought to have been composed in the year 1775, and were thus “early” works, though that term does not have much meaning in Mozart’s case. Further research has cast doubt on some of the dates, but it seems clear that the fourth concerto, perhaps the most beloved of all, was composed in that year WHAT TO LISTEN FOR
To some listeners, the sunny lyricism of this concerto—and, indeed of all five of Mozart’s violin concertos—shows the influence of Mozart’s travels to Italy with his father (they made three such trips from 1769 to 1773). But while the earlier concertos seem to look back to the charms of Baroque concertos as well as ahead to the melodic riches of his piano concertos, the Violin Concerto No. 4 is more innovative—for example, creating a dramatic frame for the violin’s entry with an orchestral tutti in the first movement. When 36
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the soloist does join the proceedings, it is in a startlingly high register, contrasting boldly with the orchestra. It is in the lyrical second movement that we hear the slow, poetic, singing qualities that look ahead to Mozart’s great piano concertos, and in which some listeners hear hints of Mozart the opera composer. (But then, partisans of Mozart’s operas, concertos, and symphonies tend to hear the influence of one form in another—and love to argue about which is primary.) The third movement, joyful and melodic, is at the heart of another Mozartean controversy: In the final coda, does Mozart simply allow the music to end abruptly, finding the brilliance of its melodic glow sufficient? Or is this summation a witty, almost joking resolution of two seemingly rival themes? Gustav Mahler (1860—1911)
Symphony No. 7 in E Minor 4 flutes, 4th doubling piccolo, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tenor horn, tuba; timpani, bass drum, bass drum with attached cymbals, cow bell, crash cymbals, deep bells, glockenspiel, rute, snare drum, suspended cymbal, tam tam, tambourine, triangle; strings INSTRUMENTATION:
PERFORMANCE TIME:
1 hour, 24 minutes
BACKGROUND
In addition to providing an aesthetic experience that is distinctive and deep, cycling through Mahler’s symphonic canon gives us something of an education in the development of classical music in central UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Europe after Beethoven, as well as in the biography of Mahler himself. But just when we begin to accustom ourselves to the most familiar aspects of Mahler’s life and his place in late Romantic music, the Seventh Symphony comes along to contradict them. By now we have come to appreciate the inspiration and passionate commitment behind Mahler’s response to the challenge of writing symphonies after Beethoven’s Ninth. It came in the form of massively scaled works that drew upon textual sources in confronting the most profound questions of life, art, and our fleeting place in an infinite universe. Wagner and Brahms, born in 1813 and 1833 respectively, had already polarized classical music partisans with opposing views of the future of music, though two centuries later, it seems odd to hear them as representing opposite sides of a musical divide. Mahler was born more than a generation later. In listening to his symphonies, we hear elements from both sides of what was considered a war of musical styles: As in Wagner, Mahler’s symphonic movements seem to suspend time, giving us ambiguous harmonies that progress without necessarily arriving at traditional resolution. As in Wagner’s music-dramas, Mahler’s orchestras and his scores are massive in scale. But like Brahms, Mahler incorporated traditional principles of symphonic form, exploring them in ways that made them more complex and modern. His ideas were as monumental and deeply philosophical as Beethoven’s late works. If Mahler was already a participant in a revolution in European music, the Seventh UTAHSYMPHONY.ORG
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Symphony is considered by some modern analysts to be a revolution in his own work. While his first six symphonies drew upon textual sources and often incorporated choruses in ways that referenced Beethoven’s Ninth, these elements are absent in his seventh. This music is abstract in a way that his previous symphonies were not; though untraditional in its five-movement structure, it is even more formal in its development than those preceding it. And it came at a point in Mahler’s experience that also contradicts the popular notion of a life filled with sorrows and professional disappointments. Mahler completed most of his work on this symphony while enjoying blissful domestic harmony with his wife, Alma, a woman of legendary beauty and talent. His success as a conductor was at its zenith. The overwhelming tragedy of his older daughter’s death from scarlet fever, his persecution at the principal opera company in Vienna (where he was Music Director), and his disastrous stay in the U.S.— including his unjust treatment at the helm of the New York Philharmonic—were soon to follow. WHAT TO LISTEN FOR
Some analysts assert the Seventh was even brighter and more affirmative in its earliest drafts, but that we can hear the sadness of looming tragedy creeping into Mahler’s later revisions. But even for Mahler aficionados—and being a true Mahlerite, though rewarding, is a major commitment— the Seventh is an exception in a life work’s that was itself an exception. According to critical consensus, this is the least performed and least popular among his symphonies, though confirming this kind of assertion is difficult. There is disagreement regarding possible musical sources: even MASTERWORKS
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Franz Lehár’s The Merry Widow and Gilbert and Sullivan’s The Mikado are mentioned. (Lehár’s confectionary operetta is also suggested as a source in one of Shostakovich’s dourest symphonies.) Commentator Barbara Heninger makes the general case with consummate tact when she notes that “Mahler’s Symphony No. 7 is considered by both music critics and Mahler fans to be his most difficult symphony to love”—yet she is a Mahler fan, and she does love it. So does musicologist Stan Ruttenberg, who describes his appreciation of the Seventh as an important element in his musical education. Donald Mitchell, acknowledged as an expert on Mahler, calls the symphony a “problem child,” yet he, too, returned to the symphony later with an expanded appreciation. The experts invariably wind up quoting the magisterial Arnold Schoenberg, father of the Second Viennese School and pioneer of the 12-tone compositional techniques that ushered in the Modern era in classical music. In many ways, Schoenberg’s approach to music was diametrically opposed to Mahler’s: When Mahler composed the Seventh, Schoenberg was striving for an aesthetic of detachment that appealed to the intellect rather than the emotions, and he often claimed that this was the imperative challenge of Modern music. Yet he came to accept and even to celebrate the moody, emotional symphonies of Mahler, and his writing indicates that listening to the Seventh was a revelation for him. Even in reaching for modernity, this symphony harkens back to the Romantic era in its mercurial moodiness, constantly wavering ambiguously between major and minor keys 38
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(as Schumann did). This nocturnal aura, with a potential change in the emotional landscape always seeming to lurk invisibly in the darkness, may be one reason why friends suggested that Mahler subtitle the symphony Nachtwanderung (a ramble by night), playing on the German Romantic tradition of emotional contemplation via a walk in the countryside. It may also be the origin of the spurious notion that the symphony was inspired by Rembrandt’s The Night Watch, a painting Mahler had viewed many times in Amsterdam and was known to admire. “An extraordinarily great treat” was how Schoenberg summarized his feelings about the symphony in Vienna in 1909, the year after its premiere, in a letter to Mahler. “I simply cannot understand how I was not won over to this before.” For Mahler, this unexpected expression of enthusiasm was significant, coming from an influential composer who had not supported him in the past. Schoenberg wrote this in a now-famous letter to Mahler dated December 20, 1909, in words that could apply to our own experience today: “As for which movement I liked best: All of them! I cannot prefer any one to the others. Perhaps I was rather indifferent at the beginning of the first movement. But anyway only for a short time. And from then on steadily warming to it. From minute to minute I felt happier and warmer. And it did not let go of me for a single moment. In the mood right to the end. And everything struck me as pellucid. Finally, at the first hearing I perceived so many formal subtleties, while always able to follow a main line.” Notes by Michael Clive UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Healthcare Night at the Symphony
Healthcare Night at the Symphony, March 25, 2016 Since the 1980s, Healthcare Night has been a fundraising effort led by physicians in support of Utah Symphony | Utah Opera (USUO) Education & Outreach. Contributions amounted to over $100,000 in each of the past two years. In addition to supporting USUO’s 40+ ongoing education programs, these gifts also count toward the 1:1 match in private donations required for USUO to receive public education funding from the Utah State Legislature. This season, Healthcare Night returns on March 25 and features internationally acclaimed pianist Kirill Gerstein in Rachmaninoff’s Piano Concerto No. 2. “I’m a burn surgeon and a surgical educator, and I’m also a season subscriber. Making an annual gift to USUO wasn’t enough for me; I wanted to get involved. When I learned about Healthcare Night, I didn’t hesitate to support the effort. I joined the Healthcare Night committee and, together with thirteen other physicians, raise awareness for USUO’s education programs among my professional contacts. USUO is the shining star of Utah’s arts community, and I deeply respect and appreciate the organization’s commitment to touring the entire state to reach more than 145,000 school children each year. And because I’m heavily involved in undergraduate medical education, I’m especially grateful that USUO invites medical students to attend Healthcare Night for free. My participation in USUO—as patron, donor, and volunteer fundraiser—helps move the organization into a vibrant future. I invite you to join me.” Amalia Cochran, M.D. Associate Professor Vice-Chair, Education & Professionalism, Dept. of Surgery University of Utah School of Medicine Healthcare Night sponsorship packages start at $300 and include tickets to the performance and admission to a special post-concert reception. To find out more about Healthcare Night, contact Melanie Steiner-Sherwood, msteinersherwood@usuo.org or 801.869.9001. For information online or to make a contribution, visit utahsymphony.org/support/healthcare-night.
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partners—and by participating in events throughout the community. In 2015–16, we will highlight more than 75 of these community collaborations. Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community.
P E RP ET UAL motion
CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler
Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish
UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.
Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign
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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
PERP ET UA L motion
We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Dell Loy & Lynette Hansen Naoma Tate & the Family of Hal Tate Roger & Susan Horn M. Walker & Sue Wallace Ronald & Janet Jibson Wells Fargo Frederick Q. Lawson Foundation UTAHSYMPHONY.ORG
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You’re You’re Invited... Invited...
Diamond Diamond Jubilee Jubilee Utah Symphony Guild Utah Symphony Utah Symphony Guild Guild rd rd February 23 rd February 23 February 23 Two TwoThousand ThousandSixteen Sixteen
Two Thousand 5:30 pm Sixteen 5:30 pm 5:30 pm
Dinner Dinner& &Silent SilentAuction Auction Performance by Kurt Bestor Performance by Kurt Bestor Performance KurtOrchestra Bestor with members of the Utahby Symphony
with members of the Utah Symphony Orchestra with members of the Utah Symphony Orchestra
Zions Bank Founder's Room Zions Bank Founder's Zions Bank Founder's Room Room 1 South Main Street - 18th Floor 1 South Main Street - 18th Floor 1 South - 18th Floor $75 Main perStreet person
$75 per person $75 per person
Please RSVP to:to: Please RSVP Please RSVP to: Heather Benson Heather Benson
801-554-3071 801-554-3071 heather.symphonyguild@gmail.com or Heather Benson 801-554-3071
heather.symphonyguild@gmail.com or Marlene Dazley 801-278-8695 heather.symphonyguild@gmail.com or Marlene Dazley 801-278-8695 Marlene Dazley 801-278-8695
Utah Symphony Guild Utah Symphony Utah Symphony Guild Guild 44
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. 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) 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† 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 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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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Plan Big.
Plan Big.
Your legacy, our future. The legacy you leave should be as powerful as the music you love. By making a planned gift to Utah Symphony | Utah Opera, you can know that your legacy will be state-wide education programs and excellence in both symphonic and operatic music. With your help, our future will be great as our artists continue to garner national acclaim with their performances, renowned recordings, tours across the state and beyond, and meaningful music education programs for the children of Utah. By including USUO in your plans, your legacy will impact the state of Utah through excellent music, in our homes of Abravanel Hall and Capitol Theatre, and on the road.
To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.
UTAHSYMPHONY.ORG
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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation DoubleTree Suites* Spencer F. & Cleone P. Eccles Family Foundation EY Hilton Hotel* Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center** Deseret Trust Company
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Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* The Prudential Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation The George B. and Oma E. Wilcox & Gibbs M. and Catherine W. Smith Foundation
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 16–20.
ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vicki Callen Ken & Shelly Coburn Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson Robert & Debra Kasirer Roger & Sally Leslie Thomas & Jamie Love Mr. & Mrs. Charles McEvoy Elinor S. McLaren & George M. Klopfer Leslie Peterson & Kevin Higgins Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson Richard† & Alice Bass
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Charles Black Robert W. Brandt Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Lindsay & Carla Carlisle Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann† Dick Midge & Tom Farkas Flynn Family Foundation Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Herbert C. & Wilma S. Livsey Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Hallie & Ted McFetridge Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Christie Mullen Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood
$2,000 to $2,999 Anonymous (4) Craig & Joanna Adamson Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Paul & Denise Christian Raymond & Diana Compton David & Sandra Cope** Dr. & Mrs. Thomas Coppin David & Karen Dee Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard & Norma Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy
Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Steven Price Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Larry R. & Sheila F. Stevens Gerald & Barbara Stringfellow Karen Urankar William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Susan Warshaw Bryan & Diana Watabe $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
Individual Donors
Drs. Crystal & Dustin Armstrong David & Rebecca Bateman Barry Bergquist C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Mr. & Mrs. Eric Garen Michael & Catherine Geary Ralph & Rose Gochnour Robert Graham Dr. & Mrs. John E. Greenlee Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells Mr. & Mrs. Jerry Huffman David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson
Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Travis & Erin Kester Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Lisa & James Levy Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Barbara Patterson Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Grant Schettler Deborah Schiller Mr. August L. Schultz Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Otto Smith Phillip & Jill Smith Elizabeth Sullentrop Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Pam & Jonathan Weisberg
Michael & Judy Wolfe E. Art Woolston & Connie Jo Hepworth-Woolston Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda In Memory Of Mary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton Ann Dick John R. Dudley Carolyn Edwards Ed Epstein Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” & Mary E. Gregory Carolyn Harmon Judith Ann Harris Duane Hatch Steve Horton
Mary Louis Scanlan Humbert Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader Joseph Silverstein David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Marjorie Whitney Sandra Wilkins Bruce Woodward Rosemary Zidow *In-kind gift **In-kind & cash gift † Deceased Donations as received between 11/15/14 to 11/15/15
T H e a r T o f g o o d e aT i n g .
D o w n to w n
60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com
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Sound Bites: The Romantic Era The Utah Symphony will explore various Romantic Era composers throughout January and February, including Respighi, Grieg, Schreker, Korngold, and Weber. But what does Romanticism really mean? By Anna Allen
AN AGE OF CONTRASTS Wagner once said of himself, “I am not made like other people…I must have brilliance and beauty and light.” It is this focus on the individual that defined the Romantic Era. Unlike the Classical Period before it, which showed more restraint, the Romantic Period valued self-expression and musical exploration. Composers from this period range from Brahms, who had more of a Classical style, to Tchaikovsky, whose music is chiefly focused on emotion. As Phil Goulding states in his book, Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works, “It was an age of contrasts for the composers…given the prevailing drive for individual expression and emotion. There was the intimacy of Chopin…the thundering piano concertos of Liszt, the lyrical love songs of Schumann, the dazzling orchestration of Berlioz, the restraint of Mendelssohn, and the dramatic brooding of Wagner.” With such a broad range of sounds and styles, there’s something for everyone from the Romantic period. WHAT’S IN A NAME? Did you know: Although some Romantic works expressed ideas of “romance,” meaning love (or perhaps an unhealthy obsession, in the case of Berlioz) the term “romantic” actually has a different meaning when referring to the Romantic period of
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music. Phil C. Goulding explains, “The period takes its name from the medieval stories and poems called ‘romances,’ which centered on heroic figures and were written not in formal scholars’ Latin but in the language of the people—Italian, French, and Spanish.” THE MARKSMAN One important component of music from the Romantic period was a sense of nationalism. Karl Maria von Weber exemplified this quality in his work Der Freischütz (The Marksman). Weber wanted to make a truly German opera and he found just the inspiration he was looking for in an old folktale. In true Romantic form, Weber used different types of sounds in the opera to represent different ideas or themes. The opera’s story itself is also very typical of the period, showing the timeless battle between good and evil. The piece was met with unanimous praise, and (perhaps it’s no coincidence) two years after the premiere of Der Freischütz, Weber went to visit one of the great (also German) Romantic influences, Beethoven. Apparently Beethoven, who was generally described as being quite disagreeable, was kind and friendly with his fellow composer. In a letter to his wife, Weber describes the visit saying, “He received me with an affection that was touching…We dined together very cheerfully and pleasurably.”
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
PhoTo bY Jeff GoldberG/eSTo.
Utah Symphony at Carnegie Hall Friday, April 29, 2016
Stern Auditorium / PerelmAn StAge At CArnegie HAll 57tH Street And SeventH Avenue, new York, new York
tHierrY FiSCHer, c onduc tor
Haydn Bartók andrew norman ProkoFIeV
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Colin Currie , percu ssion
Symphony No. 96 “The Miracle” Suite from The Miraculous Mandarin Switch (Utah Symphony commission, NY Premiere) Selections from Romeo & Juliet
Utah Symphony returns to Carnegie Hall for the first time since 1975. Plan now to join us in New York City for this thrilling performance on one of the world’s grandest stages. For tickets, visit the Carnegie Hall box office, CarnegieHall.org, or call CarnegieCharge at (212) 247-7800. For viP package information call (801) 869-9011.
Lead SponSor
Tour SponSor
Sam and diane Stewart 7 5 th a n n i v e r S a r y S i g n a T u r e S p o n S o r
preSenTing SponSor
Administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler 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 Melanie Steiner-Sherwood Annual Giving Manager Kwynn Everest Manager of Corporate Partnerships
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Lisa Poppleton Grants Manager Kate Throneburg Development Manager Conor Bentley Development Coordinator Heather Weinstock Special Events Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Garry Smith Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts 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 Mandi Titcomb Education Fellow Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Nathan Kluthe Assistant Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford 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.
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
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Classical 89 Broadcasts
January 2 | 9:30 AM
January 30 | 9:30 AM
January 9 | 9:30 AM
February 6 | 9:30 AM
January 16 | 9:30 AM
February 13 | 9:30 AM
TCHAIKOVSKY Symphony No. 6, Mvt. I Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Suite from The Sleeping Beauty, Mvts. I-V Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Piano Concerto No. 1, Mvt. III: Allegro con fuoco Conrad Tao, Piano Thierry Fischer, Conductor (recorded 4/12/13)
January 23 | 9:30 AM
TCHAIKOVSKY Symphony No. 5, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13)
TCHAIKOVSKY Symphony No. 6, Mvt. II Thierry Fischer, Conductor (recorded 4/12/13) TCHAIKOVSKY Symphony No. 6, Mvt. IV Thierry Fischer, Conductor (recorded 4/12/13) BERLIOZ Symphonie fantastique, Mvts. IV, V Thierry Fischer, Conductor (recorded 4/27/13)
February 20 | 9:30 AM
DVOŘÁK Violin Concerto Augustin Hadelich, Violin Vladimir Kulenovic, Conductor (recorded 5/25/13)
February 27 | 9:30 AM
DVOŘÁK Slavonic Dances, Opus 72, Nos. 1-4 Vladimir Kulenovic, Conductor (recorded 5/25/13)
classical89.org UTAHSYMPHONY.ORG 89.1 & 89.5 fm
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by Autumn Thatcher (801) 533-NOTE
59
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 2014–15, 20,290 students and 958 teachers attended our 5th Grade Concerts.
for the 2015–16 concerts, utah Symphony associate Conductor rei hotoda has programmed music that depicts and celebrates the beauty of nature. We’re looking forward to sharing these musical impressions with this year’s audiences. Fifth grade concerts take place between February 3 and april 5, 2016.
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.
House Rules ASSISTIVE LISTENING DEVICES: 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. 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. 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.
QUIET PLEASE: 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. 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.
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 MARKET STREET GRILL DOWNTOWN 48
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
Consistently Rated “Tops”–Zagat 60 W. Market Street • 801.363.0166
Salt Lake City’s #1 Most Popular Restaurant –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
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
Melissa Robison
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Ballard Spahr Andrews & Ingersoll, LLP Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo GOVERNMENTAL RELATIONS REPRESENTATIVE Frank Pignanelli, Esq. NATIONAL PR SERVICES Provided By Shuman & Associates, New York City ADVERTISING SERVICES 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.
801-485-1107 62
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.
UTAH SYMPHONY 75 TH ANNIVERSARY SEASON
THANK YOU TO OUR ADVERTISERS
Bambara Caffè Molise Challenger School City Creek Living Daynes Music Durham Jones & Pinegar Excellence in the Community Fleming’s Humane Society KUED Little America Hotel New Yorker
Parsons Behle & Latimer Plan B Theatre Protel Networks RC Willey Ruth’s Chris Sagewood at Daybreak Salt Lake School for the Performing Arts Security National Mortgage Sinclair Tuacahn United Way
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/upcoming concerts Saint-Saëns’ “Egyptian” Piano Concerto March 4 & 5
/ 2016
7:30PM
AbrAvAnEl HAll
Matthias Pintscher, conductor MATTHIAS PInTSCHEr SAInT-SAËnS rAvEl DEbUSSY
Teo Gheorghiu, piano
Idyll for Orchestra (2014) Piano Concerto No. 5 “Egyptian” Alborado del gracioso La mer
verdi’s Aida March 12, 14, 16, 18 March 20
/ 2016
2PM
/ 2016
7:30PM
JAnET QUInnEY lAwSon CAPITol THEATrE
In Ancient Egypt, a captive Ethiopian princess, Aida, is torn between her love for the Egyptian commander Radamès and her loyalty to her own father and country. The lovers must fend off the schemes of a fiercely jealous Egyptian princess and decide whether true love trumps honor and duty.
The Probably Untrue Story of Mary (who) Had a little lamb March 19
/ 2016
11AM & 12:30PM
Rei Hotoda, conductor
AbrAvAnEl HAll
Micah Levy, composer & narrator
Follow along with Mary and her little lamb, Petunia, as they set out on a journey that goes well beyond the nursery rhyme. Join in the fun and laughter while learning about various instruments and musical compositions in a clever and unexpected way.
rachmaninoff’s Piano Concerto no. 2 March 25 & 26
/ 2016
Robert Spano, conductor wAGnEr rACHMAnInoFF rESPIGHI rESPIGHI
7:30PM
AbrAvAnEl HAll
Kirill Gerstein, piano “Good Friday Spell” from Parsifal Piano Concerto No. 2 Fountains of Rome Pines of Rome
/upcoming concerts Holst’s The Planets – An HD odyssey April 8 & 9
/ 2016
7:30PM
AbrAvAnEl HAll
Hans Graf, conductor lIGETI SCrIAbIn HolST
Women Of Utah Symphony Chorus
Atmosphéres Poem of Ecstasy The Planets
Prokofiev’s Romeo & Juliet with Utah Shakespeare Festival April 15 & 16
/ 2016
7:30PM
AbrAvAnEl HAll
Thierry Fischer, conductor Actors from Utah Shakespeare Festival r. STrAUSS ProKoFIEv
Suite from Der Rosenkavalier Selections from Romeo & Juliet
let’s Dance! April 22 & 23
/ 2016
7:30PM
Jeff Tyzik, conductor Stephen Edward Sayer, Chandrea Roettig, Patricio Touceda, Eva Lucero, Forest Walsh, Melissa Shahin, dancers
AbrAvAnEl HAll
Ted Louis Levy, tap dancer Michael Lynche, vocalist Julie Jo Huges, vocalist
Don your dancing shoes and be prepared to bounce in your seat as conductor Jeff Tyzik and the Utah Symphony are joined by renowned dancers and singers for an evening full of swinging musical favorites.
The life & Times of beethoven April 23
/ 2016
11AM & 12:30PM
Rei Hotoda, conductor Michael Boudewyns, guest artist
AbrAvAnEl HAll
Really Inventive Stuff, theatre company
The entire family will enjoy the music of Beethoven’s Fifth Symphony while learning the story behind this iconic composer. Creative narration and physical performance explain what it was like for Beethoven to go deaf and how he and his music overcame that unique challenge.
CHOOSE ANy 4+ PERFORMANCES and SAvE 20%. ReseRve youR seats today at
utahsymphony.oRg oR call 801-533-NOTE (6683)
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DINNER MENU
offered nightly until 6:30pm 3 —COURSE MENU STARTING AT
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Our ENT physicians artfully deliver the latest medical advances with kind, personalized service.
healthcare.utah.edu/ent | 801.587.8368
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