An Evening of Bach by Mills Publishing Inc.

2016–17 UTAH SYMPHONY SEASON / MAR – APR

COVER

THE SOUND of INSPIRATION

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Contents

March & April 2017 Performances

Purchase tickets at utahsymphony.org or call 801-533-6683

6 Welcome

MARCH 4 | 7:30 PM

8 Utah Symphony

POKEMON SYMPHONIC EVOLUTIONS

10 Board of Trustees 15 Music Director 16 On the Brandenburg Concerto 18 Support USUO

MARCH 21 | 7:30 PM

20 Pre-concert Rituals

PINK MARTINI

22 A Look Ahead 26 A Post-Concert Talkback 29 Who We Are 30 Upcoming Concerts

MARCH 24–25 | 7:30 PM

33 Tagged & Hashtagged!

AN EVENING OF BACH

34 Season Sponsors 35–42 Today’s Concert(s) APRIL 7–8 | 7:30 PM

PICTURES AT AN EXHIBITION

45 Legacy Giving 46 Tanner & Crescendo Societies 49 Season Honorees 54 Corporate & Foundation Donors 54 Individual Donors

APRIL 14–15 | 7:30 PM

58 Utah Symphony Guild

BRONFMAN PLAYS BEETHOVEN CONCERTO NOS. 3 & 4

62 Administration 67 House Rules 71 Education 72 Acknowledgments

APRIL 21–22 | 7:30 PM

74 Arts in Service to the Military

THE SPY WHO LOVED ME

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

APRIL 28–29 | 7:30 PM

BARBER’S VIOLIN CONCERTO

@UtahSymphony

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

UTAHSYMPHONY.ORG

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

(801) 533-NOTE

The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2017

Welcome

Photo Credit: Brandon Flint

Paul Meecham

Thierry Fischer

David Petersen

President & CEO

Symphony Music Director

Chair, Board of Trustees

Welcome to Abravanel Hall and todayâ&#x20AC;&#x2122;s concert featuring the Utah Symphony. Since 1985, March has been designated Music in Our Schools month (MIOSM) across the nation. Sponsored by the National Association for Music Education, the purpose of MIOSM is to raise awareness of the importance of music education for all childrenâ&#x20AC;&#x201D;and to remind citizens that school is where all children should have access to music. Schools and community groups celebrate with creative activities and events. Here at USUO, our Education and Outreach initiatives provide the citizens of Utah with one of the most extensive arts education programs by a professional musical arts organization in the United States. Students enjoy the gift of live classical music and the inspiration to develop their own creative capabilities to enhance their lives. Genuine enthusiasm, confident determination, and artistry are vital skills demonstrated in our outreach programs, and we believe every student receives a unique experience by participating.

The support we receive from the Utah State Legislature for our education programs is augmented by many individuals, corporations, and foundations, and we are very grateful to all those who believe in arts education. Nevertheless, especially at the district level, some public school music programs face budget cuts and are no longer considered essential, and we urge you as parents and residents to speak to your school education representatives as well as your legislators to emphasize the importance of supporting music in our schools. The arts in schools are one of the reasons Utah is such a wonderful place to live, and we want to keep it that way! Thank you for joining us today. When we see the excited faces of people entering and leaving Abravanel Hall, it is a wonderful reminder of the legacy of our education and outreach programs which have connected our community through great live music for several generations.

UTAH SYMPHONY

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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* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Hye Jin Koh†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

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

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

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

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

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

CONTRABASSOON Leon Chodos

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

Jennifer Rhodes

HORN Edmund Rollett Acting Principal Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton

TIMPANI George Brown Principal

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

TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

Utah musicians in concert at the

Gallivan Center

Pat Terry

7:30 PM Thursday nights

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright

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

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

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

E. Jeffrey Smith Barbara Tanner

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

Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Edward Moreton Marilyn H. Neilson O. Don Ostler

Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

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

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

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

UTAH SYMPHONY

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Music Director

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

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

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial three years. He will visit Seoul at least four times a season and will play an important role in the artistic planning. In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included the Boston, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducted the Sao Paulo Philharmonic—his first visit to South America. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAHSYMPHONY.ORG

(801) 533-NOTE

On the Brandenburg Concerto No. 5 By Mercedes Smith, Principal Flute

A native of Texas, Mercedes Smith served as the Principal Flutist for Houston Grand Opera and Houston Ballet Orchestras for nearly a decade before joining the Utah Symphony as Principal Flute in 2012. She describes her instrument’s role in Brandenburg Concerto No. 5, performed during “An Evening of Bach” March 24 and 25 with guest conductor and pianist Richard Egarr and Utah Symphony Concertmaster Madeline Adkins.

Intimate Conversations The flute is one of three solo instruments featured in Brandenburg Concerto No. 5, along with the violin and harpsichord. The second movement is written very intimately for only the trio of solo instruments without string accompaniment. In this movement each voice is of equal importance and the music is very conversational in nature.

Love at First Sight I actually started out playing the recorder (the historical predecessor of our modern day flute) simply because my mother had one stowed away in the piano bench from her own childhood. I taught myself the recorder for a year or so before switching to the flute when I began playing in my public school band program. I can’t remember what exactly drew me to the flute, but it was certainly love at first sight!

Getting the Low Down The Brandenburg Concerto No. 5 was one of the first works to be specified for the transverse flute instead of recorder during the Baroque era. The transverse flute during Bach’s time, made of wood with seven finger holes and only one key, produced a very mellow and sweet tone. The range of the transverse Baroque flute was somewhat more limited than that of the modern flute we hear today, and thus, in this work, you will hear the flute played mostly in the lower and middle registers.

UTAH SYMPHONY

Recharge your weekend with thrilling performances from Utah Symphony’s 2017–18 Masterworks Season SEASON HIGHLIGHTS INCLUDE:

GRAMMY® Award-winning violinist Hilary Hahn plays Dvořák’s Violin Concerto

Tchaikovsky’s “Little Russian” & Prokofiev with Conrad Tao

A centennial birthday celebration of the great American conductor/composer Leonard Bernstein

U.S. Premiere, Utah Symphony Commission Reflections / Reflets III by Tristan Murail

Maestro Fischer and the Utah Symphony will become the first American orchestra to record all of the symphonies by the revered French master Saint-Saëns

Rachmaninoff’s Rhapsody on a Theme of Paganini

subscribe and SAVE up to 30% on tickets MASTERWORKS SUBSCRIPTIONS START AT ONLY $103.50

UTAHSYMPHONY.ORG / 801-533-NOTE (6683)

SEASON SPONSOR

Support USUO

Students participate during an interactive portion of a 5th Grade Concert at Abravanel Hall

Thank you for joining Utah Symphony | Utah Opera for a concert this spring. We sincerely appreciate your support as a patron! We ask that you take that support a step further, with a donation to our Annual Fund. In addition to our mainstage performances, our education and outreach programs allow us to connect over 140,000 children across the state of Utah every single year. We visit each of Utahâ&#x20AC;&#x2122;s 41 school districts on a three- to five-year rotation. We also perform in the community for a variety of audiences, including those with autism, vision impairment, memory loss, and other special needs. In February and March, the orchestra played our annual 5th Grade Concerts, where thousands of students from across the Wasatch Front join us at Abravanel Hall for an outstanding concert. Not only do these concerts support the teaching of the fifth grade music curriculum, they draw upon cross-curricular ties to other content areas, and provide an once-in-a-lifetime opportunity to hear the Utah Symphony perform a concert especially designed for the fifth grade age group. To offer our education and outreach programs free of charge and to keep our tickets affordable, we rely on donations from patrons like you. Please donate today by visiting usuo.org/give or by calling our Development staff at 801-869-9015.

UTAH SYMPHONY

2017 Plays

June 29 – October 21

As You Like It Shakespeare in Love Romeo and Juliet Guys and Dolls A Midsummer Night’s Dream Treasure Island The Tavern William Shakespeare’s Long Lost First Play (abridged) How To Fight Loneliness

The Greater Escape.

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Pre-concert Rituals By Renée Huang, Public Relations Director

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time and adjustments to a different time zone, culture and climate, regular routine is sacrificed. We asked three of our guest artists to share what pre-concert rituals help keep them grounded. “I don’t really do anything special but eating chocolate is always nice before the concert. And I just need to talk to somebody around me before going on stage. It makes me feel calm.” FUMIAKI MIURA, Violin

“My main focus before going on stage is always to get to the hall with plenty of time to warm up my fingers. Being quiet and calm helps my concentration so that I can give my best in the service of the music.” YEFIM BRONFMAN, Piano

“You’ll always find a banana and nuts in my dressing room before a concert, and fresh ginger tea, which I carry around in the thermos I travel with. It helps to keep my body warm when the backstage is cold, which is quite frequent. I’ve become more and more aware of the body-mind-soul connection, and am finding that strengthening my body, away from the violin, matters almost as much as the time I spend practicing and warming up before a concert. Generally I do the more vigorous workouts in the days leading up to the concerts, but on the day of the concert, I do a gentle and sweet version of yoga, and give myself a moment to meditate. Also, my phone tends to get neglected on concert days; I like to stay in my quiet, focused little bubble!” KAREN GOMYO, Violin

UTAH SYMPHONY

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A Look Ahead Memorable Moments at Abravanel Hall Pink Martini with singer China Forbes Portland’s favorite “little orchestra,” featuring singer China Forbes, returns to Abravanel Hall on March 21 for a colorful and classy evening. Experience their cosmopolitan blend of vintage pop, jazz, classical and global styles when they join the Utah Symphony for this special event concert.

Music from Bach with Richard Egarr British conductor Richard Egarr, Music Director of the Academy of Ancient Music, is known for his “muscular and strong Bach performances” (Audiophile Audition). On March 24–25, Utah audiences experience his joyful sense of music-making first hand as he leads an evening of Bach’s music, including his Third and Fourth Orchestral Suites, Piano Concerto in D Minor, and Brandenburg Concerto No. 5.

Yefim Bronfman completes the Beethoven Piano Concerto cycle Witness the astonishing talent of pianist Yefim Bronfman, whose playing has been described as “a finely spun whirl of notes that verged on the unbelievable” (The Los Angeles Times), on April 14–15 as he performs Beethoven’s Third and Fourth piano concertos in a single evening.

UTAH SYMPHONY

A Look Ahead Karen Gomyo performs Barber’s Violin Concerto Violinist Karen Gomyo has been hailed as “a first-rate artist of real musical command, vitality, brilliance and intensity” (Chicago Tribune). On April 28–29, she returns to perform Barber’s Violin Concerto—a piece so explosive, the composer had to prove to his commissioner that the finale was not, indeed, unplayable.

Family Concerts Return! Our Family Series returns with two Saturday morning performances that are perfect for young children. On March 18, a mischievous street musician finds herself thrust into the role of Mozart as Magic Circle Mime Company presents Mozart’s life as a musical, human adventure. Then, on April 22, Classical Kids LIVE! magically weaves music into the story of a chance meeting on the streets of New York City between a poor newspaper boy and the great American composer George Gershwin.

Save the Date – An Evening with Renée Fleming The Utah Symphony’s 2017–18 season was announced in February, and among the highlights is a September 13 gala performance with international opera sensation Renée Fleming. Save the date for this celebration in honor of Utah Opera’s 40th Anniversary Season. Tickets are on sale now to 2017–18 season subscribers. Single tickets are available starting June 20.

Read ahead about our upcoming performances. Program notes and artist biographies for upcoming concerts are available online at www.utahsymphony.org.

UTAH SYMPHONY

Untitled-3 1

2/13/17 2:33 PM

A Post-Concert Talkback in Your Own Living Room

We hope you take this performance home with you. If not in the shape of something from the Utah Symphony Guild Gift Shop, then in continued conversation with your friends, family and those who shared in your experience. Keep the discussion going! Here are some topics we can suggest:

• March 24–25 | The music of J.S. Bach serves as a perfect vehicle for an analysis of social, cultural, intellectual, and religious changes in Europe from the 17th to the 18th centuries, and reveals fascinating elements of both European and world history. Is there a modern composer that you feel inspires the same analysis today? • April 7–8 | Modest Mussorgsky composed his Pictures at an Exhibition to perpetuate the memory of a friend. What pictures or pieces of art would you place in a gallery to represent your life or a friend’s? • April 14–15 | Playing until your fingers bleed isn’t just an expression. After Yefim Bronfman played Bartók’s Third Piano Concerto at the Konzerthaus in Vienna, his piano was left with bloody fingerprints due to an earlier injury and a determination that the show must go on. Is there a piece of music that would inspire this dedication on your part? • April 28–29 | Critics and musicologists say that Samuel Barber transcended the stylistic trends of the mid-20th century. This soft-spoken, modest composer had the integrity and sheer will to write the best music he knew how to write, ignoring fads and fashions. What composers or artists do you see fighting fads and fashions today and what is your opinion of those swimming figuratively upstream? Visit “The Musicians Lounge” to read behind the scenes interviews with our artists and musicians which might inspire additional conversations. utahsymphony.org/blog/

UTAH SYMPHONY

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March 20 7:30p

Denis Bouriakov in Recital

Principal Flute, Los Angeles Philharmonic Vieve Gore Recital Hall, Westminster College $20 // Adults & UFA members FREE // All students

March 21 5:30p

Denis Bouriakov Masterclass Dumke Recital Hall, University of Utah $15 // Adults $10 // Students & senior citizens $5 // UFA members FREE // University of Utah students

April 21 7:30p

Sonata Competition Winners Recital Dumke Recital Hall, University of Utah $5 // Adults FREE // UFA members

Become a member today!

Get exclusive access to concerts and masterclasses with prominent national and local flutists, competitions and workshops at the student and professional levels, and networking opportunities. The Utah Flute Association is a non-profit organization created to foster great flute music in the Utah community and beyond.

To learn more, visit utahflute.org.

Who We Are

Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round professional orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra. Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony presented the nationally covered Mighty 5® Tour in 2014, visiting all five national parks

in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall. Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support. In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 140,000 students annually from all Utah school districts in more than 240 educational outreach performances and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.

Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in the First Tier Room, Abravanel Hall

UTAHSYMPHONY.ORG

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/ UPCOMING UTAH SYMPHONY | UTAH OPERA PERFORMANCES: Rhapsody in Blue May 5 & 6

7:30 PM / ABRAVANEL HALL

Kazuki Yamada, conductor COPLAND GERSHWIN RIMSKY-KORSAKOV

Benyamin Nuss, piano

El Salón México Rhapsody in Blue Scheherazade

WE ALL LOVE THE FAMOUS OPENING GLISSANDO.

We all love the energy. Now, we can love the live experience as the Utah Symphony, featuring guest pianist and composer Benyamin Nuss, delivers a solid, sensitive, nuanced performance.

Mozart’s Don Giovanni May 13, 15, 17 & 19 7:30 PM May 21 2 PM - SUNDAY MATINÉE / JANET QUINNEY LAWSON CAPITOL THEATRE Christopher Larkin, conductor Kristine McIntyre, director / Joshua Hopkins, Don Giovanni Melinda Whittington, Donna Anna / Aaron Blake, Don Ottavio Matthew Burns, Leporello / Erica Brookhyser, Donna Elvira Sarah Coit, Zerlina / Markel Reed, Masetto Richard Wiegold, Commendatore Utah Opera Chorus HE TAKES WHAT HE WANTS. And gets what he deserves. Whether it’s an act of lust or an act of violence, Don Giovanni does whatever he wants, to whomever he pleases. You might be surprised by how much his angst and unrest resonate with you in this hypnotic tale of a man who refuses to change, damn the consequences.

Sung in Italian with English supertitles PHOTO: Cory Weaver for Lyric Opera of Kansas City

FOR TICKETS VISIT UTAHSYMPHONY.ORG OR CALL 801-533-NOTE (6683)

All-Star Evening: Dvořák’s Violin Concerto May 23

7 PM / ABRAVANEL HALL

Rei Hotoda, conductor

Karen Ferry, violin

Musicians selected from Area Youth Orchestras DVOŘÁK

Violin Concerto

WITNESS THE TALENT OF UTAH’S YOUNG MUSICIANS!

Hear teen violinist Karen Ferry, chosen as the All-Star soloist at the annual Salute to Youth audition, perform Dvořák’s Violin Concerto. Then, talented high school instrumentalists perform side-by-side with the Utah Symphony in this annual tradition.

The Rite of Spring May 26 & 27

7:30 PM / ABRAVANEL HALL

Thierry Fischer, conductor TCHAIKOVSKY VARÈSE STRAVINSKY

Simone Porter, violin

Souvenir d’un lieu cher Amériques The Rite of Spring

GET IN TOUCH WITH YOUR PRIMAL SIDE.

Stravinsky’s The Rite of Spring incited a riot during its premiere in Paris over a century ago. Now, when it’s performed by the Utah Symphony, its savage, propulsive sound will have you sitting on the edge of your seat.

SEASON SPONSOR

PHOTO: Gary David Gold for Opera Saratoga

2016/17 UTAH OPERA SEASON

JEREMY HOWARD BECK and STEPHANIE FLEISCHMANN’S

THE LONG WALK MARCH

31, 2017 | 7:30 PM

APRIL

2017 | 7:30 PM

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An Evening of Bach

program

An Evening of Bach March 24–25 / 2017 / 7:30PM / ABRAVANEL HALL RICHARD EGARR, Conductor, Piano MADELINE ADKINS, Violin MERCEDES SMITH, Flute

J.S. BACH

Suite No. 3 in D Major for Orchestra, BWV 1068 I. II. III. IV. V.

J.S. BACH

Overture Air Gavotte I & II Bourrée Gigue

Brandenburg Concerto No. 5 in D Major, BWV 1050 I. II. III.

Allegro Affettuoso Allegro

MADELINE ADKINS, Violin MERCEDES SMITH, Flute

/ INTERMISSION / J.S. BACH

Concerto No. 1 in D minor for Piano and String Orchestra, BWV 1052 I. II III.

Allegro Adagio Allegro

RICHARD EGARR, Piano

J.S. BACH

Suite No. 4 in D Major for Orchestra, BWV 1069 I. II. III. IV. V.

Overture Bourrée I & II Gavotte Minuet Réjouissance

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An Evening of Bach

artists’ proﬁles

This season Richard Egarr makes his debut with Finnish Radio Symphony, St. Paul Chamber Orchestra, Utah Symphony and Melbourne Symphony, and returns to the Seattle Symphony, NDR Hanover, Royal Flemish Philharmonic, Residentie Orkest, Orquesta Sinfónica de Galicia and Tasmanian Symphony. He also returns to the Handel and Haydn Society of Boston for two weeks.

Richard Egarr Conductor/Piano C O N D U C TO R S P O N S O R

Music Director of the Academy of Ancient Music (AAM) since 2006, Egarr is also Associate Artist of the Scottish Chamber Orchestra. Early in his tenure with AAM Egarr established the Choir of the AAM, and operas/oratorios lie at the heart of his repertoire; current plans with the AAM include a Purcell opera cycle at the Barbican Centre where they are an Associate Ensemble. He made his Glyndebourne debut in 2007 conducting a staged version of St. Matthew Passion. Egarr is a lasting inspiration to young musicians, maintaining regular relationships at the Amsterdam Conservatoire, Britten-Pears Foundation, and the Netherlands Opera Academy (La clemenza di Tito, Le nozze di Figaro and Rossini’s Il Signor Bruschino). He is a Visiting Artist at the Juilliard School in New York. Egarr continues to play solo recitals across the world, with concerts this season including Wigmore Hall, Bozar, and Carnegie Hall as part of a North American tour. His extensive discography on Harmonia Mundi includes solo keyboard works by J.S. Bach, Handel, Mozart and Louis Couperin, with J.S. Bach Partitas released in February 2017. His long list of recordings with the Academy of Ancient Music includes seven Handel discs (2007 Gramophone Award, 2009 MIDEM and Edison awards), and more recently J.S. Bach’s St. John Passion and St. Matthew Passion on the AAM’s own label. In 2015 he conducted a sold-out performance of Gilbert and Sullivan’s HMS Pinafore at Edinburgh International Festival, recorded live and released on Linn Records in 2016 to enthusiastic reviews. Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as an organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.

MASTERWORKS

An Evening of Bach

Madeline Adkins Violin

MASTERWORKS

artists’ proﬁles

Madeline Adkins assumed her new post as Concertmaster of the Utah Symphony under Maestro Thierry Fischer in September 2016. She made her concerto debut with the Utah Symphony in November 2016, performing Prokofiev’s Violin Concerto No. 2. Prior to this, Adkins was the Associate Concertmaster of the Baltimore Symphony Orchestra. She was appointed by Maestro Yuri Temirkanov in 2005, after joining the orchestra as Assistant Concertmaster in 2000. Adkins appeared semi-annually as soloist with the BSO, and performed over 25 works with the orchestra including pieces by Beethoven, Sarasate, Vaughan Williams, Bach, Mendelssohn, Mozart, Prokofiev, Vivaldi, Bruch, Saint-Saëns, and Arvo Pärt. She has served as guest concertmaster of the Hong Kong Philharmonic, the Indianapolis Symphony Orchestra, the Oregon Symphony, and the Grant Park Symphony Orchestra in Chicago, where she was featured in Beethoven’s Missa Solemnis. The daughter of noted musicologists, Adkins is the youngest of eight children, six of whom are professional musicians. The siblings, who include titled players in the National, Dallas, and Houston symphonies, joined together to form the Adkins String Ensemble. She performed on viola and violin with this unique chamber ensemble for over 15 years, and the group has made numerous recordings, including Schoenberg’s Verklärte Nacht. Adkins received her bachelor’s degree, summa cum laude, from the University of North Texas and her master’s degree from the New England Conservatory, where she studied with James Buswell. Adkins performs on a 1753 Guadagnini graciously loaned to her by conductor Marin Alsop, as well as a violin crafted in 1987 by Brooklyn maker Samuel Zygmuntowicz.

An Evening of Bach

Mercedes Smith Flute

artists’ proﬁles

Mercedes Smith is in her fifth season as Principal Flute of the Utah Symphony. A Texas native, she served as Principal Flute of the Houston Grand Opera and Houston Ballet Orchestras for nearly a decade. She has performed as guest principal with the Seattle Symphony and San Diego Symphony, and served as Principal Flute of the Pacific Symphony during the 2010–2011 season. Awarded First Prize in the National Flute Association’s 2010 Young Artist Competition, Ms. Smith was also the Second Prize winner of the 2007 Haynes International Flute Competition and top prizewinner of the Manhattan School of Music Concerto Competition. As First Prizewinner of Artists International, she gave her New York recital debut in Weill Hall at Carnegie Hall in 2002. Also as a recitalist, Ms. Smith performed at the Kunming International Arts Festival, China, in a performance that was televised throughout Asia. In previous summers, she has been a fellowship recipient at Tanglewood, Music Academy of the West, and was a member of the UBS Verbier Festival Orchestra in Switzerland. As a chamber musician, she has performed at the Marlboro Music Festival, Bargemusic, Da Camera of Houston, Musiqa Houston, NOVA, and the Intermezzo Chamber Music Series. Ms. Smith was accepted as a scholarship student at the Manhattan School of Music at the age of 16 and is greatly indebted to her teachers Michael Parloff, Jeanne Baxtresser, and Dr. Ronda Mains.

MASTERWORKS

An Evening of Bach

program notes

1/4

Notes by Michael Clive

Johann Sebastian Bach (1685–1750)

Suite No. 3 in D Major for Orchestra, BWV 1068 INSTRUMENTATION:

2 oboes; 3 trumpets; strings;

percussion; piano PERFORMANCE TIME:

20 minutes

Johann Sebastian Bach (1685–1750)

Suite No. 4 in D Major for Orchestra, BWV 1069 INSTRUMENTATION: 3 oboes; bassoon; 3 trumpets; strings; timpani; piano PERFORMANCE TIME:

18 minutes

BACKGROUND

Bach’s creative output was dominated by sacred music, but his orchestral suites and the Brandenburg Concertos are exceptions: The Suite No. 3 in D Major is one of only four such suites that he composed. But even in these secular works, some listeners— including this writer—hear Bach praising God. (And some more distinguished writers, including Nobel laureate J.M. Coetzee, suggest that the beauty of Bach’s music is one reason to hope that humanity might be worth redeeming.) The four orchestral suites are, in keeping with the conventions of Bach’s day, collections of movements written in popular dance rhythms with French names. The source of the Suite No. 3 may be hidden behind layers; Joshua Rifkin, a respected scholar of Bach’s work, has suggested it derives from an earlier version in A minor in which notational errors might have rendered the MASTERWORKS

flute part unplayable (Bach composed for both the transverse flute and the recorder). Alternatively, Gonzalo Ruiz, an oboist, speculates that the earlier source may have been written with the oboe rather than the flute in mind. The earliest autograph parts for these suites date from 1730, around the same time as the Brandenburg Concertos. Numbers Three and Four bear striking similarities: both in the key of D Major, spanning five movements with similar performance times and nearly identical instrumentation (though the score of the Fourth boasts one additional oboe). In each case, the first of the five movements is an overture in the French manner—not an introduction in the sense we know it today, but rather an initial movement in a stately, majestic style employing dotted rhythms. Movements in suites such as this one varied not only in rhythm but also in tempo, and the practice of arranging them in a pleasing sequence— duple contrasting with triple rhythms, and slow with fast—helped establish the conventions of symphonic and concerto composition in the Classical era. As in the Brandenburg Concertos, the rules exist for our sheer pleasure. WHAT TO LISTEN FOR

Of course every movement of both suites is beautiful, and all are characterized by the danceable rhythms that pervade the Baroque suites. But in considering the beauties of the Suite No. 3, we can’t resist spotlighting the second movement, which has become known as the Air on the G string. Is this the master’s most often-heard composition? Quite possibly—and probably one of the most frequently programmed excerpts for solo violin. Its enormous popularity contradicts most of the rules we learned in school about Bach. 39

An Evening of Bach

program notes

The rules identify Bach as the great culminating genius of Baroque style, who brought the era’s aesthetic principles into focus and remains uniquely revered in the history of classical composition. He was music history’s ultimate master of counterpoint, the towering genius of oratorio, and one of the greatest organists of all time. His music was intricately constructed with the multiple voices and driving rhythms that are characteristic of the Baroque sound.

2/4

when Bach treats us to a purling legato line—fluid, yet controlled. The effect is a delicate balance between baroque purity and romantic pliancy. Johann Sebastian Bach (1685–1750)

Brandenburg Concerto No. 5 in D Major, BWV 1050 INSTRUMENTATION:

In listening to Suite No, 4 in particular it is worth remembering that although these are designated as “orchestral” works, the orchestra as we know it in today’s postWagnerian era was something Bach could only dream of, with a depth and breadth of sound far beyond the modest ensembles at his disposal. Bach’s inventiveness in making the most of his available resources makes him a predecessor of the great orchestrators who would come along in later generations, such as Ravel and Rimsky-Korsakov: He alternately blends instrumental voices in expressive combinations and sets them against each other in colorful opposition. When it comes to the sublimely simple Air on the G string, this kind of technical skill is eclipsed by sheer melodic inspiration. The Air stands alone for another reason as well: In a suite that strongly features trumpets, percussion, oboes and strings with continuo, this brief movement shines a bright spotlight on the violin. Ultimately, the Air is just what this nickname suggests: a simple, beautiful melody in a single voice—something we rarely encounter in Bach’s music, with its densely layered polyphonic constructions. But that doesn’t make it easy to play. While baroque fiddle technique often includes crisp attacks and an astringent sound with suppressed vibrato, this movement indulges us with a more luxurious sound. This is one rare instance 40

solo violin; solo flute; piano

PERFORMANCE TIME:

21 minutes

BACKGROUND

We all have our favorite Brandenburg moments and movements; the late William F. Buckley, for example, took the opening of the last movement of the second concerto—with its clarion, stratospherically high melody for Baroque trumpet—as the theme for his long-running television program Firing Line. Together, the set of six belie more of those Bachian generalizations. For one thing, though much of Bach’s music is religious and all of it can be heard as Bach praising and imitating the beauty of divine creation, the Brandenburg Concertos are very far from sacred music. These buoyant compositions were written to give sheer pleasure to the listener, and they do. We can trace the Brandenburgs’ origins back to about 1719, when Bach, who was in his early 30s, needed a new harpsichord. On his way to Berlin to order the instrument, he took the opportunity to perform for the margrave of the region, Christian Ludwig. Then, as now, making a living as a musician was not easy, and composers relied upon the patronage of noble families and the church; Bach’s call upon the margrave had the desired effect: He commissioned several works.

MASTERWORKS

An Evening of Bach

program notes

WHAT TO LISTEN FOR

Bach’s Brandenburg Concertos are, with Handel’s dozen concerti grossi, the prime exemplars of the concerto grosso form. This precursor of the solo concerto and the symphony arose in the late 17th century and has an appeal both visual and aural: two small groups of players, one larger and arrayed just behind the smaller group, play a suite typically comprised of three movements of alternating tempi, most often fast-slow-fast. We can see the roots of the more familiar solo concerto here: The smaller group of players, or concertino, can range from two to five instrumentalists and corresponds to the modern concerto soloist, while the larger group, or ripieno—usually a dozen players or fewer—takes the ensemble role. Together they form what we might think of as an ideally sized chamber orchestra, with the concertino taking solo lines and the ripieno providing the benefits of a larger ensemble. But while their voices remain separate, their interplay is less oppositional than we hear in Romantic concertos. In the Brandenburg No. 5, the concertino is taken by a standard combination of Bach’s day: harpsichord, violin and flute. The harpsichord, always indispensably versatile, is deployed like a utility infielder in this concerto, playing in both the concertino and the ripieno. In the central movement, marked affettuoso (“affectionate”), the three concertino instruments play on their own. Here and in the final movement, the harpsichord provides an obbligato: a secondary, following line for a primary voice that serves to add color, context and emphasis. But in the first movement we hear a spectacular cadenza performed by the harpsichordist—a long, showy solo passage that has a spontaneous, improvised quality, based on variations of the music we’ve just heard. Although commonly performed on harpsichord, Egarr will be performing it on MASTERWORKS

3/4

the piano. For his part, Maestro Egarr does not like to stand on the ceremony of rote traditionalism. In fact, he sees great value in presenting historical work on modern equipment. In a recent BBC Music Magazine interview, Egarr stated, “I use and store the information I get from the old instruments to inform my performance when I’m playing… with a modern orchestra and a modern piano. I would never say you can’t play Bach on a piano.” When confronted with the notion that this practice fundamentally changes the music, he replied, “You’re playing the music on a different machine with different parameters, but the music doesn’t change. I’m just playing it with a different tool.” Bach was well known as a harpsichord virtuoso, and it seems likely that he wrote this part with himself in mind as soloist. In fact, musicologists believe he composed the part to showcase that fateful harpsichord he ordered in Berlin after calling on the margrave of Brandenburg. Johann Sebastian Bach (1685–1750)

Concerto No. 1 in D minor for Clavier and String Orchestra, BWV 1052 INSTRUMENTATION:

strings, piano

PERFORMANCE TIME:

24 minutes

BACKGROUND

Bach’s Concerto No. 1 in D minor for Clavier and String Orchestra is one of seven complete concertos he originally composed for a single harpsichord. These seven, along with his concertos for multiple harpsichord soloists—three for two harpsichords, two for three harpsichords, and one for four 41

An Evening of Bach

program notes

harpsichords—are a watershed for the solo concerto form that took rise later, in the Classical era. Together, this group— especially No. 1 in D minor—hold pride of place among the earliest concertos for keyboard ever composed. Scholarship on these clavier concertos is voluminous, but not always illuminating. That’s because so much of it is devoted to tracing musical sources back to their muddled origins. As was customary in the Baroque era, Bach borrowed freely from other composers as well as his own compositions. He was living in Leipzig and was in his late 40s or early 50s when he composed these concertos, artfully mixing new material with transcriptions from earlier works. One of his favored sources was Vivaldi, the popular Venetian composer whose concertos numbered in the hundreds. For Bach, this was a matter of developing mastery and broadening his style, rather than a shortage of new ideas. Once Bach had completed his harpsichord concertos, he continued the recycling process, reworking individual movements in sacred cantatas. (His responsibilities as Kapellmeister in Leipzig included producing a new cantata—typically with six choral and instrumental movements— roughly every two weeks.) WHAT TO LISTEN FOR

In recent decades, professional musicians and fans alike have argued furiously over “authentic performance practice” for Bach’s compositions. Tempo, scoring, and instrumental technique, along with what instruments to use, have been matters of controversy. Thankfully, tempers have subsided somewhat, and Duke Ellington’s dictum has prevailed: There are only two kinds of music, good music and the other 42

4/4

kind. Still, when it comes to Bach’s keyboard concertos, listeners and performers must be mindful of the solo instrument they’re hearing: modern piano, or clavier? Bach died before the modern piano was developed, but he was well aware of technological advances in the clavier that opened new possibilities in the instrument’s expressiveness. His mastery of the organ and the harpsichord, his freewheeling concerto transcriptions and his fascination for the new musical technologies of his day all suggest that he might have pounced on the dynamic possibilities of the modern piano. Either way, these concertos delight with their energy, fleet passagework and intertwined voices. For the modern pianist, the expressive possibilities are greater than they were for the harpsichord soloist of Bach’s day—offering control of a wider dynamic range opening to a much louder sound, the possibility of legato phrasing and notes that sustain instead of quickly decaying in the air. But to some listeners, the sound of the clavier carries a particular zing and excitement in rapid passages, along with an aural suggestion of antiquity that seems like a window on Bach’s world. The concerto’s artistic challenges remain as they do in all of Bach’s keyboard works: accurate articulations of rapid, excitingly showy passagework are crucial, and all of Bach’s intertwining contrapuntal voices must be clearly delineated. This is especially challenging for the soloist on a period instrument, which has a narrower dynamic range than a modern piano. (Its original name, “pianoforte,” literally means “loudsoft”—a capability that was nearly absent in earlier instruments.) MASTERWORKS

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Corporate & Foundation Donors / Individual Donors CORPORATE & FOUNDATION DONORS

$5,000 to $9,999 Anonymous (2) Art Works for Kids! Bambara Restaurant* The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Martine* Louis Scowcroft Peery Charitable Foundation Raymond James & Associates Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation U.S. Bancorp Foundation Utah Autism Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Bertin Family Foundation Byrne Foundation Castle Foundation City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation FatPipe Networks Five Penny Floral* Goldman Sachs Victor Herbert Foundation Hotel Park City* 54

Jones & Associates Lewis A. Kingsley Foundation Macy’s Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Scoggins & Scoggins Violin Shop* Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation ABRAVANEL & PETERSON SOCIETY

Members of the Maurice Abravanel and Glade Peterson Societies pay tribute to our founders through their financial commitment while enjoying exclusive benefits. For more information call 801-869-9001. $5,000 to $9,999 Anonymous (4) Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen David & Karen Dee Spencer & Cleone† Eccles UTAH SYMPHONY

a tradition of

Exceptional Dining

From business lunches to private dining events, The Little America Hotelâ&#x20AC;&#x2122;s Lucky H Bar and Grille offers genuine service and memorable experiences.

801.596.5704

saltlake.littleamerica.com

Individual Donors Tom Farkas Jack & Marianne Ferraro Joseph & Dixie Furlong David & SandyLee Griswold** Ray & Howard Grossman Mary P. Jacobs† & Jerald H. Jacobs Family G. Frank & Pamela Joklik Jeanne Kimball Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Mark & Marci Casp Rebecca Marriott Champion Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Peter Fillerup† Flynn Family Foundation C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman Jeffrey L. Giese, M.D. & Mary E. Gesicki Dale & Beverly Johnson

James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Christopher & Julie McBeth Michael & Julie McFadden Rich & Cherie Meeboer Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Alvin† and Helene Richer James & Anna Romano William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Dawn & Mitch Taubin Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver & Charles Boynton David & Jerre Winder Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards

UTAH SYMPHONY

Individual Donors Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family Catherine Kanter J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano Jed & Kathryn Marti Warren K. & Virginia G. McOmber George & Nancy Melling Brad & Trish Merrill Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne

UTAHSYMPHONY.ORG

(801) 533-NOTE

Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran David & Lois Salisbury Mark & Loulu Saltzman Margaret Sargent K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur E. Art Woolston & Connie Jo HepworthWoolston Caroline & Thomas Wright PATRONS

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

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

UTAHSYMPHONY.ORG

(801) 533-NOTE

Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Ann G. Petersen Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H.† & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat-Navarro Mr. & Mrs. Brad E. Walton Nadine Ward† Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro *In-kind gift **In-kind & cash gift † Deceased Gifts as of 1/13/17

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

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

Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock

Intermountain Therapy Animals PETS HELPING PEOPLE

Serving Our Communities Since 1993

8 0 1 . 2 7 2 . 3 4 39

T he r a p y An im a l s . o r g

Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Bill Peters Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Alvin Richer Bert Schaap Ann O’Neill Shigeoka Ben Shippen Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D.

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

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

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48