Pictures at an Exhibition 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

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

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

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

Rose Wagner Performing Arts Center Jeanné Wagner Theatre The real fight begins when a soldier comes home. Opera becomes overwhelmingly personal in this contemporary story of an American soldier coping with blast-induced traumatic brain injury after he returns home from duty in Iraq. Based on the book The Long Walk: A Story of War and the Life that Follows, Brian Castner’s best-selling memoir, this opera offers a visceral look at the realities of modern warfare and the unseen battles that rage inside our hearts. Commissioned by American Lyric Theater.

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Pictures at an Exhibition

program

Pictures at an Exhibition April 7–8 / 2017 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, Conductor FUMIAKI MIURA, Violin

ELGAR

Military March No. 1 in D Major from Pomp and Circumstance, Opus 39

ELGAR

Concerto in B minor for Violin and Orchestra, Opus 61 I. II. III.

Allegro Andante Allegro molto

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Frontispice Pictures at an Exhibition Promenade Gnomus Promenade The Old Castle Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges: The Market Catacombae – Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba Yaga) The Great Gate of Kiev

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Pictures at an Exhibition

artist’s proﬁle

See page 15 for Thierry Fischer’s profile. Fumiaki Miura is not only the youngest ever winner of the Joseph Joachim Hannover International Violin Competition (2009) but also the one with the most prizes—having also been awarded both the Music Critics’ and the Audience Prize. The young Japanese violinist is already proving himself to be one of the most accomplished of his generation.

Fumiaki Miura Violin

At only 23 years old, Fumiaki has performed with several of the world’s leading orchestras, including NDR Sinfonieorchester Hamburg, NDR Radiophilharmonie Hannover, Radio-Sinfonieorchester Stuttgart des SWR, Sinfonieorchester Basel, Wiener KammerOrchester, Orchestre de Chambre de Lausanne, and Hong Kong Sinfonietta, and has played under conductors including Kazushi Ono, Christopher Warren-Green, Pietari Inkinen, Stéphane Denève, Kazuki Yamada, Kristjan Järvi and Rafael Payaré. Recent highlights include debut performances with Warsaw Philharmonic (Eiji Oue), Jacksonville Symphony Orchestra and Orquesta Sinfónica Nacional de Colombia, a tour of Japan with the Prague Philharmonia (Jakub Hrůša), and a performance of Penderecki’s Double Concerto with Julian Rachlin, conducted by the composer himself in his 80th anniversary concert, where Fumiaki played the viola. 2016–17 season highlights include debut performances with the NAC Orchestra (Pinchas Zukerman) in Ottawa, and returns to Yomiuri Nippon Symphony (Tatsuya Shimono), Utah Symphony (Thierry Fischer) and Japan Philharmonic (Kenichiro Kobayashi) orchestras. In autumn 2016, Fumiaki was invited to be part of the One Asia Festival in Busan, South Korea. Fumiaki’s debut recording was a disc of both of Prokofiev’s Violin Sonatas with Itamar Golan for Sony Japan. In autumn 2015, Fumiaki’s second album, of Mendelssohn and Tchaikovsky’s Violin Concertos with Deutsches Symphonieorchester Berlin and Hannu Lintu, was released by Avexclassics. Fumiaki recently played an important role in recording the theme music for NHK’s historical drama, Sanadamaru—one of the most popular television drama series in Japan—with NHK Symphony Orchestra. Miura performs the violin on the J.B. Guadagnini (1748) on loan from Yellow Angel Foundation and the viola on the Storioni school “ex-Julian Rachlin” (1780) on loan from Nippon Violin.

MASTERWORKS

Pictures at an Exhibition

program notes

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Notes by Michael Clive

station WQXR. One of the oddest, dating from the 1970s, was a contest challenging listeners to come up with descriptive anagrams based on the initials of their favorite composers—a three-word phrase that would match the composer’s three-letter monogram. He cited this one as a particular favorite:

Edward Elgar (1857–1934)

Military March No. 1 in D Major from Pomp and Circumstance, Opus 39 INSTRUMENTATION: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba; strings; 2 harps, organ; percussion PERFORMANCE TIME:

6 minutes

Edward Elgar (1857–1934)

Concerto in B minor for Violin and Orchestra, Opus 61 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones, tuba; strings; timpani PERFORMANCE TIME:

BACKGROUND

45 minutes

Robert Sherman, the trailblazing classical music commentator who was a programmer and host on classical radio for almost six decades, came up with some surprising features for

MASTERWORKS

Edward William Elgar

Elgar Was Enigmatic

Sherman’s delight hung on one word, “enigmatic,” that cleverly referenced one of Elgar’s most famous compositions—the Enigma Variations, which Elgar composed in 1898 and 1899. While this set of biographical sketches in music is replete with mysteries, in a sense the real enigmas are Elgar himself and England’s oddly isolated position in the tradition of European classical music. Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland. Who are the great British composers? Of course there are Purcell and the German-born Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group. But Elgar felt that his own compositional style was more aligned with European influences. Born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and suspicious of his Roman Catholic faith. But in the most famous photographic portrait of Elgar he appears every inch the English

Pictures at an Exhibition

program notes

country squire—impeccably groomed, spectacularly mustachioed and posed as if to take his place on Mount Rushmore. Elgar is far from a one-hit wonder, but his March No. 1 from Pomp and Circumstance is the one tune he wrote that virtually everyone knows. In fact, most of us have marched to its heroic strains in at least one or two graduation ceremonies. It is the best known of the six Pomp and Circumstance marches, and though it was originally intended as a military march and was dedicated to Elgar’s friend Alfred Rodewald and the Liverpool Orchestral Society, it soon took on national and international stature as the expression of “hope and glory” played during the coronation of King Edward VII—and eventually at commencement ceremonies throughout the English-speaking world. Among professional musicians and fans of classical music, Elgar’s concertos for violin and cello are equally valued, but his violin concerto had a particularly long and effortful gestation. He began working on a violin concerto as early as 1890, when he was only 33, but—in keeping with his reputation as an independent spirit who answered only to himself and his craft—he destroyed early sketches that he deemed unsatisfactory. When London’s Royal Philharmonic Society commissioned a violin concerto in 1909, he began anew, now armed with the knowledge gained from his first attempt. The assignment seemed to be a fulfillment of the wishful prophecy expressed by Fritz Kreisler, the beloved composer of short concert works for violin and one of the greatest violinists of his time. In 1907, two years before the concerto’s commission,

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Kreisler had told an interviewer: If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar... I say this to please no one; it is my own conviction…I place him on an equal footing with my idols, Beethoven and Brahms. He is of the same aristocratic family. His invention, his orchestration, his harmony, his grandeur, it is wonderful. And it is all pure, unaffected music. I wish Elgar would write something for the violin. Not surprisingly, Kreisler was the concerto’s dedicatee and soloist at its premiere with the Royal Philharmonic Society in November 1910. WHAT TO LISTEN FOR

In both the relatively brief space of a sixminute march and the unusually expansive (45-minute) violin concerto, we can hear in Elgar a composer who takes all the time he needs to develop his ideas, putting us at our leisure. In the march, he ratchets up the drama by foreshadowing repeats of the main theme; we wait for them expectantly, then enjoy them all the more when they finally, climactically, arrive. In the concerto, the expansive and formally structured opening movement exposes no fewer than six related themes in differing but related keys; “expansive” is a descriptor often seen in commentaries. But the movement also blooms with lyricism, especially in the violin’s solo voice, with its gorgeous “Windflower” theme—thought to be emblematic of Elgar’s beautiful friend Alice Stuart-Wortley. The central movement takes a slower pace and begins more quietly, as in a traditional

MASTERWORKS

Pictures at an Exhibition

program notes

Romantic concerto; but as it proceeds, the drama builds, leading to a dramatically virtuosic final movement with all the energy and pace we could ask for. The violin concerto was the last of Elgar’s compositions to achieve public acceptance; its success was immediate and rapturously enthusiastic. None of his other works so fully combine a characteristically English, pastoral style with bursts of passion—and, of course, meticulous craftsmanship, abetted in this case by helpful advice Elgar received from fellow violinist W.H. Reed of the London Symphony Orchestra, and from Fritz Kreisler. Even the reticent composer was outspoken in praising the result, admitting “It’s good! Awfully emotional…too emotional, but I love it.” And so do concertgoers around the world.

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BACKGROUND

Listeners who are lucky enough to encounter Ravel’s Frontispice in the concert hall are well advised to pay attention: Like a comet, its appearances are rare and brief. Ravel composed this two-minute vignette in 1918, the year following his mother’s death. Depressed by her loss and also suffering from tuberculosis—not to mention the dark shadow that World War I still cast over Europe—he completed only one other work in that year, the orchestration of the “Alborada del gracioso” movement from Miroirs. Ravel composed Frontispice at the request of Ricciotto Canudo, an Italian surrealist poet. It was published in Les feuillets d’art in 1919, but may not have been publicly performed until 1954, when it was revived and arranged by Pierre Boulez. WHAT TO LISTEN FOR

Maurice Ravel (1875 – 1937), arr. Pierre Boulez (1925 – 2016)

Frontispice has been described as “tiny” and “enigmatic.” But in spite of its brevity, this little song intertwines three melodic lines with Ravel’s consummate craftsmanship and elegance, and the Boulez scoring presents it with an appropriate, translucent elegance. Oddly, Ravel’s original scoring was for two pianos and five hands—a seeming guarantee of non-performance.

Frontispice INSTRUMENTATION: piccolo, alto flute, oboe, English horn, clarinet, E-flat clarinet, bass clarinet, 2 bassoons; 2 horns, 2 trumpets, 2 trombones, tuba; strings; harp, celeste, piano; percussion PERFORMANCE TIME:

MASTERWORKS

2 minutes

Pictures at an Exhibition

program notes

Modest Mussorgsky (1839 – 1881), orch. Maurice Ravel (1875 – 1937)

Pictures at an Exhibition INSTRUMENTATION: 3 flutes, 2nd and 3rd doubling piccolo, 3 oboes, 3rd doubling English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; strings; 2 harps, celeste; percussion PERFORMANCE TIME:

BACKGROUND

30 minutes

The Mighty Five who emerged as founding fathers of the Russian tradition in classical music had widely divergent composing styles—from the glittering, elegant craft of Rimsky-Korsakov to the boundless melodic richness of Tchaikovsky. But they shared a reverence for the piano and for pianistic virtuosity. In his day and ours, Modest Mussorgsky’s reputation among these giants has been as the wild man of Russian music, a composer of raw power who was heedless and unrefined in executing his ideas. But he shared his compatriots‘ respect for the keyboard, and in Pictures at an Exhibition he created what is unquestionably one of the piano’s greatest solo works—later famously orchestrated by Maurice Ravel, one of the greatest of all orchestral colorists.

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Today, the lack of technical polish that Rimsky and others detected in Mussorgsky’s Pictures and in his other masterpiece— Boris Godunov, the supreme operatic expression of Russian nationalism—is being reconsidered by music scholars. But in considering Mussorgsky’s background and in listening to the thundering climaxes that we hear again and again in Pictures at an Exhibition, we can certainly understand how this impression arose. Although the mysterious Mussorgsky seemed to shun formal conservatory studies (training as a composer primarily through personal association with other composers and self-teaching), he was well-born and musically disciplined. If his compositions are moody and steeped in Russian folk traditions, that description could fit almost any of his peers. Still, Mussorgsky’s voice is well-nigh unmistakable. His Pictures at an Exhibition is a landmark example, popular as a virtuoso showpiece in both its many orchestral versions and in the original solo piano form. Led by his passions and ardent, if mercurial, in his beliefs, Mussorgsky left a relatively small body of work, some of it remaining unfinished. All of it is marked by high drama, dark textures and boldly innovative harmonies. The exposed emotion and vividness of Mussorgsky’s expression suggests a visual component in almost everything he wrote—but most markedly in Pictures at an Exhibition, which was written both to create a musical evocation of a series of paintings and to memorialize the lost artist who painted them: Viktor Hartmann. Mussorgsky had met and befriended Hartmann, a painter and architect, probably in 1870. Both were emerging artists; MASTERWORKS

Pictures at an Exhibition

program notes

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Hartmann, at 36, would have been five years older than Mussorgsky. Only three years later Hartmann died of an aneurysm, an unexpected loss that shook the highly emotional Mussorgsky and the entire Russian art world. Hartmann’s tragically early death and the retrospective exhibition that followed it so moved Mussorgsky that he wrote the piano score for Pictures at an Exhibition in about six weeks of passionate inspiration that gave us one of the great showpieces of the piano literature.

Trilby by J. Gerber. It inspired Mussorgsky for his Ballet of

WHAT TO LISTEN FOR

exhibition catalogue described the sketch: “Canary chicks,

In form, Pictures is novel, even unique. Structurally, there is nothing in the classical repertoire that resembles this suite, which is built as a series of musical paintings separated by promenades that combine to simulate the experience of walking through a gallery. The pictures on which it is based are mostly lost to history, but the surviving paintings by Hartmann seem rather academic and subdued compared to Mussorgsky’s music, which is full of bold dynamics and innovative harmonies. Experts who have analyzed both Mussorgsky’s score and Hartmann’s few surviving paintings suggest that the following program could serve as a loose “gallery guide” for Mussorgsky’s tour of Hartmann’s work:

Picture 5 Photo credit: A costume sketch of canary chicks for the ballet the Chicks in Their Shells from Pictures at an Exhibition. The enclosed in eggs as in suits of armor. Instead of headdress, canary heads put on like helmets down to the neck.” Watercolor 17.6 x 25.3 cm. Institute of Russian Literature (Pushkin House), Academy of Sciences, St. Petersburg.

Picture 9 Photo credit: The Hut on Fowl’s Legs. Clock in the Russian style by Viktor Hartmann.

• Promenade (as we enter the gallery and walk from one picture to the next) • Gnomus - The Gnome (Picture 1) • Promenade (the promenade resumes) • The Old Castle (Picture 2) • Promenade (third promenade)

Picture 10 Photo credit: Plan for a City Gate in Kiev by Viktor Hartmann.

MASTERWORKS

Pictures at an Exhibition

program notes

• Children’s Quarrel after Games (Picture 3, a painting set in the Tuileries Gardens of Paris) • Bydlo - Cattle (Picture 4, perhaps oxen pulling a cart) • Promenade (the promenade theme in its fourth iteration) • Ballet of the Chicks in Their Shells (Picture 5— probably a watercolor Hartmann executed to demonstrate designs for a ballet) • Samuel Goldenberg and Schmuyle (Picture 6) • Promenade (fifth iteration) • The Market at Limoges: Great News (Picture 7) • Catacombs: The Roman Tomb (Picture 8: With the Dead in a Dead Language) • The Hut on Fowl’s Legs: Baba Yaga (Picture 9) Baba Yaga, the fascinating supernatural crone of Russian and Slavic folk tales, traditionally dwelled in a forest hut built on fowl’s legs—and this is the source of the witch and her dwelling in Hansel and Gretel. • The Great Gate of Kiev (Picture 10). One of Mussorgsky’s most celebrated themes is the principal surviving relic of what was to be Hartmann’s masterpiece—a large gated monument to memorialize heroes in the city of Kiev. Stylistically, there is an apparent disconnect between Hartmann’s surviving watercolor study of his architectural proposal for the heroes’ gate in Kiev—academic and conservative but significant as an expression of vernacular, non-European architectural 42

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style—with Mussorgsky’s monumental sounding and intensely emotional “Great Gate of Kiev,” which seems to celebrate an epic history in its notes. Another contrast between source and score is in the comical musical depictions of scurrying unhatched chicks (their legs stick out from their eggs), based on static costume designs for a Russian ballet. One further stylistic note cannot go unmentioned in a modern, Western program annotation of Pictures at an Exhibition, and that is the specter of antiSemitism in the music. More than just a prevailing cultural attitude, anti-Semitism in the czarist Russia of Mussorgsky was institutionalized, extreme and often violent. A number of Hartmann’s images were watercolor studies of Jews, seemingly sympathetic when viewed alongside Mussorgsky’s music. The composer’s routine use of anti-Semitic epithets in his correspondence is an established fact of music history, and the musical evidence lies in the musical treatments of Hartmann’s subjects Samuel Goldenberg and Schmuyle. It seems to ridicule Talmudic scholars by rendering them as a commonly held stereotype: Bickerers engaged in a meaningless exegetical debate that dismisses the rest of the world’s values. If this stereotype is in the notes of Pictures at an Exhibition, that is hardly its sole place in classical music. Richard Strauss, for one, paints a very similar picture in his representation of five nattering Jews in his opera Salome—in the cast, they are numbered like Hollywood extras—but prevailing scholarly opinion has absolved Strauss of holding Nazi sympathies. What you hear of Samuel Goldenberg and Schmuyle in tonight’s Pictures, and in their overall impact on a great work of music, is ultimately a matter for your own ears, brain and heart. 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