Saint-Saëns’ “Egyptian” Piano Concerto by Mills Publishing Inc.

MAR – APR / 2015–16 UTAH SYMPHONY SEASON THE SOUND of INSPIRATION

CONTENTS PREPRINT 2 STAGE ARTS STAGE ARTS STAGE ARTS STAGE ARTS OPEN 1/2 V 23 OPEN 1/4 PAGE

11 12 13 14 61

PREPRINT

/upcoming concerts The Music of Mozart May 5

/ 2016 / 7:30PM / ST. Mary’S ChurCh (1505 White Pine Canyon Rd., Park City)

Rei Hotoda, conductor MOZART MOZART MOZART MOZART

Jason Hardink, piano

Divertimento in D Major Piano Concerto No. 13 Eine kleine Nachtmusik Piano Concerto No. 14

Mozart’s The Marriage of Figaro May 7, 9, 11, 13 May 15

/ 2016 / 7:30PM

/ 2016 / 2PM / JaneT Quinney LawSon CaPiToL TheaTre

On the eve of Figaro’s marriage to Susanna, the Count’s wandering eye has landed on the lovely bride-to-be. Servant and master go head to head in Mozart’s comedic masterpiece that brilliantly delivers a timeless message of love and forgiveness.

all-Star evening May 17

/ 2016 / 7PM / abravaneL haLL

Rei Hotoda, conductor

Witness the talent of Utah’s young musicians! The state’s best high school instrumentalists perform side-by-side with the Utah Symphony as one very special young musician performs as soloist.

Gershwin’s Piano Concerto May 20 & 21

/ 2016 / 7:30PM / abravaneL haLL

Cristian Măcelaru, conductor BARBER GERSHWIN DVOŘÁK

Joyce Yang, piano

Essay No. 2 Piano Concerto Symphony No. 6

Mahler’s Symphony no. 9 May 27 & 28

/ 2016 / 7:30PM / abravaneL haLL

Thierry Fischer, conductor MAHLER

Symphony No. 9

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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow

Saint-Saëns Egyptian Piano Concerto

Rachmaninoff’s Piano Concerto No. 2

ART DIRECTOR / PRODUCTION MANAGER Jackie Medina

March 4–5, 2016

March 25–26, 2016

Holst’s The Planets

Prokofiev’s Romeo and Juliet with Utah Shakespeare Festival

April 8–9, 2016

April 15–16, 2016

PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder EDITOR Melissa Robison

Tonight’s Concert

3 Upcoming Performances 6 Welcome 8 Utah Symphony

Let’s Dance

10 Board of Trustees

April 22–23, 2016

16 Testimonial

15 Music Director 17 Season Sponsor 18 Season Honorees 22 Utah Symphony to Carnegie Hall

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.

40 Make It Your Masterpiece

50 Individual Donors

25 Trio 32 Utah Shakespeare Festival 34 Season Sponsors 43 Perpetual Motion 46 Tanner & Crescendo Societies 47 Plan Big 48 Corporate & Foundation Donors 49 Utah Symphony Guild 54 Administration 59 Classical 89 Broadcasts 60 Sound Bites 62 Education 64 Acknowledgments

@UtahSymphony

Welcome

On behalf of the musicians, board, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. It has been a truly inspirational season for all of us celebrating the 75th anniversary of the Utah Symphony and we hope you take pride as you witness the many ways that Utah Symphony is demonstrating the highest levels of artistic excellence. In acknowledgment of this achievement and your enthusiastic attendance at performances, our 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation, recently made a remarkable commitment of $3 million to our organization. In addition to supporting our Campaign for Perpetual Motion and ongoing annual fund efforts, this pledge includes a $500,000 challenge grant to help USUO reach our $20 million campaign goal before the end of the 2015–16 season. The generosity

Thierry Fischer Symphony Music Director

of the George S. and Dolores Doré Eccles Foundation has made a remarkable impact on Utah Symphony | Utah Opera over many years that is impossible to overstate. We hope that you will consider helping us meet the matching challenge grant with a new or increased donation to demonstrate what USUO means to you and to our community. Our vision is to be recognized nationally as a leader in artistic excellence, community service, innovative thinking, sound governance, and financial stability. We aspire to be known as a top orchestra and opera company, a renowned summer music festival, a destination for artists, an inspiration for audiences, and the beloved cultural treasure of our entire state and beyond. Thank you for joining us on this invigorating journey of excellence! Sincerely,

Patricia A. Richards Interim President & CEO

David A. Petersen USUO Board of Trustees Chair

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah's best musicians at the Gallivan Center

David Halliday

Thursday nights 7:30 PM â&#x20AC;˘ Gallivan Hall

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor

Roberta Zalkind Associate Principal

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

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

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang Joyce Yang†† BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal James Hall# Associate Principal Titus Underwood†† Acting Associate Principal

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 Leon Chodos Associate Principal Jennifer Rhodes

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel

HORN Bruce M. Gifford† Principal

Nathan Lutz Orchestra Personnel Manager

Edmund Rollett Acting Principal Ronald L. Beitel Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Stephen Proser Alexander Love††

Mark Barraclough Assistant Stage & Properties Manager

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton

• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

TROMBONE Mark Davidson Principal Sam Elliot†† Acting Associate Principal

Lissa Stolz 8

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Love without limits

Ve rdiâ&#x20AC;&#x2122;s

AIDA

March 12, 14, 16, 18 (7:30 pm), March 20 (2 pm) Janet Quinney Lawson CapitoL theatre

Would you choose love or loyalty? In AncIent egypt, a captive Ethiopian princess, Aida, is torn between her love for the Egyptian commander RadamĂ¨s and her loyalty to her own father and country. The lovers must fend off the schemes of a fiercely jealous Egyptian princess and decide whether true love trumps honor and duty.

Season Sponsor:

Tickets start at $18. UTAHOPERA.ORG

801-355-ARTS (2787)

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

John W. Williams Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher Bob Wheaton

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

Mardean Peterson E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish

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

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

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

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

Alvin Richer (Arizona)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John Dâ&#x20AC;&#x2122;Arcy* Treasurer Patricia A. Richards* Interim President & CEO

MUSICIAN REPRESENTATIVES

Travis Peterson* Karen Wyatt* EX OFFICIO

Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Dr. Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Music Director

Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Maestro Fischer was Principal Conductor of the BBC National Orchestra of Wales 2006–12 and returned as a guest conductor at the 2014 BBC Proms. Recent engagements have included the Boston Symphony Orchestra, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Detroit Symphony, BBC Symphony, and London Sinfonietta. In 2015–16 he makes his debut with the London Philharmonic Orchestra (in subscription at the Royal Festival Hall), having recorded a Beethoven CD with them in 2014. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has made numerous recordings, many of them for Hyperion Records. Their CD of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012. Maestro Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAHSYMPHONY.ORG

(801) 533-NOTE

Testimonial

“

This 75th Anniversary represents a remarkable moment in the history of the Utah Symphony. As it builds on such a proud and distinguished past, the musicians, administration, and staff alike are moving forward on an exciting, adventurous, and exhilarating trajectory under the leadership of Maestro Thierry Fischer! It has been a privilege for our foundation to support the growth and development of the Utah Symphony for nearly four decades. Through its successes and challenges alike, we have remained steadfast in our belief that investing in the excellence of the Utah Symphony strengthens the vitality of Utah’s entire arts community now and throughout the future.

”

Lisa Eccles President & COO George S. and Dolores Doré Eccles Foundation Utah Symphony 75th Anniversary Signature Sponsor

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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah Symphony 75th Anniversary Signature Sponsor

George S. and Dolores Doré Eccles Foundation Board of Directors Robert M. Graham • Spencer F. Eccles • Lisa Eccles

ith a tradition of generous support spanning more than three decades, the

George S. and Dolores Doré Eccles Foundation continues to play a key role in the success of Utah Symphony | Utah Opera. Today – as Signature Sponsor of Utah Symphony’s 75th Anniversary – the Eccles Foundation’s unwavering partnership of support is leading the way for Utah Symphony’s exciting future ... one filled with growth, opportunity, innovation and excellence!

ANNIVERSARY UTAHSYMPHONY.ORG

(801) 533-NOTE

Season Honorees M I LLE N I U M $250,0 0 0 & A B OV E

Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments make our programs possible. The following listing reflects contributions and multi-year commitments received as of 1/15/2016.

EDWARD ASHWOOD & CANDICE JOHNSON

LAWRENCE T. & JANET T. DEE FOUNDATION

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Season Honorees

GAEL BENSON

DIANE & HAL BRIERLEY

E.R. (ZEKE) & KATHERINE W.† DUMKE

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

UTAHSYMPHONY.ORG

(801) 533-NOTE

Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E

DOYLE ARNOLD & ANNE GLARNER

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

THIERRY & CATHERINE FISCHER**

ROGER & SUSAN HORN

THE RIGHT REVEREND CAROLYN TANNER IRISH**

RONALD & JANET JIBSON

EMMA ECCLES JONES FOUNDATION

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

GIB & SUSAN MYERS

WILLIAM & CHRISTINE NELSON

DR. DINESH & KALPANA PATEL

ANONYMOUS

RESTAURANT TAX RAP TAX

B R AVO $ 50, 0 0 0 & A B OV E

Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Montage Deer Valley**

Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Wells Fargo Wheeler Foundation Lois A. Zambo

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Season Honorees OV E R T U R E $25, 0 0 0 & A B OV E

Arnold Machinery

Richard K. & Shirley S. Hemingway

Mr. & Mrs. William C. Bailey

Foundation

S. J. & Jessie E. Quinney Foundation Simmons Family Foundation

BMW of Murray

Janet Q. Lawson Foundation

Harris H. & Amanda Simmons

BMW of Pleasant Grove

Love Communications*

Stein Eriksen Lodge**

Rebecca Marriott Champion

Markosian Family Trust

Summit Sotheby’s

Chevron Corporation

Carol & Anthony W. Middleton,

Nora Eccles Treadwell Foundation

C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee Delta Air Lines*

Jr., M.D. OPERA America’s Getty Audience Building Program

Vivint M. Walker & Sue Wallace Jack Wheatley

John H. & Joan B. Firmage

James A. & Marilyn Parke

John W. Williams

Kristen Fletcher & Dan McPhun

Charles Maxfield & Gloria F. Parrish

Workers Compensation Fund

Holland & Hart**

Foundation

Edward & Marelynn Zipser

Alice & Frank Puleo

M A E S T R O $10, 0 0 0 & A B OV E

Adobe Scott & Kathie Amann American Express Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale CenturyLink Howard & Betty Clark** Daynes Music* Skip Daynes* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Elaine & Burton L. Gordon Douglas & Connie Hayes Susan & Tom Hodgson Hyatt Escala Lodge at Park City**

UTAHSYMPHONY.ORG

(801) 533-NOTE

Tom & Lorie Jacobson Josh & Cherie James G. Frank & Pamela Joklik Robert & Debra Kasirer Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council Lori & Theodore Samuels

Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild U.S. Bancorp Foundation

See pages 48–52 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

Utah Symphony Returns to Carnegie Hall By Heather L. King

As Utah Symphony embarks upon its first performance in Carnegie Hall in more than 40 years, community writer Heather King takes a look at the legacy of Maurice Abravanel and a longtime symphony musician who played under his direction—and at Carnegie— many years ago. Utah Symphony is celebrating its 75th anniversary this season with a host of notable events. Beginning with a gala celebration this past fall, world premieres of commissioned pieces throughout the year and finally in the spring, a return performance at one of music’s most venerable locations—New York City’s Carnegie Hall.

member of Utah Symphony, Eyring recalls fond memories of that first concert.

Utah Symphony Music Director Thierry Fischer explains, “Our performance at Carnegie Hall in spring 2016 demonstrates the growth that we have been able to achieve artistically, and will continue to do as we move forward.”

That evening, the Utah Symphony played the Overture from Candide, Vaughan Williams’ Symphony No. 6, Prokofiev’s Piano Concerto No. 3, and Stravinsky’s Suite from The Firebird. “The Firebird Suite, over time, became a signature piece of Abravanel,” Eyring says.

Utah Symphony’s history at Carnegie began in 1966 when Maurice Abravanel, then conductor of the Utah Symphony, kicked off the company’s debut European tour with a first-ever performance at Carnegie Hall. The concert there opened Carnegie Hall’s 75th anniversary season and introduced the world to its first professional symphony orchestra from the West. On Friday, April 29, 2016, Utah Symphony will again grace the stage of Carnegie Hall, this time to celebrate its own 75th anniversary. The concert will include Colin Currie performing the New York premiere of Andrew Norman’s Switch on a program that opens with Haydn’s Symphony No. 96, “The Miracle”, and Bartók’s suite from The Miraculous Mandarin. The night closes with a performance of selections from Prokofiev’s Romeo & Juliet. The evening will mark historic achievements for Utah Symphony but will be particularly touching for symphony violinist LoiAnne Eyring, who was part of the first performance there 50 years ago. As the longest-standing professional 22

“This was a remarkable event,” remembers Eyring. “There were fabulous receptions and banquets held related to this concert in the Waldorf Astoria. It was a very well-attended, glorious, exciting concert to be a part of.”

“We got rave reviews,” she continues. “No one expected it to be such a fine orchestra. That 1966 tour was the springboard to becoming an international orchestra.” Eyring explains, “We were Abravanel’s instrument and that was something you felt pride in. He wanted the symphony to be his instrument and he conducted for 32 years here. He was a remarkable man and that’s a wonderful legacy.” From her seat in the violin section at Abravanel Hall, Eyring looks out into the hall onto a portrait of Maurice Abravanel. “He was a mentor and a father figure,” she says. “I have a great fondness for looking out and seeing him watching over us.” And when Eyring and the rest of the Utah Symphony take the stage at Carnegie on April 29 she feels, “He will be there watching over us. I think of him often because of what he did here. It’s still remarkable—the legacy.” UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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The Mighty Five Celebrate the centennial of the National Park Service with this stunning visual portrait of Utah’s Mighty Five National Parks set to a score selected and recorded by the Utah Symphony.

Mon. Mar. 14, 7PM & 8:30PM FUNDED BY: • State of Utah Department of Heritage and Arts • Cleone Peterson Eccles Endowment Fund • Wheeler Foundation • George S. and Dolores Doré Eccles Foundation • My Good Fund 24

kued.org

KUED The University of Utah

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Trio By Autumn Thatcher

TRIO is a collection of perspectives gathered by community writers about conductors, guest artists, and Utah Symphony musicians surrounding a singular theme. As Utah Symphony celebrates its 75th anniversary season, we asked: “Describe the connection between music and celebration in your life.” “Music speaks instantly. There are no barriers in between. You don’t need to understand music to be able to listen to it and feel it.” ~ matthias pintscher It was at an early age that conductor and composer Matthias Pintscher knew that he would spend his life surrounded by music. The product of art-loving parents, Matthias began playing piano at the age of five. Several years later, he was drawn to the violin. His quest to understand the instrument and the way in which one uses it to shape every note and sound unveiled a curiosity that he continues to attempt to satisfy.

Matthias Pintscher Conductor/Composer

By the age of 14, Matthias was playing as the leader of the second violin section in a youth orchestra. It was being surrounded by so many instruments and hearing their sound come together in unison that led him to pursue conducting. “There was something instantly that touched me. It was being able to touch the sound with your hands, trying to express something through that physical quality of the orchestra. It’s not the piano, it’s not the violin; I would really consider the instrument of the orchestra phenomenon that has totally informed my music making,” Matthias says. Matthias cites the experience of orchestra members working off of each other’s sound as a way to celebrate. He often encourages his students at Julliard to try this approach. “Sometimes, it’s beautiful to have someone be quiet and share by not being actively part of what’s going on. You take it over from someone else that is passing it on to you. Another instrument is using the color or the sound of the note. Then you pick it up and try to match it or contradict it. This is something that is very human, that is an aspect of celebration,” says Matthias. His approach to music is one that is all encompassing, that takes over every aspect of life. That began with immersing himself into the art as a young child and continues to this day in the form of a scholar, composer, and conductor. In this way, life and music are one. “I celebrate in music. Music is life: there is no detachment in between the two. My life is music—it has always been like that.”

UTAHSYMPHONY.ORG

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PhoTo bY Jeff GoldberG/eSTo.

Utah Symphony at Carnegie Hall Friday, April 29, 2016

Stern Auditorium / PerelmAn StAge At CArnegie HAll 57tH Street And SeventH Avenue, new York, new York

tHierrY FiSCHer, c onduc tor

Haydn Bartók andrew norman ProkoFIeV

Colin Currie , p ercu s s i on

Symphony No. 96 “The Miracle” Suite from The Miraculous Mandarin Switch (Utah Symphony commission, NY Premiere) Selections from Romeo & Juliet

Utah Symphony returns to Carnegie Hall for the first time since 1975. Plan now to join us in New York City for this thrilling performance on one of the world’s grandest stages. For tickets, visit the Carnegie Hall box office, CarnegieHall.org, or call CarnegieCharge at (212) 247-7800. For viP package information call (801) 869-9011.

7 5 th A n n i v e r s A r y s i G n A T U r e s p o n s o r

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“Music elevates any celebration because of its ability to make emotions almost palpable. It allows us to express joy and happiness on an even higher level.” ~ lissa stolz Utah Symphony English hornist and oboist Lissa Stolz’s life has been enriched by music since she was a young girl. While growing up in Burlington, Iowa, her mother played the organ in her family’s church, and Lissa herself began playing piano and violin at an early age. She graduated from strings to woodwinds when—encouraged by her parents—she began playing oboe. Lissa was active in her public school’s band, orchestra, and choir. After high school, she played as a member of the double reed ensemble at the University of Iowa. It was there that she fell in love with the sound of the English horn. She later went on to perform with the Civic Orchestra of Chicago, the training orchestra of the Chicago Symphony.

Lissa Stolz English Horn

She vividly recalls her first time playing the English horn as part of Civic Orchestra’s performance of Stravinsky’s Rite of Spring. It was then that she knew she belonged in music. “Playing such a powerful piece on the beautiful stage of Chicago’s Orchestra Hall cemented my desire to be an orchestral musician. The Rite of Spring is still my favorite piece to perform,” says Lissa. As a member of the Utah Symphony, Lissa enjoys the way in which music elevates any celebration. “Music, in itself, is a celebration of life. Classical music is a celebration of the human capacity for good. In a world with so much unfortunate ugliness and suffering, I’m thankful to be a part of a group of people who come together to create such beauty and share it with others.”

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“Music is the world’s universal language, which can portray a thousand pictures. The fact that I can share my ideas with an audience is my cause for celebration.” ~ teo gheorghiu Teo Gheorghiu happened upon the piano at the age of four when his mother brought one home to learn on. The busyness of life kept her from dedicating the time that she needed to learning, but a young Teo did not face such obstacles. Curious about the instrument and the sounds that came from it, Teo began playing on the piano and enjoyed it so much that he received piano lessons for his fifth birthday. Once he began his studies, he did not look back. “I’ve loved music ever since I can remember, but I first consciously realized I had a talent for playing the piano when I joined the Purcell School for young musicians when I was nine,” explains Teo. Teo Gheorghiu Piano

He enjoyed the experience of being among like-minded peers. It was not long before Teo was performing concerts and eventually starred in Vitus, a film about a young prodigy pianist. It was while working with Hamish Milne at the Royal Academy in London that Teo found his calling. “It became absolutely clear that I wanted music not only to be my career, but my main dedication in life,” he says. Because Teo lives and breathes music, he sees it as a natural element of celebration. “Music is undoubtedly the most omnipresent aspect of my life whether I am making it myself or listening to some. If there is something to celebrate I am sure to put a fitting record on and let the good times begin,” he says. Teo sees his ability to conjure up and create “a wealth of life’s emotions and images in the way I perceive them personally” as a way for him to celebrate life through music. Though he enjoys listening to the works of others, he is grateful that he is free to come up with his own music. For him, being able to share his ideas through music with captive listeners is the ultimate celebration.

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Saint-Saëns’ “Egyptian” Piano Concerto

Saint-Saëns’ “Egyptian” Piano Concerto March 4 & 5 / 2016 / 7:30PM / ABRAVANEL HALL MATTHIAS PINTSCHER , Con du ctor /C o mp o se r TEO GHEORGHIU , Pian o

MATTHIAS PINTSCHER SAINT-SAËNS

idyll for Orchestra Concerto No. 5 in F Major for Piano and Orchestra, Opus 103, “Egyptian” I. Allegro animato II. Andante III. Molto allegro Teo Gheorghiu, Piano

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Saint-Saëns’ “Egyptian” Piano Concerto

artists’ proﬁles

Matthias Pintscher is the Music Director of the Ensemble Intercontemporain. Beginning in 2016–17 he also takes up post as Principal Conductor of the Lucerne Festival Academy. He continues his partnerships with the BBC Scottish Symphony Orchestra as its Artist-in-Association, and with the Danish National Symphony Orchestra as Artist-in-Residence. Equally accomplished as conductor and composer, Mr. Pintscher has created significant works for the world’s leading orchestras and regularly conducts throughout Europe, the U.S., and Australia.

Matthias Pintscher Conductor/Composer

Highlights of his 2015–16 season include conducting debuts with the Berlin Philharmonic, Toronto Symphony, Los Angeles Chamber Orchestra, and Prague Philharmonia; a U.S. tour with the Ensemble Intercontemporain; and the premiere of his new cello concerto by the Danish National Symphony and Alisa Weilerstein. Last season, Mr. Pintscher made debuts with the Los Angeles Philharmonic, National Symphony Orchestra, and the Symphonieorchester des Bayerischen Rundfunks. A successful and prolific composer, Mr. Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris. His works are published exclusively by Bärenreiter, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Mr. Pintscher also works regularly with leading contemporary music ensembles such as the Scharoun Ensemble, Klangforum Wien, Ensemble Modern, and Avanti (Helsinki). He has curated the music segment of the Impuls Romantik Festival in Frankfurt since 2011, and in September 2014 joined the composition faculty at the Juilliard School.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Saint-Saëns’ “Egyptian” Piano Concerto

artists’ proﬁles

Recipient of the Beethoven Ring from the Beethovenfest in Bonn in 2010, Teo Gheorghiu has recently performed at the Royal Albert Hall with the Royal Philharmonic Orchestra and has given recitals at Piano aux Jacobins in Toulouse and at Teatro Municipal Santiago de Chile. His plans for the 2014–15 season and beyond include performances with the Orquesta Sinfónica de Bilbao, Macedonian Philharmonic Orchestra, Münchner Symphoniker, and Orquestra Filarmônica de Minas Gerais. Other season highlights include chamber music performances with the Carmina Quartet (with whom he recorded Dvořák’s Piano Quintet for Sony) at St. Gallen in Switzerland, and solo recitals at the Tonhalle in Zürich and Kultur und Kongresshaus Aarau. Last season Mr. Gheorghiu performed with Orquesta Sinfónica del Principado de Asturias, and with Musikkollegium Winterthur for the New Year Gala concerts at Zurich’s Tonhalle. He also undertook recital tours of South America and Taiwan. Recent seasons have seen him perform in recital at the Lucerne Festival and make his debuts at the Louvre and Dvořák Prague Festival. Concerto appearances have included performances with the Pittsburgh and Tokyo Symphony orchestras, Luzerner Sinfonieorchester, Orchestra della Svizzera Italiana, and Tchaikovsky Symphony Orchestra of Moscow Radio. He has also given concerts with Sinfonieorchester Basel, Zürcher Kammerorchester, and the Danish National and English Chamber orchestras. He has appeared at London’s Wigmore Hall and Barbican Centre, and at the Verbier, MecklenburgVorpommern, and Ohrid festivals.

Teo Gheorghiu Piano

Born in Zurich in 1992, Mr. Gheorghiu was a pupil at the Purcell School, London, from 2001, where he was taught by William Fong. He went on to study at the Curtis Institute in Philadelphia with Gary Graffman and currently studies at the Royal Academy of Music, London. In 2004 he won first prize in the San Marino International Piano Competition and the following year he was awarded first prize in the Franz Liszt International Piano Competition in Weimar, Germany. In addition to his skills as a pianist, Mr. Gheorghiu is also a talented actor. In 2006, he starred in the title role of Fredi Murer’s Vitus opposite Bruno Ganz. Telling the story of a young piano prodigy, the film has received numerous awards and as a result Mr. Gheorghiu has performed at the Istanbul, Tribeca (New York), and Locarno Film Festivals.

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Saint-Saëns’ “Egyptian” Piano Concerto

program notes

Matthias Pintscher (b. 1971)

idyll for Orchestra (2014) INSTRUMENTATION: 4 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, bell plate, bongo drums, chimes, crash cymbals, crotales, glockenspiel, guiro, marimba, metal blocks, sandpaper blocks, spring coils, Styrofoam blocks, small suspended cymbal, medium suspended cymbal, large suspended cymbal, medium tam tam, large tam tam, thunder sheet, tom tom, medium triangle, large triangle, vibraphone; strings PERFORMANCE TIME:

23 minutes.

BACKGROUND

Born in the town of Marl in what was then West Germany, Mr. Pintscher grew up conducting and playing the violin with local youth orchestras. In his late teens he spent a year in London working at the BBC and at the internationally renowned music publishers Boosey & Hawkes. He began his conducting studies with Peter Eötvös, but composing took a more prominent role in his life while he was in his early twenties. Soon after, he divided his time equally between the two disciplines of conducting and composing. In composition, Clements noted, his talents “attracted the attention of [Hans Werner] Henze, who invited Mr. Pintscher to the summer school he then ran at Montepulciano in Italy. By the time he was 22 he had already written three big symphonies, as well as concertos and chamber music, and, after a couple of years studying composition with Manfred Trojahn in Düsseldorf, his career was well and truly launched. The steady stream of commissions, prizes, and scholarships had already begun.”

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WHAT TO LISTEN FOR

Mr. Pintscher is noted for his interpretations of contemporary music and has developed an affinity for repertoire of the late 19th and the 20th centuries—Bruckner, the French Romantic masters, Beethoven, Berlioz, Ravel, Debussy, Stravinsky, and for the Second Viennese School—along with a rich variety of contemporary scores. As a composer, he is prolific, and idyll is his most recent major orchestral work. It received its world premiere in 2014 with the Cleveland Orchestra under the direction of Franz Welser-Möst, followed by performances by the Bayerischer Rundfunk and the Melbourne Symphony Orchestra. His official biography observes that Mr. Pintscher’s compositions “are noted for the delicate sound world they inhabit, the intricacy of their construction and their precision of expression.” Among Mr. Pintscher’s most celebrated compositions are his first opera, Thomas Chatterton, commissioned by Dresden Semperoper; Fünf Orchesterstücke for the Philharmonia Orchestra and Kent Nagano; Herodiade-Fragmente for Claudio Abbado and the Berlin Philharmonic; his first violin concerto en sourdine for Frank Peter Zimmermann and the Berlin Philharmonic; his second opera l’espace dernier which premiered at Paris National Opera (Bastille) in 2004; and his cello concerto for Truls Mørk, Reflections on Narcissus, which was premiered in Paris in 2006 with Christoph Eschenbach and the Orchestre de Paris. That year also included the premiere of a piece for Emmanuel Pahud (flute) and the Mahler Chamber Orchestra, performed at the Lucerne Festival, where Mr. Pintscher was Composer-in-Residence in 2006. Osiris, a large-scale composition, was cocommissioned by the Chicago Symphony Orchestra, London Symphony Orchestra, and Carnegie Hall, and received its UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Saint-Saëns’ “Egyptian” Piano Concerto

program notes

premiere conducted by Pierre Boulez in 2008. In spring 2010, his work towards Osiris received its U.S. premiere with the New York Philharmonic under the baton of Eschenbach. Also that spring, the New York Philharmonic debuted a co-commission with the Frankfurt Radio Symphony Orchestra, songs from Solomon’s garden for baritone and chamber orchestra. In April 2013 the Vienna Philharmonic performed HérodiadeFragmente at the Musikverein. His first solo piano composition debuted at London’s Wigmore Hall in September 2013. Earlier in the same year, Uriel for cello and piano was premiered at the Frankfurt Alte Oper. Pintscher has also written a violin concerto, mar’eh, premiered in autumn 2011 with the London Philharmonic Orchestra. And his three-part work, Sonic Eclipse: Celestial Object 1, 2 and 3, has been performed by ensembles around the world. Camille Saint-Saëns (1835–1921)

Piano Concerto No. 5 in F major, Opus 103, “Egyptian” INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones; timpani, tam tam; strings PERFORMANCE TIME:

29 minutes.

2/5

of early childhood as music; his description of a two-year-old’s overheard “symphony of the kettle,” with its slow, eventful crescendo, is an anecdote to marvel at. He began composing at age 3, and performed one of Beethoven’s violin sonatas in a Paris salon at age 4; by age 10, in a legendary concert at the Salle Pleyel, he followed his performance of a movement from Beethoven’s C minor piano concerto with an offer to play any of Beethoven’s 32 piano sonatas from memory. “This young man knows everything, but he lacks in experience,” noted Berlioz—not a surprising observation, considering the age of the “young man” in question. Saint-Saëns became a protégé of Franz Liszt, who declared him “the world’s greatest organist,” and he won the ungrudging admiration of Berlioz, who called him “an absolutely shattering master pianist.” His mastery of the composer’s tools was staggering: encyclopedic knowledge of the orchestral instruments, of music history and theory, of harmony and structure. He was a visionary, co-founding the Société Nationale de Musique for the advancement of French music and appreciating his mentor Liszt as few of his contemporaries did, noting—with remarkable perspicacity—that they celebrated Liszt as the world’s greatest pianist in part because that was easier than appreciating his innovations and importance as a composer.

BACKGROUND

Born in 1835, when the Romantic era was still young, the spectacularly gifted French composer Camille Saint-Saëns lived through one of the most turbulent periods in music history. The music critic Harold C. Schonberg, who reigned for two decades at The New York Times, described him as the greatest of all music prodigies, outpacing even Mozart and Mendelssohn. As an adult, Saint-Saëns recalled experiencing the aleatoric sounds UTAHSYMPHONY.ORG

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WHAT TO LISTEN FOR

Saint-Saëns’ music almost always gives us a scintillating combination of tradition and novelty; in the case of his Piano Concerto No. 5, the nickname, “The Egyptian,” holds out that promise before we hear a note. He composed this work in the Egyptian city of Luxor, a sunny and historic location where he often spent time in the winter. But the concerto’s exoticism is not just imported from MASTERWORKS

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Saint-Saëns’ “Egyptian” Piano Concerto

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Egypt. It also incorporates sources from Java and Spain. For the style-conscious French, Spain had always represented southern warmth and sensuality. But by the 1870s, the lure of foreign cultures, tinged with the danger of otherness, beckoned to the French from far beyond southern Europe. Their fascination with eastern locales such as Egypt and Java was raging in the 1890s Paris of the Belle Époque, lumped under the heading of “Japonisme.” According to Saint-Saëns himself, the concerto was a musical representation of a sea voyage. In listening, we can well imagine its wide range of musical motifs depicting exotic ports of call. Yet for all of its unusual geographic color, the concerto sticks to the traditional arrangement of three movements in fast-slow-fast tempo. In the first, marked “allegro animato,” two themes draw us in: a deceptively plain theme introduced by the pianist which escalates in technical demands as it repeats, along with a more introspective theme that we can imagine as the inward thoughts of a contemplative traveler. We might expect the second movement, marked “andante,” to continue the softly lyrical close of the first; instead it jolts us with a percussive bang and a peppery announcement in the strings before it gives way to a more traditional and gentler tempo. This section, with the walking pace of a traditional andante, is built on a romantic Egyptian song from the Nubian culture. Saint-Saëns was clearly fascinated by the emotional richness of this evocative air, which he heard while sailing the Nile in an Egyptian boat called a dahabiah. As the movement draws to its close, we can hear the sounds of nature in the Nile habitat depicted with the composer’s characteristic vividness. 36

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Does this concerto transport us from East to West? To some listeners, the piano’s bass rumbling in the final molto allegro movement suggests the deck-shaking vibrations of ships’ propellers. Here the sea voyage that SaintSaëns imagined seems to be drawing us back to the urban clamor of western Europe as the soloist, performing the piano theme at a furious pace, competes with a second theme in the strings and woodwinds. Alternately twining and tense, the two themes are resolved in an emphatic finale. Maurice Ravel (1875—1937)

Alborada del gracioso INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, bass drum, castanets, crash cymbals, crotales, snare drum, suspended cymbal, tambourine, triangle, xylophone, harpsichord; strings PERFORMANCE TIME:

7 minutes.

BACKGROUND

Alborada del gracioso is the fourth movement of Miroirs, a five-movement suite for solo piano that Ravel composed in 1904 and 1905. Each movement of the suite is named in a highly concrete way—for something vividly sensual that can be imagined for the way it looks, or sounds, or both. This movement is one of two that Ravel later orchestrated himself, and is usually translated as “morning song of the jester.” The other is Une barque sur l’océan, “a boat on the ocean.” Each of the five movements of Miroirs was dedicated to a member of a rebellious fraternity of young artists and performers known as les Apaches (“the hooligans”), to which Ravel belonged. (The painters known UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Saint-Saëns’ “Egyptian” Piano Concerto

program notes

as les Fauves—“the wild beasts”—made their reputation for iconoclasm at the same time.) When the suite was completed in 1905, Ravel applied a personal dedication to each movement; Alborada honors his friend and supporter M.D. Calvocoressi, a music critic and early supporter of his work. WHAT TO LISTEN FOR

The jester is a curious figure who appears throughout European painting and literature. He is Shakespeare’s fool and the commedia dell’arte’s harlequin, the joker in a deck of cards and the gracioso depicted in Spanish paintings and stage comedies. It is his voice we hear in Ravel’s lovely Alborada del gracioso, awakening to the world with the classless naïveté of the outsider. The writing is a miracle of fluidity. Played on the piano, it seems to require boneless hands; orchestrated, it flashes with color and light. Hearing either version, we can’t imagine it existing in any other form. The Alborada is full of sun, sea, and sounds reminiscent of strummed guitars, all of which bewitched Ravel, here gathered episodically in a way that his biographer Alexis RolandManuel described as “the swooning flow of the lovelorn melodic line which interrupts the angry buzzing of guitars.” But to some listeners, at least, that buzzing is anything but angry; it is as proud and emphatic as Flamenco as it alternates with the soft breezes of morning. Claude Debussy (1862—1918)

La mer INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon; 4 horns, 5 trumpets, 3 trombones, tuba; timpani, tam tam, triangle, crash cymbals, suspended cymbal, bass drum, glockenspiel, harpsichord; strings

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4/5

PERFORMANCE TIME:

22 minutes.

BACKGROUND

Claude Debussy is widely regarded as “the father of musical Impressionism,” but what does that phrase really mean? By now we are comfortable viewing the paintings of Renoir, Monet, and their colleagues, and their works have gained such widespread popularity that we must remind ourselves how Impressionist paintings shocked the eye back in the 1870s: The colors seemed strangely bright, the shadowy neutrals were gone, and the paintings rendered impressions of light rather than the world of objects in space. Yet somehow that world materializes before us as we simply relax and look. In Debussy’s music, he showed us how evocations of mood and atmosphere could function as light does in Impressionist paintings. His instrumental color, texture, and meandering harmonies ignore traditional combinations. Where Impressionist paintings leave the world of objects behind, Impressionist music goes beyond earlier conventions of harmonic and rhythmic development, moving from one bar to the next in a spontaneous, organic flow. That said, Impressionist music continues to challenge us as listeners a bit more than Impressionist painting does. If we are less comfortable with Debussy and Ravel than with Renoir and Monet, that may not be such a bad thing; as the art critic Sister Wendy Beckett reminds us, the trick is to come to each work of art as something new, approaching it with courage and without preconceptions, opening ourselves to the experience it offers. Indeed, there is probably no composer more closely associated with water, or more expressive in describing it, than Debussy. MASTERWORKS

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Saint-Saëns’ “Egyptian” Piano Concerto

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Like Benjamin Britten in his operas, Debussy returned to the sea again and again in songs and orchestral works. But it turns out that Debussy’s experience of the sea—so poetically infused with impressionistic color, light, and rhythmic sway—was a triumph of his imagination over reality; the composer’s experience of life on the water was limited to “two [English] Channel crossings and some seaside holidays,” musicologist Richard Freed informs us. Debussy took one of those seaside holidays at the English Channel town of Eastbourne in 1905, two years after he began sketching La mer, specifically to complete the work at the seaside. WHAT TO LISTEN FOR

Though Debussy never completed a symphony, La mer challenges every section of the orchestra and is certainly symphonic in its scope. And, as with a symphony, its three movements are intended to be performed together—a single sequence representing a day on the sea. As Richard Freed suggests, La mer is as close to a Debussy symphony as any composition he gave us. By the time of its composition, a year after his operatic masterpiece Pelléas et Mélisande, the 20th century was young and Debussy was elevating his music to a heights, applying his large gifts in large-scaled works. Their breadth intensified the characteristics that his contemporary listeners found challenging: the sensuous, modal scales; ambiguous rhythms; and—most of all—those gliding, unresolved harmonies that keep on rolling and never arrive. At early performances, doubters predominated even among well-informed listeners, with some critics waggishly comparing their experience with La mer to a struggle for survival at sea. Among its

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early champions were composers including Giacomo Puccini and Debussy’s friend Erik Satie. Today, with the sounds of French Impressionist music more familiar to our ears, La mer is universally appreciated as the masterpiece it is. The first movement of La mer represents “From Dawn to Noon on the Sea,” with the sun rising to its height and the waves gathering energy. Here, as in all three movements, brief fragments of melody take shape and dematerialize almost before we can recognize them, gesturally forming the impression of the rocking waters and the sparkle of light. The latent power of the waves is suggested by the ebb and flow of the cellos, with echoes in the horns and timpani. In “The Play of the Waves,” Debussy’s fragmented, watery figures dart from section to section of the orchestra, with xylophone and harp accents seeming to glint on the water. Motion is ever-present in La mer, and in this movement, a kind of generalized energy gains in tension as it progresses, leading us directly to the final “Dialogue of the Wind and Sea.” Here Debussy reprises a theme from the opening movement, but restates it with greater dynamic and textural contrasts. The effect is one of growing power and urgency, reflecting the sea’s immensity. As always, a word of caution when listening to Debussy: relax. Let the music carry you along. Like those early critics, you won’t hear singable tunes or chord progressions that resolve and start over. But you will hear a gorgeously sensual evocation of the sea in all its variety. By Michael Clive

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Make It Your Masterpiece

Utah Symphony | Utah Opera’s 75th Anniversary Signature Sponsor, the George S. and Dolores Doré Eccles Foundation, has challenged us to raise an additional $500,000 this season, which the foundation will match one-to-one. We invite you to make it your masterpiece by contributing to the Annual Fund to help us rise to this challenge. The Annual Fund supports the general operations of USUO, including our educational outreach. Together with our main-stage performances, these programs are at the core of our vision to connect the community through great live music: USUO visits each of Utah’s forty-two school districts on a three- to five-year rotation and reaches roughly 25% of the entire state’s K-12 student and teacher populations annually to supplement arts education. USUO also partners with schools, medical facilities, and families to provide performances to our neighbors, friends, and relatives with autism, vision impairments, memory loss, and other special needs, serving differently-abled individuals in our community who have fewer opportunities to attend cultural events. In addition, USUO musicians give more than 1,000 hours of instructional time annually to children, averaging almost three hours per day, every day. This makes USUO one of the largest providers of professional music education in the United States. To offer educational outreach programs free of charge, we rely on institutional support and donations by individuals like you. Please join our grassroots giving campaign by becoming a sustaining patron today: Pledge your support or document a planned gift, and make this season your masterpiece. Please visit usuo.org/support/grassroots-campaign or contact the USUO Development team at 801-869-9015. Your new or increased support will help us meet our goal to raise an additional $500,000 to support our mission to provide great live music to all Utahns.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. The Foundation has pledged an additional $1 million during our 75th anniversary season, along with a challenge to us to raise an additional $500,000 in new and increased gifts, which they will match dollar for dollar. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million.

Now you can join the momentum and contribute to our 75th anniversary celebrations, as well as the future well-being of USUO, by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign UTAHSYMPHONY.ORG

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P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($7 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (3) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Roger & Susan Horn Naoma Tate & the Family of Hal Tate Ronald & Janet Jibson M. Walker & Sue Wallace Frederick Q. Lawson Foundation Wells Fargo

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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 gracious service and impeccable surroundings.

801.596.5704

saltlake.littleamerica.com

Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers Grace Higson†

Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A. & Jeraldine S. Randall Robert L.† & Joyce Rice

Mr. & Mrs. Alvin Richer Patricia A. Richards & William K. Nichols Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G. B. & B. F. Stringfellow Norman† & Barbara Tanner Mr. & Mrs. M. Walker Wallace

Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Stephen H. & Mary Nichols Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr.† & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G. B. & B. F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Plan Big.

Maurice Abravanel planned big, imagining that Utah Symphony could become a year-round orchestra that reached into every corner of the state of Utah, all while maintaining the highest standard of musicianship. Today, Utah Symphony | Utah Opera is the premier arts organization of the Intermountain West, unmatched in the reach of our statewide education programs and excellence in both symphonic and operatic music. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians in our homes of Abravanel Hall and Janet Quinney Lawson Capitol Theatre, and on the road. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy.

To learn more about how your estate planning can benefit USUO and you, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

UTAHSYMPHONY.ORG

(801) 533-NOTE

Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 18–21.

$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Hilton Hotel* Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Byrne Foundation Castle Foundation City Creek Center* Deseret Trust Company

Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* Prime Steakhouse Park City* The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation Utah Medical Association Financial Services The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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THE UTAH SYMPHONY GUILD CONGRATULATES THE UTAH SYMPHONY ON ITS 75TH ANNIVERSARY SEASON. THE GUILD IS PROUD TO CONTINUE SUPPORTING THE SYMPHONY FOR MEMBERSHIP INFORMATION, PLEASE VISIT THE GIFT SHOP LOCATED IN THE LOBBY OR ONLINE AT: WWW.UTAHSYMPHONYGUILD.ORG

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Donna Smith | Guild President | 2015-2016 Season

www.utahsymphonyguild.org

Guild Programs include: Utah Symphony Youth Guild Outreach Violin Program School Docent Program Finishing Touches

utahsymphonyguild

Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last twelve months. For a listing of season honorees who have made gifts of $10,000 and above see pages 18–21. ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vicki Callen Ken & Shelly Coburn* Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Mr. Joseph F. Furlong III Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson Robert & Debra Kasirer Roger & Sally Leslie Thomas & Jamie Love Mr. & Mrs. Charles McEvoy

Elinor S. McLaren & George M. Klopfer Leslie Peterson & Kevin Higgins Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Thomas Parks & Dr. Patricia Legant Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Mr. & Mrs. D. Brent Scott Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Craig & Joanna Adamson Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Larry & Judy Brownstein Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Lindsay & Carla Carlisle Robyn Carter Mark & Marcy Casp Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook

Mike Deputy B. Gale† & Ann† Dick Midge & Tom Farkas Flynn Family Foundation Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Herbert C. & Wilma S. Livsey Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Hallie & Ted McFetridge Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Christie Mullen Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff

Ardean & Elna Watts Suzanne Weaver Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (5) Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Mr. & Mrs. William D. Callister, Jr. Paul & Denise Christian Raymond & Diana Compton David & Sandra Cope** Dr. & Mrs. Thomas Coppin David & Karen Dee Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen c Diana George Susan Glassman & Richard Dudley Randin Graves

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Individual Donors The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard & Norma Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe

James Lether Harrison & Elaine Levy Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch Jason Olsen & Tim Thorpe

O. Don & Barbara B. Ostler Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Steven Price Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell James & Anna Romano Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Larry R. & Sheila F. Stevens Gerald & Barbara Stringfellow Karen Urankar William & Donna R. Vogel John & Susan Walker

Gerard & Sheila Walsh Susan Warshaw Bryan & Diana Watabe E. Art Woolston & Connie Jo HepworthWoolston $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong Gaylen Atkinson Graham & Janet Baker David & Rebecca Bateman Barry Bergquist C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter

T H e a r T o f g o o d e aT i n g .

D o w n to w n

60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com

UTAHSYMPHONY.ORG

(801) 533-NOTE

Individual Donors James & Rula Dickson Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason** Naomi K. Feigal Mark Gavre & Gudrun Mirin Michael & Catherine Geary Ralph & Rose Gochnour Robert Graham Dr. & Mrs. John E. Greenlee Hillary Hahn & Jeff Counts Alan & Jeanne Hall Foundation Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells Mr. & Mrs. Jerry Huffman David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu

Travis & Erin Kester Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Lisa & James Levy Peter Margulies Christopher & Julie McBeth Nicole Mihalopoulos Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Whitney Olch Barbara Patterson Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Grant Schettler Deborah Schiller Mr. August L. Schultz Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Otto Smith Phillip & Jill Smith Elizabeth Sullentrop Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Pam & Jonathan Weisberg Michael & Judy Wolfe

Marsha & Richard Workman Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda In Memory Of Gary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton Ann Dick John R. Dudley Carolyn Edwards Ed Epstein Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” & Mary E. Gregory Carolyn Harmon Judith Ann Harris Duane Hatch Steve Horton Mary Louis Scanlan

Humbert Winona Simonsen Jensen Eric Johnson Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Kenneth Randall Klaus Rathke Dr. Clifford Reusch Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader Joseph Silverstein David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Marjorie Whitney Sandra Wilkins Bruce Woodward Rosemary Zidow

*In-kind gift **In-kind & cash gift † Deceased Donations as received between 1/15/15 to 1/15/16

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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