Rachmaninoff’s Piano Concerto No. 2

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

31

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

© COPYRIGHT 2016

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

5

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

6

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 • 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 rdi’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 Radamès and her loyalty to her own father and country. The lovers must fend off the schemes of a fiercely jealous Egyptian princess and decide whether true love trumps honor and duty.

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 D’Arcy* Treasurer Patricia A. Richards* Interim President & CEO

10

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

15

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

16

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

W

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

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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

18

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

19

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**

20

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

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(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

21

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

Last year Utah Food Bank distributed 31.3 million meals to Utahns in need statewide.

1 in 5 Utah kids are unsure where their next meal will come from

423,000 people are food insecure — 15% of Utah’s population

Go to UtahFoodBank.org today to donate, find food drop-off locations, or to find out more about volunteering.

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.”

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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

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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.

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Trio

By Autumn Thatcher

“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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Trio

By Autumn Thatcher

“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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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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program

Rachmaninoff’s Piano Concerto No. 2

Rachmaninoff’s Piano Concerto No. 2 March 25 & 26 / 2016 / 7:30PM / ABRAVANEL HALL ROBERT SPANO , Con du ctor GEORGE LI , Pian o

WAGNER Arr. Hutschenruyter

“Good Friday Spell” from Parsifal

RACHMANINOFF

Concerto No. 2 in C minor for Piano And Orchestra, Opus 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando George Li, Piano

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Fountains of Rome I. II. III. IV.

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The Fountain of Valle Giulia at Dawn The Triton Fountain at Morn The Fountain of Trevi at Mid-day The Villa Medici Fountain at Sunset

Pines of Rome I. II. III. IV.

The Pines of the Villa Borghese Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

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Rachmaninoff’s Piano Concerto No. 2

artists’ profiles Conductor, pianist, composer, and pedagogue Robert Spano is known for his unique communicative abilities. In 14 seasons as Music Director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing the careers of numerous classically-trained composers and conductors. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements have included orchestras such as the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia Symphony orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

Robert Spano Conductor

Maestro Spano began the 2015–16 season conducting the Saito Kinen Orchestra in Japan as part of a gala performance celebrating Seiji Ozawa’s 80th birthday. With the Atlanta Symphony Orchestra he leads four world premieres, seven Atlanta premieres and celebrates the centennial of the legendary Robert Shaw’s birth with Brahms’ Requiem and Leshnoff’s Zohar in Atlanta and at Carnegie Hall. Additional guest conducting engagements include the Minnesota Orchestra, the Oregon, Utah and Kansas City Symphonies, Orquestra Sinfônica Brasileira, Orquestra Sinfônica do Estado de São Paulo, and the Melbourne Symphony in Australia. Maestro Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles. As a pianist, he joins Wu Han and Alessio Bax for a program of piano masterworks as part of the Chamber Music Society of Lincoln Center’s residency at the University of Georgia in Athens.

With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media recorded over nine years, Robert Spano has won six Grammy™ Awards with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and is proud to live in Atlanta.

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Rachmaninoff’s Piano Concerto No. 2

artists’ profiles Praised by the Washington Post for combining “staggering technical prowess, a sense of command and depth of expression,” pianist George Li possesses brilliant virtuosity and effortless grace far beyond his years. He captured the Silver Medal at the 2015 International Tchaikovsky Competition, and at the XIVe Concours International “Grand Prix Animato 2014” in Paris, he won First Prize, as well as the Special Schumann and Brahms Prizes and the Audience Prize.

He was awarded the Best Sonata Performance at the 2015 National Chopin Competition, in addition to Third Prize. Having won the 2012 Gilmore Young Artist Award, Li also won Second Prize at the 2014 Vendome Prize and the 2012 Tabor Foundation Piano Award of the Verbier Academy. His 2015–16 season includes appearances as soloist with the Fairfax Symphony, the Albany Symphony, the Williamsburg Symphonia, the Pennsylvania Sinfonia Orchestra, and the Windsor Symphony Orchestra in Canada. He performs in France at the Musée du Louvre, Le Festival International de Musique in Dinard, and in the L’Association Frédéric Chopin Lyon’s “Les Virtuoses du Piano” series.

George Li Piano

Mr. Li also appears in recital in the U.S. at Pittsburgh’s Rodef Shalom Congregation and the Chopin Foundation of the U.S. and returns to perform chamber music with Winsor Music. Last season, he made his Alice Tully Hall debut, performing the Tchaikovsky Piano Concerto No. 1 with the Orchestra of St. Luke’s and Gerard Schwarz. As a concerto soloist, he has also appeared with the Richmond, Hilton Head, Edmonton, and Stamford Symphonies, the Boise and Spartanburg Philharmonics, the Brooklyn Philharmonic Orchestra, the Pasadena Symphony and Pops, the Boston Philharmonic, and the Nordic Chamber Orchestra and the Norrköping Orchestra in Sweden. Li has performed recitals at the Isabella Stewart Gardner Museum, the Tryon Concert Association, the Buffalo Chamber Music Society, the Candlelight Concert Society, University of Georgia, Oberlin Conservatory of Music, the Harriman-Jewell Series, the Miami International Piano Festival, the Irving S. Gilmore International Keyboard Festival, the Morgan Library and Museum, the Vancouver Recital Society, Shriver Hall, and Festspiele Mecklenburg-Vorpommern, among others. In 2011, Li performed for President Obama at the White House in an evening honoring Chancellor Angela Merkel.

While attending the Walnut Hill School for the Arts, he studied piano with Wha Kyung Byun at the New England Conservatory.

He is currently in the Harvard University/New England Conservatory joint program, continuing his studies with Wha Kyung Byun.

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program notes

Richard Wagner (1813–1883)

“Good Friday Spell” from Parsifal (arr. Hutschenruyter) INSTRUMENTATION: 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani; strings PERFORMANCE TIME:

12 minutes.

BACKGROUND

The bicentennial of Richard Wagner’s birth occurred in 2013, providing another reason for the music world to reflect on the revolutionary impact of Wagner’s genius.

Not that we are ever far from experiencing the effects of Wagner’s achievements. By the time he finished composing Parsifal, only about a year before his death at age 70, Wagner’s thinking on aesthetics had departed so radically and importantly from tradition that artists of all kinds—painters, sculptors, writers, and dramatists—as well as composers—knew that the ground rules for their creative efforts might be changed forever. His harmonies were suspended and ambiguous; his motifs lacked the clear resolution of Classical melodies of the past.

They expressed an inner reality: a world of emotion and thought seemingly more real than the world of material objects outside the mind. If a composer could make music like this, then nothing was off-limits for any artist.

Small wonder that Wagner’s orchestra and the voices required to carry over them are unusually large. The experience is almost like entering an alternate mode of existence and is an early example of the all-encompassing narrative adventure that moves Star Wars enthusiasts to create their own light sabers and imagine themselves in a faraway galaxy.

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WHAT TO LISTEN FOR

If all of this sounds like it takes secret knowledge to appreciate Wagner, that’s simply not true. Today, listening to late Romantic compositions after having heard the wide-ranging modern experiments that followed, it might be hard for us to imagine that Brahms and Wagner were considered artistic antagonists who represented music’s traditional glories on the one hand and its limitless future on the other. But for all the timeannihilating gorgeousness of Wagner’s music, it is relatively rare in the concert hall. We grow up knowing examples such as the wedding march extracted from his opera Lohengrin and the “Ride of the Valkyries” from his opera Die Walküre. Yet his musical compositions were almost entirely for the operatic stage, and the tiny handful of instrumental works he produced do not represent his revolutionary side. In that context, excerpts such as the “Good Friday Spell” are not only beautiful, but also enlightening.

Wagner published the “Good Friday Spell” for concert performance even though he felt the opera itself should be performed nowhere outside his beloved Bayreuth Festspielhaus until at least three decades after its premiere, lest it descend to the level of “mere amusement.” Majestic in its solemnity, the passage includes principal motifs from the opera and the famous “Dresden amen,” a traditional sacred chord progression. The passage occurs in the opera’s third act, as the knight Parsifal, wearied by years of travel, takes rest in a sunlit meadow filled with flowers. Refreshed by the beauty of nature, Parsifal learns from his fellow-knight Gurnemanz that this benediction is the result of “Good Friday’s magic spell,” when all creation rejoices, cleansed of sin. The effect is of ethereal innocence and tranquility.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Rachmaninoff’s Piano Concerto No. 2

program notes

Sergei Rachmaninoff (1873–1943)

Concerto No. 2 in C minor for Piano and Orchestra, Opus 18 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, bass drum, crash cymbals; strings PERFORMANCE TIME:

32 minutes

BACKGROUND

Though he was born before the last quarter of the 19th century began, Rachmaninoff was essentially a figure of the 20th century.

Still, we can call him the last of the Russian Romantics; his sound was rooted in the 1800s and in the Russian nationalist composers dating back to Glinka and Tchaikovsky. He was also one of the greatest pianists of his day, and perhaps one of the greatest ever. With superlative technique and hands of enormous reach (possibly the result of Marfan syndrome, a congenital cardiac condition), he was ideally suited to perform works of power and Romantic sweep.

Trained as a pianist as well as a composer in Moscow and Saint Petersburg, Rachmaninoff focused on the piano in both composition and performance. Of his three concertos, the second is both the most popular and the most admired among critics. This is the composition that made his reputation. By now, fans and musicians have affectionately named his concertos “Rocky 1,” “Rocky 2” and “Rocky 3,” but it was Rocky 2 that first acquired its nickname. And, appropriately enough, it takes a heavyweight talent to go the distance with it.

The concerto’s success was hard-won.

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years the dismal reception of Rachmaninoff’s first symphony, which proved a setback to his musical ambitions (despite the acclaim it earned later). Long troubled by clinical depression, the well-born Rachmaninoff benefited from excellent medical care and the support of friends and colleagues, who encouraged him to rededicate himself to piano composition. It was good advice, and helped him to work free from a creative stasis. In fact, while many concertos are dedicated to the soloists who premiered them, this one is dedicated to Rachmaninoff’s physician, Nikolai Dahl.

It was the success of this concerto combined with the relative failure of Rachmaninoff’s first symphony that made him a celebrity in America, a virtuoso pianist performing his own virtuosic compositions. He would not attempt another symphony until 10 years after his first, and the merits of his great orchestral compositions would not be fully appreciated until years after his death. Today, even Rachmaninoff’s flair as an opera composer is being rediscovered.

WHAT TO LISTEN FOR

With his impressive technique, Rachmaninoff was ideally suited to perform his own piano works, and did so on concert tours in the U.S. and elsewhere. Listening to his concertos, we sense the perfect match between his physical gifts as a soloist and his style as a composer: These are compositions of dynamic extremes and singing melodies that require both power and speed. The aural effects are spectacular, requiring a huge note span, blinding dexterity, the ability to delineate multiple voices, and the control to delineate subtle gradations in tempos and dynamics. Through all of that, Rachmaninoff requires the pianist to spin a silken cocoon of sound that is voluptuous and quintessentially Romantic.

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program notes

No one combines musical intimacy and sensuality with grand, even monumental sound the way Rachmaninoff does, especially in this concerto. One can hear the brooding depressive as well as the ardent romantic in every bar. In the first movement, marked “moderato” and written in C minor, an opening of intense foreboding builds through a series of powerful, chiming chords by the soloist. As the tension builds to a breaking point, the piano breaks into a sweeping main theme that is taken up in the violins, but that quickly engulfs the entire orchestra. From this moment on—indeed, from the initial sounds of the piano’s lone voice in the concerto’s introduction—this is a hugely scaled musical statement that balances sweeping, melancholy phrases with melodies that express the sweetness and pain of romantic yearning. Throughout we hear both the chilly breadth of Russian outdoors and a moody interior landscape. When a rolling theme emerges, its march tempo gives it the quality of an inexorable machine, with only the solo piano to challenge it.

Slow chords in the strings open the second movement, an adagio that moves from C minor into E Major. While the piano delineates a theme through fleet, poetic arpeggios, the overall mood remains melancholy, with a short exchange between orchestra and piano developing the movement’s motifs. Yet this tinge of sadness does not overwhelm, perhaps balanced by the sense of romance and melodic richness.

The concerto’s songful quality, which gave rise to two Frank Sinatra tunes based on the first movement alone (“I Think of You” and “Ever and Forever”), takes full flight in the lush, gorgeous third movement, marked “allegro scherzando.” This movement is built around a melody that could be the distilled essence of romance, and that forms the basis of the song 36

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“Full Moon and Empty Arms.” It has been excerpted in dozens of movies to convey the exquisite pleasure of love anticipated…and the exquisite pain of love unfulfilled. It can also be said to have saved Rachmaninoff’s life: When he composed it and discussed it with colleagues, it secured his more optimistic outlook on his composing prospects. This is the theme that turned Brief Encounter into a three-handkerchief weepy; “delicious” is one of the words Marilyn Monroe uses to describe it in The Seven Year Itch. “Every time I hear it, I go to pieces!” she exclaims.

The concerto ends in a flourish of virtuosity and optimism that may well reflect the composer’s rising optimism during its composition, when he was buoyed by colleagues’ encouragement. The last movement, an allegro, opens with an introduction that moves away from the previous movement’s E Major, where the music was lush but the emotions lingered in an atmosphere of twilit moodiness. To close, it transitions from C minor to C Major with ever-increasing tension and energy. The final thematic statements and coda are resolved in C Major, in a loud and ecstatic finale.

Ottorino Respighi (1879—1936)

Fountains of Rome INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, chimes, crash cymbals, glockenspiel, triangle; strings PERFORMANCE TIME:

15 minutes

BACKGROUND

Born in 1879, the Bolognese master Ottorino Respighi lived most of his life in the 20th century (he died in 1936). But in the charm UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Rachmaninoff’s Piano Concerto No. 2

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and tonal elegance of his music we can hear 19th- and 20th-century aesthetics colored by his infatuation with earlier days: music of the late Renaissance and early Baroque periods, from the 16th through the 18th centuries.

Though Respighi was periodically attracted to modernist ideas at various times during his musical education, he always reverted to a personal style of composition steeped in the past. His music is graceful, courtly, and opulent; it often seems to iridesce with shifting colors. The rhythms are whirling or stately. The sound beguiles us like an antique music box.

Respighi began his career as a violinist and violist, studying first with his father and then at the Liceo Musicale in Bologna, but history and composition studies were also included in his curriculum. After graduating in1899, he became principal violist in the orchestra of the Russian Imperial Theatre in St. Petersburg. There he studied composition with Rimsky-Korsakov, one of the great masters of orchestral color, whose influence can be heard in all of Respighi’s most popular works.

Returning to Italy, he became first violinist in the Mugellini Quintet, but devoted himself mainly to composing from 1909 onward.

WHAT TO LISTEN FOR

Fountains of Rome gives us Respighi’s vibrant impressions of Rome’s four great fountains.

Few musical works so richly deserve to be called picturesque; the movements of this popular suite sparkle and soar with their sensual effects, with which Respighi sought to capture each fountain at the moment of its greatest beauty. In his own notes for Fountains of Rome, Respighi noted: The first part of the poem, inspired by the fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh, damp mists of the Roman dawn.

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A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, “The Triton Fountain.” It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

Next there appears a solemn theme borne on the undulations of the orchestra. It is the fountain of Trevi at mid-day. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character.

Trumpets peal: Across the radiant surface of the water there passes Neptune’s chariot drawn by seahorses and followed by a train of sirens and tritons. The procession vanishes while faint trumpet blasts resound in the distance.

In the fourth part, the Fountain at the Villa Medici, is announced by a sad theme which rises above the subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, the twittering of birds, the rustling of leaves. Then all dies peacefully into the silence of the night.

Ottorino Respighi (1879–1936)

Pines of Rome 3 flutes, 3rd doubling piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contabassoon; 6 horns, 5 trumpets, 5 trombones, tuba; timpani, bass drum, campanelli, piatti, raganella, tam tam, tamburo basco, triangle; strings INSTRUMENTATION:

PERFORMANCE TIME:

15 minutes.

BACKGROUND

Pines of Rome, is the second of the orchestral suites that comprise Ottorino Respighi’s popular “Roman Triptych,” which also MASTERWORKS

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includes Fountains of Rome, and Feste Romane (“Roman Festivals”). All three showcase his gift for creating music that seems vividly and specifically visual, a goal sought by many of the baroque composers he so admired.

In his determination to create a richly detailed and truthful sense of atmosphere for this work, Respighi calls for the use of a recorded nightingale at the close of the third movement—one of the earliest inclusions of an electronic element into a classical score (1928). Over the years, the recording medium has progressed from 78-rpm records to audiotape to digital media, but the nightingale’s song has remained true to Respighi’s original selection.

WHAT TO LISTEN FOR

In the first movement of The Pines, we are treated to a view of the sumptuous Villa Borghese, where rambunctious children are playing and soldiers are marching amid the pines. Next we are transported to a subterranean catacomb in Campagna, with its eerie vaults and priestly chanting deftly evoked by low orchestral voicing, organ, and trombones. In the third movement, the nocturnal feeling is accented by the sound of a nightingale among the pines of Janiculum Hill.

As Respighi’s Roman travelogue progresses, we realize that not only has he transported us through the city of Rome, but through a day as well: starting with children at play on a sunlit afternoon, through the night, and finally to the Via Appia, where The Pines of Rome

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ends in the brilliance of a Roman sunrise.

Respighi’s notes about the suite include the following observations: The Pines of the Villa Borghese (Allegretto vivace)—Children are at play in the pine groves of the Villa Borghese, dancing the Italian equivalent of “Ring around a Rosy.”

They mimic marching soldiers and battles.

They twitter and shriek like swallows at evening, coming and going in swarms.

Suddenly the scene changes.

The Pines Near a Catacomb (Lento)—We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant, which echoes solemnly, like a hymn, and is then mysteriously silenced.

The Pines of the Janiculum (Lento)—There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings.

The Pines of the Appian Way (Tempo di Marcia)—Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of unending steps. The poet has a fantastic vision of past glories. Trumpets blare, and the army of the Consul bursts forth in the grandeur of a newly risen sun toward the Sacred Way, mounting in triumph the Capitoline Hill.

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.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partners—and by participating in events throughout the community. In 2015–16, we will highlight more than 75 of these community collaborations.

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UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

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

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

a tradition of

Exceptional Dining

From business lunches to private dining events, The Little America Hotel’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

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Plan Big.

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

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(801) 533-NOTE

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

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Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Homewood Suites by Hilton* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Kura Door* Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* 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

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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

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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

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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

Most Popular Restaurant

West Market Street. Unanimous favorites for seafood dining, providing exceptional service and award winning.

The contemporary menu features the highest quality available. Select from an abundant offering of fresh seafood flown in daily, Angus Beef steaks, and a variety of non-seafood dishes. Open 7 days a week serving breakfast, lunch, dinner, Sunday Brunch. B, L, D, C, AT, S, LL, CC, VS. 801.322.4668

MARTINE 22 East 100 South. Award winning ambience, located in a historic brownstone. Martine offers Salt Lake City a sophisticated dining experience kept simple. Locally sourced ingredients, pre-event $25 three course prix fixe.

Extensive bar and wine service. martinecafe.com L, D, T, LL, RA, CC, VS. 801-363-9328

–Zagat

48 W. Market Street (340 South) 801.322.4668

• An intimate euro café • Free Valet Parking 22 East 100 South

Phone • 801.363.9328 www.martinecafe.com Top Photo: Image licensed by Ingram Image

B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections

THANK YOU TO OUR ADVERTISERS Ad Council Adib’s Rug Gallery Bambara Caffè Molise Challenger School City Creek Living Excellence in the Community Fleming’s Grand America Hotel Hale Centre Theatre Hyatt Place KUED Little America Hotel

Millcreek Cacao New Yorker Protel Networks RC Willey Reliable Tree Care Ruth’s Chris Steak House Salt Lake School for the Performing Arts Security National Mortgage Summit Sotheby’s Summit Vista The East Village The Spectacle

Tuacahn Amphitheatre University Federal Credit Union University of Utah Health Care Utah Festival Opera Utah Food Bank Utah Food Services Zions Bank If you would like to place an ad in this program, please contact Dan Miller at Mills Publishing, Inc. 801-467-8833

Administration ADMINISTRATION Patricia A. Richards Interim President & CEO David Green Senior Vice President & COO Julie McBeth Executive Assistant to the CEO Jessica Chapman Executive Assistant to the COO & Office Manager SYMPHONY ARTISTIC Thierry Fischer Symphony Music Director Anthony Tolokan Vice President of Symphony Artistic Planning Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director Llew Humphreys Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager Lance Jensen Executive Assistant to the Music Director and Symphony Chorus Manager SYMPHONY OPERATIONS Jeff Counts Vice President of Operations & General Manager Cassandra Dozet Operations Manager Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager Melissa Robison Program Publication & Front of House Manager Erin Lunsford Artist Logistics Coordinator 0PERA ARTISTIC Christopher McBeth Opera Artistic Director Carol Anderson Principal Coach Michelle Peterson Opera Company Manager Shaun Tritchler Production Coordinator DEVELOPMENT Leslie Peterson Vice President of Development Hillary Hahn Senior Director of Institutional Gifts Natalie Cope Director of Special Events & DVMF Community Relations Melanie Steiner-Sherwood Director of Indicidual Giving

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Kwynn Everest Manager of Corporate Partnerships Lisa Poppleton Grants Manager Kate Throneburg Manager of Individual Giving Conor Bentley Development Manager Heather Weinstock Special Events Coordinator MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations Renée Huang Director of Public Relations Chad Call Marketing Manager Aaron Sain Graphic Design & Branding Manager Mike Call Website Manager Ginamarie Marsala Marketing Communications Manager PATRON SERVICES Nina Richards Director of Ticket Sales & Patron Services Natalie Thorpe Patron Services Manager Faith Myers Sales Manager Andrew J. Wilson Patron Services & Group Sales Assistant Ellesse Hargreaves Patron Services Coordinator Jackie Seethaler Garry Smith Powell Smith Robb Trujillo Sales Associates Nick Barker Maren Christensen Ivan Fantini Hilary Hancock Emily O’Connor Aubrey Shirts Ticket Agents ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan Vice President of Finance & CFO Mike Lund Director of Information Technologies SaraLyn Pitts Controller Alison Mockli Payroll & Benefits Manager Jared Mollenkopf Patron Information Systems Manager Julie Cameron Accounts Payable Clerk

EDUCATION Paula Fowler Director of Education & Community Outreach Beverly Hawkins Symphony Education Manager Tracy Hansford Education Coordinator Mandi Titcomb Education Fellow Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Resident Artists OPERA TECHNICAL Jared Porter Opera Technical Director Nathan Kluthe Assistant Technical Director Kelly Nickle Properties Master Lane Latimer Assistant Props Keith Ladanye Production Carpenter John Cook Scene Shop Manager & Scenic Artist COSTUMES Verona Green Costume Director Melonie Fitch Assistant Rentals Supervisor Kierstin Gibbs LisaAnn DeLapp Rentals Assistants Milivoj Poletan Tailor Tara DeGray Cutter/Draper Anna Marie Coronado Milliner & Crafts Artisan Chris Hamberg Yoojean Song Connie Warner Stitchers Yancey J. Quick Wigs/Make-up Designer Shelley Carpenter Tanner Crawford Daniel Hill Michelle Laino Wigs/Make-up Crew

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Classical 89 Broadcasts

March 5 | 9:30 AM

COPLAND Symphony No. 3, Mvt. II (Allegro Molto) Thierry Fischer, Conductor (recorded 3/7/15)

March 12 | 9:30 AM

WAGNER Orchestral Suite from The Ring Thierry Fischer, Conductor (recorded 3/28/15)

March 19 | 9:30 AM

MOZART Symphony in D after Serenade K. 320, “Posthorn” Paul Goodwin, Conductor (recorded 4/18/15)

April 16 | 9:30 AM

MUSSORGSKY Night on Bald Mountain Kazuki Yamada, Conductor (recorded 5/2/15)

April 23 | 9:30 AM

RAVEL Daphnis et Chloé Thierry Fischer, Conductor (recorded 4/11/15)

GLAZUNOV Symphony No. 5 Kazuki Yamada, Conductor (recorded 5/2/15)

March 26 | 9:30 AM

MOZART Piano Concerto No. 21, K. 467 Benedetto Lupo, Piano Paul Goodwin, Conductor (recorded 4/18/15)

April 2 | 9:30 AM

April 9 | 9:30 AM

April 30 | 9:30 AM

SAINT-SAËNS Symphony No. 3 Richard Elliott, Organ Kazuki Yamada, Conductor (recorded 5/2/15)

MOZART Symphony No. 41, Jupiter K. 551 Paul Goodwin, Conductor (recorded 4/18/15)

classical89.org UTAHSYMPHONY.ORG 89.1 & 89.5 fm

/

by Autumn Thatcher (801) 533-NOTE

59

Sound Bites

By Connie Lewis

Sound Bites are interesting facts about a composer or work featured on our repertoire compiled by a community writer.

During a 1913 vacation trip to Mallorca, Spain, with fellow composer and benefactor Balfour Gardiner and accompanied by brothers Arnold and Clifford Bax, Gustav Holst was introduced to astrology. The trip was a gift from Gardiner.

Clifford was the only non-musician in the group, and he attempted to pass on his deep interest in astrology to his fellow-travelers. Although Gardiner was reported to scoff at the idea, Holst kept an open mind. The group spent a long time discussing everything from astrology to the threat of impending war.

Although the composition is often considered to be based on astronomy, the work was originally inspired by Holst’s interest in astrology.

According to his biographer Michael Short, after reading The Mysterious Universe by James Jean, “Holst realized with excitement that the ideas which were put forward in scientific terms were exactly the same as those which he had been trying to express in music many years before.”

In his composition, Holst ordered the planets outward from Earth rather than from the sun.

One explanation for this peculiar arrangement comes from Holst scholar, Raymond Head, who points to the ruling of astrological signs of the zodiac by the planets. This also explains the absence of a composition for Earth, which lacks a zodiac equivalent.

60

The catalog of the instruments needed for Holst’s class is immense. In “Neptune,” the final piece in the lineup, two three-part women’s choruses are added but located in an adjoining room, which is to be screened from the audience. His daughter Imogen Holst said that her father hated incomplete performances of The Planets, though on several occasions he had to agree to conduct only three or four movements at Queen’s Hall concerts. In A Thematic Catalogue of Gustav Holst’s Music, Imogen Holst writes that Holst “disliked having to finish with Jupiter, to make a ‘happy ending’, for, as he himself said, ‘in the real world the end is not happy at all.’”

After the initial 1918 run-through, Imogen remarked that the ending was “unforgettable, with its hidden chorus of women’s voices growing fainter and fainter… until the imagination knew no difference between sound and silence.”

Holst is said to have written the piece on holidays and weekends sandwiched between his daily grind as a British school music teacher. Shy and reserved, Holst dismissed his composition, with the exception of “Saturn, Bringer of Old Age,” as “humdrum.”

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

THREE DELICIOUS COURSES ONE INCREDIBLE EVENING

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2015/16 UTAH SYMPHONY SEASON

We are proud of the incredible talent of Utah’s young musicians, and we’re excited to share their performances with you. Two opportunities for you to hear outstanding young musicians in concert are coming up soon.

Utah Symphony Youth Guild Recital Monday, April 18

| 7 pm

Utah Symphony All-Star Evening Tuesday, May 17

| 7 pm

All Saints Episcopal Church | 1710 Foothill Dr.

Abravanel Hall

Youth Guild members prepared for months in dedicated practice. Auditions in March selected a wonderful array of talents and repertoire for you to enjoy.

Join us for the Youth Guild Recital, which is free and open to the public.

High schooler Miriam Wagstaff from Tropic, Utah, solos with the Utah Symphony playing David’s Viola Concerto. In the second half of the program students from eleven different youth orchestras sit side-by-side with the musicians of the Utah Symphony.

Rei Hotoda conducts the concert.

For tickets, visit utahsymphony.org or call 801-533-6683

The 2016–17 SaluTe To YouTh concert in September 2016 will be the 57th year for this concert. Audition repertoire is available at www.usuoeducation.org. Information about auditions for next season will be available by mid-April.

75 th anniversay signature sponsor:

THE 2016 SEASON OF ENTERTAINMENT DEC 31 through ~ JAN 30

Call 801.984.9000 or online at www.HCT.org

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Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison

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Utah Symphony | Utah Opera is funded by the Utah Division of Arts & Museums, Professional Outreach Programs in the Schools (POPS), Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau.

The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief.

Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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