Holst’s The Planets 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

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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

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.”

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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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Holst’s The Planets

Holst’s The Planets April 8 & 9 / 2016 / 7:30PM / ABRAVANEL HALL HANS GRAF , Con du ctor BARLOW BRADFORD , Utah Sym ph ony C h or u s D ir e ct or WOMEN OF THE UTAH SYMPHONY CHORUS

Atmosphères for Orchestra

LIGETI

Images of Pluto were captured by NASA’s New Horizons spacecraft in July, 2015. Video production by Clark Planetarium. SCRIABIN

The Poem of Ecstasy, Opus 54 / INTERMISSION /

HOLST

The Planets - An HD Odyssey I. II. III. IV. V. VI. VII.

Mars, The Bringer Of War Venus, The Bringer Of Peace Mercury, The Winged Messenger Jupiter, The Bringer Of Jollity Saturn, The Bringer Of Old Age Uranus, The Magician Neptune, The Mystic

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artists’ proﬁles

Holst’s The Planets

Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. Appointed Music Director of the Houston Symphony in 2001, Mr. Graf concluded his tenure in May 2013 and is the longest serving music director in the orchestra’s history. Prior to his appointment in Houston, he was the Music Director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984 to 1994. Hans Graf is a frequent guest with all of the major North American orchestras. His recent and upcoming guest engagements include appearances with the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, the Boston, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, Colorado, Utah and National Symphonies and the St. Paul Chamber Orchestra among others. In Europe, Mr. Graf has conducted the Vienna and London Philharmonics, Vienna Symphony, Royal Concertgebouw Orchestra and Leipzig Gewandhaus Orchestra as well as the St. Petersburg Philharmonic, Deutsches Symphony Orchestra Berlin, Bavarian Radio Orchestra, Rotterdam Philharmonic, Budapest Festival Orchestra, Dresden Philharmonic, Danish Radio Symphony Orchestra and the Netherlands Radio Philharmonic among others. He is also a regular guest with the Sydney Symphony and the Hong Kong, Malaysia, and Seoul Philharmonics.

Hans Graf Conductor

Born near Linz, Hans Graf first studied violin and piano. After receiving diplomas in piano and conducting from the Musikhochschule in Graz, he continued his studies in Italy with Franco Ferrara and Sergiu Celibidache and in Russia with Arvīds Jansons. Mr. Graf has been awarded the Chevalier de l’Ordre de la Legion d’Honneur by the French government for championing French music around the world as well as the Grand Decoration of Honour in Gold for Services to the Republic of Austria.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

artists’ proﬁles

Holst’s The Planets

Barlow Bradford Utah Symphony Chorus Director

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Utah Symphony Chorus Director Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, Dr. Bradford co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Dr. Bradford have been performed and recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Symphony Chorus Director, Dr. Bradford currently serves as the Ellen Nielsen Barnes Presidential Chair of Choral Studies at the University of Utah, where his work with the Chamber Choir led to the Grand Prix in the Florilége International Competition for Choral Singing in 2014 and the European Grand Prix for Choral Singing in 2015. He also continues as Music Director of Utah Chamber Artists.

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program notes

Holst’s The Planets Györgi Ligeti (1923–2006)

Atmosphères 4 flutes, 4th doubling piccolo, 4 oboes, 4 clarinets, 4th doubling E-flat clarinet, 3 bassoons, contrabassoon; 6 horns, 4 trumpets, 4 trombones, tuba; piano; strings INSTRUMENTATION:

PERFORMANCE TIME:

8 minutes.

BACKGROUND Considered a modern Hungarian composer, György Ligeti was born in 1923 to Hungarian-Jewish parents in a region in Transylvania/Romania. He studied at the Conservatory in Klausenburg, a Romanian town with a Jewish heritage of great significance, from 1941 to 1943; from 1945 to 1949 he was a student at the Franz Liszt Academy in Budapest. At this point, in his mid-twenties, Ligeti already possessed a questing musical intellect that combined rigorous traditional training with avant-garde ideas. Protective of his artistic freedom, he left his native country in December 1956 (after the Hungarian Revolution had abated), finding freelance work in the electronic music studio of West German Radio in Cologne (1957–58). There he studied other leading composers of the avant garde, including Karlheinz Stockhausen and Pierre Boulez. (A distinguished conductor and composer, Boulez, who died in January 2016, was considered the last great avant-garde composer of his generation.) WHAT TO LISTEN FOR Ligeti compositions such as Atmosphères use pitch and beat in a way that makes our usual expectations of melody, harmony, and rhythm almost disappear. The texture of the instruments sounds somehow astronomical; tones and internal rhythms are layered in precise, minute variations that meld together 34

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into a unity, like atoms of matter. The music seems to connect us with the vastness of space and with the universe inside our own minds. If this sounds like it might be unfamiliar and disorienting, it is not—even for listeners who might not have had the chance to hear Ligeti’s work in the concert hall. Always evocative and sometimes eerie, Ligeti’s music has become a staple in the movies to evoke the feeling of future technologies, space travel, and the mysteries of the unknown. Though his work resists imitation, that has not stopped composers from trying, and its emotional power has given rise to a genre of microtonal murmurings, dithering strings, and densely layered polyrhythms in which a core rhythm becomes a kind of universal, interstellar pulse. Alexander Scriabin (1872–1915)

The Poem of Ecstasy, Opus 54 (Symphony No. 4) INSTRUMENTATION: 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon; 8 horns, 5 trumpets, 3 trombones, tuba; timpani, bass drum, church bell, crash cymbals, glockenspiel, tam tam; strings

PERFORMANCE TIME:

22 minutes.

BACKGROUND There is little doubt that the modern unease with Scriabin’s persona as a self-declared poet-musician-philosopher-prophet has cast a shadow over his music. He was frank about his messianic mission: While conceptualizing an autobiographical opera, he would freely declare that “I am the apotheosis of world creation…the aim of aims…the end of ends.” His plans for a hugely scaled music drama along the lines of a Wagnerian Gesamtkunstwerk called for a synthesis of all UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

program notes

Holst’s The Planets

the arts, and it is clear that he believed its performance—planned as a week-long event at a location in the Himalayas—would trigger a joyful global apocalypse akin to the biblical concept of the End of Days. Scriabin’s life, if brief, was productive and eventful. As a piano virtuoso and composer, he began his career on Chopin’s model, performing his own works—mainly piano sonatas, etudes, and a concerto—to critical acclaim. But in his twenties he also completed his first two symphonies, which were performed in Moscow under the baton of his former teacher Vasily Safonov. By the age of 32 he had relocated to Switzerland, begun his opera, separated from the wife by whom he’d had four children, and began composing his Symphony No. 3. He composed The Poem of Ecstasy between 1905 and 1908, a period when his involvement with the Theosophical movement was at its height. WHAT TO LISTEN FOR Exotic? Eccentric? Actually, Scriabin’s music is less challenging and more broadly appealing than we might guess. As American listeners we can perhaps more readily hear the effect of influences such as Nietzsche and Theosophy on his compositions if we compare him to the pioneering American poet Vachel Lindsay, whose verse was shaped by his commitment to Swedenborgian philosophy. In Scriabin’s case, the music that most effectively combines accessibility and lushness is that of his middle, or transitional period, which culminates with The Poem of Ecstasy. It is deeply felt and sincerely expressed in every note. Scriabin designated it as the Symphony No. 4 mainly because it mobilizes a full (and large!) orchestra. Symphonic in scope if not in structure, it is “ecstatic” in both of the principal meanings we associate with that word—expressing both a state of religious UTAHSYMPHONY.ORG

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enlightenment and a feeling of bliss. In his compositional approach, Scriabin employs formal elements that are rooted in traditional sonata form, but freely treated, flowing without breaks in movement. The symphony’s harmonies are frequently built on large intervals—ninths, elevenths, even twelfths—layered in a rich sonic brocade. The mood is lush. It is also frankly sexual. Scriabin wrote about 300 lines of poetry associated with this work—not as a direct accompaniment, but as background and general illumination. His poem is overtly sexual in content, and originally bore the title Poème Orgiaque (Orgiastic Poem). Yet his intent here seems not to have been prurient, but rather in line with his religious view of music’s purpose on earth: as a touchstone between the sensual, finite world, and the infinite world of spirituality. Is that really so different from the view of the great traditional composers? Gustav Holst (1874–1934)

The Planets 4 flutes, 3rd and 4th doubling piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon; 6 horns, 4 trumpets, 4 trombones, tuba; timpani, bass drum, bells, crash cymbals, glockenspiel, snare drum, suspended cymbal, tam tam, tambourine, triangle, xylophone; celeste; strings INSTRUMENTATION:

PERFORMANCE TIME:

48 minutes.

BACKGROUND His name may not sound English, but his music certainly does. Gustav Holst is among the best loved of all 20th-century English composers. Born in Cheltenham, an ancient town in the Gloucestershire countryside, Gustav was the scion of a musical family. MASTERWORKS

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His father, Adolph von Holst, was a professional musician who became organist and choirmaster at Cheltenham’s All Saints’ Church; his mother, Clara Cox, was daughter of a respected solicitor and a talented singer and pianist in her own right. On his father’s side, Gustav’s forebears were professional musicians going back three generations—to the court of Imperial Russia, where his greatgrandfather was composer and harp teacher. Despite all that, we might surmise that Adolph was none too pleased when Gustav gravitated toward a composing career. When the boy demonstrated his precocity, undertaking grandiose compositions at an early age—perhaps as early as age 12— Gustav’s father tried to steer him toward piano performance. But Adolph also funded Gustav’s study of counterpoint at Merton College, Oxford, when he was 17; upon his return, he was appointed as an organist and choirmaster at Wyck Rissington in Gloucestershire, a position that included responsibilities as a choral director.

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and cosmopolitanism of a composer well acquainted with the latest international music of his day. But if the confident exuberance of The Planets suggests that this suite was easy for him to compose, Holst has actually accomplished something extremely diﬃcult with it, sustaining our rapt attention for seven movements spanning almost an hour with no content other than the personalities and moods represented by each planet. Every movement is intensely colorful and specific, with each planetary subject so clearly in view that we feel ready to land our NASA module on the surface. Yet there is no storyline, no overarching form…nothing but mood and the richness of the melodic subjects and rhythmic figures that Holst employs, including many folk songs from his beloved England.

By 1892, Gustav, though still a teenager, composed an accomplished and successful Gilbert-and-Sullivan-style operetta. At an age when he might reasonably be considering his college options, he now had a musical portfolio of unusual breadth. Throughout his career, he continued to combine an awareness of the practicalities of the professional musician’s life in England with the changing aesthetics of the international classical music scene—most especially the impact of German, Austrian, and Russian composers.

WHAT TO LISTEN FOR It’s hard to beat a luminous night sky as a source of inspiration for philosophers, physicists, poets, and kings through the ages. Are the heavens for artists to understand, or do they lie within the realm of science? Like so many of the great classical thinkers, the ancient Greek mathematician Pythagoras saw no separation between the two. On the scientific side, he defined the numerical ratios by which vibrating strings produce tones that are octaves apart. But he also speculated about “music of the spheres,” the subtle sounds of heavenly bodies expressing the ineffable qualities of the Greek Zodiac according to orbital ratios. Those inspiring celestial lights? Yes, they were physical objects obeying scientific laws, but they were also the embodiments of characters in Greek myths. We could hear their personalities if we really listened.

We can hear the full range of Gustav Holst’s musical background and education in his best-known composition, The Planets. It is endearing, charming, and full of the openness of the English plainsong tradition; yet it is also executed with the sophistication

Composing “for large orchestra” between 1914 and 1916, Holst placed himself firmly in this Pythagorean tradition, giving us one of the most remarkable of all orchestral suites. From its enormous popularity and persuasiveness—is it possible not to have

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program notes

Holst’s The Planets

a great time listening to this music?—one might think that this suite would exert a gravitational pull of its own, influencing other composers to write orchestral suites and tone poems that draw on its success. Expansive in every sense, The Planets is catalogued as a “Suite for Large Orchestra” and also calls for a chorus of female voices; Holst uses these resources to the hilt, giving the suite a sense of astronomical space and the swirling energy of a spiral nebula. Though he denied that the suite has any connection to the classical Zodiac other than the names and traits of the personified planets, that connection by itself is enough for the music to conjure strong images of the mythological deities associated with each. We hear seven movements in all: Mars, the Bringer of War; Venus, the Bringer of Peace; Mercury, the Winged Messenger; Jupiter, the Bringer of Jollity; Saturn, the Bringer of Old Age (purportedly Holst’s favorite!); Uranus, the Magician; and Neptune, the Mystic. Earth is not among those profiled; nor is Pluto, which was discovered and then ejected from the planetary club after Holst composed. Now that another “ninth planet” has been discovered, and a huge one at that, we can only wonder what Holst might have made of it. The suite opens with Mars, plunging us into a universe of amoral phenomena; the bringer of war is presented as neither good nor bad, but remarkable for his virility and power. This is conveyed with pounding rhythmic figures of five beats each, indicative of brute force, and with a melodic theme that seems capable of going anywhere. Venus, by contrast, announces herself with an ascending figure of four horn notes that give rise to serenely converging chords voiced in the woodwinds; her sound is celestial, with the shimmer and sparkle of the celeste, harp, and glockenspiel, bringing a sense of peace and of vertiginous space, in contrast to the earthbound Mars. UTAHSYMPHONY.ORG

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Mercury, the winged messenger, is quick in every sense: the suite’s movement of shortest duration, it conveys a sense of darting speed through devilishly constructed runs of rapid notes in two different keys and rhythms. The juxtaposition of opposing elements, a favorite device of Holst’s (and a diﬃcult one to apply) is especially vivid here. Again, it gives rise to a marked contrast: Jupiter, the bringer of jollity, in a movement full of the charm of traditional English folk tunes. There is something deeply endearing in Jupiter’s wholesome cheer that has made it the most popular of the suite’s movements, and has revived interest in the songs it quotes. If any of the suite’s movements can be said to suggest a conventional narrative line, it is Saturn—Holst’s favorite—in a life’s journey toward reconciliation. What might sound like hints of despair in its beginnings are later subsumed by the wisdom and harmony of old age. But in this suite, if wisdom has an opposite, it’s not ignorance, but the sass of Uranus, the magician—smart-alecky and unpredictable. Uranus is a prankster, and in this movement we hear not only the evidence of tricks, but also of the prankster’s smug satisfaction in his own cleverness. Has Holst been leading us outward in the solar system? Not in a strict astronomical sense, but perhaps in an aesthetic one—from the martial strains of Mars to Neptune, the mystic, whose very mystery conveys a sense of endless space. The musical materials here are not melodic themes so much as cryptic figures that play off each other, like intersecting rays of astronomical light. A wordless chorale of women’s voices shimmers, swelling from inaudibility to a veil of sound, then recedes into the stars. In the end, after our exuberant tour of the skies, we are left at the very edge of all that we know, looking out at a thrilling but unfathomable universe. By Michael Clive MASTERWORKS

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the planets

Holst’s The Planets

MARS appears blood-red in the night sky and to early observers it was the god of war. Mars’ reddish surface color is in fact caused by the same chemistry that makes our blood red— oxides of iron. Mars is the subject of intense scientific investigation, with two robotic surface rovers and four orbiting spacecraft currently studying the planet. VENUS is about the same size as Earth but is completely shrouded with bright white clouds of sulfuric acid. Its nearness and extreme reflectivity make Venus shine magnificently in our sky; only the Sun and Moon are brighter. Venus’ outer beauty masks the harsh reality of a barren world where the surface temperature averages 900° F. MERCURY is never seen far from the Sun and moves quickly among the stars when it is visible. No wonder, then, that ancient Romans saw Mercury as the god of speed. Mercury is a small, airless world and experiences the most extreme range of surface temperatures (-280° to +800° F) in the solar system. JUPITER can approach Venus in brilliance, but unlike Venus it can be seen all night. More than five times farther from the Sun than Earth, Jupiter moves among the stars at a stately rate of one orbit every 12 years. Jupiter is the largest and most massive planet in the solar system. SATURN is the most distant of the naked-eye visible planets, orbiting the Sun once every 29 years. Butterscotch-colored and dimmer than Jupiter, it moves slowly among the stars. To the Romans this suggested that Saturn was the elderly father of Jupiter. Saturn’s lovely rings are actually countless small particles of ice. The rings are several hundred thousand miles wide but have a thickness of only about 100 yards. URANUS and NEPTUNE are twin “Ice Giant” planets, larger than Earth but smaller than the “Gas Giant” planets Jupiter or Saturn. In Greek mythology Uranus is the father of Saturn. Uranus was discovered by accident in 1781, while Neptune’s discovery in 1846 was the result of painstaking mathematical calculations to identify the source of anomalies observed in the orbit of Uranus. PLUTO serves as the gateway to the solar system’s mysterious “Third Realm,” a region of space far beyond Neptune populated by countless icy, Pluto-like objects. Though demoted to “dwarf planet” status in 2006, Pluto revealed itself in 2015 to be a surprisingly strange world of great mountain ranges made of rock-hard water ice surrounded by vast plains of frozen nitrogen. By Seth Jarvis, Director of The Clark Planetarium.

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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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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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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