Utah Symphony

NOV – DEC / 2015–16 UTAH SYMPHONY SEASON THE SOUND of the HUMAN EXPERIENCE

CONTENTS PREPRINT 2 STAGE ARTS STAGE ARTS STAGE ARTS STAGE ARTS OPEN 1/2 59

11 12 13 14

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

Mahler’s Symphony No. 5

The Child and the Enchantments with Utah Opera

November 6–7, 2015

November 13–14, 2015

Mahler’s “Tragic” Symphony

Messiah Sing-In

November 20–21, 2015

November 28, 2015

Beethoven’s “Ode to Joy”

Home Alone: Feature Film with Utah Symphony

December 4–5, 2015

December 18–19, 2015

ART DIRECTOR / PRODUCTION MANAGER Jackie Medina 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

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Cover photo: Thierry Fischer The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

© COPYRIGHT 2015

@UtahSymphony

Tonight’s Concert

6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Associate Conductor 18 Chorus Director Bugs Bunny 20 Season Honorees 26 Factoids: Handel’s Messiah at the Symphony II 28 Factoids: Mahler December 22–23, 2015 30 Trio: George Brown 32 Trio: Nico Muhly 34 Season Sponsors 44 Make It Your Masterpiece 46 Perpetual Motion 48 Chorus Rosters 50 Tanner & Crescendo Societies 51 Plan Big 53 Utah Symphony Guild 54 Corporate & Foundation Donors 56 Individual Donors 58 Community Collaboration Spotlight 59 Upcoming Concerts 60 Classical 89 Broadcasts 62 Administration 67 Trio: Colin Currie 70 Acknowledgments 5

Welcome

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and tonight’s concert. As Utah Symphony continues its landmark 75th anniversary celebration season, we emphasize our commitment to connecting communities and people through great live music, and celebrating the classical music traditions of the past, present, and future.

We honor the past as we continue our two-year Mahler Cycle the first week of November with his pivotal Symphony No. 5.

This cycle is presented in tribute to Maestro Maurice Abravanel and our Utah Symphony musicians who garnered international acclaim through their recordings of Mahler’s symphonies in the 1960s and 1970s.

We celebrate our present as we kick off a series of community collaborations to symbolize our artistic alliances with the many arts organizations that shape the landscape of Utah’s performing arts community, and collectively uplift and unify our state. Fittingly, we begin this series the second week of November with our most frequent collaborators— Utah Opera and The Madeleine School

Thierry Fischer Symphony Music Director

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Choir—with a dynamic presentation of Ravel’s T he Child and the Enchantments.

As we anticipate our future, we are poised to expand the creative and artistic energy outward and illustrate to audiences that we are a modern, creative, and forward-thinking organization. We are honored to share two world premiere works commissioned from acclaimed American composers by Utah Symphony in November and December. We will debut Andrew Norman’s percussion concerto Switch featuring renowned percussionist Colin Currie the first week of November and Control (Five Landscapes for Orchestra) by Nico Muhly describing, in some way, an element of Utah’s natural environment, as well as the ways in which humans interact with it the first week of December. These two works will be recorded and released on compact disc in Spring 2016 along with last season’s world premiere of EOS (Goddess of the Dawn) by Augusta Read Thomas.

Thank you for joining us and we hope you take great pride in witnessing some of the many ways that Utah Symphony is showing off a dynamic personality that is worthy of the world stage.

Sincerely,

Patricia A. Richards Interim President & CEO

Dave A. Petersen USUO Board of Trustees Chair

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

The Painful Truth Pain is an unbidden guest, humanity’s shadow companion down through the ages. It is a despoiler of dreams and a thief.

Chronic pain can appear suddenly in a person’s life, changing it forever. Dr. Lynn R. Webster puts a face on chronic pain through the lives of his patients, and provides an intimate view of what it is like to live with it. The Painful Truth will open your eyes to the world of those who are stigmatized and marginalized by our society and healthcare system. Yet the new book offers hope and a path forward for those willing to engage in a crusade against the human race’s primal enemy—pain.

“It is not often that you come across a book written by a physician that is filled with more than good advice; it is filled with compassion and understanding for people with pain. From his early childhood, Lynn Webster understood the torment of pain and the importance of just being there and accepting the person in spite of his or her pain. His accounts of his patients are heartfelt, and anyone with pain can relate to the struggles he so perceptively tells.”

—Penney Cowan, founder and executive director, American Chronic Pain Association

www.thepainfultruthbook.com

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* 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 Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian # Lynnette Stewart Aubrey Woods †† Julie Wunderle

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas

OBOE Robert Stephenson Principal

Peter Margulies Nick Norton

James Hall# Associate Principal

TROMBONE Mark Davidson Acting Principal

Titus Underwood†† Acting Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

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

Matthew Johnson Associate Principal

Erin Svoboda Associate Principal

John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang Joyce Yang††

Lee Livengood

BASS* David Yavornitzky Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

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

BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda

Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal

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Sam Elliot†† Acting Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Bob Wheaton 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 Greg Miller 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

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

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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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STAGE ARTS

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STAGE ARTS

STAGE ARTS

STAGE ARTS Tour the British countryside. Be home by dinner.

The British Passion for Landscape

MASTERPIECES FROM NATIONAL MUSEUM WALES

August 29 - December 13, 2015 umfa.utah.edu/BritishLandscapes PRESENTING SPONSORS Katherine W. Dumke and Ezekiel R. Dumke Jr. Special Exhibition Endowment

John Constable, A Cottage in a Cornfield, 1817. Oil on canvas, 12 3/8 x 10 1/4 in. National Museum Wales (NMW A 486).

Courtesy American Federation of Arts.

This exhibition is organized by the American Federation of Arts and Amgueddfa Cymru–National Museum Wales. The exhibition tour and catalogue are generously supported by the JFM Foundation, Mrs. Donald M. Cox, and the Marc Fitch Fund. In-kind support is provided by Barbara and Richard S. Lane and Christie’s.

MARCIA AND JOHN PRICE MUSEUM BUILDING

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, whose CD with Maestro Fischer 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

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(801) 533-NOTE

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Associate Conductor

Rei Hotoda is rapidly becoming one of America’s most soughtafter and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Dallas, Edmonton, Fort Worth, Toronto, and Winnipeg, as well as the Colorado and St. Louis Symphonies, the Las Vegas Philharmonic, and the Civic Orchestra of Chicago, among others.

Rei Hotoda Associate Conductor

In September 2015 Ms. Hotoda assumed the position of Associate Conductor of the Utah Symphony—the first female to hold this position in the organization’s 75-year history. In this new role, she will play an active role in the orchestra’s education department, conducting family, education, and outreach concerts as well as chamber concerts throughout the state of Utah. Ms. Hotoda previously held the position of assistant conductor with the Dallas Symphony Orchestra, the Winnipeg Symphony Orchestra, and the Cabrillo Festival of Contemporary Music. At the Cabrillo Festival, Ms. Hotoda worked very closely with Marin Alsop, the Festival’s Music Director, as her cover conductor, and led the world premiere of Rafael Hernandez’s Unfadeable.

Her deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with such ensembles and artists as the Canadian Brass, Jackie Evancho, Ben Folds, the Indigo Girls, Bridget Kibbey, Pink Martini, Idina Menzel, and Joyce Yang. In addition to her work as a pianist and conductor on Guy Maddin’s film Brand Upon the Brain, she was also a featured actress in a short film by the same director entitled Send Me to the ‘Lectric Chair, starring Isabella Rossellini.

Ms. Hotoda studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a Doctor of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music in piano performance from the Eastman School of Music.

In addition to her work with the Utah Symphony, Ms. Hotoda’s 2015–16 season include guest conducting debuts with the North Carolina Symphony and Atlantic Classical Orchestra as well as a return engagement with the Winnipeg Symphony Orchestra.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah musicians on stage at the Gallivan Center

Tom Young

Find schedule at excellenceconcerts.org

Chorus Director

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. Barlow 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. Since that time, he has been appointed 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 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 Gran Prix in the Florilege International Competition for Choral Singing in 2014 and the European Gran Prix for Choral Singing in 2015. He also continues as Music Director of Utah Chamber Artists.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Season Honorees Utah Symphony | Utah Opera is grateful to our generous donors

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

who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received as of 10/1/2015.

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

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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

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(801) 533-NOTE

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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**

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 Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation Montage Deer Valley**

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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Photo courtesy of: GEP Utah | Photography by: Christy Powell Photography

celebration is grand

Book your stay to experience holiday magic at The Grand America.

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

Arnold Machinery

Holland & Hart**

S. J. & Jessie E. Quinney Foundation

Mr. & Mrs. William C. Bailey

Richard K. & Shirley S. Hemingway

Simmons Family Foundation

BMW of Murray

Foundation

Harris H. & Amanda Simmons

BMW of Pleasant Grove

Love Communications*

Stein Eriksen Lodge**

Rebecca Marriott Champion

Carol & Anthony W. Middleton,

Summit Sotheby’s

Chevron Corporation C. Comstock Clayton Foundation Thomas D. Dee III & Dr. Candace Dee Delta Air Lines* John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun

Jr., M.D.

Nora Eccles Treadwell Foundation

OPERA America’s Getty Audience Building Program

Vivint Jack Wheatley

James A. & Marilyn Parke

John W. Williams

Charles Maxfield & Gloria F. Parrish

Workers Compensation Fund

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* Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco* Dixie S. & Robert P. Huefner Hyatt Escala Lodge at Park City**

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Tom & Lorie Jacobson Ronald & Janet Jibson G. Frank & Pamela Joklik 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

See pages 54–57 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 75 TH ANNIVERSARY SEASON

Love without limits

Lehár’s

The

Merry WidoW

January 16,18,20,22 (7:30 pm), January 24 (2 pm) Janet Quinney Lawson CapitoL theatre

What price would you pay for love?

Hanna, tHe merry widow, is beautiful, wealthy and attracting a lot of attention from suitors looking to cash in. A former love interest, Danilo, returns, but does not seem interested in money or in competing with other men for Hanna’s affection. Flirtations and accusations fly, swept along by Lehár’s magical score, featuring the famous “Vilja” song, the “Merry Widow Waltz,” and more!

Season Sponsor:

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Factoids: Handel’s Messiah

1: George Frideric Handel was a superstar among composers of his time and composers of the future. Bach tried to meet with Handel, but as fate would have it, the two never met. What could have come from their meeting leads to speculation and desire to have seen two greats work together.

2: The women attending the first production of Handel’s Messiah on April 13, 1742, asked if they might be able to wear dresses with no hoops in order to accommodate more patrons.

3: The first performance of Handel’s Messiah on April 13, 1742, brought with it an attraction other than Handel’s esteemed name.

4: Mozart is quoted as saying the following about Handel: “Handel understands effect better than any of us…when he chooses, he strikes like a thunderbolt.”

5: In popular culture Handel’s Messiah is unmatched.

Nickelodeon’s popular satirical cartoon Ren & Stimpy heavily used Handel’s Messiah. Handel’s Messiah is typically used during a euphoric moment right before a devastating and unsettling moment of destruction.

6: Genius is often closely associated with absolutely uncontrollable emotional tirades. Colleagues and close friends all described Handel’s anger and insane outbursts, often assumed to be associated with his obsession with perfection and form.

7: Handel once had a duel over seating. A rather simple argument over a seating arrangement in the orchestra pit led to a near fatal duel with fellow composer Johann Mattheson.

Mattheson’s sword was thwarted by a metal button on Handel’s coat. Afterwards the two settled their differences and remained friends for years.

by Seeth McGavien

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Will next fall be the start of school?

Or the start of a lifetime?

Come see for yourself how a singular focus on the K-8 years can define a lifetime of success – academically, ethically, and socially.

Prospective Parent Visits

January 12th & 13th 9:00 A.M. For more details visit www.mcgillisschool.org or call (801) 583-0094

Factoids: Mahler

1: Great minds often meet throughout history; that was the case in 1910 when Mahler’s marriage was in a crisis and he had a session with the great Sigmund Freud.

2: Great artists are never satisfied, and the same can be said for their audiences. The original version of “Titan” titled “A Symphonic Poem in Two Sections” was poorly received at first.

It took 3 years for it to be performed again and numerous revisions until audiences appreciated it.

3: Perfection is often the key to destruction, and Mahler was no exception. Known for being a perfectionist, he achieved amazing professional results, but also made numerous enemies.

4: During the happiest time of Mahler’s life he composed Symphony No. 6, referred to as Tragische (Tragic). Its nihilistic, abrupt ending was a shock to audiences.

5: Working with Mahler is better left to the imagination; his bursts of anger and authoritarian attitude made him unbelievably difficult to work with.

6: Mahler’s Symphony No. 5 has been described as a hero’s epic journey. Picture Odysseus: his beginning, his journey, and his destination. Mahler’s Symphony No. 5 would be the soundtrack to such a journey.

by Seeth McGavien

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

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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TRIO: George Brown It was during a dress rehearsal of Brahms Violin Concerto— something came over me in the middle of the third movement that consumed my entire being. It said yes, this is exactly what I want to do. — George Brown Utah Symphony timpanist George Brown grew up experimenting with different instruments. The son of a professional woodwind player, Mr. Brown knew as a little boy that he wanted to play the drums, but it was not until ninth grade—after taking a break from music to practice his jump shot—that he began playing them. Once he started, he never looked back.

It was while pursuing an education at University of Louisville that Mr. Brown decided to audition for the United States Armed Forces Bicentennial Band.

George Brown Timpanist TRIO is a collection of perspectives gathered from three guest artists, conductors and Utah Symphony musicians that explore a central topic. In honor of Utah Symphony’s 75th anniversary season, TRIO will delve into the relationship between music and celebration.

“The story of the Bicentennial Band was a story of a particular celebration that ended up having an impact on my life then and afterwards,” says Mr. Brown, who swore into the United States Coast Guard upon landing a spot in the band.

He recalls a time in U.S. history when the nation was not celebrating much of anything. Tremendous political upheaval, riots, high gas prices, the Watergate scandal, and the beginning of terrorism between the 1960s and 1970s consumed the country. From 1975–1976, the Bicentennial Band provided a way for people to come together and celebrate the historical events that led to the creation of the United States. George’s participation in the band meant twenty months of constant touring—and self-exploration.

“I saw the beginning of a healing process in which Americans finally had something to feel good about ourselves as Americans. The entire country participated in this. That provided an opportunity for me to participate in a celebration that was some of the best memories of my early career,” Mr. Brown says.

The tour also gave Mr. Brown the chance to travel—and ultimately come to Utah for the first time. He immediately fell in love with the mountainous landscape, and vowed to return. A series of remarkable musical experiences have given George many reasons to bask in life’s moments. From the East to the West to Mexico City and around the world, Mr. Brown carries with him beautiful memories of celebrating life through music.

by Autumn Thatcher

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/upcoming concerts New Year’s Celebration January 2

/ 2016 / 7pm / AbrAvANel HAll

Thierry Fischer, conductor

Celena Shafer, soprano

Celebrate the New Year at the Utah Symphony and let yourself be carried away with dazzling waltzes, delightful polkas, festive marches, and more.

Fischer conducts mozart & mahler January 8 & 9

/ 2016 / 7:30pm / AbrAvANel HAll

Thierry Fischer, conductor mOZArT mAHler

Augustin Hadelich, violin

Violin Concerto No. 4 Symphony No. 7

Mahler‘s Seventh Symphony takes you on a triumphant journey from night to day in an event that also features the highly anticipated return of violin-virtuoso Augustin Hadelich.

respighi, Grieg, Schreker & Korngold January 14

/ 2016 / 7:30pm / ST. mArY’S CHurCH (Park City)

Rei Hotoda, conductor reSpiGHi GrieG SCHreKer KOrNGOld

Three Botticelli Pictures Holberg Suite Chamber Symphony Much Ado About Nothing Suite

lehár’s The Merry Widow January 16, 18, 20, 22 January 24 / 2016 / 2pm

/ 2016 / 7:30pm / JANeT QuiNNeY lAwSON CApiTOl THeATre

Hanna, the merry widow, is beautiful, wealthy, and attracting a lot of attention from suitors looking to cash in. A former love interest, Danilo, returns, but does not seem interested in money or in competing with other men for Hanna’s affection. Flirtations and accusations fly, swept along by Lehár’s magical score, featuring the famous “Vilja” song, the “Merry Widow Waltz,” and more!

TRIO: Nico Muhly I find myself organizing celebrations around music rather than the other way around. –Nico Muhly Nico Muhly began his musical career as a child growing up in Providence, Rhode Island. A self-proclaimed “alright pupil,” he played piano and sang in a boys choir in a church. It was around the age of eleven that everything clicked. “I loved music, and wanted to not just play and sing, but also write,” says Mr. Muhly. Since that defining moment in his youth, Nico has dedicated his life’s work to creating music. His are sounds that are heard around the world, that have inspired others to continue listening, to become an active participant in the music. He celebrates life through music.

Nico Muhly Composer TRIO is a collection of perspectives gathered from three guest artists, conductors and Utah Symphony musicians that explore a central topic. In honor of Utah Symphony’s 75th anniversary season, TRIO will delve into the relationship between music and celebration.

The Julliard-trained composer spends so much of his life writing music, that he admits to throwing parties based around the completion of a composition. He has written music for friends’ weddings on several occasions.

“It feels negligent of me to allow anybody I know to walk down the aisle to Pachelbel, because we are all adults,” says Mr. Muhly. For this reason, he makes it a point to write music that suits the occasion, and allows him as a composer to engage with his community more responsibly. He recalls two weddings in particular: “Last summer, two friends got married on a small island in Iceland, and I wrote music for the assembled company.

[There were] two keyboards, viola da gamba, [and] voices. We crammed ourselves into a tiny corner of the chapel and rehearsed in a sweaty half an hour, and miniature ponies looked quizzically at us. Later that same summer, I wrote music for a wedding where the bride’s childhood friends and neighbors were to be included in the composition: one plays Celtic harp, and the other, a sort of bedazzled steampunk cornet.”

Mr. Muhly vehemently believes in the power of music. “I think music has the ability to transform space, which is its amazing invisible power,” he says. For him, the moments just before a rehearsal of a large orchestra are the most moving. These are the moments when each player is focused on what’s in front of them, or what’s in their head, or perhaps their own work. That moment exemplifies life experienced through music.

by Autumn Thatcher

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PhoTo bY Jeff GoldberG/eSTo.

Utah Symphony at Carnegie Hall April 29, 2016

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

tHierrY FiSCHer, co n d u c t o r

Haydn Bartók andrew norman r. StrauSS

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Symphony No. 96 “The Miracle” Suite from The Miraculous Mandarin Switch (Utah Symphony commission, NY Premiere) Suite from Der Rosenkavalier

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.

Lead SponSor

Tour SponSor

Sam and diane Stewart 75Th anniverSary SeaSon SponSor

preSenTing SponSor

Season Sponsors

Utah Symphony gratefully acknowledges the following generous donors who are making our 2015–16 season possible.

7 5 TH A N N I V E R S A R Y S E A S O N S P O N S O R

MASTERWORKS SERIES SPONSOR

ENTERTAINMENT SERIES SPONSOR

Emm a Eccl es Jones F O U N D A T I O N FAMILY SERIES SPONSOR

K em & Car olyn Gardner 7 5 TH A N N I V E R S A R Y M A H L E R C Y C L E S P O N S O R

7 5 TH A N N I V E R S A R Y M A S T E R W O R K S S E R I E S G U E S T C O N D U C T O R S P O N S O R

Joanne S hiebler GUEST ARTIST FUND

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Beethoven’s “Ode to Joy”

Beethoven’s “Ode to Joy” December 4 & 5 /

2015 / 7:30PM / ABRAVANEL HALL

THIERRY FISCHER , Con du ctor CELENA SHAFER , Sopr an o SARAH COIT , M ezzo-Sopr an o ERIC BARRY , Ten or MICHAEL DEAN , Bas s Bar iton e BARLOW BRADFORD , Utah Symph ony C h o r u s D ir e ct o r UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHAMBER CHOIR UNIVERSITY OF UTAH A CAPPELLA CHOIR

NICO MUHLY

Control (Five Landscapes for Orchestra) Utah Symphony Commission / World Premiere I. Landform II. Mountain III. Beehive IV. Petroglyph & Tobacco V. Red Dust JOSHUA HIGGASON , Video Des ign

/ INTERMISSION / BEETHOVEN

Symphony No. 9 “Choral” I. II. III. IV.

Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace

BEETHOVEN FESTIVAL SPONSOR

CONCERT SPONSOR

75 TH ANNIVERSARY COM MISSION SPONSOR

CONDUCTOR SPONSOR

JANET T. AND LAWRENCE T. DEE FOUNDATION

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artists’ profiles

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Thierry Fischer’s biography can be found on page 15.

Barlow Bradford’s biography can be found on page 18.

Chorus listing can be found on page 48.

Celena Shafer Soprano

Celena Shafer, a celebrated artist in her home state of Utah, has a long relationship with the Utah Symphony | Utah Opera, where during the 2014–15 season she was Artist-inResidence with the Symphony and returns in the 2015–16 season for Beethoven Symphony No. 9 and a New Year’s concert, both with music director Thierry Fischer. Over the past decade with the Utah Symphony | Utah Opera she has performed operatic roles including Constanze in The Abduction from the Seraglio, Rosina in Il barbiere di Siviglia, Gilda in Rigoletto, Norina in Don Pasquale, Lisette in La Rondine, Tytania in A Midsummer Night’s Dream, and Adele in Die Fledermaus; and orchestral works including Mahler Symphonies 2 and 4 and the Mighty 5 tour of Utah’s great National Parks, as well as several concerts of chamber music with conductors such as Bernard Labadie, Raymond Leppard, and former music director Keith Lockhart.

Sarah Coit is a recent graduate of the Masters in Music program at the University of Michigan. She is currently a Utah Opera Resident Artist and was previously Young Artist with the St. Petersburg Opera Company where she covered Cherubino in Le nozze di Figaro, Beggar Woman in Sweeney Todd, and Dryad in Ariadne auf Naxos. This past summer she was a Gerdine Young Artist with Opera Theatre of St. Louis where she covered Richard in the American Premiere of Handel’s Richard the Lionheart. This season she sang as a soloist in Utah Symphony’s presentation of Ravel’s L’enfant et les sortilèges and Messiah.

Sarah Coit Mezzo-Soprano

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Spanish-American tenor Eric Barry holds a Master of Music degree and Artist Diploma from the School of Music at Yale University. In opera, he has sung for companies including Amarillo Opera, Bard SummerScape, the Caramoor Music Festival, the Florentine Opera Company, Opera Memphis, Pittsburgh Opera, Shreveport Opera, and Wolf Trap Opera in repertoire including L’elisir d’amore, Lucia di Lammermoor, La Bohème, Madama Butterfly, Ciro in Babilonia, Fierrabras, The Bartered Bride, The Rake’s Progress, Rigoletto, and La Traviata. Eric Barry has a close association with the Beethoven Easter Festival and the Polish Radio Orchestra in Warsaw, where he has sung and recorded Beethoven Symphony No. 9, The Turn of the Screw, Maria Padilla, Iphigénie en Tauride, L’Amore dei Tre Re and Simon Boccanegra. Concert highlights have included performances with the Arkansas Symphony Orchestra, Indianapolis Symphony Orchestra, Madison Symphony Orchestra, the National Chorale, and Winston Salem Symphony. This is his debut with Utah Symphony.

Eric Barry Tenor

Michael Dean has appeared with leading opera houses and orchestras of the U.S. and Europe. His 2015-16 season engagements include the Messiah with the Indianapolis Chamber Orchestra. Mr. Dean has made frequent appearances at New York City Opera, where he has performed the title role in Le Nozze di Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Papageno in Die Zauberflöte, and Jason McFarlane in the “Live From Lincoln Center” broadcast of Lizzie Borden. Michael Dean is currently the Music Department Chair and Associate Professor of Voice at The University of California-Los Angeles and a member of the voice faculty at the Chautauqua Music Festival.

Michael Dean Bass Baritone

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artists’ profiles

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Nico Muhly Composer CONTROL WAS CO COM MISSIONED BY

Dedicated to the expression of science through music

Joshua Higgason Video Design

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Nico Muhly (b. 1981) is a composer of chamber music, orchestral music, sacred music, opera, ballet, and music for collaborators across a variety of fields. He has composed on commissions from St. Paul’s Cathedral and Carnegie Hall, and has written choral music for the Tallis Scholars and the Hilliard Ensemble, songs for Anne Sofie von Otter and Iestyn Davies, an encore for violinist Hilary Hahn, and a viola concerto for Nadia Sirota. The Metropolitan Opera recently commissioned him to compose Marnie for its 2019–20 season, based on Winston Graham’s 1961 novel that was adapted into an Alfred Hitchcock movie. Mr. Muhly has scored ballets for choreographer Benjamin Millepied and films including The Reader and Kill Your Darlings, in addition to arranging music

by Antony & the Johnsons, Björk, Grizzly Bear, and The National. His debut CD Speak Volumes (2007) was the first of many collaborations with the artists of Reykjavik’s Bedroom Community label, and with singer/songwriter Thomas Bartlett (Doveman), he is half of the gamelan-inspired song project Peter Pears. He lives in New York City. His name is pronounced [‘ni ko?] [‘mju: l?]. Nico Muhly is published by St. Rose Music Publishing/Chester Music Ltd. Dedicated in grateful tribute to Patricia A. Richards Utah Symphony | Utah Opera Board Chair 2005–14.

Joshua Higgason is a video, scenic, and interactive media designer, creating unique live experiences for theater, concerts, opera, and events. He started working in experimental theater and art with The Builders Association and Big Dance Theater in New York City, touring across the US and Europe.

Recent productions include Mackie Messer- Eine Salzburger Dreigroschenoper (Salzburger Festival; Dir. Julian Crouch), Sufjan Stevens’ Carrie and Lowell Tour 2015, Powder her Face (New York City Opera; Dir. Jay Scheib), The Ambassador (BAM; Dir. John Tiffany), Dream of the Red Chamber (Times Square Art Alliance; Dir. Jim Findlay), Platonov; or The Disinherited (Dir. Jay Scheib), Sontag: Reborn (Scenic Design; The Builders Association), and Round-Up (BAM; Sufjan Stevens). He also designs Set and Video for Radiolab and their national U.S. tours. His recent concert collaborations with Candystations and The Windmill Factory have included JR JR, SXSW, Metric, Ray LaMontagne, M. Ward, and Sufjan Stevens/Bryce Dessner/Nico Muhly’s Planetarium. He has taught classes and workshops in video design for live performance at Bennington College, NYU, LIU, Princeton, MIT, and Duke.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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Nico Muhly (b. 1981)

Control INSTRUMENTATION: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, crash cymbals, triangle, bass drum, harpsichord, keyboard; strings PERFORMANCE TIME:

20 minutes.

WHAT TO LISTEN FOR

Control (Five Landscapes for Orchestra) is a sequence of five episodes describing, in some way, an element of Utah’s natural environment, as well as the ways in which humans interact with it.

The first part (Landform) begins with a texture of strings, interrupted by forceful chords. A solo oboe works slowly on top of this process, and is itself interrupted by a progression of aggressive chords that slowly ascend, presented at two different (but close enough to rub against one another) speeds. These ascending forms become more seismically unstable, and a trio of pitched percussion (xylophone, marimba, and vibraphone) creates a more mathematical grid; here, as in many other places in Control, I tried to reference, however obliquely, the music of Olivier Messiaen (1908-1992), whose visionary work Des Canyons aux Étoiles (1972) deals with Utah’s landscape and the spiritual possibilities found therein.

The section ends as it began, but somehow changed, observed by the pitched percussion and subtly transformed.

The second part (Mountain) imagines a mountain in the summer, with various insectlike punctuations from the winds, and a heavily fragmented string section, with small UTAHSYMPHONY.ORG

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groups of players and soloists splitting from the crowd. A solo viola and solo violin spin simple melodies under and over this texture, sometimes as plain as a single note displaced over all possible octaves. We end with a slightly ominous tuba and piano bassline suggesting, perhaps, that there are other uses for mountains than purely organic ones.

Part three (Beehive) deals with Utah’s history of technological innovation being used to control the landscape. I tried, in various places in this piece, to use the orchestra to convey what must have been the pioneers’ shock at the wild shapes and colors of the landscape; here, that landscape is fully gridded, plotted, and divided and put to agricultural use. The key here is a productive busyness: Utah claims one of the first telegrams ever sent, and, more recently, some of the first fiber internet connections; industriousness is built into the pioneer wagons, the early plows, collective grain storage, charity, education, missionary work, and an ever-changing relationship to technology. Morse-code-like rhythms dominate the first half of this movement, and suddenly, a trio of trumpets take over, echoed by a trio of oboes, then flutes, then various chimes and bells. We end with a solo cello above a busy grid of triangles and woodblock.

Part four (Petroglyph & Tobacco) begins with the simple, aggressive rhythms of stone-carving, hocketed between different families of the orchestra. Eventually, a melody emerges, a Ute song. It is too easy to project a romantic ancientness to the music of Native Americans; in this case, the song was used when begging for tobacco: postEuropean-contact evidence for the modern malleability of Native American cultural traditions. Similarly, next to a petroglyph, we MASTERWORKS

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see modern graffiti, or, graffiti from 90 years ago (Rulon Rushton, 1929, making his mark on history). The landscape and its inhabitants are in a constant dialogue.

Part five (Red Dust). I’ve spent a good deal of time in the St. George area in southern Utah, and one of the most striking elements of the landscape is the outrageous red color everywhere: it’s visually inescapable. More notable, though, was the way the red dust permeated my hair, my clothes, my shoes, and the carpet in my motel. I flew to London the day after a long hike, and when I took off my socks, a confetti of red dust landed on the ground: the Utah landscape had followed me halfway around the world. We can control the landscape, but it has a way of reminding us of its permanence. This section turns a simple chord progression into clouds, shifting forms, and is made of many moving parts. [Dedication TK—] written by Nico Muhly Ludwig van Beethoven (1770–1827)

Symphony No. 9 in D minor, Op. 125, “Choral” INSTRUMENTATION: 3 flutes, 2 oboes, 2 clarinets, 3 bassoons; 4 horns, 2 trumpets, 3 trombones; timpani, crash cymbals, triangle, bass drum; strings; solo chorus PERFORMANCE TIME:

1 hour, 7 minutes.

BACKGROUND

The claim is often made that Beethoven’s Ninth Symphony is the most popular piece of classical music in the world. The truth of 40

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this assertion is probably debatable—after all, it’s difficult to assemble all the musical forces needed to present it in concert, so performances aren’t all that common. As for recordings…well, it’s hardly the kind of music we’d keep playing in the background as we do household chores. “Revered” may be a better word choice. The Ninth occupies a unique place in global culture and in the popular imagination. In a world in which we strive to appreciate diversity, the Ninth symbolizes something universal: the human aspiration to be free.

This widespread acceptance has kept the Ninth fresh. Other 19th-century European symphonies can find themselves in a ghetto of artistic refinement—an “imaginary museum of musical works,” in the telling phrase of esthetic philosopher Lydia Goehr. But Beethoven’s Ninth has continuing relevance for all Americans, not just classical music fans. Why? Because it has bridged the divide between pop culture and the highbrow stuff like no other single work of art.

In America, where the divide between mass culture and high art is extreme, the Ninth lies on the far side of the divide. On the other hand, the celebration of human freedom is so basic to our national ideals that we value Beethoven as one of our own. And he was the most prominent classical composer to “go rogue,” reinventing a familiar form in a heroic new way with his Symphony No. 9. We appreciate that kind of daring and inventiveness, and we see a Promethean sacrifice in the way Beethoven suffered and pushed himself to transmute the symphony’s formally abstract structure into a philosophical statement. Beethoven may have been dark, brooding and Germanic, but he appeals to us UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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with bold directness in this symphony.

The mythic status of Beethoven’s Ninth encompasses some misconceptions, but correcting them does nothing to diminish its greatness. Perhaps the most dramatic of these is the notion that Beethoven’s deafness tragically prevented him from understanding the extent of his triumph. The symphony’s premiere on May 7, 1824, was one of those rare musical events that seems to have been fully appreciated by its audience. Reports of listeners’ enthusiasm for the bold new work suggest that on that historic Friday evening, with nearly a thousand in attendance, there was a collective understanding of their profound shared experience, with Beethoven fully acknowledged by the cheering crowd.

While music-class accounts of the premiere sometimes depict an oblivious Beethoven conducting the orchestra in his head after the real instrumentalists had stopped playing, it is far more likely he was indicating his preferred tempos and gesturing expressively in a manner that did not depend upon precise cues. Here is how the revered English writer George Grove, author of Beethoven and His Nine Symphonies, describes the premiere’s dramatic final moments: His turning around and the sudden conviction thereby forced on everybody that he had not so before because he could not hear what was going on, acted like an electric shock on all present, and a volcanic explosion of sympathy and admiration.

Grove drew this vivid picture only after consulting with a member of the orchestra, and other period accounts support his description. According to another player, UTAHSYMPHONY.ORG

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“Beethoven directed the piece himself; that is, he stood before the lectern and gesticulated furiously. At times he rose, at other times he shrank to the ground; he moved as if he wanted to play all the instruments himself and sing for the whole chorus. All the musicians minded his rhythm alone while playing.” The composer’s place in the score may have been several measures off, or he may simply have been giving a general indication of rhythm and expression; in any case, his intentions seem to have been clear to the ensemble.

According to another account, the contralto soloist, Caroline Unger, approached the unhearing Beethoven at the end of the symphony while he was still beating time.

But this gesture was far from pathetic. As Unger showed him the cheering crowd of listeners, “The public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them,” according to a violinist in the orchestra.

(So much for the modern practice of not interrupting classical music with applause!)

According to this account, these interruptions included repeated standing ovations, perhaps as many as five, and the waving of handkerchiefs and hats, all intended to make clear to Beethoven that his monumental symphony was enthusiastically received.

Still another widely accepted misconception about the Ninth depicts it as a lone, valedictory statement, the culmination of Beethoven’s career as a composer.

Enthusiasts know that Beethoven’s development is generally divided into three MASTERWORKS

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periods—early, middle, and late—with the works of his late period being the most complex in their combination of philosophy and melody, and the most formally challenging. This view nicely supports the notion of a “curse of the Ninth,” which holds that neither Beethoven nor any symphonist who came after him could write anything to carry the symphonic tradition beyond so monumental a work; indeed, while writing dozens or even hundreds of symphonies was the norm for great composers who preceded him (Haydn wrote 104), those who came after Beethoven seemed to hit a wall with their ninth symphony, and some—for example, Brahms—wondered how they could even dare to bring a single new symphony into a world where Beethoven’s Ninth already existed.

Such a view would suggest that the Ninth was a product of Beethoven’s late period, but the reality is far more complex.

Beethoven read the great philosophers of his era from the time he was young, and he was preoccupied with Enlightenment ideals and the problem of human freedom throughout his life. He made freedom and political oppression the focus of his sole opera, Fidelio, and of his earlier Symphony No. 3, the “Eroica.” He famously dedicated this symphony to Napoleon, whom he first saw as a liberator, and then “undedicated” it after coming to regard him as just another oppressor. All of these works took rise in the composer’s middle period, when he combined maturity and mastery of classical forms with the flowering of his melodic ideas.

His greatest chamber works and piano sonatas would follow this one.

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One popular notion confirmed by the Ninth’s development is Beethoven’s reputation for long, agonized periods of creative germination and revision. He was influenced by the poetry of Schiller from a young age, and as early as 1793, when he was only 22, he began to consider the idea of basing a major composition on the poet’s Ode to Joy; it also seems likely that some piano sonatas of his early period, including the beloved Pathétique (dating from 1799), were inspired

by Schiller essays.

Beethoven’s idea of including the voice in a symphony also dates from this period, but may not originally have attached to the Ninth.

In a sketchbook dated 1811 he envisions a cantata combining choral and instrumental movements based on the Ode. The Beethoven biographer Alexander Thayer describes how, in 1822, while visiting a music critic in Leipzig, the composer described plans for a tenth symphony that would include vocal elements that would “enter gradually—in the text of the Adagio Greek Myth, Cantique Ecclesiastique— in Allegro, the feast of Bacchus.”

The symphony’s breakthrough fourth movement takes a form that no composer had ever before imagined: a symphonic chorale with full chorus and soloists joining forces to sing Friedrich Schiller’s ecstatic Ode to Joy. This movement is the culmination of a meditation on brotherhood that spans the entire symphony, and it is the whole world’s hymn to freedom.

by Michael Clive

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Make It Your Masterpiece

In each of its seventy-five years, the orchestra has relied on an extraordinary group of donors. They support Utah Symphony | Utah Opera with a gift to the Annual Fund because of their enjoyment of live classical music, out of civic pride for Utah’s leading arts organization, and in acknowledgement of USUO’s educational outreach. Donor support made a difference for what the orchestra has become, and your support will make a difference for what it can be in the future.

Join the momentum of The Campaign for Perpetual Motion by becoming a sustaining patron today, and participate in the 75th anniversary grassroots giving campaign Make It Your Masterpiece with a gift to the Annual Fund.

“Classical music matters. I invest in Utah Symphony | Utah Opera because I am impressed by the remarkable quality of one of America’s top orchestras, by the commitment and genius of Music Director Thierry Fischer, and by the organization’s strong effort to serve all the people of our State. I invite you to participate in safeguarding the future of Utah’s flagship cultural institution.”

Kem Gardner, Co-Chair, The Campaign For Perpetual Motion 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.

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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.

Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community.

P E RP ET UAL motion

CAMPAIGN LEADERSHIP Campaign Co-Chairs Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler

Honorary Co-Chairs Spencer F. Eccles Jon M. Huntsman The Right Reverend Carolyn Tanner Irish

UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION 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. 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

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

PERP ET UA L 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 ($6 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 (2) 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 Dell Loy & Lynette Hansen Naoma Tate & the Family of Hal Tate Roger & Susan Horn M. Walker & Sue Wallace Frederick Q. Lawson Foundation Wells Fargo UTAHSYMPHONY.ORG

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Chorus Rosters UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHAMBER CHOIR UNIVERSITY OF UTAH A CAPPELLA CHOIR DR. BARLOW BRADFORD, Utah Symphony Chorus Director

Utah Symphony Chorus Soprano Krista Baer Courtney Bergen Anadine Burrell Sarah Gunnerson Julie Hadlock Christi Jones Kalie Victoria Martin Stephanie Stiles Hannah Stokes Jillian Weaver

Alto Anna Bradford Kahli Dalbow Anna Dickison Dacia Gray Cherie Hall Chelsea Lindsay Misti Moberly Rebecca Nelson Liberty Pierce Sonja Sperling

Tenor Sidnei Alferes Brent Braithwaite David Hansen Jonathan Hansen John Paul Hayward Willem “Scott” King Nathan Moulton Kevin S. Rowe M. Connor Thompson Daniel White

Bass Bradley Clark Zachary Dickison Brett Finlay Joel Longhurst James Marshall Hal Mauchley Michael Moyes Matthew D. Nielsen Ryan Oldroyd Jared Pierce

Tenor Alexander Beck Tanner DeHaan Mark Hayward Garrett Medlock Hunter Olson Christian Ruske Kort Zarbock

Bass Skyler Bleumel Nate Curtis Zach Earl Ben Lobrot Brett Rasmussen Eric Schmidt Brenner Swenson Michael Zurligen

Tenor Todd Banks Tate DeHaan Spencer Ericksen Vincent Fu Collin Hopkins Zachary Marquez Mason McDermaid Keanu Netzler Christian Sorensen Josh Steed Sean Thomson

Bass Trevor Bagley Alan Chavez John Finley Carter Holt Joseph Hutchins Carson Ivory Lloyd Livengood Carson Malen Alexander Norton Nathan Odendahl Brett Rasmussen Eric Schmidt Leroy Varas James Westervelt

University of Utah Chamber Choir Soprano Michelle Dean Kiersten Erickson Karina Folkman Mika Holbrook Lexi Midgley Arcadia Payne Bethany Pehrson Tiana Shelley

Alto Bethany Barrett Emily Bolman Caroline Campbell Dana Higa Amy Livingston Tansy O’Brien Kenzie Spehar

University of Utah A Cappella Choir Soprano Mary Culbertson Karina Fisher Amanda Fox Amanda Garrow Jessica Gordon Gabrielle Nicholson Bella Paolucci Erica Paul Emma Peterson Rebekah Peterson Ina Stewart Julie Taylor Alexandra Utrilla

Alto Rebecca Clark Jayden Cluff Sarah Durrant Natalie Epelone Kyra Finlinson Wendi Griffiths Samantha Hayes Alla Keoppel Jessica Mella Ellen Moffat Ashley Ramos Sheila Robertson Christine Scott Emma Sherman Megan Watts

Additional chorus preparation by Eric Schmidt

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

A little family time.

Treat your family to a menu of traditional favorites at The Little America Coffee Shop.

Call 801.596.5708

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 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 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

50

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 state-wide 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 the 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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/upcoming concerts pahud plays Carmen Fantasy January 29 & 30

/ 2016 / 7:30pm / AbrAvANel HAll

Thierry Fischer, conductor HAYdN dAlbAvie biZeT (Arr. bOrNe) wAGNer bArTÓK

Emmanuel Pahud, flute

Symphony No. 96 “Miracle” Flute Concerto Carmen Fantasie Brillante The Flying Dutchman Overture Suite from The Miraculous Mandarin

Jackiw plays mendelssohn February 5 / FiNiSHiNG TOuCHeS / 10Am / AbrAvANel HAll February 5 & 6 / 2016 / 7:30pm / AbrAvANel HAll Jun Märkl, conductor weber meNdelSSOHN STrAviNSKY FAllA

Stefan Jackiw, violin Overture to Der Freischütz Violin Concerto in E Minor Petrushka “Ritual Fire Dance” from El amor brujo

Mendelssohn’s treasured violin concerto introduces music that takes your imagination on a musical journey.

75 years OF

BRAVO!

75 Years of bravo broadway February 12 & 13

/ 2016 / 7:30pm / AbrAvANel HAll

Jerry Steichen, conductor

Experience the best in music from midtown Manhattan without leaving Abravanel Hall. Enjoy a fun-filled evening featuring all your favorite Broadway hits from the past 75 years.

BRoadWay

ballet west with the utah Symphony February 26 & 27 Thierry Fischer, conductor Dancers from Ballet West

/ 2016 / 7:30pm / AbrAvANel HAll

Louis Schwizgebel, piano

An engaging performance for the ears and eyes! Pieces by Gottschalk, Ravel, and Debussy accompany expressive performances by dancers from the world-renowned Ballet West.

CHOOSE ANY 4+ PERFORMANCES and SAVE 20%.

ReseRve youR seats today at

utahsymphony.oRg oR call 801-355-ARTS (2787)

//////////////////////////////////////////////////////////////////////////////////////////////////

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

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

www.utahsymphonyguild.org

UTAHSYMPHONY.ORG

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utahsymphonyguild 53

Corporate & Foundation Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000.

The following listing reflects contributions received between 10/1/14 and 10/1/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 20–24.

$5,000 to $9,999 Anonymous (2) Bambara* Bourne-Spafford Foundation Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation DoubleTree Suites* 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 Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* U. S. Bancorp Foundation Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation City Creek Center**

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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* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation Park Hyatt New York* The Prudential 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 The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Stunning new coupe or powerful SUV? Yes. Introducing the Mercedes-Benz GLE Coupe. The 2016 GLE Coupe combines the pure style and driving thrills of a legendary Mercedes-Benz coupe with the impressive power and athleticism you’ve come to expect from a Mercedes-Benz SUV. It’s a dual threat that is a very singular achievement. The all-new 2016 GLE Coupe. MBUSA.com/GLECoupe

2016 GLE450 AMG® Coupe shown in Palladium Silver metallic paint with optional equipment. Vehicle available late summer 2015. ©2015 Authorized Mercedes-Benz Dealers For more information, call 1-800-FOR-MERCEDES, or visit MBUSA.com.

Individual Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000.

The following listing reflects contributions received between 10/1/14 and 10/1/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 20–24.

ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) 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 & Vickie Callen Ken & Shelly Coburn* Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Gary & Christine Hunter Mary P. Jacobs & Jerald H. Jacobs Family 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. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Jonathan & Julie Bullen

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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 John F. Foley, M.D. & Dorene Sambado, M.D. Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis 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 W. E. & Harriet R. Rasmussen 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 (4) Craig & Joanna Adamson 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. 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 Stuart† & Diana George Susan Glassman & Richard Dudley Randin Graves 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 Jay & Julie Jacobson M. Craig & Rebecca Johns Bryce & Karen† Johnson Dale & Beverly Johnson Pauline Weggeland-Johnson 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 O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Jerry Steichen Gerald & Barbara Stringfellow Karen Urankar William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong David & Rebecca Bateman C. Kim & Jane Blair

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Individual Donors

Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal Mr. & Mrs. Eric Garen Michael & Catherine Geary Ralph & Rose Gochnour Robert & Joyce Graham Dr. & Mrs. John E. Greenlee 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 Jill Johnson Maxine & Bruce Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones

Dr. & Mrs. Michael A. Kalm Travis & Erin Kester Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Lisa & James Levy Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor Ruth & William Ohlsen Barbara Patterson Rori & Nancy Piggott Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Deborah Schiller Mr. August L. Schultz Mr. & Mrs. D. Brent Scott Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Otto Smith Phillip & Jill Smith Elizabeth Sullentrop Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg Michael & Judy Wolfe E. Art Woolston & Connie Jo Hepworth-Woolston

Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro In Honor of Barbara & Steven Anderson Paula J. Fowler 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 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 Eric Johnson

Howard Keen Tony Larimer Robert Louis Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader David Bennett Smith Tamie Speciale John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Sandra Wilkins Bruce Woodward Rosemary Zidow *In-kind gift **In-kind & cash gift † Deceased Donations as received between 10/1/14 and 10/1/15

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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Community Collaboration Spotlight : The Madeleine Choir School Q: Over the history of the school, how has The Madeleine Choir School used music to celebrate?

circumstance. How does one go about imparting the historical, cultural and overall significance to the students?

The Choir School was established in 1996 very much in the tradition of the European Cathedral Choir Schools, and so a very strong relationship exists between the Choir School and the Cathedral of the Madeleine.

The choristers sing daily and Sunday services in the Cathedral during which their music heightens the joy of festivals and happy occasions, laments and expresses grief at personal and community loss and tragedy, and through its beauty seeks to inspire all people to more noble lives.

The Annual Cathedral Concert Series and the collaboration with local musical institutions such as the Utah Symphony, Utah Opera and the Mormon Tabernacle Choir are clear highlights in the musical experience of our young people. The thrill and excitement of participation in these professional productions is highly valued by the children as they look back on their work at the Choir School. We work to be sure they understand the significance of the musical works they participate in, connecting studies in history, philosophy, literature and more with the cultural milieu from which the musical work emerged and to which it was addressed. The Symphony’s Mahler Cycle has been a great source of study and inspiration at the school.

Q: Can you explain how the curriculum or day to day function of the school brings music into the students’ everyday lives and what your goals are in shaping the way the choristers relate to music?

Music permeates the day at the Choir School, from the very active early music education opportunities in the lower school, the beginning violin instruction in second and third grades, the initial chorister formation in fourth grade, the work of the various choirs in grades five through eight, music theory and music history coursework through to singing for Cathedral services and community events. By discipline, practice and study, we hope to empower students to make musical expression a natural part of their lives as future composers, performers, audience members and advocates for the arts.

Q: From a young age, The Madeleine Choir School students are exposed to a lot of monumental works and performance opportunities filled with pomp and

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Q: Describe the personality type of a student that is drawn to attend The Madeleine Choir School, and how music generally figures in their life.

Bright, engaged young people with a variety of interests who are open to commitment and hard work thrive in the fast-paced environment of the Choir School. Parents often report with amusement that the students are often caught singing while at play with their classmates…in Latin! Our graduates regularly applaud the discipline and workhabits they acquired during their years at the Choir School. Daily instruction, rehearsals and regular performances are a part of the experience of a student. These experiences lay the foundation for future musical and artistic engagement throughout their lives.

By: Melanie Malinka

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 MARKET STREET GRILL DOWNTOWN 48

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

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

Salt Lake City’s #1 Most Popular Restaurant –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

202 S. Main, Salt lake City (801) 363-5454 | baMbara-SlC.CoM Bambara is hip urban chic, casual and comfortable upscale American bistro dining; bringing a sophisticated, yet approachable element to Salt Lake City’s dining scene.

Enjoy Bambara’s seasonally inspired menu for special occasions or business...before and after the arts...or just because.

Voted: 2011 Best Lunch Salt Lake magazine Annual Dining Awards.

Classical 89 Broadcasts

November 7 / 9:30 AM

J. STRAUSS Im Krapfenwald’l THIERRY FISCHER, Conductor (recorded 1/3/15)

November 14 / 9:30 AM

J. STRAUSS Éljen a Magyar!

THIERRY FISCHER, Conductor (recorded 1/3/15)

November 21 / 9:30 AM

J. STRAUSS Radetzky March THIERRY FISCHER, Conductor (recorded 1/3/15)

November 28 / 9:30 AM

R. STRAUSS Ein Heldenleben THIERRY FISCHER, Conductor RALPH MATSON, Violin (recorded 1/31/15)

December 5 / 9 : 30 A M

MAHLER Symphony No. 3 THIERRY FISCHER, Conductor TAMARA MUMFORD, Mezzo-soprano Woman of the Utah Symphony Chorus The Madeleine Choir School (recorded 2/6/15)

December 12 / 9:30 AM

SHOSTAKOVICH Symphony No. 15, I. Allegretto MARK WIGGLESWORTH, Conductor (recorded 1/10/15)

December 26 / 9:30 AM

MOZART Rondo for piano & orchestra ILAN VOLKOV, Conductor MARC-ANDRÉ HAMELIN, Piano (recorded 11/7/14)

classical89.org 60 89.1

& 89.5 fm

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

SHE SNORES MORE THAN I DO, BUT I STILL LOVE MY HUMAN. — BANDIT adopted 11-26-09

THANK YOU TO OUR ADVERTISERS

Ad Council Arts to Zion Bambara Caffè Molise Challenger School City Creek Daynes Music Deer Valley Resort Excellence Fernwood Candy Fleming’s Grand America Hotel Hale’s Centre Theatre J. Wong’s Asian Bistro Ken Garff Mercedes-Benz

KUED Larry H. Miller Lexus Little America Hotel New Yorker Parsons Behle & Latimer Protel Networks RC Willey Rowland Hall Ruby’s Inn Ruth’s Chris Steak House Sagewood at Daybreak Salt Lake School for the Performing Arts Sierra-Wesr Jewelers United Way University Credit Union

University of Utah Academic Outreach University of Utah Health Care Utah food Services Utah Museum of Fine Arts Websters Media LLC Western Gardens 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 Marsha Bolton 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 Annual Giving Manager Lisa Poppleton Grants Manager

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Kate Throneburg Development Manager Conor Bentley Development Coordinator 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 Shawn Fry Group & Corporate Sales 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 Timothy Accurso Sarah Coit Jessica Jones Markel Reed Christian Sanders Resident Artists Mandi Titcomb Education Fellow 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 Vicki Raincrow Wardrobe Supervisor 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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TRIO: Colin Currie Music describes perfectly the indescribable. All those emotions and feelings, the magical and extremely personal relationship we all have with the music of our choice and tastes, these are things of defining beauty and wonder for the human race, and are without penalty nor discrimination. — Colin Currie Visiting percussionist Colin Currie grew up in Edinburgh and continued studies in London, where he currently lives. The internationally renowned percussionist says that he has always loved the drums, but it was around the age of 13—upon first encountering the symphony orchestra—that he decided to devote his life to classical music, percussion, and contemporary composers.

“It was my goal from that time to contribute to the solo repertoire for my instruments, especially in the area of significant works of adventure, dignity, and longevity,” says Mr. Currie.

Colin Currie Percussionist TRIO is a collection of perspectives gathered from three guest artists, conductors and Utah Symphony musicians that explore a central topic. In honor of Utah Symphony’s 75th anniversary season, TRIO will delve into the relationship between music and celebration.

Mr. Currie admits to recognizing that a life of music might entail sacrifices to achieve the things he believed in, but the experience has been an enriching one that has allowed his musical life to be sustained by his career, and vice versa. He sees every premier he gives as potentially a cause to celebrate the wealth of percussion music.

“I have been very lucky to meet and work with the truly outstanding writers of our time, and I delight in introducing the thoughts and insight these composers bring to percussion. There have been too many highlights to pick and choose names, but this latest addition by Andrew Norman will be no exception. We will certainly be in a celebratory place on the occasion of this premiere!” Mr. Currie says.

A life devoted to music is certain to have many memories of moments influenced by it. For Mr. Currie, he recalls hearing Stravinsky’s Rite of Spring for the first time, as well as string quartets by Bela Bartók and Benjamin Britten. Another moment that stands out to him happened when he was 15.

“The first time I ever performed a concerto was a very affecting experience. I performed the Panufnik Concertino with the London Symphony Orchestra. It was early days for both me and the repertoire but I caught ‘the bug’ immediately,” says Mr. Currie.

Since those early days, Mr. Currie has appreciated the way in which life can be celebrated and enriched through music.

“Existing in real time, music also traces one of the greatest mystery of existence: the transition from one moment to the next. The closer we get to music, the more beautiful and magical it becomes.”

by Autumn Thatcher

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Utah Symphony | Utah Opera is funded by the Utah Arts Council, 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, and the Utah Humanities Council.

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.

801-485-1107 70

By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

2015/16 UTAH SYMPHONY SEASON

DO YOU LOVE MUSIC AND KIDS?

Volunteer with Utah Symphony to teach kids about symphony concerts or help run a kids’ music program. Two of Utah Symphony’s programs for youth need volunteers who would like to share their love of music with students.

Utah Symphony 5th Grade ConCertS are made more memorable because of the talents of our docents, who visit classrooms to prepare students for a concert in Abravanel Hall. We provide the materials and train docents in their use. Docents visit nearly every school that sends 5th grade students and teachers to our concerts at Abravanel Hall, serving schools in the Alpine, Canyons, Davis, Granite, Jordan, Salt Lake and Tooele school districts. To learn more, contact Beverly Hawkins at bhawkins@usuo.org.

“Love this program!”

— Utah Symphony Docent

“Thank you for giving us the tools to look good and smart at our presentations.”

— Utah Symphony Docent

the mUSiC oUtreaCh proGram offers free group violin lessons at an afterschool program in Rose Park. Volunteers help with set up, class organization and logistics.

Ability to play the violin (even a little) is helpful but not necessary. Contact Doyle Clayburn at dcsunset13@gmail.com if you’re interested in helping with this program.

help ensure the future of music in our community by joining our team to share your love of music with our young people.

Please support our Education and Community Outreach programs. By donating you help provide arts events for students, aid classroom teachers, invest in the future citizens of Utah, and support your Utah Symphony and Utah Opera. Donate today! Contact our Development Department at (801) 869-9015.

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