Brahms & Tchaikovsky by Mills Publishing Inc.

2016–17 UTAH SYMPHONY SEASON / NOV – DEC

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THE SOUND of INSPIRATION

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Contents

November & December 2016 Performances Purchase tickets at utahsymphony.org or call 801-533-6683

NOVEMBER 4–5 | 7:30 PM

6 Welcome

DVOŘÁK’S “NEW WORLD” SYMPHONY

8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Memorable Moments 20 Why do we Record?

NOVEMBER 11–12 | 7:30 PM

22 A Day in the Life of a Live Recording

BRAHMS & TCHAIKOVSKY

26 Spotlight: Louis-Philippe Robillard 29 Who we Are 33 Tagged & Hashtagged! NOVEMBER 18–19 | 7:30 PM

34 Season Sponsors

THE MUSIC OF PROKOFIEV

35–42 Today‘s Concert(s) 44 Support USUO 48 Season Honorees 50 Corporate & Foundation Donors

NOVEMBER 26–27 | 7:30 PM

52 Individual Donors

MESSIAH SING-IN

58 Tanner & Crescendo Societies 59 Legacy Giving 62 Administration DECEMBER 2–3 | 7:30 PM

67 House Rules 68 Utah Symphony Guild

DECEMBER 2 | 10 AM

71 Education

BEETHOVEN & RACHMANINOFF

72 Acknowledgments

DECEMBER 9–10 | 7:30 PM DECEMBER 10 | 11 AM

CIRQUE MUSICA HOLIDAY SPECTACULAR! Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

DECEMBER 23 | 7 PM DECEMBER 24 | 1 PM JANUARY 3 | 6:30 PM

HARRY POTTER AND THE SORCERER’S STONE IN CONCERT

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PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR /PRODUCTION MANAGER Jackie Medina GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer UTAHSYMPHONY.ORG

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

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The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801-467-8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. © COPYRIGHT 2016

Welcome

Photo Credit: Brandon Flint

On behalf of the board, musicians, and staff of Utah Symphony | Utah Opera, it is our pleasure to welcome you to Abravanel Hall and today’s Utah Symphony concert. By attending, you are living proof that Utahns are the nation’s premier arts lovers. A survey recently released by the National Endowment for the Arts confirms Utah as the state with the highest percentage of adults in the nation attending live performances. In 2015, nearly 32 percent of Americans attended at least one live music, theater, or dance performance. In Utah, that rate was 51 percent. Congratulations! Utah Symphony | Utah Opera is proud to be a long-standing contributor to the diverse and far-reaching cultural landscape of this state. From its beginning more than 75 years ago, the orchestra has relied on community activism. And because our community has been exceptionally generous in supporting an ambitious artistic vision, the orchestra has grown into one of America’s leading ensembles. Annually USUO performs more than 100 subscription concerts and operas at its home venues and 240 education concerts across

the state. Remarkably, nearly one third of our audience is comprised of students! We take seriously our responsibility for the next generation of Utahns, and believe that our history of instilling a love of great live music in young people throughout our state has contributed to placing Utah as the No. 1 for performing arts attendance. This organization is a state treasure as firmly woven into Utah’s fabric as its red rocks and snow-covered mountains. And like the natural beauty of the state, USUO enriches lives, elevates our community, and is worth cherishing for generations to come. Thank you for all you do to make possible this mission. Sincerely, Paul Meecham President & CEO

Thierry Fischer Symphony Music Director

David Petersen Chair, Board of Trustees

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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Karen Wyatt Acting Assistant Principal Second Leonard Braus• Associate Concertmaster Emeritus Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair Matthew Johnson Associate Principal John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair

TIMPANI George Brown Principal

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

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

James Allyn Benjamin Henderson†† Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera#

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Walter Zeschin Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Nathan Lutz Orchestra Personnel Manager

HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE Robert Stephenson Principal The Gerald B. & Barbara F. Stringfellow Chair James Hall Associate Principal

Jennifer Rhodes

Alexander Love†† Acting Associate Principal Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal Peter Margulies Nick Norton# TROMBONE Mark Davidson Principal

Maureen Conroy

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

Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Naoma Tate Thomas Thatcher Bob Wheaton Kim R. Wilson Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Dr. J. Richard Baringer Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* Lynnette Hansen Matthew S. Holland Thomas N. Jacobson Ronald W. Jibson* Tyler Kruzich Thomas M. Love R. David McMillan Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD 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 Paul Meecham* President & CEO

MUSICIAN REPRESENTATIVES

Mark Davidson* Lissa Stolz* EX OFFICIO

Carol Radinger Utah Symphony Guild Paul C. Kunz Ogden Symphony Ballet Association Judith Vander Heide Ogden Opera Guild *Executive Committee Member

UTAH SYMPHONY

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Music Director

Music Director of the Utah Symphony since 2009 and currently extended to 2019, Thierry Fischer has revitalized the orchestra with creative programming, critically acclaimed performances, and new recordings. Highlights of his tenure include a multi-season Haydn symphony cycle; Mahler, Beethoven and Nielsen cycles; and a tour of Utah’s five national parks. In celebration of its 75th anniversary season, the orchestra appeared at Carnegie Hall in April 2016 to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th Symphony in Utah with the world-renowned Mormon Tabernacle Choir, due for release later this season.

Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

In September 2016 Fischer was appointed Principal Guest Conductor of the Seoul Philharmonic Orchestra, starting January 2017 and running concurrently with his Utah position for an initial 3 years. He will visit Seoul at least 4 times a season and will play an important role in the artistic planning. In Summer 2016 Fischer toured with the Chamber Orchestra of Europe, and debuted at the Mostly Mozart Festival in New York and at the Maggio Musicale Festival in Florence. Guesting in the past couple of years has also included Boston Symphony, Atlanta, Cincinnati and Detroit Symphonies, Oslo Philharmonic, Rotterdam Philharmonic, Salzburg Mozarteumorchester, Munich Chamber, Swedish Chamber and the Orchestre de la Suisse Romande, as well as the BBC Symphony at the Barbican and the London Sinfonietta. In Autumn 2016 he conducts the Sao Paulo Philharmonic—his first visit to South America. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAHSYMPHONY.ORG

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Memorable Moments at Abravanel Hall CHARLES IVES SYMPHONY CYCLE Explore the symphonic world of American composer (and life insurance salesman) Charles Ives (1874–1954) who is known for synthesizing ideas from American popular music with European religious and art music. Thierry Fischer conducts all four of his symphonies this season, beginning with his Symphony No. 1 on November 4–5 and Symphony No. 3 on November 11–12. Symphony No. 1 combines ideas from famous composers including Tchaikovsky, Schubert, and Dvořák, while you’ll hear many nineteenth-century American hymns in Symphony No. 3. Ives’ remaining symphonies will be performed on January 6–7 (No. 2) and February 17–18 (No. 4)

CONCERTO DEBUT OF CONCERTMASTER MADELINE ADKINS Madeline Adkins recently made her debut as the Utah Symphony’s new concertmaster in September 2016, and she makes her concerto debut with the Utah Symphony on November 18–19 with a performance of Prokofiev’s Violin Concerto No. 2. Experience this lyric and virtuosic work with touches of Russian folk music and imaginative combinations of instruments, including castanets which elicit memories of its 1935 premiere in Madrid.

LIVE RECORDING OF PROKOFIEV’S FILM MUSIC The Utah Symphony recently released live recordings of Mahler’s Symphony No. 1 and Dawn to Dust, which featured three world premieres by the Utah Symphony at Abravanel Hall. Next spring Mahler’s Symphony No. 8 with the Mormon Tabernacle Choir will be released on Reference Recordings, but first Thierry Fischer, the Utah Symphony Orchestra and Chorus, the University of Utah choirs, and mezzosoprano Alisa Kolosova record a live performance featuring Prokofiev's music from the films Lieutenant Kijé and Alexander Nevsky on November 18–19.

Purchase tickets at utahsymphony.org or call 801-533-6683 16

UTAH SYMPHONY

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Memorable Moments at Abravanel Hall DECK THE HALLS AT ABRAVANEL HALL Few places are more magical than downtown Salt Lake City and Abravanel Hall during the holidays. The Utah Symphony’s holiday season begins the weekend after Thanksgiving with the annual Messiah Sing-in on November 26–27 and continues with an unforgettable combination of cirque skill and live symphonic music with Cirque Musica Holiday Spectacular on December 9–10. We also continue our annual Saturday morning family concert tradition of Here Comes Santa Claus! on December 17 while starting a new holiday tradition by featuring the first of eight Harry Potter™ films in concert on December 23–24. Also, Celtic Woman makes an appearance on December 21 with the Utah Symphony as part of their “Home for Christmas” holiday tour. BEETHOVEN PIANO CONCERTO CYCLE CONTINUES Audiences have been buzzing about September’s unforgettable opening performances from the Beethoven Piano Concerto Cycle with Jonathan Biss performing Piano Concerto No. 1 and Emanuel Ax performing Piano Concerto No. 5. Next up is Jeffrey Kahane’s performance of Piano Concerto No. 2 on December 2–3 with conductor Hans Graf.

HARRY POTTER AND THE SORCERER’S STONE™

IN CONCERT In September the Utah Symphony announced that the Harry Potter™ Film Concert Series would be coming to Abravanel Hall with the Utah Symphony performing every note from the scores of all eight Harry Potter™ films live while the film plays in high-definition above the orchestra. Both performances of Harry Potter and the Sorcerer’s Stone™ in Concert sold out in record time, signaling that this new annual tradition is one that is not to be missed! An additional performance has been added for January 3. Read ahead about our upcoming performances. Program notes and artist biographies for upcoming concerts are available online at www.utahsymphony.org. UTAHSYMPHONY.ORG

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Why do we Record? By Jeff Counts

On November 18 and 19, Utah Symphony will embark on its fourth live recording in three years, this time featuring two iconic film scores by Prokofiev, “Lieutenant Kijé” and “Alexander Nevsky.” These performances will be captured by Sound Mirror and Reference Recordings, who recorded and released Thierry Fischer’s first CDs as Music Director of Utah Symphony, Mahler Symphony No. 1 “Titan” and “Dawn to Dust,” featuring world premiere commissions by American composers Augusta Read Thomas, Nico Muhly and Andrew Norman. Mahler’s Symphony No. 8 will be released next spring. One question remains in the hearts and minds of audiences upon which I hope to shed some light. Every orchestra has a personality, a set of traits that makes it unique and identifiable to even a novice listener. Dynamic rather than static, these traits are developed and polished over years, many years, during which an orchestra’s ‘sound’ evolves in subtle but meaningful ways. Several obvious factors contribute to this process—periodic changes in leadership and personnel, the building of a new hall, etc.—but quietly important among them is the willingness of an orchestra to embrace certain extracurricular activities. Commissioning, touring and recording can all raise the collective level of an ensemble significantly. The making of recordings, in particular, requires an orchestra to make music in a manner that sharpens the artistic intent of everyone involved, and this very positive surge of energy resonates long after the sessions themselves are over. Orchestras grow noticeably when they record,

and their recordings have the potential distinction of being both the impetus for increased excellence and the lasting proof of it. Put simply, recordings allow an orchestra, normally confined to the ephemerality of live performance, to create something that preserves and celebrates its distinct character for all time. Recordings can also confirm an orchestra’s place in a great international interpretive debate that would not be possible without them. Whose version of Mahler 1 is most convincing? Which version of the Lieutenant Kijé Suite has the most wit and charm? Only orchestras with recordings get to participate in this game because those are the orchestras that have chosen to offer up their work as part of the historical record. Recordings are about taking risks. Recordings are about challenging expectations. Recordings are about crafting a legacy.

UTAH SYMPHONY

2016/17 CULTURAL FESTIVAL

ARTS IN SERVICE TO THE MILITARY

Our 2016â&#x20AC;&#x201C;17 cultural festival shines a spotlight on veterans and current military, focusing on ways our arts community can appreciate and support them. As part of this festival, many local arts organizations will present events on military themes and will also provide access for active and separated military personnel to a variety of arts performances. We will also draw attention to veteransâ&#x20AC;&#x2122; active art-making as a means of self-expression. FESTIVAL HIGHLIGHTS INCLUDE:

The Western US Premiere of The Long Walk by Utah Opera Guest writer events with Brian Castner, author of the memoir The Long Walk Performances and events based on military experiences, produced by Salt Lake Acting Company, Art Access, Ballet West, U of U Creative Writing, and more Annual Veterans Creative Arts Festival at the VA SLC Medical Center Free/discounted tickets to performances and other events for veterans and current military FOR MORE INFORMATION, VISIT

USUO.ORG/FESTIVAL

A Day In The Life Of A Live Recording By Alex Martin

Mahler Symphony No. 8 patch session at the Tabernacle, photo credit Karen Wyatt

The day begins much like any concert weekend. I arrive at the hall around 9 AM for the dress rehearsal which starts at 9:30. After a few minutes of sipping coffee and chatting with colleagues, I get my violin out and warm up with what I’ve decided are the most difficult parts of the concert. The rehearsal is run like most dress rehearsals in that we try to hammer out the last remaining details without tiring ourselves out too much. There have been microphones set up all over the stage for the entire week; an exciting but at times nerve-wracking reminder that this weekend’s performances will become a part of our orchestra’s history and legacy. Once rehearsal has ended, I head home for a light lunch and hopefully a quick nap in anticipation of a late night. After napping

I practice for a bit, but not necessarily that night’s music. I may begin looking at next week’s music or work on music for a project outside of the symphony. Around 5 PM it’s time to eat a light dinner and relax for a bit. If baseball—one of my non-musical passions and a useful calming force—is still being played, I’ll watch a game until it’s time to head to the hall. I try to be dressed and ready by 7 PM for a 7:30 concert. On stage I go over those same tricky parts that I used to warm up for the rehearsal while at the same time conserving precious energy. At times during the concert I forget that we’re being recorded only to be reminded periodically by an ill-timed sneeze or cough that every imperfection, even if not the orchestra’s fault, is being documented. Continued on page 25.

UTAH SYMPHONY

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A Day in the Life of a Live Recording Continued from page 22.

Mahler Symphony No. 8 patch session at the Tabernacle, photo credit Karen Wyatt

Once the concert has ended around 9:30 PM, we all head upstairs for a much-needed, hourlong break. I change out of my tuxedo and into something more comfortable. On a normal weekend, our work night would be over, but on this particular night it is critical that we stay in concentration mode. I do this by continuing to converse with colleagues and munching on the pizza that is often provided to keep us all from fading.

concert (we’re not robots!). But often there are also things out of our control that we have to record again. One of those ill-timed audience coughs may be reason enough to re-record a part of the music. If applause in the concert started before the last note had completely faded out (this is a fairly common occurrence), we will re-record the very end to capture that perfect fade of the last note into silence.

Once back on stage, we have exactly forty minutes to patch things up. It can be tricky to fix everything we have to in that short amount of time. These patches include things that may not have been pristine in the

Finally, shortly after 11 PM, we’ve run out of patch time and our day has ended. We’ve exhausted ourselves doing everything we can and now our product is in the hands of the recording engineers…

UTAHSYMPHONY.ORG

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Spotlight: Louis-Philippe Robillard The Utah Symphony | Utah Opera is delighted to introduce Louis-Philippe Robillard, the newest member of the Utah Symphony. Louis is a cellist, joining us after eight seasons with the Fort Worth Symphony and three years with the New World Symphony following his musical education at the Conservatoire de Musique de Montréal, Canada and at the Mannes School of Music in Manhattan, New York.

Louis-Philippe Robillard Cello

Louis is the youngest in his family and grew up in Canada near Montreal. He comes from a music-loving household though he is the only musician in his family. He remembers hearing the cello for the very first time when he was five years old on his family LP player. He recalls going to kindergarten that day and drawing a picture of the cello that he saw on the LP record and later showing it to his parents saying, “I want to play that.” He started playing and soon discovered his favorite work: Bach’s Cello Suites. “I never get tired of listening to it,” he says. “There is a spiritual, meditative quality to it. Also, as a player, there are so many different ways of interpreting it convincingly.” Louis’s enthusiasm and passion for music, which began with the LP player, is what he says he hopes to bring to the Utah Symphony. Upon joining the Utah Symphony he says that he greatly enjoys working with Thierry Fischer because he finds the energy and passion with which Fischer conducts “inspiring.” Robillard is also an outdoorsman and enjoys the beautiful Utah mountains near his new home in Salt Lake City: “It’s like a dream. I can just get out and 30 minutes later I’m skiing or on the trails.”

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Who we Are

Founded during the Great Depression as a Works Progress Administration orchestra under Roosevelt’s New Deal, the Utah Symphony today is the premier provider of symphonic music in the Intermountain West and one of only 15 year-round orchestras in the nation. Recognized as a leading American ensemble largely because of the efforts of Maurice Abravanel (Music Director 1947–1979), the Utah Symphony released over 100 recordings during his tenure, including the first complete recording of all of Gustav Mahler’s symphonies by an American orchestra. Named the orchestra’s seventh music director in 2009, Thierry Fischer renewed the orchestra’s commitment to Abravanel’s legacy of artistic excellence and an active recording schedule, as evidenced by the recent, live recording of Mahler’s Symphony No. 1 “Titan” (2015) and the release of three Utah Symphony commissions by American composers Andrew Norman, Nico Muhly, and Augusta Read Thomas (2016). Building on a history of seven international tours, Maestro Fischer and the Utah Symphony performed the nationally covered Mighty 5® Tour in 2014, visiting all five national parks UTAHSYMPHONY.ORG

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in Utah and, in 2016, impressed audiences at New York City’s esteemed Carnegie Hall. Under Maestro Fischer’s inspiring leadership, the Utah Symphony features leading musicians and internationally recognized soloists through refreshed and ambitious programming; as a result, the orchestra is attracting increased audiences and unprecedented community support. In addition to more than 65 subscription concerts in its home venue, Abravanel Hall in Salt Lake City, the Utah Symphony plays for Utah Opera’s four annual productions for 20 opera performances; presents the six-week Deer Valley® Music Festival each summer in Park City, Utah; and performs numerous outreach concerts throughout the state, drawing an audience of over 350,000 each year. The 40+ education outreach programs developed by Utah Symphony | Utah Opera (USUO), the orchestra’s parent organization, reach approximately 70,000 students annually from all Utah school districts in more than 240 educational outreach concerts and activities. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation. 29

/upcoming concerts Tchaikovsky’s Violin Concerto January 6 & 7, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Noah Bendix-Balgley, violin

IVES WEBERN TCHAIKOVSKY

Utah Symphony Orchestra

Symphony No. 2 Variations for Orchestra Violin Concerto

Underappreciated in its time, this piece is now an irrefutable star of the violin concerto repertoire. Get lost in the dichotomy of a performance both fierce and emotional, yet supremely under control.

Tristan and Isolde January 13 & 14, 2017 / 7:30 PM / ABRAVANEL HALL Mark Wigglesworth, conductor Francesco Piemontesi, piano

Utah Symphony Orchestra

MOZART Piano Concerto No. 27 WAGNER Tristan and Isolde, an orchestral passion (ARR. HENK DE VLIEGER) The music that drives Wagner’s epic opera of love and tragedy is powerful. Join the Utah Symphony as they perform orchestral excerpts from the score that is often cited as a major influence on the direction of 20th century composition.

Leigh’s Man of La Mancha January 21, 23, 25, 27, 2017 / 7:30 PM January 29, 2017 / 2 PM JANET QUINNEY LAWSON CAPITOL THEATRE

Some call Don Quixote a fool. Others call him a lunatic. But in Man of La Mancha, you might end up calling him an inspiration as you follow the unlikely journey of a man who dreams the impossible dream of a better world all around him. Believe in his dream with this rousing performance by Utah Opera.

Brahms’ Symphony No. 2 February 3 & 4, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Narek Hakhnazaryan, cello

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Academic Festival Overture Cello Concerto No. 1 Symphony No. 2

Brahms’ masterful compositions will transport you into a state of rustic bliss.

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Jerry Herman: The Broadway Legacy Concert February 10 & 11, 2017 / 7:30 PM / ABRAVANEL HALL Randall Craig Fleischer, conductor Debbie Gravitte, Klea Blackhurst, Ron Raines, Jason Graae, Scott Coulter, John Boswell, vocalists

From Hello, Dolly! and Mame to Mack and Mabel and La Cage aux Folles, Jerry Herman’s songs have lit up Broadway for decades with toe-tapping, soul-stirring musical showstoppers. Now we’re sharing his great musical legacy with a new generation of music lovers.

Mozart’s Requiem February 17 & 18, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor Barlow Bradford, chorus director Joélle Harvey, soprano Sarah Coit, mezzo-soprano

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Requiem Symphony No. 4

Mozart‘s weighty masterpiece, famously left unfinished at his death, invites you to explore grief, remembrance, and reconciliation.

Brahms’ Symphony No. 4 February 24 & 25, 2017 / 7:30 PM / ABRAVANEL HALL Thierry Fischer, conductor François Leleux, oboe

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Introduction, Theme, and Variations for Oboe and Orchestra Aquateinte (Utah Symphony commission) Symphony No. 4

Experience this powerful performance, which draws from the rich history of classical music while pushing the form to exciting new heights.

Pokémon: Symphonic Evolutions March 4, 2017 / 7:30 PM / ABRAVANEL HALL Jeron Moore, lead creative Chad Seiter, composer

Susie Benchasil Seiter, conductor Utah Symphony Orchestra

Executive Producer: Princeton Entertainment Organization/Ed Kasses.

Take a symphonic journey with all the sights and sounds of Pokémon! Experience the evolution of Pokémon on giant video screens with the Utah Symphony playing your favorite themes live. Don’t miss this chance to meet-up with fans of all ages.

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Brahms & Tchaikovsky

program

Brahms & Tchaikovsky November 11–12 / 2016 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER , Con du ctor ALEXANDER GAVRYLYUK , Pian o (Ut a h S ymp h o n y D e b u t )

IVES

Symphony No. 3, “The Camp Meeting” I. II. III.

BRAHMS

Old Folks Gatherin’: Andante maestoso Children’s Day: Allegro Communion: Largo

Symphony No. 3 in F Major, Opus 90 I. II. III. IV.

Allegro con brio Andante Poco allegretto Allegro

/ INTERMISSION /

TCHAIKOVSKY

Concerto No. 1 for Piano and Orchestra in B-ﬂat minor, Opus 23 I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco ALEXANDER GAVRYLYUK , Pian o (Ut a h S ymp h o n y D e b u t )

B R A H M S C YC L E S P O N S O R

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C O N D U C TO R S P O N S O R

Brahms & Tchaikovsky

artist’s proﬁle

See page 15 for Thierry Fischer’s artist profile. Born in 1984, Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. He went on to win First Prize and Gold Medal at the 1999 Horowitz International Piano Competition, First Prize at the Hamamatsu International Piano Competition in Japan in 2000, where the Japanese press lauded him as the “most talented 16-year old pianist of the second half of the 20th Century,” and, in 2005, he took both the coveted Gold Medal as well as the award for Best Performance of a Classical Concerto at the internationally renowned Arthur Rubinstein International Piano Masters Competition.

Alexander Gavrylyuk Piano Utah Symphony Debut

Following his debut in 2010 with the Royal Concertgebouw Orchestra, Gavrylyuk has returned to Amsterdam each year to perform. He is now increasingly in demand by orchestras and conductors for his noble and compelling interpretations and has appeared with, among others, the Philharmonic Orchestras of New York, Los Angeles, Warsaw, Moscow, Israel and Rotterdam as well as the Royal Scottish National Orchestra, Bournemouth Symphony, Stuttgarter Philharmoniker, the Netherlands Philharmonic, San Antonio Symphony, Orchestra della Svizzera Italiana, Brussels Philharmonic, the Vancouver Symphony and OFUNAM. He has collaborated with conductors such as Herbert Blomstedt, Vladimir Ashkenazy, Vladimir Jurowski, Alexander Lazarev, Sebastian Lang-Lessing, Vassily Petrenko, Yuri Simonov, Herbert Soudant, Osmo Vänska, Louis Langrée, Andrey Boreyko, Vladimir Spivakov, Neeme Järvi and Oleg Caetani. His solo recitals are also highly acclaimed and he has performed in venues such as Vienna Musikverein, Wigmore Hall, Tonhalle Zurich and Victoria Hall Geneva. He regularly visits Japan and Asia, performing with orchestras such as NHK Symphony and Seoul Philharmonic as well as regular recital tours, often playing to sell-out audiences in Suntory Hall and Tokyo Opera City. He returns to Russia on a regular basis and has performed with the Russian National Philharmonic under Vladimir Spivakov and the Svetlanov Russian State Symphony Orchestra, as well as

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Brahms & Tchaikovsky

artist’s proﬁle

recitals at the Great Hall of Moscow Conservatory and at the Kremlin. At the age of 13, Alexander moved to Sydney where he lived until 2006. He has performed with all the main Australian orchestras including Melbourne and Sydney Symphonies, returning each year for concerts and recitals. In 2009 he made an acclaimed recording of the complete Prokofiev Concerti with Vladimir Ashkenazy and the Sydney Symphony, which was recorded live at the Sydney Opera House. In addition to the Prokofiev cycle, he has made several recordings including recital discs of works by Rachmaninoff, Schumann, Scriabin, Mussorgsky, and Prokofiev for Piano Classics. His most recent recording, a recital disc featuring Brahms Paganini Variations and works by Liszt has been widely praised. Highlights of the 2016–17 season include concerto performances with Valery Gergiev and the Rotterdam Philharmonic as part of the Gergiev Festival, Netherlands Radio Philharmonic, Vancouver Symphony, Orchestre National d’Ile de France, Concertgebouworkest, Utah Symphony and a tour of Asia with the Cincinnati Symphony Orchestra amongst others. He will make his debut at the International Piano Series in London, as well as giving solo recitals throughout Europe and North America and appearing in duo recital with Janine Jansens throughout Europe. Alexander will also undertake an extensive tour of Australia, including concerto appearances with Adelaide Symphony, Tasmania Symphony & West Australian Symphony Orchestra. Alexander supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists, as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children. Alexander is a Steinway Artist and more information is available on his website www.alexandergavrylyuk.com.

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Brahms & Tchaikovsky

program notes

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Notes by Michael Clive

who command our attention for the striking similarities in their lives and their continuing inﬂuence in the arts.

Charles Ives (1874–1954)

Symphony No. 3, “The Camp Meeting” INSTRUMENTATION: ﬂute, oboe, clarinet, bassoon; 2 horns, trombone; percussion; strings PERFORMANCE TIME: 22

BACKGROUND

minutes

Charles Ives’ life, like his music, combined familiar elements in novel and surprising ways—or perhaps not so surprising if we view Ives in the context of the great tradition of independent New England thinkers that also included Emerson and Thoreau. Our national affection for creative eccentrics has left many classical music aficionados with the misimpression that Ives was the artistic equivalent of a brilliant tinkerer building rocketships in his basement; actually, Ives was rigorously educated and well versed in music theory, but combined his affection for New England traditions with esthetic principles that were truly visionary and utterly independent. He is one of two giants of American culture, the other being the poet Wallace Stevens,

Born in 1874, Ives worked in the insurance industry and lived mainly in Danbury, Connecticut; Stevens was born in 1879, worked in the insurance industry, and lived mainly in Hartford, Connecticut. They died in 1954 and 1959, respectively. Together they represent a distinctively American brand of artistic modernism. Both Ivy Leaguers (Ives attended Yale, while Stevens was a Harvard man), they combined a mastery of European traditions with a deeply American sensibility. Though they became celebrated as mavericks, trailblazers might be a more apt description; many musicians refer to Ives as “Charlie” not because they were ever friends, but because Ives is so deeply American and because his work strikes listeners so personally. No composer has had a deeper impact on the American composers who came after him. Reading critical analysis of Ives’ major works, such as his symphonies, can be a confusing experience. How can these works be simultaneously simple and complex? But while incorporating simple sources such as familiar folk tunes, these works are often densely layered, with multiple melodies, tonalities and rhythms unspooling simultaneously. Listening to them can be comparable to listening to two or three different conversations at a cocktail party and tracking their connections in real time. His biographers speculate that Ives’ delight in this kind of simultaneity resulted from hearing his father, George

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Brahms & Tchaikovsky

program notes

Ives, lead band music on the town green in Danbury while other bands were playing different music within earshot. Whether the listening public has caught up with Charles Ives is a matter of some debate. But in an era of self-conscious irony in the performing arts, it helps to remember that Ives’ art is anything but ironic. This is music of simple, straightforward materials handled with consummate, sophisticated craft. It was ahead of its time when he composed it…and it probably still is. WHAT TO LISTEN FOR

Though Ives’ music is never without humor, he was serious about symphonic form. He composed his first symphony during his undergraduate years at Yale University—a work he would later disparage, though in retrospect it would seem that his criticisms reflect not a lack of quality, but his willingness to subordinate his penchant for originality and even rebelliousness to the influences past symphonists. Many listeners hear a Tchaikovsky-like sound in it. But then, they also hear the sound of Mozart in early Beethoven symphonies and concertos. He began work on his third symphony in 1901, when he was 37, and is thought to have finished it three years later. It won the Pulitzer Prize for Music in 1947—an unusually long gap that reflects the lag in recognition of his importance as a composer, but also the gap between composition and premiere, which did not take place until

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2/5

1946 under the baton of Ives’ friend and advocate Lou Harrison. The titles that Ives applied to the symphony’s three movements—“Old Folks Gatherin’,” “Children’s Day,” and “Communion”—reﬂect the sources we hear in the symphony, which include martial airs, popular dances, classical melodies, and religious music. But most of all, the feeling of religious hymns predominates. The first two movements are based on hymns that would have been more readily recognized in Ives’ lifetime; whether or not we know these songs, we cannot mistake the devotional feelings that the melodies evoke. The third movement is constructed around an organ piece that Ives also based on a hymn and intended for church use. Commenting on the symphony, Ives noted, “The themes are mostly based around hymns and from organ pieces played in Central Presbyterian Church [where Ives worked part-time in his 20s as an organist] around 1901. Lead pencil score was finished about 1901. But the final ink score (now lost) had, I think, a few of less offshadow parts in it, and also church bells, that are crossed out in the old score…The middle movement was the ‘Children’s Day Parade’ (for string quartet and organ), played in Central Presbyterian Church, New York, for the organ alone, 1902…” Listeners who know their American symphonies will recall that Virgil Thomson’s Symphony No. 1 bears the title “Symphony Based on a Hymn Tune.” It dates to 1929, about 25 years later than Ives’ third.

Brahms & Tchaikovsky

program notes

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its eventual success—which seemed to fulfill music-lovers’ hopes for a worthy successor to Beethoven—made Brahms even more nervous about writing a second.

Johannes Brahms (1833–1897)

Symphony No. 3 in F Major, Opus 90 INSTRUMENTATION: 2 ﬂutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME: 33

BACKGROUND

minutes

Contemporary reports and later accounts by music historians give us oddly contradictory impressions of Brahms. In photographs we see the handsome, sensitive young composer and pianist turn into a great bear of a man, ursine and shaggy. Plenty of quotations demonstrate how gruff he could be in talking about his own music and others’. And yet, underneath it all, he seems to have remained easily bruised, still the fretful composer who worked and reworked his first symphony for 14 years or more while the music world waited impatiently for the opus that might prove to be “Beethoven’s Tenth.” “You have no idea what it’s like to hear the footsteps of a giant like that behind you,” he said. He finally felt ready to present his first symphony to the public when he was 43, yet

Indeed, the writing of symphonies seems to have pushed all of Brahms’ buttons; for the sake of his nerves and to escape the pressure of expectations, he sought the solitude of country life for this kind of work when possible. Brahms composed his Symphony No. 3 in Wiesbaden during the summer of 1883, nearly six years after completing his second. Hans Richter, who led the premiere with the Vienna Philharmonic, acclaimed it as Brahms’ Eroica—high praise that seemed to reawaken Beethoven’s ghost yet again. Brahms continued to refine work until its publication the following year. WHAT TO LISTEN FOR

It’s probably redundant to describe this or any of Brahms’ four symphonies as “mature” works, since Brahms generally refused to publish compositions that he had not polished to lapidary perfection. But his symphonies, in particular, are masterfully wrought; in this one, which he completed at age 50, we find him at the peak of his creative powers. In it we hear a magnificent symphony of ﬂowing lyricism by a composer who learned from Beethoven’s mastery without imitating him. Musicologists detect a melodic reference to Brahms’ unmarried status throughout the symphony: variations of the motif F-A-F, for the German “frei aber froh” (“free but happy”). To some listeners, the burnished bronze of the symphony’s surface suggests hidden melancholy. But as its rich, passionate finale subsides, we are left with feelings of warm solitude rather than loneliness.

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Brahms & Tchaikovsky

program notes

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age: the individual’s struggle against opposition, the one versus the many. These vehicles for musical display—often, they were seemingly unplayable—helped make Paganini and Liszt into musical superstars.

Piotr Ilyich Tchaikovsky (1840–1893)

Concerto No. 1 for Piano and Orchestra in B-ﬂat minor, Opus 23 INSTRUMENTATION: 2 ﬂutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME: 33

BACKGROUND

minutes

Trained as a pianist as well as a composer, Tchaikovsky was born into the great age of virtuosic concerto composition—the Romantic era of classical music—and his spectacular Concerto No. 1 for Piano and Orchestra is one of the staples of the genre. Concertos had been written for centuries, but Beethoven (born 1770) had raised the stakes; by 1875, when Tchaikovsky was 35 and was composing his Piano Concerto No. 1, pianos (and piano concertos) had grown in size. Composers followed Beethoven’s lead, relishing the chance to create large-scaled, serious concertos of spectacular difficulty. More than just popular hits, they also expressed a basic principle of the Romantic

MASTERWORKS

Oddly, “unplayable” turns out to be a fateful word in the life of concertos by the hapless Tchaikovsky, who lacked both luck and selfconfidence. The concerto literature is rife with works that are now popular, their greatness undisputed, that were condemned by critics and soloists back in the day. Most often, they were described as having been written “against the instrument” or as technically unplayable. Were soloists hedging their bets? It’s hard to know; playing the unplayable was right on their calling card. Tchaikovsky’s Piano Concerto No. 1 and the Violin Concerto in D both suffered this characterization, and both are now among the most beloved concertos in the standard repertory. When it came to the violin, Tchaikovsky was on less-than-familiar ground, and he proceeded with nervous caution after being inspired by Edouard Lalo’s exuberant five-movement concerto. (His work with violinists in preparing the score didn’t ease its way into the world.) But Tchaikovsky was a respected pianist, and though he lacked the encyclopedic technique of Russia’s foremost soloists, he could be confident of his knowledge of the instrument and how to write for it. For it he created a concerto in which towering grandeur and poetic utterance are abundant and unmistakable— earmarks of a hit concerto. The melodies are gorgeously lyrical and take advantage of the instrument’s expressive capabilities.

Brahms & Tchaikovsky

program notes

So why did Tchaikovsky’s friend and intended dedicatee for the score, the great pianist Nikolai Rubinstein, condemn it as artistically crude and, yes, unplayable? Musicologists are still speculating about the reasons, though after its quick success with the public and critics, Rubinstein changed his mind and praised it effusively. WHAT TO LISTEN FOR

We can hear a characteristically Romantic spirit of heroic rebellion in the Concerto No. 1 for Piano and Orchestra. It bursts upon us with an opening that is explosive and iconic: a moment of brassy orchestral fanfare introducing thunderous piano chords grouped in threes. They are played in unison with both hands as they move in bold, multioctave leaps up the keyboard. Even if you had never heard this concerto before, this stunningly dramatic, oft-quoted opening would be instantly recognizable. But listen again and notice Tchaikovsky’s remarkable musical calculation here: The piano soloist grabs the primary role, even entering alone. But once the orchestra enters, it has the melody. Those chords, so full of life and confidence, actually accompany the orchestra’s statement. They can be heard as a heroic response to the melodic lifeline. Once it has been introduced, the piano takes up the melody in a manner that is vigorous but more moderated and less tumultuous, setting up a pattern of alternating grandeur and lyricism that prevails throughout this concerto. As 21st-century listeners we are the beneficiaries of this concerto’s unusual performance history and the landmark interpretation of the great American pianist Van Cliburn. When Cliburn won the first International Tchaikovsky Piano Competition 42

5/5

in Moscow in 1958 (he was a tall, rangy, young-looking 23), the Cold War was at its height; Sputnik had been launched the previous year, and the space race and the arms race were on. His victory came with this concerto, and it had an impact we can scarcely imagine now. He received a tickertape parade down Broadway and instantly became an American hero. But the response was even more dramatic in Moscow, where weeping listeners rushed the stage and mobbed him. Why? In a sense, the answer goes back to the concerto’s duality—the alternation of heroic and poetic sound that Tchaikovsky gives us with unique deftness as he mixes powerful, pounding chords and parallel octaves with rippling passages of rapid fingerwork that require ﬂawless legato. Superbly trained Soviet-era pianists combined accuracy and power. But where was the bold, passionate, dramatic individuality of the Russian pianists of yore? Under the Soviet system, such highly personalized expressiveness was shunned. But in Cliburn’s performance, the judges heard this kind of interpretive artistry combined with superb technique, and the conclusion was undeniable; listeners heard a cherished part of their national patrimony being restored to them by the unlikeliest of artists. As we hear tonight, post-Cliburn pianists play this concerto their own way—not his, but always striving to meet a very high and very public standard that has become art of classical music mythology. In soloists such as Alexander Gavrylyuk we are privileged to hear a modern-day interpreter who is the heir of all these great performance traditions as he puts his personal stamp on one of the great concertos of the piano repertory. MASTERWORKS

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$5,000 to $9,999 Anonymous (4) Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen David & Karen Dee Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Joseph & Dixie Furlong Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson G. Frank & Pamela Joklik Jeanne Kimball Thomas & Jamie Love Paul Meecham & Laura Leach Rayna & Glen Mintz Nathan & Karen B. Morgan Dr. Thomas Parks & Dr. Patricia Legant Leslie Peterson & Kevin Higgins Brooks & Lenna Quinn Dr. Richard & Frances Reiser James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott

Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Lindsay & Carla Carlisle Mark & Marci Casp Rebecca Marriott Champion Paul & Denise Christian Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Peter Fillerup† Flynn Family Foundation C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Michael & Julie McFadden Rich & Cherie Meeboer Richard & Jayne Middleton Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal

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Individual Donors Marilyn H. Neilson Mr. & Mrs. Alvin Richer James & Anna Romano David & Lois Salisbury William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver David & Jerre Winder E. Art Woolston & Connie Jo HepworthWoolston Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Robert & Cherry Anderson David & Rebecca Bateman E. Wayne & Barbara Baumgardner Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Shelly Coburn Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly

Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Dixie & Robert Huefner Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline Weggeland-Johnson James R. Jones & Family J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Lisa K. Mariano

Utah Symphony | Utah Opera is the proud recipient of Charity Navigator’s highest rating for sound fiscal management, commitment to accountability and transparency, and adherence to good governance and best practices—all of which allow us to execute our mission in a responsible way. 54

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Individual Donors Jed & Kathryn Marti Christopher & Julie McBeth Warren K. & Virginia G. McOmber George & Nancy Melling Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Ann G. Petersen Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman K. Gary† & Lynda† Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor John & Susan Walker Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur Caroline & Thomas Wright PATRONS

$1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen

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Drs. Crystal & Dustin Armstrong Graham & Janet Baker Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D.

I’VE NEVER UNDERSTOOD WHY MY HUMAN WON’T LEAVE THE HOUSE WITHOUT HER LEASH. I THINK SHE’S AFRAlD OF GETTING LOST. BUT IT’S OK, I KIND OF LIKE SHOWING HER AROUND. — HARPER adopted 08-18-09

Individual Donors Tim & Angela Laros Gary & Suzanne Larsen Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Lousje & Keith Rooker Bertram H. & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. Varat-Navarro Mr. & Mrs. Brad E. Walton Nadine Ward Charles & Ellen Wells Margaret & Gary Wirth Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro Donations as received as of 9/20/2015

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“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF

Dr. J. R. Baringer & Dr. Jeannette J. Townsend George Brown Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma IN MEMORY OF

Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory Judith Ann Harris Roger Hock Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Ann O’Neill Shigeoka Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney John W. Williams Merrill L. Wilson, M.D

Tanner & Crescendo Societies

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. 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) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

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

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

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

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

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

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Judy Brady & Drew W. Browning Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

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

UTAH SYMPHONY

Legacy Giving

There are many ways to leave a legacy, and for those who would like their legacy to include a long-term gift to Utah Symphony | Utah Opera, there are many options to consider. From leaving a gift in your will to leaving part or all of your IRA to USUO, your financial advisor or estate planning attorney can help you build a gift that can meet your goals and benefit USUO for years to come. You have the ability to build a musical future for the state of Utah. When you leave a gift to USUO in your estate plans, you are building a proud legacy that will inspire tomorrowâ&#x20AC;&#x2122;s musicians and music lovers. For over 75 years, USUO has been a leader in music excellence and community education. Your gift will make a difference. To learn more about how your estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028, or visit us online at usuo.giftplans.org.

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