Dvořák’s “New World” Symphony 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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Utah Symphony Orchestra

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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Benjamin Butterfield, tenor Derrick Parker, bass-baritone University of Utah Choirs Utah Symphony Chorus Utah Symphony Orchestra

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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Utah Symphony Orchestra

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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Celebrate this holiday season with the celestial voices of multi-platinum Irish singing sensation Celtic Woman as they present Home for Christmas with the Utah Symphony. Tickets start at $40 / (801) 533-NOTE (6683) / UTAHSYMPHONY.ORG

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Dvoˇrák’s “New World” Symphony

program

Dvořák’s “New World” Symphony November 4–5 / 2016 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER , Con du ctor

HAYDN

Symphony No. 7 in C Major, “Le midi” I. II. III. IV.

IVES

Adagio - Allegro Recitativo: Adagio Minuetto and Trio Finale: Allegro

Symphony No. 1 in D minor I. II. III. IV.

Allegro Adagio molto Scherzo Allegro molto

/ INTERMISSION /

DVOŘÁK

Symphony No. 9 in E minor, Opus 95 “From the New World” I. II. III. IV.

Adagio-Allegro molto Largo Molto Vivace Allegro con fuoco

See page 15 for Thierry Fischer’s artist profile.

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Notes by Michael Clive

as well as his talent; he continued writing symphonies into his eighties. Mozart, who died at age 35, wrote 41 symphonies. How many might he have composed had he lived longer? On the other hand, Haydn’s earliest symphonies, including his No. 7, “Le midi,” are fully mature works.

Franz Joseph Haydn (1732–1809)

Symphony No. 7 in C Major, “Le midi” INSTRUMENTATION: 2 ﬂutes, 2 oboes, bassoon; 2 horns; harpsichord; strings PERFORMANCE TIME: 21

BACKGROUND

minutes

We almost intuitively think of the symphony as a reliable indicator of a composer’s gravitas. Can a composer of classical music be considered “great” without writing one? They are formal statements, structurally complex, typically spanning four movements that must sustain themselves according to compositional rules while also relating to each other. That’s why Mozart’s early symphonies, composed when his age was still in single digits, were taken as a sign of his musical precocity. On the other hand, Haydn—serious, disciplined, and productive—did not start writing symphonies until he was in his mid-twenties. We consider his roster of 104 symphonies to be among the high watermarks of the form, but that impressive number reﬂects his longevity

Joseph Haydn’s first important appointment as a professional musician was to the court of Count Morzin, an aristocrat of the Austrian Empire whose palace was in the village of Dolní Lukavice, near the city we now know as Pilsen (Plzeň) in the modern Czech Republic. The year was either 1757 or 1759—Haydn would have been either 25 or 27 years of age. Georg August Griesinger, Haydn’s first major biographer, reported the following based on an interview with Papa Haydn himself: In the year 1759 Haydn was appointed in Vienna to be music director to Count Morzin with a salary of two hundred gulden, free room, and board at the staff table. Here he enjoyed at last the good fortune of a carefree existence; it suited him thoroughly. The winter was spent in Vienna and the summer in Bohemia, in the vicinity of Pilsen. Not only the exact year, but even the particular individual who hired Haydn is contested: was it Ferdinand Maximilian Morzin or his son and heir, Karl Joseph? On such questions hang questions of objectivity in music journalism. The late H.C. Robbins Landon, an important authority on Haydn and Mozart, believed that the young Haydn’s patron was in fact the senior Count Morzin, a more powerful figure

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Dvoˇrák’s “New World” Symphony

program notes

in Austrian politics. On the other hand, James Webster, writing almost 15 years later in the generally authoritative New Grove Dictionary of Music and Musicians, identifies Haydn’s benefactor as Ferdinand Maximilian’s son, Karl. As it happens, H.C. Robbins Landon was a generous colleague and friend to the author of the article you’re reading now—which may be one reason why I am inclined to believe him regarding the facts of Haydn’s biography. But another reason is how well it supports our understanding of Haydn’s unusual life as a composer. To put a Trekkie spin on it, Haydn lived long and prospered, applying his great musical gifts with discipline, judgment and political sure-footedness. His agreeable character and musical accomplishments had already become known within and outside his professional world. All of these virtues were instrumental in building his reputation as a patriarch of the classical age, and his appointment by the senior Count Morzin while still in his twenties to a position in which he could call himself Kapellmeister would have been an important early stage in his professional life. The Kapellmeister’s lifestyle during the Classical era reﬂects the same pattern that prevails today, with the new “season” of music beginning each fall. It has often been described as migratory, and kept Haydn where his employer wanted him—on the Count’s hereditary estate in the country during the summers, and in the thick of the Austrian capital’s musical and social scene in the winters. The one blot on Haydn’s seemingly charmed development as a composer was his

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marriage to Anna Maria Keller in 1760, just a year or two after his appointment by Count Morzin. Haydn’s contract with the count expressly barred him from marriage, but he apparently was able to keep his employer unaware of his alliance with Anna—a marriage that, despite its general unhappiness, endured 40 years. At any rate, this potential obstacle proved moot, since Haydn’s patron found himself in a budget crunch within a year after the marriage, and was forced to eliminate Haydn’s position. A setback? Nothing of the kind: Count Morzin helped Haydn gain an appointment as Vicekapellmeister in the service of the very prestigious Prince Anton Esterházy at Eisenstadt, where he worked as composer, conductor and administrator, advancing his career significantly. With the incumbent Kapellmeister in ill health, Haydn assumed that position in all but name—at a salary much higher than the amount he originally received from Count Morzin. Haydn’s canon of 104 symphonies begins with his appointment by Count Morzin. It is believed that 11 of his early symphonies were written for the Count, though they are not numbered consecutively and there is some debate as to exactly which of these works were written for him. (The numbers range up into the 30s, with significant gaps in the chronology.) But historians place the Symphony No. 7 in the period when Haydn was composing for the house of Morzin. WHAT TO LISTEN FOR

In later symphonies we hear Haydn creating

Dvoˇrák’s “New World” Symphony

program notes

a sound that is familiar to us as “symphonic scale,” for an ensemble of about 60 players. (The post-Romantic symphony orchestra generally numbers at least 70, sometimes many more). But the symphonies written for Count Morzin were scaled for a smaller orchestra and had a more intimate sound; based on scores for another of Morzin’s composers, Robbins Landon estimated that Count Morzin’s orchestra comprised six to eight violins; a basso section of one cello, one bassoon and one double-bass; and a “wind-band” sextet of oboes, bassoons and horns. The resulting sound is more akin to a chamber ensemble than to that of a larger ensemble that can blast out Brucknerian thunder. What we hear is not the dramatic intensity of a Romantic symphony, but the beauty and symmetry of the Classical era at a scale that brings us close to the heart of the music, as in a chamber work. The textures are transparent, and the instruments are somewhat exposed. The symphony is classed as a sonata da chiesa (a “church sonata”) not because of any sacred themes associated with it, but because of its formal structure and the alternating pacing of its four movements, which are marked adagio ma non troppo (slow, but not too slow), allegro (fast), menuet and trio, and presto (fast). The slow movements are formidably challenging for horn players; only in his 51st Symphony do we hear such difficult playing for the horns. Most likely composed in 1761, Haydn’s Symphony No. 7 is nicknamed “Le midi,” denoting noon. Haydn’s many symphonies

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have acquired many such names over the years, and while this one does not seem inappropriate, neither does it seem specifically descriptive of the symphony’s sound: emphatic and stately, opening with a ceremonial march that leaves us feeling well-oriented as on a clear day, but with nothing particularly suggestive of a blazing sun overhead. The noontime designation isn’t entirely without supporting evidence— mainly the key signature of C major, which Haydn would often use to denote the bright, clarifying light of God during the course of his long career in works such as his oratorio The Creation. But to Haydn enthusiasts it does suggest a natural pairing with his Symphony No. 6, “Le matin,” denoting morning—a work that opens with a painterly evocation of sunrise. So it seemed natural to link the seventh to noon and the somewhat darker eighth to evening as “Le soir.” All three of these early symphonies were composed in the same year and have a crisp, well-organized structure similar to the Baroque era’s concerto grosso style, which featured the contrasting movements and interplay between foregrounded and backgrounded instruments that gave rise to the Classical symphonic form. In much of the symphony we enjoy responsive playing between contrasting lines as the solo lines, often dispatched with high, ornate passagework, provoke larger response in the larger ensemble—a responsive style between groups denoted as “ripieno” and “concertante” in Baroque style. But in the finale of the lively fourth movement, marked allegro, we are treated to exciting instrumental displays in every section of the orchestra.

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Charles Ives (1874–1954)

Symphony No. 1 in D minor INSTRUMENTATION: 2 ﬂutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones, tuba; timpani; strings PERFORMANCE TIME: 32

minutes

BACKGROUND

America loves a maverick—an individual thinker far ahead of his or her time. Such a thinker was the genius Charles Ives, a true New England nonconformist in his music, though he led a life of outward respectability, working in the insurance industry. He is one of two giants of American culture, the other being the poet Wallace Stevens, who command our attention for the striking similarities in their lives and their continuing inﬂuence in the arts. Ives was born in 1874, 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

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brand of artistic modernism. Both Ivy-League educated (Ives at Yale, Stevens at Harvard), they combined a deep intellectualism with total independence from the artistic mainstream. 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. Many of Ives’ compositions are 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 Ives, lead band music on the town green in Danbury while other bands were playing different music within earshot. WHAT TO LISTEN FOR

Listening to Ives is always an adventure, but this particular adventure—composed during his undergraduate years at Yale—does not take us quite as far into the musical wilderness as his second, third (which won the Pulitzer Prize for music), or fourth. In his later years, Ives would disparage it, 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 of past symphonists. Many listeners hear a

Dvoˇrák’s “New World” Symphony

program notes

Tchaikovsky-like sound in it. But then, they also hear the sound of Mozart in early Beethoven symphonies and concertos. This symphony pairs wonderfully with Dvořák’s Ninth, since its opening is thought to be modeled on Dvořák’s construction of that symphony’s slow, poetic opening. Ives’ harmonically adventurous development of the first movement may also portend the more fearless musical adventurer he later became; it modulates without any particular concern for resolving the movement in the same key in which it began. Ives is said to have remarked that since there is no rule requiring people to die in the same place where they were born, music should not have to end in the same key where it started.

Antonin Dvorˇák (1841–1904)

Symphony No. 9 in E minor, Op. 95, “From the New World” INSTRUMENTATION: 2

ﬂutes, 2nd doubling piccolo, 2 oboes, 2nd doubling English horn, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, percussion; strings PERFORMANCE TIME: 40

minutes

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BACKGROUND

The strange performance history of Dvořák’s popular Ninth Symphony is a mix of instant success and lingering disappointment. Contemporary newspaper accounts of the premiere, which took place before Christmas of 1893 at Carnegie Hall, evoke a scene of clamorous tribute that was repeated again and again. “There was no getting out of it,” Dvořák said in describing the ovation to his publisher, “and I had to show myself willynilly.” Yet despite its inescapable nickname, this was not an “American” symphony, but rather a symphony “from the New World.” Yes, Dvořák was deeply inspired by American musical sources in composing it. But as a Czech nationalist and visionary music educator, he believed strongly that composers should discover their own musical roots in the cultural sources of their respective homelands. During his stay in New York City from 1892 to 1895 he discovered an abundance of diverse ethnic sources lying fallow in America and a potentially magnificent classical tradition waiting to be born. Not even his passionate advocacy and the public’s euphoric embrace of his Ninth Symphony could bring acceptance of these ideas—at least, not in Dvořák’s lifetime. Dvořák was, with Smetana and Janáček, one of the three principal composers of the Czech nationalist movement, and was the one who achieved the greatest international prominence. He had come to New York at the invitation of Jeannette Thurber to serve as director of the National Conservatory of Music. Hearing

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the richness of what we now call “roots music,” he was baﬄed by the American intelligentsia’s dismissal of folk music as primitive. In interviews he insisted that the future of American music should be founded on what were called “Negro melodies,” a classification that also included American Indian tunes. “These can be the foundation of a serious and original school of composition, to be developed in the United States,” he told an interviewer in the New York Herald. “These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.”

Bierstadt. These artists were active at the time Dvořák composed the symphony and were well known to him. They successfully integrated the same esthetic elements he sought to include in the symphony: a dramatic evocation of America’s unique heritage, a sense of its natural beauty, and an epic, virginal wildness combined with formal execution embodying the refinements of European academic training. Why shouldn’t Dvořák, with a new world of folk music at his command, match the visual vocabulary of the Hudson River School’s towering cliffs and misty rivers with folk and folk-like melodies?

WHAT TO LISTEN FOR

The first of these melodies—to some listeners, at least—is a solo theme for ﬂute in the first movement that may be suggestive of the spiritual “Swing Low, Sweet Chariot.” But it is in the largo in the second movement, which has gained acceptance as the song “Goin’ Home,” that we begin to hear it most clearly. Whether it existed in song form before the symphony was written has not been settled beyond doubt; we do know that in gaining knowledge of the African-American legacy of folk song in America—including the deeply moving “sorrow songs” combining the themes of death, loss, and physical return to the Creator—Dvořák worked with a remarkable African-American named Harry Burleigh, who knew this music firsthand and whose blind grandfather was a former slave. “Goin’ Home” certainly has all the characteristics of these songs. It is likely (but not certain) that while working on the symphony, Dvořák demonstrated the melody for Burleigh, who later executed it as a song with the lyricist William Arms Fisher.

Drawing upon Indian songs and AfricanAmerican spirituals, this symphony broadly captures the spirit of both traditions without specifically quoting individual melodies. Listeners everywhere recognize the distinctively American sound in “From the New World” as soon as they hear it. The symphony opens with a portentous adagio that gives way to a quick allegro, with a minor key that seems to communicate the excitement of discovery and unknown frontiers. The emphasis on brasses and woodwinds, as opposed to strings, gives the movement a fresh sound that separates it from European idioms. The Czech nationalist propensity for sketching landscape in music is evident in this movement, but the landscape itself—with its rocks, crags and rushing waters—is like a musical evocation of the heroic landscapes by the Hudson River School of American painters such as Alfred

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The sadness and the transcendent quality of “Goin’ Home” was perfectly suited to another of Dvořák’s primary sources for the Symphony No. 9, Longfellow’s “Song of Hiawatha.” In the symphony’s second movement, a quiet largo, this sad theme provides context for the dramatically poignant death of Minnehaha as it unfolds within her father Nokomis’ wigwam with Nokomis on watch and Hiawatha separated from her in the forest. Is the symphony specifically programmatic, a musical retelling of Longfellow’s poem?

grief and expiation. But when Horowitz matches specific lines of Hiawatha’s dance to the music of the scherzo, and hearing their juxtaposition is irresistible, one cannot escape the conclusion that Dvořák wrote the movement as a literal dance for Pau-PukKeewis. Even more convincing is Horowitz’s matching of scherzo passages to Hiawatha’s chase through the woods and climactic battle with Pau-Puk-Keewis, though this music—like the rest of the symphony—can be fully enjoyed as abstract expression for its own sake.

While the idea of the sorrow song supports this idea in a general way, the frenzied scherzo that follows the second movement largo seems much more specific. The musicologist Joseph Horowitz relates it to the dance of Pau-Puk-Keewis at Hiawatha’s wedding, and Hiawatha’s pursuit through the forest; wild and percussive, its whirling rhythms match both the American Indian sources Dvořák studied in the U.S. and the driving metrics of Longfellow’s poem, underlined by re-emergent timpani. It can also suggest Hiawatha’s own feelings of

The final movement is an allegro that moves from the scherzo’s E minor into a triumphant E major, the first sustained major section in the symphony. Here Dvořák seems to shift his gaze upward from a single, poignant tale to a distant horizon, presenting us with a nation’s destiny. There is a fateful quality to the clarion brasses and thundering percussion as the symphony draws to a close; in it, contemporary listeners heard a musical portrait of a young country that was youthful but vigorous and bold, ready for a place of leadership in the community of nations.

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$5,000 to $9,999 Anonymous (2) Art Works for Kids! Bambara Restaurant* Bourne-Spafford Foundation The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Martine* Microsoft* Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy

$1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Bertin Family Foundation Byrne Foundation Castle Foundation City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation FatPipe Networks Five Penny Floral* Victor Herbert Foundation Homewood Suites by Hilton* Hotel Park City* Intermountain Healthcare Jones & Associates Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation UMA Financial Services Inc. United Jewish Community Endowment Trust The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAH SYMPHONY

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Individual Donors

ABRAVANEL & PETERSON SOCIETY

$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

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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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