Utah Symphony by Mills Publishing Inc.

THE SOUND of the HUMAN EXPERIENCE

SEPT – OCT / 2015–16 UTAH SYMPHONY SEASON

Stray from the Herd.

LOCALS ONLY $65*

Utah locals ski for as little as $65 per day. Buy your Season Pass or Locals Only Pass online at deerlocals.com, at the Snow Park Ticket Office or by calling 800-424-3337. *some restrictions apply

DEERLOCALS.COM

AND WE HAVE JUST THE CREDIT CARD TO PROVE IT. Nothing is more disappointing than discovering that the reward you earned on your credit card just isn’t that rewarding. Why should you have to wade through some third-party catalog filled with a limited selection of overpriced items you couldn’t care less about? The AmaZing Rewards® Visa® Credit Card from Zions Bank let’s you reward yourself with anything you purchase with the card. So your reward is totally up to you. AmaZing.

Apply online today at zionsbank.com/amazing or visit your local Zions Bank Financial Center. Limited-time offers available!

Credit cards are subject to credit approval. Certain terms, conditions and restrictions apply. Offer available for new credit cards only. All offers subject to change at any time; may not be available with all card types.

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

Beethoven Symphony Festival Nos. 4 & 5

Beethoven Symphony Festival Nos. 1 & 3

September 11, 2015

September 18, 2015

Beethoven Symphony Festival Nos. 8 & 6

Beethoven Symphony Festival Nos. 2 & 7

September 12, 2015

September 19, 2015

56th Annual Salute to Youth

Sci-Fi Spectacular!

September 22, 2015

September 25–26, 2015

75th Anniversary Gala Concert

Märkl conducts Carmina Burana

October 1, 2015

October 23–24, 2015

ART DIRECTOR / PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Kyrsten Holland EDITOR Melissa Robison Cover photo: Thierry Fischer The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.

Tonight’s Concert

6 Welcome 8 Music Director’s Welcome 9 Utah Symphony 10 Board of Trustees 15 Music Director 16 Conductors 20 Season Honorees 26 “Cause for Celebration” 28 Celebrating Maurice Abravanel 30 About Maurice Abravanel Hall 34 Season Sponsors 44 Make It Your Masterpiece 46 Perpetual Motion 50 Tanner & Crescendo Societies 51 Plan Big 53 Utah Symphony Guild 54 Corporate & Foundation Donors 56 Individual Donors 58 Lona Mae Spotlight 59 Upcoming Concerts 60 Classical 89 Broadcasts 62 Administration 67 House Rules 70 Acknowledgments

A Wizarding Halloween Spooktacular! October 27, 2015

Mysterioso: Music, Magic, and Mayhem October 30–31, 2015 5

Welcome

Seventy-five years ago, a dream was realized as the Utah Symphony was set into motion. Over these years the orchestra has constantly evolved and grown with the community, while continuing to inspire and astound audiences with the power of great live music. On behalf of the board and staff, it is our pleasure to welcome you to Abravanel Hall and the beginning of this 75th Anniversary season of great live music provided by the incomparable Utah Symphony Orchestra. This season we celebrate our rich orchestral history through a host of exciting initiatives that will showcase the Utah Symphony in our Hall, throughout our community, and beyond.

Patricia A. Richards Interim President & CEO Dave A. Petersen USUO Board of Trustees Chair

As you celebrate this season with us, we invite you to reflect on the generations of Utahns who have been inspired and changed by the great music played over the years by the Utah Symphony in Abravanel Hall, in the Salt Lake Tabernacle, in Kingsbury Hall, and in school auditoriums and beautiful outdoor settings throughout the state of Utah. The presence of a full-time professional orchestra in our community is only possible thanks to the support of the many community leaders detailed in our Campaign and Season Sponsor listings in this playbill. It is also thanks to you and the millions of other people who have purchased tickets, bought recordings, and otherwise demonstrated the value of great music to their lives. Our vision for the future will propel Utah Symphony to higher artistic achievement and greater prominence for decades to come. We can accomplish this in partnership with you, a great community of citizens who value the performing arts and everything they contribute to our quality of life, our economic development, and the expanding prestige of our state. Sincerely,

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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

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

www.thepainfultruthbook.com

Music Director’s Welcome It is with great pleasure that I welcome you to Abravanel Hall and to this very special 75th Anniversary season! As the seventh Music Director of our marvelous Utah Symphony, I am honored to be a part of this celebration, and incredibly grateful to you, our donors, patrons, and the entire Utah community, for supporting our worldclass orchestra over these 75 seasons. This unique and historic time affords us a wonderful opportunity to express our sincere gratitude to you by creating a distinct season of programming that draws on our deep musical history, our exceptional present-day achievements, and our inspiring artistic vision for the future.

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

Throughout the history of Utah Symphony lives the legacy of Maurice Abravanel, who set an example that still holds us to account so many years later, most notably with his many Mahler performances and recordings. We are thrilled to continue our two-season Mahler cycle by performing his Fifth through Ninth Symphonies, as well as releasing Utah Symphony’s recording of Mahler Symphony No. 1 “Titan,” recorded right here in Abravanel Hall last season. Utah is fortunate to be home to many amazing arts organizations, and this rich tradition of community support for the arts sparked the unique and exciting collaborations we will enjoy with Utah Opera, Ballet West, Utah Shakespeare Festival, The Mormon Tabernacle Choir, and The Madeleine Choir School. By joining with these top-tier organizations in our celebration, we are highlighting the depth and breadth of creative and artistic excellence right here in our very own state. I am thrilled to be opening the season with the Beethoven Symphony Festival, which features Beethoven’s first eight symphonies performed over two weeks, and showcases the amazing talent and hard work of the Utah Symphony musicians. Other upcoming season highlights include the 75th Anniversary Gala Concert featuring classical piano superstar Lang Lang on October 1st, commissions from renowned composers Andrew Norman and Nico Muhly, and an exciting trip to New York in April 2016 to perform at Carnegie Hall. I thank you for your support of our organization and do hope you will join us often as we celebrate this wonderful milestone all season long! Sincerely, Thierry Fischer Music Director

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor

VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Barlow Bradford Symphony Chorus Director

Roberta Zalkind Associate Principal

VIOLIN* Ralph Matson Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair David Park Assistant Concertmaster Alex Martin Acting Assistant Concertmaster Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Hanah Stuart Assistant Principal Second Karen Wyatt •• Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Aubrey Woods †† Julie Wunderle ••

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 Elizabeth Beilman John Eckstein Walter Haman Andrew Larson Anne Lee Kevin Shumway Pegsoon Whang BASS* David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

OBOE Robert Stephenson Principal

Peter Margulies Nick Norton

James Hall# Associate Principal

TROMBONE Mark Davidson Acting Principal

Titus Underwood†† Acting Associate Principal Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell Erin Svoboda Associate Principal Lee Livengood BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollett Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal

UTAHSYMPHONY.ORG

(801) 533-NOTE

Sam Elliot†† Acting Associate Principal BASS TROMBONE Graeme Mutchler TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal LIBRARIANS Clovis Lark Principal Maureen Conroy ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel Nathan Lutz Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member 9

Board of Trustees

ELECTED BOARD David A. Petersen* Chair

Bob Wheaton John W. Williams Thomas Wright

Jesselie B. Anderson Doyle L. Arnold* Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David Dee*

Alex J. Dunn Kristen Fletcher Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Shari H. Quinney Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate Thomas Thatcher

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

Mardean Peterson E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs 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

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John Dâ&#x20AC;&#x2122;Arcy* Treasurer Patricia A. Richards* Interim President & CEO

MUSICIAN REPRESENTATIVES

John Eckstein* Travis Peterson* EX OFFICIO

Donna L. Smith Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Nathaniel Eschler Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee Member

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (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)

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

re di fer sc ra ou l t nt uit ! io n

15 %

A tw sk o- a b w ou ay t ou r

Start Early. Start Right. Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence. The results are unmatched at any price! Come see for yourself. Observe our classrooms any time窶馬o appointment needed.

B e c a u s e Yo u K n o w t h e Va l u e o f E d u c a t i o n An independent private school offering preschool through eighth grade ﾂｩ 2015, Challenger Schools 窶｢ Challenger School admits students of any race, color, and national or ethnic origin.

Tour the British countryside. Be home by dinner.

The British Passion for Landscape

MASTERPIECES FROM NATIONAL MUSEUM WALES

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

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

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

MARCIA AND JOHN PRICE MUSEUM BUILDING

Music Director

Swiss conductor Thierry Fischer recently renewed his contract as Music Director of the Utah Symphony Orchestra, where he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole. Maestro Fischer was Principal Conductor of the BBC National Orchestra of Wales 2006–12 and returned as a guest conductor at the 2014 BBC Proms. Recent engagements have included the Boston Symphony Orchestra, Salzburg Mozarteumorchester, Orchestre de la Suisse Romande, Frankfurt Radio Symphony, Oslo Philharmonic, Rotterdam Philharmonic, Detroit Symphony, BBC Symphony, and London Sinfonietta. In 2015–16 he makes his debut with the London Philharmonic Orchestra (in subscription at the Royal Festival Hall), having recorded a Beethoven CD with them in 2014. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has made numerous recordings, many of them for Hyperion Records, whose CD with Maestro Fischer of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category) in 2012. Maestro Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

UTAHSYMPHONY.ORG

(801) 533-NOTE

Conductors

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

Rei Hotoda Associate Conductor

In September 2015 Ms. Hotoda assumed the titled position of Associate Conductor of the Utah Symphony—the first female to hold this position in the organization’s 75-year history. In this new role, she will play an active role in the orchestra’s education department, conducting family, education, and outreach concerts as well as chamber concerts throughout the state of Utah. Ms. Hotoda previously held the position of assistant conductor with the Dallas Symphony Orchestra, the Winnipeg Symphony Orchestra, and the Cabrillo Festival of Contemporary Music. At the Cabrillo Festival, Ms. Hotoda worked very closely with Marin Alsop, the Festival’s Music Director, as her cover conductor, and led the world premiere of Rafael Hernandez’s Unfadeable. Her deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with such ensembles and artists as the Canadian Brass, Jackie Evancho, Ben Folds, the Indigo Girls, Bridget Kibbey, Pink Martini, Idina Menzel, and Joyce Yang. In addition to her work as a pianist and conductor on Guy Maddin’s film Brand Upon the Brain, she was also a featured actress in a short film by the same director entitled Send Me to the ‘Lectric Chair, starring Isabella Rossellini. Ms. Hotoda studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a Doctor of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music in piano performance from the Eastman School of Music. In addition to her work with the Utah Symphony, Ms. Hotoda’s 2015–16 season include guest conducting debuts with the North Carolina Symphony and Atlantic Classical Orchestra as well as a return engagement with the Winnipeg Symphony Orchestra.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

STEAL THE SHOW.

2015 LEXUS GS 350 F SPORT The 2015 Lexus GS truly deserves the spotlight. And even the toughest critics agree. When AMCI tested the Lexus GS 350 F SPORT, they concluded that it has “better overall handling performance than the BMW 535i M Sport.” 1 With performance this sensational, it’s only natural to take the lead.

LARRY H. MILLER LEXUS MURRAY 5686 S. State Street, Murray (801) 264-3600

306 STANDARD HORSEPOWER 2 SPORT-TUNED SUSPENSION 3.5L V6 ENGINE lexus.com/GS | #LexusGS

LARRY H. MILLER LEXUS OF LINDON 544 S. Lindon Park Drive, Lindon (801) 227-3200

Options shown. 1. AMCI Testing Certified handling performance: 2014 Lexus GS 350 F SPORT versus the 2014 BMW 535i M Sport with rear-steer performance options. 2. Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. ©2014 Lexus.

Conductors

Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Jack Everly Guest Conductor for the September 25â&#x20AC;&#x201C;26 and October 30â&#x20AC;&#x201C;31 Concerts

In 1998, Mr. Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces new theatrical pops programs, including the most recent Classic FM: Decades of Radio Hits. In the past 17 years, more than 275 performances of SPC programs have taken place across the U.S. and Canada. Mr. Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for over 14 years and when not on the podium you can find Mr. Everly at home with his family which includes Max the wonder dog.

Arrive early and enjoy a fun, behind the music lecture for each of our Masterworks concerts. 6:45 PM in the First Tier Room, Abravanel Hall

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah musicians on stage at the Gallivan Center

Big Band Dances Tuesday nights in September. Dance instruction from Ballroom Utah 7:00 PM Concerts every Thursday night in September and October. See excellenceconcerts.org for full schedule

Season Honorees M I LLE N I U M $250,0 0 0 & A B OV E Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received

EDWARD ASHWOOD & CANDICE JOHNSON

between 8/1/2014 and 8/1/2015.

LAWRENCE T. & JANET T. DEE FOUNDATION

KEM & CAROLYN GARDNER

MR. & MRS. MARTIN GREENBERG

CAROL & TED NEWLIN

MARK & DIANNE PROTHRO CORPORATION

SHIEBLER FAMILY FOUNDATION

UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION

JACQUELYN WENTZ

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Season Honorees

GAEL BENSON

DIANE & HAL BRIERLEY

E.R. (ZEKE) & KATHERINE W.† DUMKE

ANTHONY & RENEE MARLON

PATRICIA A. RICHARDS & WILLIAM K. NICHOLS

THEODORE SCHMIDT

NAOMA TATE & THE FAMILY OF HAL TATE

UTAHSYMPHONY.ORG

(801) 533-NOTE

Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E

DOYLE ARNOLD & ANNE GLARNER

DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND

R. HAROLD BURTON FOUNDATION

** THIERRY & CATHERINE FISCHER**

ROGER & SUSAN HORN

EMMA ECCLES JONES FOUNDATION

FREDERICK Q. LAWSON FOUNDATION

EDWARD & BARBARA MORETON

WILLIAM & CHRISTINE NELSON

DR. DINESH & KALPANA PATEL

THE RIGHT REVEREND CAROLYN TANNER IRISH**

GIB & SUSAN MYERS

RESTAURANT TAX RAP TAX

B R AVO $ 50, 0 0 0 & A B OV E

Scott & Jesselie Anderson B. W. Bastian Foundation Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* Janet Q. Lawson Foundation

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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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

Arnold Machinery

Holland & Hart**

S. J. & Jessie E. Quinney Foundation

Mr. & Mrs. William C. Bailey

Richard K. & Shirley S. Hemingway

Simmons Family Foundation

BMW of Murray

Foundation

Harris H. & Amanda Simmons

BMW of Pleasant Grove

Love Communications*

Stein Eriksen Lodge**

Rebecca Marriott Champion

Carol & Anthony W. Middleton,

Summit Sotheby’s

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

Jr., M.D.

Nora Eccles Treadwell Foundation

OPERA America’s Getty Audience Building Program

Vivint M. Walker & Sue Wallace

James A. & Marilyn Parke

Jack Wheatley

Charles Maxfield & Gloria F. Parrish

John W. Williams

Foundation

Workers Compensation Fund

Alice & Frank Puleo

Edward & Marelynn Zipser

Tom & Lorie Jacobson Ronald & Janet Jibson Katharine Lamb Louis Scowcroft Peery Charitable Foundation Marriott Residence Inn* Pete & Cathy Meldrum Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Mount Olympus Waters* Terrell & Leah Nagata National Endowment for the Arts Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation ProTel* David & Shari Quinney Radisson Hotel* Brad & Sara Rencher Dr. Clifford S. Reusch Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund David & Lois Salisbury Salt Lake City Arts Council Lori & Theodore Samuels

Pauline Collins Sells George & Tamie† Speciale Stalwart Films LLC* Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Barbara Tanner Thomas & Kathy Thatcher Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* Utah Symphony Guild

M A E S T R O $10, 0 0 0 & A B OV E

Adobe Scott & Kathie Amann American Express Anonymous Ballard Spahr, LLP Haven J. Barlow Family H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale CenturyLink Howard & Betty Clark Daynes Music* Skip Daynes* Dr. & Mrs. Ralph Earle Sue Ellis Thomas & Lynn Fey Gastronomy* General Electric Foundation Ann & Gordon Getty Foundation Douglas & Connie Hayes Susan & Tom Hodgson Hotel Monaco* Hyatt Escala Lodge at Park City**

See pages 54–57 for an additional listing of our generous donors whose support has made this season possible.

* In-Kind Gift ** In-Kind & Cash Gift † Deceased

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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

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

“Cause for Celebration”

Music has always been a rich and powerful part of my life. From the very early age of three when I started piano, to now, when I perform and collaborate with amazing musicians on almost a daily basis, music has been a constant companion in my life. When I think about music as a whole I can’t separate the sense of celebration and family—these go together handin-hand. On July 8 of this year, I debuted with the Utah Symphony, a precursor to my time as the new Associate Conductor, which started officially this fall.

Rei Hotoda Associate Conductor

What a time it was both personally and professionally! Not only did I get to partner with the fantastic musicians of Utah Symphony, but I got to bring my entire family to be part of the experience. My husband, son, daughter, and stepdaughter—even my mother surprised me on the day of the performance—were there, supporting me and embracing Utah through meeting the musicians, taking in the beautiful natural surroundings, and hearing us perform some incredible music together. It was truly a powerful and moving time for all of us. July 8 was not just the day I made my debut, but it was also my 5th wedding anniversary. I am a true believer that one cannot celebrate an anniversary alone. I am so thrilled that I got to share this day with not only my husband and true partner in life and my family who has supported me since day one, but thanks to Pat Richards and her announcement at the concert, I also got to share it with the warm and welcoming audience. The ”happy anniversary” wishes I received made me and my family feel so special and made the music that much more meaningful. It is an anniversary we will never forget. Every time I hear or play Mozart’s Piano Concerto No.12 or Mendelssohn’s Symphony No. 3, I will think of that time with Utah Symphony. I will remember the feeling of warmth and joy. I will be inspired. Now that we—me, you, my family—embark on an epic celebration of the Utah Symphony’s 75th anniversary, it is your time to make those memorable connections. I cannot wait to see what this season has in store for all of us. Read Rei Hotoda’s biography on page 16.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Utah Symphony celebrates its 75th anniversary by creating special performances with our arts partnersâ&#x20AC;&#x201D;and by participating in events throughout the community. In 2015â&#x20AC;&#x201C;16, we will highlight more than 75 of these community collaborations. Visit usuo.org/festival to see how integral Utah Symphony has become to life in our community.

Celebrating Maurice Abravanel

Maurice Abravanel Past Music Director

The cultivation of the arts and the enhancement of the cultural landscape in Utah owe much to Maurice Abravanel, Music Director of the Utah Symphony for more than three decades. A true global citizen, Abravanel was born in Greece to Spanish and Portuguese parents in 1903. His formative years were spent in Switzerland and he studied in Germany under Kurt Weill, who profoundly influenced his professional life. At the youthful age of 16, Abravanel stepped onto the podium in Switzerland and got his first taste of conducting an orchestra. His abilities soon placed him before the orchestras of several renowned opera houses in Europe, including the Berlin State Opera and the Paris Opera. After two years in Australia, where he left his indelible mark on the orchestra landscape, at 33 years he became the youngest conductor at the time engaged to lead The Metropolitan Opera Orchestra in New York City. Once in the “Big Apple”, he never looked back and Abravanel took to Broadway where he enjoyed acclaim as conductor of all of Weill’s American productions. At the age of 44, and with such vast experience behind him, Abravanel knew what he wanted to accomplish—to build a permanent symphony orchestra of his own. In 1947 he accepted a one-year contract to conduct the fledgling Utah Symphony. The local mountains and the symphony orchestra were both to his liking, and Abravanel stayed, eventually maintaining the position of Music Director for 32 years. The Utah Symphony became recognized as a leading American ensemble largely through his efforts, and during his tenure, the orchestra undertook four international tours, released over 100 recordings, and developed an extensive music education program. From 1954 to 1980, Abravanel also directed the Music Academy of the West in Santa Barbara, California, where young musicians gather for summer music camps. He taught conducting at Tanglewood, where he was appointed artist-in-residence for life. In his later years he received various honors: The American Symphony Orchestra League (now the League of American Orchestras) gave him its Gold Baton in 1981; President Bush presented him with the National Medal of Arts in 1991; and in 1993 Salt Lake City renamed its symphony hall in his honor. The Maestro retired from the podium in 1979, but he remained active in the world of music and in Utah’s cultural community until his death in 1993.  Lowell Durham, Abravanel! (1989). For more information on the history and influence of Maurice Abravanel, please visit the Utah Symphony YouTube channel: www.youtube.com/user/usuovids

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Metropolitan Opera National Council Utah District Auditions

Be there when the next group of young local hopefuls begin their journeys

Saturday, November 14, 2015 Libby Gardner Concert Hall, University of Utah *11:00 AM to 1:00 PM and 2:00 to 5:00 PM: Auditions *5:00 to 5:30 PM: While the judges deliberate, enjoy a reception with the competitors and vote for your favorite singer to receive an audience choice award *5:30 PM: Announcement of the Winner(s)

The auditions are open to the public to view free of admission charge. *Schedule subject to change depending on number of competitors, please visit our website after November 7, 2015 for an updated schedule.

www.UtahMONCAuditions.org The MONC Utah District Auditions are supported in part by the Utah Division of Arts & Museums, with funding from the State of Utah and National Endowment for the Arts, as well as additional support from the Salt Lake City Arts Council, BYU Broadcasting, the University of Utah School of Music, and by the residents of Salt Lake County through the Zoo, Arts & Parks (ZAP) Program.

About Maurice Abravanel Hall The home of Utah Symphony is a true architectural landmark in Salt Lake City and testimony to the community support the orchestra is privileged to enjoy. Originally named Symphony Hall, the building was part of a large downtown project commissioned for Utah’s American Revolution Bicentennial Celebration and opened its doors in 1979. The need for a downtown convention center and arts complex had already been documented in 1961. The Salt Lake City and County Civic Auditorium Committee, in its pivotal study entitled The Missing Link, recommended a civic auditorium complex to anchor the tourist and hotel industry and the performing arts downtown. Yet only plans for the Salt Palace Convention Center were realized initially, as the construction of a proposed music hall exceeded available funds. The report’s ghost author, Dixie Snow Huefner, recalls, “The need for a new concert hall and top-flight acoustical engineering in its design and construction became evident with the help of [Utah Symphony’s] Maestro Abravanel. The report helped educate the community to the artistic potential of a new concert hall.” In 1975 the Utah Bicentennial Commission, chaired by symphony board member Obert C. Tanner, agreed to make a new music hall its priority. The Utah Legislature appropriated $8 million to the Bicentennial Commission, with $6.5 million to be used for the concert hall, and with the provision that the amount be matched by other than state funds. The general understanding had been that this music hall would house the symphony, ballet, opera, and other performing arts, but when acoustic experts advised against a multi-purpose hall, the idea emerged to remodel Capitol Theatre for ballet and opera productions and build a separate symphony hall with an orchestra sound chamber that would rank among the finest in the world. And thus two weeks before the matching-fund deadline passed, Salt Lake County residents voted in favor of a general obligation bond issue that would allow for the construction of Symphony Hall and the adjacent Art Center, as well as the restoration of the historic Capitol Theatre. When the architects’ plans for a world-class concert hall quickly exceeded the available funding and the project was at risk once more, Tanner sought the help of construction manager John Price. By using alternative materials and donating back a portion of his management fees, Price succeeded in completing the three-building project within budget. The dedication of Symphony Hall on September 14, 1979, was possible because of this extraordinary collaboration by all participating parties and because of overwhelming public support. Mirroring the sentiment of O. C. Tanner, who called the downtown arts project Continued on page 32. 30

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Wonderful books, exciting shoes, and amazing finds!

TheA boutique Childrenâ&#x20AC;&#x2122;s Hour for women & Children Follow us on instagram! @thechildrenshour

About Maurice Abravanel Hall the Commission’s “crowning achievement,” Ambassador Price contends today that “these buildings are as magnificent as when they were first built—a tribute to this great community endeavor. All these years later, I still choke up with pride when I visit these edifices for a performance.” To this day, Dixie Huefner, Ambassador Price, and O.C. Tanner’s successors remain outstanding supporters of Utah Symphony. They are frequent guests in this hall, which, in 1993, was renamed in honor of Maurice Abravanel. The goal of achieving acoustic excellence governed all design choices within the hall. Abravanel Hall is a concrete “shoebox” within a brick building, and patrons enter through sound lock corridors designed to isolate the concert hall from the noise of the lobby. Inside the hall, convex-curved surfaces on the walls prevent perfect ninety-degree angles known to have a negative effect on sound. The wood covering the walls and ceiling is not nailed but glued to the concrete hull to avoid sound traveling into the hall from outside. Instead, the wood vibrates with the sounds of the music; large sections of wood resonate with low frequencies, and small facets resonate with high frequencies. The original seating capacity of 2,802 is believed the maximum for acoustical perfection (2,768 seats remain today). The tiers are supported solely from outside the hall itself, which lends them a floating appearance. This visually stunning effect is a fortunate byproduct of the necessity to dispense with sound-obstructing columns. The exterior of the building is a massive three-story wedge of glass and granite-like brick, and soon after the hall opened, generous symphony donors and sponsors provided the funds to give the concert hall an elegance complementary to the acoustical excellence. To help adorn the four-story lobby, O.C. Tanner provided 24-carat gold leaf to cover the grand staircase and a large concrete wall in the lobby, a feature extended into the hall through a contribution by Maurice and Inez Warshaw. Others provided funds for the natural oak and brass used throughout the building and the 18,000 beads of hand-cut Czech and Austrian crystal gracing the six chandeliers. These chandeliers, bought in kits and assembled over hundreds of hours by Symphony Guild volunteers, are considered a special symbol of the community’s love for Utah Symphony. And so is Dale Chihuly’s 30-feet tall blown-glass sculpture, The Olympic Tower, which was on display in the lobby for the duration of the 2002 Winter Olympics. Upon conclusion of the Games, the Salt Lake Organizing Committee raised funds from the community to purchase the sculpture so that it may remain in Abravanel Hall to mark the significance that both the Olympics and Utah Symphony hold in our state. 32

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

A WORLD OF OPPORTUNITIES.

MASERATI GHIBLI, QUATTROPORTE AND GRANTURISMO.

MASERATI OF SALT LAKE CITY

808 South Main St., Salt Lake City, UT 84101 801.521.0340 / www.MaseratiSales.com ÂŠ2015 Maserati North America, Inc. All rights reserved. Maserati and the Trident logo are registered trademarks of Maserati SpA. Maserati urges you to obey all posted speed limits.

Season Sponsors

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

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

MASTERWORKS SERIES SPONSOR

ENTERTAINMENT SERIES SPONSOR

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

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

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

Joanne S hiebler GUEST ARTIST FUND

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

program

Beethoven Symphony Festival Nos. 4 & 5

Beethoven Symphony Festival Nos. 4 & 5 September 11 /

2015 / 7:30PM / ABRAVANEL HALL

THIERRY FISCHER , Con du ctor

BEETHOVEN

Coriolan Overture, Opus 62

BEETHOVEN

Symphony No. 4 in B-flat major, Opus 60 I. II. III. IV.

Adagio - Allegro vivace Adagio Allegro vivace Allegro ma non troppo

/ INTERMISSION /

BEETHOVEN

Symphony No. 5 in C minor, Opus 67 I. II. III. IV.

BEETHOVEN FESTIVAL SPONSOR

UTAHSYMPHONY.ORG

Allegro con brio Andante con moto Allegro Allegro

CONCERT SPONSOR

(801) 533-NOTE

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

F LO R A L S E A S O N SPONSOR

MASTERWORKS

program

Beethoven Symphony Festival Nos. 8 & 6

Beethoven Symphony Festival Nos. 8 & 6 September 12 /

2015 / 7:30PM / ABRAVANEL HALL

THIERRY FISCHER , Con du ctor

BEETHOVEN

Symphony No. 8 in F major, Opus 93 I. II. III. IV.

Allegro vivace con brio Allegretto scherzando Tempo di menuetto Allegro vivace

/ INTERMISSION /

BEETHOVEN

Symphony No. 6 in F major, Opus 68, “Pastoral” I.

II. III. IV. V.

BEETHOVEN FESTIVAL SPONSOR

Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the country): Allegro ma non troppo Szene am Bach (Scene at the brook): Andante molto mosso Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro Gewitter, Sturm (Thunderstorm; Storm): Allegro Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherds’ song; happy and thankful feelings after the storm): Allegretto

CONCERT SPONSOR

MASTERWORKS

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

F LO R A L S E A S O N SPONSOR

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 4 & 5

program notes

1/6

Ludwig van Beethoven (1770–1827)

Coriolan Overture, Opus 62

Symphony No. 4 in B-ﬂat major, Opus 60

INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings.

INSTRUMENTATION: flute, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings.

PERFORMANCE TIME:

8 minutes.

BACKGROUND

Beethoven composed the Coriolan Overture in 1807 for the play Coriolan, a tragedy by the Austrian playwright Heinrich Joseph von Collin. The overture’s premiere was in March 1807 in the home of Prince Franz Joseph von Lobkowitz. The concert was one we can only dream about; it was presented for an invited audience in the salon of an elegant home, with the premieres of Beethoven’s fourth symphony and piano concerto also on the program. WHAT TO LISTEN FOR

Listeners familiar with Shakespeare’s similarly titled play Coriolanus should leave their preconceptions at home. Though both Shakespeare’s and Collin’s plays are based on the life of the ancient Roman leader Gaius Marcius Coriolanus, Shakespeare’s work is far bloodier—a work of horrifying violence. In Beethoven’s overture, the tension between a mother’s gentleness and a military commander’s determination provides the basis for exciting music. Listening to the overture’s dark opening with its C minor theme, we can envision Coriolanus’ forces massing to invade Rome. The sound of maternal concern comes softly, in E-flat major, and the two alternate excitingly, culminating in a masterfully wrought resolution.

UTAHSYMPHONY.ORG

(801) 533-NOTE

PERFORMANCE TIME:

32 minutes.

BACKGROUND

By now we all know something of the mythology of Beethoven’s life—the tormented composer played by Gary Oldman and Harry Baur in the movies and idolized by Charles Schulz’ Schroeder in the comics. There is some truth to all of these clichés. But sometimes it’s the exception that proves the rule, as with his Symphony No. 4. This is a great symphony by perhaps our greatest symphonist, yet somehow it is often overlooked, sandwiched between two more monumental utterances: his No. 3, the “Eroica,” and the fateful No. 5. Beethoven composed the Symphony No. 4 in 1806, when he was at the height of his critical and popular success. By all accounts, the assignment progressed without the usual complications; there was no tortured, endless reworking. The composer Robert Schumann, who was also an insightful critic, famously called the Fourth “a slender Grecian maiden between two Nordic giants.” Another contemporary critic called the result “cheerful, understandable and engaging…closer to the composer’s justly beloved First and Second Symphonies than to the Fifth and Sixth.” In contrast with his usual mode of endless working and reworking of themes, the Fourth was completed with (as far as we know) few preliminary sketches. All in MASTERWORKS

373

Beethoven Symphony Festival Nos. 4 & 5

program notes

all, the symphony seems emblematic of a very productive year for Beethoven. WHAT TO LISTEN FOR

Beethoven opens the symphony in a serene mood. Harmonies shift inconclusively as the movement takes shape in an atmosphere of hushed introspection. A minor mode prevails, and the tension builds. It launches the movement into its formal Classical development—a spirited allegro vivace. Suddenly we are in the midst of a fast movement, rollicking along for the ride.

The second movement, an adagio, is also formally Classical in its development; writing for the Philadelphia Orchestra, Christopher Gibbs has compared the sound to that of Haydn’s “Clock” Symphony; other critics have likened it to Haydn’s Symphony No. 102, the “Miracle.” But this leads to another innovation: an energy-charged scherzo for the third movement in place of the usual stately minuet. This movement, like the first, is an allegro vivace. It sparkles, built up with interlocking elements that are almost fractals; we hear an upward scale that divides itself into the ever more detailed fragments of the scherzo’s fivepart ABABA structure. The symphony’s momentum carries into the fourth movement, an allegro with the driving impulse of a moto perpetuo. In an extended development section, the movement’s themes are explored without a clear sense of the eventual shape of the finale, which actually culminates in the reintroduction of the movement’s main theme. The movement’s whimsical, energetic mood is underscored by this restatement, which is stated by a lone bassoon. After its fancy, fleet solo, the orchestra intervenes to take over the theme with a more 38

MASTERWORKS

2/6

conventional, tutti treatment. Then, in a bit of good-humored exaggeration, the finale works toward its last few bars until its inflated sense of importance seems to deplete, winding down to a pianissimo. At last, with the finish line in sight, one last burst of energy gives voice to the chords that end the symphony. Ludwig van Beethoven (1770–1827)

Symphony No. 5 in C minor, Opus 67 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 2 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME:

35 minutes.

BACKGROUND

This is one of those iconic works of art that we all seem to know from birth – in particular, those four introductory notes that, conveniently enough, conform to the rhythm of the phrase “Beethoven’s Fifth.” According to musicologist Richard E. Rodda, this is “the most famous beginning in all of classical music.” Pounded out once and then repeated a whole step down, this motif really does sound like “fate knocking at the door,” a phrase that has stuck to it ever since Beethoven’s students Anton Schindler and Ferdinand Ries circulated the story. Rodda, for one, has his doubts about whether this idea really originated with Beethoven. But does it matter? Scholars agree that this symphony is a landmark in music, combining the refinement and formal perfection of the Classical period with the philosophical and emotional urgency of UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 4 & 5

program notes

the Romantic age. Beethoven partisans consider him the colossus who fulfilled the promise of one style while defining the challenges of the next—the father of musical Romanticism. His Symphony No. 5 probably makes the strongest case for this idea. He wrote it from 1804 through 1808, a period that also gave us the Fourth and Sixth Symphonies, his Piano Concerto No. 4, the Violin Concerto in D, and three major piano sonatas. But not many of his comments regarding the Fifth Symphony survive from these productive years; in one note, he says there ”begins in my head the working-out in breadth, height, and depth. Since I am aware of what I want, the fundamental idea never leaves me. It mounts, it grows. I see before my mind the picture in its whole extent, as if in a single grasp.” To some listeners, this supports the idea that Beethoven built his magnificent four-movement work on four fateful notes.

3/6

so, the opening movement–which opens so unforgettably with its iconic motif, a rhyming pair of four-note bars–is developed in sonata allegro form. But from the beginning it startles us, and we know something different from the usual is happening. Few moments in music have given rise to such controversy and varying interpretations, and the entire movement–indeed, the entire symphony–is based on this aural jolt.

WHAT TO LISTEN FOR

In the second movement, marked andante con moto, the tension relaxes with a series of lyrical variations on a theme we first hear in the violas and cellos, underlined by the doublebasses. A second theme brings other orchestral voices into play, clarinets and bassoons, along with the ever-present violin choir. After a variation on the initial theme is introduced, a third theme offers an unexpectedly dynamic interplay between orchestral forces, leading to a resolution that is somehow louder and more emphatic than we might have expected from such a gentle opening.

This symphony quickly took on the reputation of a maverick work that challenged the conventions of symphonic structure. Even

In the third movement, built on a scherzo and a trio, we return to the symphony’s opening key of C minor. This movement leads without interruption to the fourth movement, which unites the elements that followed the first movement with the themes of the movements that came later. Transitioning to C major, the symphony closes with an unusually long sequence of C major chords–40 by some counts (it depends upon where you start counting, a matter of some controversy among musicologists–like everything else about this symphony). But there is no dispute that to Beethoven and his predecessors, the key of C major represented light and order. Some musicologists cite Beethoven’s high regard for the composer Luigi Cherubini, who

From the first movement, with its remarkable alternation between exclamation and contemplation, we move to a movement marked andante con moto, built on two themes that Beethoven develops separately; after the tension of the first movement, the second seems spontaneous and almost meandering. But it leads us to a scherzo–fairly common as a third-movement framework in symphonies, but unusually intense in this one. Rather than ending conventionally, the symphony builds over thundering timpani to resolve in radiant C major. It ends in this sun-filled key, having transported us from darkness to light.

UTAHSYMPHONY.ORG

(801) 533-NOTE

MASTERWORKS

395

Beethoven Symphony Festival Nos. 5 & 8

program notes

ended many compositions in this way, as a possible reason; others believe it’s needed to confirm the immensity of the dramatic journey that Beethoven has taken us through, or as a kind of release valve for the tension that has built up in it. The esteemed musicologists Friedrich Kerst and Henry Krehbiel translate Beethoven’s comment this way: “Many assert that every minor piece must end in the minor. Nego! [sic]…Joy follows sorrow, sunshine– rain.” As he does so often, Beethoven has taken us from darkness to light. Ludwig van Beethoven (1770–1827)

Symphony No. 8 in F major, Opus 93 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings. PERFORMANCE TIME:

27 minutes.

BACKGROUND

Numerology, anyone? Classically beautiful and often overlooked, Beethoven’s Symphony No. 8 occupies a position in Beethoven’s symphonic canon between two far more spectacular works: the exuberant No. 7 and the “Choral,” No. 9. Indisputably a masterpiece, it does not suffer by comparison to any of the master’s symphonies. But it does suffer a form of “younger sibling syndrome” that affects Beethoven’s even-numbered symphonies purely by chance. It’s the odd-numbered symphonies that tend to get more attention: No. 3, the “Eroica,” which signaled a revolution in symphonic composition; No. 5, with “fate knocking at the door;” No. 7, with its wildly stated rhythms that Wagner called 40

MASTERWORKS

4/6

“an apotheosis of the dance;” and of course the epoch-making Ninth, which cast its shadow over all the symphonies that came after it. Both the fourth and the eighth have been compared to classical Greek statuary in the perfection of their execution, but do we notice an exquisite Greek nymph when a thundering warrior is standing beside her? Even Beethoven was aware of this anomaly, at least as it affected the Eighth. And judging from contemporary accounts, he was not happy about it. Among the audience at the symphony’s 1814 premiere in Vienna, there were presumably many listeners who were familiar with his Symphony No. 7, and it seems they were underwhelmed by the Eighth. According to one critic, “…[T]he applause it received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight…in short—as the Italians say—it did not create a furor.” Perhaps a louder, longer finale might have provoked more of an ovation. But when Beethoven’s student Carl Czerny asked him why his Symphony No. 8 seemed so much less popular than the Seventh, Beethoven reportedly said “because the Eighth is so much better.” (George Bernard Shaw, an archly finicky music critic as well as a major playwright, concurred with Beethoven’s judgment.) Still, there is a radiant cheer about the Eighth that belies both the unhappy events of Beethoven’s personal life at the time and the pall cast by his increasing deafness. Beethoven began composing this symphony in the summer of 1812, immediately after completing his Seventh. He was 41, and with his mastery of symphonic form in full flower, the work took only four months to complete— very fast work for this most meticulous of UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 8 & 6

program notes

5/6

in which the movement’s opening themes are laced through the movement, recurring at three separate times. Devotees of Beethoven’s Ninth and its innovations will WHAT TO LISTEN FOR note that in this movement, Beethoven The symphony opens briskly in its tonic key introduces timpani tuned in octaves, used of F major, and though Beethoven develops later in the Ninth’s scherzo movement. it in fairly straightforward fashion, he defers its dramatic climax until late in the movement, Despite the complexity of craft, it all ends in a mood of effortless good cheer. Small as the recapitulation section begins. The wonder Tchaikovsky called this movement dynamics are energetic, in keeping with “One of the greatest symphonic masterpieces the movement’s happy mood, reaching of Beethoven.” an extremely loud triple-f marking (say it carefully, accenting the third of five syllables: Ludwig van Beethoven (1770–1827) fortississimo). But the volume dwindles to end the movement in glowing quietude. composers. Unusually, he presented the symphony with no dedication.

The rhythmically precise second movement enfolds something of a mystery: Is it a parody of that newfangled device, the metronome? With improvements developed by Beethoven’s friend Johann Maelzel, the metronome came into wide use around the time Beethoven wrote this symphony, and it became the subject of a number of musical jokes, including a canon called “Ta ta ta…Lieber Maelzel.” To us, as listeners, it makes little difference whether Beethoven’s movement is parody; the effect is dramatic and, yes, somewhat humorous as it launches the movement with staccato sixteenth-note chords. Continuing through the movement, the rhythm takes hold of every section of the orchestra. The symphony’s third movement, a traditional minuet, carries forward the symphony’s emphatic rhythms in an intentionally rustic style. The symphony’s fast-moving fourth movement, marked allegro vivace, is considered the most substantial section of the symphony. It is composed in sonata rondo form, a complex musical architecture UTAHSYMPHONY.ORG

(801) 533-NOTE

Symphony No. 6 in F major, Opus 68, “Pastoral” INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets, 2 trombones; timpani; strings. PERFORMANCE TIME:

39 minutes.

BACKGROUND

The idea of the “Pastoral” Symphony’s nature-loving composer is at odds with our view of Beethoven as Classical music’s Promethean rebel, the man who broke Classical forms to remake them in a crucible of fire. In The Guardian (London), writer Tom Service notes: “...[M]usic history, in particular, likes its battles to be epic, its progress to be heroic, and its most important leaps of imagination to be noisy, radical, and aggressive. It’s as if the Fifth Symphony is the ‘real’ Beethoven–Beethoven as all-conquering hero…the image of Beethoven the natureloving hippy has proved a much less enticing idea for historians to appropriate than Beethoven storming the gates of revolution MASTERWORKS

417

Beethoven Symphony Festival Nos. 8 & 6

program notes

in a blaze of C major glory, as he does at the end of the Fifth.” Yet as Service points out, both images of Beethoven are equally valid; in fact, the master composed the genial, F major Pastoral in tandem with the thundering Fifth–proof, Service says, that “there ain’t just one Beethoven.” Both symphonies premiered on the same date in 1808 at the Theater an der Wien in Vienna, in a concert that lasted four hours. WHAT TO LISTEN FOR

From the opening moments of the first movement, “awakening of cheerful feelings on arrival in the countryside,” we are transported into the heart of an agreeable sonic landscape. A sense of movement through verdant abundance prevails, achieved within a pulsing 2/4 rhythm–close to a living heartbeat. Here Beethoven begins to convey the endless variety of nature through the simplest of means, repeating and layering basic musical gestures in a way that has been compared to living cells, or more recently, fractals.

In the second movement, “scene by the brook,” the spontaneous movement of flowing water is expressed through a dynamic 12/8 time signature–a quality reinforced by “lifting” the movement from the opening’s key of F major to its most closely related neighbor, the dominant B-flat major. The stream’s passage over its rocky bed is conveyed with superb economy: Beethoven mutes two cellos to give voice to the water’s flow over pebbly, pizzicato notes shared with the double-basses. As the movement draws to a close, an airy

MASTERWORKS

6/6

passage with the improvisatory quality of a cadenza brings us into the forest canopy, with its chirping birds–the bobbing sound of two clarinets denoting cuckoos, a flute evoking the nightingale, and an oboe as a calling quail. Duly marked in the score, these bird songs go beyond the orchestra player’s everyday interpretive challenge. In the third movement we come upon a “merry gathering of country folk” who have presumably been having a good year on the farm and are celebrating with dances and revels. Here we return to the original key of F major and the energy of a scherzo pace in danceable 3/4 rhythm. The movement almost seems to stop short–presumably before the celebrants have a chance to get themselves into trouble. The fourth movement brings us Beethoven’s vivid thunderstorm. The effect is a tour de force of realistically descriptive music as the storm gathers with isolated raindrops, then amasses force. We are surrounded with lightning and wind-driven rain until it all abates, with the occasional lightning strike in the distance. Though the symphony is five movements, the fifth follows on the fourth without pause, depicting both the serene radiance of rain-washed skies and the hymnlike “shepherd’s song” of “happy and thankful feelings after the storm.” As the movement builds to an ecstatic close, we can envision the sky-borne rays of sunlight shining through the clouds. Notes By Michael Clive

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

CONSTRUCTION EQUIPMENT MINING EQUIPMENT MATERIAL HANDLING EQUIPMENT GENERAL IMPLEMENT DISTRIBUTORS

Alvin Richer, Chairman

Arnold Machinery Company proudly salutes Maestro Thierry Fischer in Utah Symphonyâ&#x20AC;&#x2122;s 75th Anniversary Season

Salt Lake City, UT; Boise, Idaho Falls, Twin Falls, ID; Reno, Elko, Las Vegas, NV; Tucson, Phoenix, Flagstaff, AZ; Grand Junction, Denver, Johnstown, Colorado Springs, CO; Grand Rapids, Eagan, MN; Jamestown, ND; Gillette, WY, Billings, MT; Portland, OR

www.arnoldmachinery.com

Make It Your Masterpiece

Utah Symphony is back on stage, and what a glorious 75th Anniversary awaits us! This is truly a year of masterpieces, and we invite you to make it your masterpiece by contributing to the Annual Fund. The Annual Fund supports the general operations of USUO, including our educational outreach. Together with our mainstage performances, these programs are at the core of our vision to connect the community through great live music: USUO visits each of Utah’s forty-two school districts on a three- to five-year rotation and reaches roughly 25 percent of the entire state’s K–12 student and teacher populations annually to supplement arts education. USUO also partners with schools, medical facilities, and families to provide performances to our neighbors, friends, and relatives with autism, vision impairments, memory loss, and other special needs, serving differently-abled individuals in our community who have fewer opportunities to attend cultural events. In addition, USUO musicians give more than 1,000 hours of instructional time annually to children, averaging almost three hours per day, every day. This makes USUO one of the largest providers of professional music education in the United States. To offer educational outreach programs free of charge, we rely on institutional support and donations by individuals like you. Please join our grassroots giving campaign by becoming a sustaining patron today: Pledge your support or document a planned gift, and make this season your masterpiece. Please visit usuo.org/support/grassroots-campaign or contact the USUO Development team at 801.869.9015.

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

2015/16 UTAH SYMPHONY SEASON

An invitation to join the

UTAH SYMPHONY YOUTH GUILD As Music Director of the Utah Symphony, I invite all families with children between the ages of 8 and 18 to join the Utah Symphony Youth Guild. The Youth Guild fosters musical excellence through education events, provides service and competition opportunities, and encourages attendance at Utah Symphony and Utah Opera performances by providing specially discounted ticket vouchers. Thierry Fischer Utah Symphony Music Director

THE YOUTH GUILD

inspiring opportunities for your family. Join us for the Salute to Youth concert on September 22 when the Youth Guild Committee will be in the Abravanel Hall lobby before the concert and during intermission to answer your questions about the Youth Guild. TO JOIN THE UTAH SYMPHONY YOUTH GUILD, OR TO LEARN MORE, PLEASE VISIT:

usuoeducation.org/youth-guild or call the Education Department at 801-869-9092.

P E RP ET UAL motion

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

PERP ET UA L motion

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

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

UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION

The 2015–16 season has truly been 75 years in the making. We are grateful for the visionary audacity of our founders, the temerity of our community, and the opportunity to celebrate the legacy given to us today. The momentum and impact of The Campaign for Perpetual Motion, a $20 million public campaign to support special projects and our core priorities in our orchestra, artists, and youth, have set the stage for this celebration and allow us to look forward to the next 75 years. The Campaign began with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. O.C. Tanner also committed an additional $500,000 to our Anniversary season efforts, bringing their total campaign giving to $5.1 million. Now you can join the momentum and contribute to our 75th anniversary celebrations as well as the future well-being of USUO by participating in our grassroots campaign. As Utah’s flagship arts group, Utah Symphony | Utah Opera belongs to the people of Utah. Our patrons and donors have allowed us to reach new heights in artistic excellence over the past 75 years. By becoming a sustaining patron you will help us achieve even more. Find out more at usuo.org/support/grassroots-campaign

UTAHSYMPHONY.ORG

(801) 533-NOTE

P E RP ET UAL motion

We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who are setting the stage for its bright future as lead supporters of The Campaign for Perpetual Motion. FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($5.1 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Corporation Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Anthony & Renee Marlon Scott & Jesselie Anderson Carol & Anthony W. Middleton, Jr., M.D. Doyle Arnold & Anne Glarner Edward & Barbara Moreton Edward Ashwood & Candice Johnson William H. & Christine Nelson Mr. & Mrs. William C. Bailey Carol & Ted Newlin Dr. J. R. Baringer & Dr. Jeanette J. Townsend Scott & Sydne Parker Thomas Billings & Judge Judith Billings Dr. Dinesh & Kalpana Patel R. Harold Burton Foundation Frank R. Pignanelli & D’Arcy Dixon Howard & Betty Clark John & Marcia Price Family Foundation Thomas D. Dee III & Dr. Candace Dee Bert Roberts Deer Valley Resort Theodore Schmidt E.R. (Zeke) & Katherine W.† Dumke The Sam & Diane Stewart Family Foundation Burton & Elaine Gordon Norman C.† & Barbara Tanner Mr. & Mrs. Martin Greenberg The Right Reverend Carolyn Tanner Irish Dell Loy & Lynette Hansen Naoma Tate & the Family of Hal Tate Roger & Susan Horn M. Walker & Sue Wallace Frederick Q. Lawson Foundation Wells Fargo 48

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

A little family time.

Treat your family to a menu of traditional favorites at The Little America Coffee Shop. Call 801.596.5708

SALTLAKE.LITTLEAMERICA.COM

Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Leslie Peterson at lpeterson@usuo.org or 801.869.9012 for more information, or visit our website at usuo.giftplans.org.

Tanner Society of Utah Symphony Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

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

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

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

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

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

Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage

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

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

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Plan Big.

Maurice Abravanel planned big, imagining that Utah Symphony could become a year-round orchestra that reached into every corner of the state of Utah, all while maintaining the highest standard of musicianship. Today, Utah Symphony | Utah Opera is the premier arts organization of the Intermountain West, unmatched in the reach of our state-wide education programs and excellence in both symphonic and operatic music. Imagine our future, with a national reputation on the rise, tours across the state and beyond, renowned recordings, and extraordinary music education programs for the children of Utah. All this while performing with the best voices and musicians in our homes of Abravanel Hall and the Janet Quinney Lawson Capitol Theatre, and on the road. By including USUO in your plans, your legacy will carry us forward, providing us with the support to build on our legacy. To learn more about how your estate planning can benefit USUO and you, please call Leslie Peterson at 801-869-9012, or visit us online at usuo.giftplans.org.

UTAHSYMPHONY.ORG

(801) 533-NOTE

Love without limits

P ucciniâ&#x20AC;&#x2122; s

TOSCA

October 10, 12, 14, 16 (7:30 pm), October 18 (2 pm) Janet Quinney Lawson CapitoL theatre

Would you save your lover by giving yourself to his enemy? Fiery, young diva, Floria Tosca, is forced to play a role she never imagined when she becomes trapped between her allegiance to her rebel lover and the scheming of a vicious police chief who will stop at nothing in his lust for her. The explosive triangle comes to a heart-stopping conclusion in one of operaâ&#x20AC;&#x2122;s most intense dramas.

Season Sponsor:

Tickets start at $18. UTAHOPERA.ORG

801-355-ARTS (2787)

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

THE UTAH SYMPHONY GUILD CONGRATULATES THE UTAH SYMPHONY ON ITS 75TH ANNIVERSARY SEASON. THE GUILD IS PROUD TO CONTINUE SUPPORTING THE SYMPHONY FOR MEMBERSHIP INFORMATION, PLEASE VISIT THE GIFT SHOP LOCATED IN THE LOBBY OR ONLINE AT: WWW.UTAHSYMPHONYGUILD.ORG

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

www.utahsymphonyguild.org

UTAHSYMPHONY.ORG

(801) 533-NOTE

utahsymphonyguild 53

Corporate & Foundation Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000. The following listing reflects contributions received between 8/1/14 and 8/1/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 20–24.

$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation DoubleTree Suites* Spencer F. & Cleone P. Eccles Family Foundation EY Hoak Foundation J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Larry H. Miller Sandy Ford Lincoln Martine* McCarthey Family Foundaton New York LTD Ogden Opera Guild Ruth’s Chris Steak House, Salt Lake City* Sky Harbor Apartments* U. S. Bancorp Foundation Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Rodney H. & Carolyn Hansen Brady Charitable Foundation Castle Foundation

Deseret Trust Company Durham Jones & Pinegar, P.C. Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Goldener Hirsch Inns* Goldman Sachs Victor Herbert Foundation Hilton Hotel* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Kirton | McConkie Lewis A. Kingsley Foundation Marriott City Center* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation Squatters Pub Brewery* Stoel Rives Strong & Hanni, PC Swire Coca-Cola USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Families Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Individual Donors We sincerely appreciate our annual fund contributors who have supported our programs with gifts up to $10,000. The following listing reflects contributions received between 8/1/14 and 8/1/15. For a listing of season honorees who have made gifts of $10,000 and above see pages 20–24. ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (3) Mr. & Mrs. Alan P. Agle Fred & Linda Babcock E. Wayne & Barbara Baumgardner Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Neill & Linda Brownstein Michael & Vickie Callen Ken & Shelly Coburn Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles J. I. “Chip” & Gayle Everest Jack & Marianne Ferraro Mr. Joseph F. Furlong III Ray & Howard Grossman David & SandyLee Griswold** John & Dorothy Hancock Mary P. Jacobs & Jerald H. Jacobs Family Robert & Debra Kasirer Roger & Sally Leslie Mr. & Mrs. Charles McEvoy Hallie & Ted McFetridge Elinor S. McLaren & George M. Klopfer Rich & Cherie Meeboer Brooks & Lenna Quinn Dr. Richard & Frances Reiser Mr. & Mrs. Robert Rollo Peggy & Ben Schapiro Stuart & Molly Silloway Elizabeth Solomon Dorotha Smart Melia & Mike Tourangeau Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (2) Robert & Cherry Anderson Richard† & Alice Bass Charles Black Robert W. Brandt Jonathan & Julie Bullen Brian Burka & Dr. Jerry Hussong Robyn Carter Mark & Marcy Casp

Dr. H. Sam & Kuiweon Cho Hal & Cecile Christiansen Edward & Carleen Clark Mr. & Mrs. Kenneth R. Cutler Gary & Debbi Cook Mike Deputy B. Gale† & Ann Dick Midge & Tom Farkas John F. Foley, M.D. & Dorene Sambado, M.D. Jeffrey L. Giese, M.D. & Mary E. Gesicki Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Annette & Joseph Jarvis James & Penny Keras Hanko & Laura Kiessner Jeanne Kimball Paul Lehman Peter & Susan Loffler Daniel Lofgren David & Donna Lyon Mr. & Mrs. Wayne Lyski Mac & Ann MacQuoid David Mash Richard & Anne Mastain Daniel & Noemi P. Mattis Michael & Julie McFadden Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Christie Mullen Marilyn H. Neilson Leslie Peterson & Kevin Higgins Mr. & Mrs. Alvin Richer Gina Rieke Dr. Wallace Ring Richard & Carmen Rogers William G. Schwartz & Joann Givan Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Glen R. Traylor Ardean & Elna Watts Jeremy & Hila Wenokur David & Jerre Winder Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (4) Craig & Joanna Adamson Fran Akita Drs. Wolfgang & Jeanne Baehr Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge

Mr. & Mrs. William D. Callister, Jr. Raymond & Diana Compton David & Sandra Cope Dr. & Mrs. Thomas Coppin Margarita Donnelly Robert Edwards Mr. & Mrs. Robert Ehrlich Neone F. Jones Family Robert S. Felt, M.D. William Fickling Blake & Linda Fisher Sarah Foshee Robert & Annie-Lewis Garda Heidi Gardner Diana George Susan Glassman & Richard Dudley Randin Graves The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Sunny & Wes Howell Dr. Gary & Christine Hunter Jay & Julie Jacobson M. Craig & Rebecca Johns Dale & Beverly Johnson James R. Jones & Family Mr. & Mrs. Alan D. Kerschner Susan Keyes & Jim Sulat J. Allen & Charlene Kimball Carl & Gillean Kjeldsberg Mr. Darryl Korn & Ms. Jeannie Sias Mr. & Mrs. Christopher J. Lansing Donald L. & Alice A. Lappe James Lether Harrison & Elaine Levy Elizabeth & Michael Liess Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Mr. & Mrs. Kit Lokey Jed & Kathryn Marti David & Nickie McDowell Mike & Jennifer McKee Warren K. & Virginia G. McOmber Mr. & Mrs. Michael Mealey George & Nancy Melling George & Linda Mendelson Matt & Andrea Mitton Dr. Louis A. Moench & Deborah Moench Barry & Kathy Mower Mr. & Mrs. Ralph Muller

Dan & Janet Myers James & Ann Neal Rachel L. Oberg Dr. & Mrs. Richard T. O’Brien Thomas & Barbara O’Byrne Bradley Olch O. Don & Barbara B. Ostler Dr. Thomas Parks & Dr. Patricia Legant Linda S. Pembroke Joel & Diana Peterson Dr. & Mrs. S. Keith Petersen Jon Poesch Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison Thomas Safran Mark & Loulu Saltzman Margaret P. Sargent Shirley & Eric Schoenholz K. Gary & Lynda Shields Gibbs & Catherine W. Smith Christine St. Andre & Cliff Hardesty Jerry Steichen Gerald & Barbara Stringfellow Karen Urankar Dr. Ralph & Judith Vander Heide William & Donna R. Vogel John & Susan Walker Gerard & Sheila Walsh Bryan & Diana Watabe Suzanne Weaver $1,000 to $1,999 Anonymous (3) Carolyn Abravanel Christine A. Allred Patricia Andersen Joseph & Margaret Anderson Drs. Crystal & Dustin Armstrong David & Rebecca Bateman C. Kim & Jane Blair Rodney & Carolyn Brady Timothy F. Buehner Foundation Mr. & Mrs. Lee Forrest Carter William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Carol Coulter Margaret Dreyfous Howard Edwards Dr. Richard J. & Barbara N. Eliason Naomi K. Feigal

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Individual Donors

Mr. & Mrs. Eric Garen Michael & Catherine Geary Ralph & Rose Gochnour Robert & Joyce Graham Dr. & Mrs. John E. Greenlee Robert & Marcia Harris Dr. Alan B. Hayes Lex Hemphill & Nancy Melich John Edward Henderson Mr. John P. Hill, Esq. Steve Hogan & Michelle Wright Connie C. Holbrook The Steven Horton Family Kay Howells David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Jill Johnson Maxine & Bruce Johnson Chester & Marilyn Johnson Mr. & Mrs. Clark D. Jones Dr. & Mrs. Michael A. Kalm Travis & Erin Kester Richard Lane & Andrea Martin Tim & Angela Laros Mr. & Mrs. Melvyn L. Lefkowitz Christopher & Julie McBeth Oren & Liz Nelson Stephen & Mary Nichols Mary Jane O’Connor

Ruth & William Ohlsen Barbara Patterson Rori & Nancy Piggott W. E. & Harriet R. Rasmussen Mr. Bill Reagan Debra Saunders Ralph & Gwen Schamel Deborah Schiller Mr. August L. Schultz Mr. & Mrs. D. Brent Scott Bradley Senet Angela Shaeffer Karen Shepherd Margot L. Shott† Barbara Slaymaker Phillip & Jill Smith Elizabeth Sullentrop Douglas & Susan Terry Carol A. Thomas Mr. & Mrs. Vincent Trotta Robb Trujillo Rachel Varat-Navarro Mr. & Mrs. Brad E. Walton Susan Warshaw Pam & Jonathan Weisberg Michael & Judy Wolfe E. Art Woolston & Connie Jo Hepworth-Woolston Marsha & Richard Workman Mr. & Mrs. Hugh Zumbro

In Honor of Barbara & Steven Anderson Paula J. Fowler David Park Mark & Dianne Prothro Patricia A. Richards Susan Schulman Erin Svoboda Melia Tourangeau In Memory Of Gary & Connie Anderson Jay T. Ball Berry Banks David Wells Bennett Mikhail Boguslavsky Robert H. Burgoyne, M.D. Stewart Collins Kathie Dalton John R. Dudley Carolyn Edwards Loraine L. Felton Neva Langley Fickling Calvin Gaddis Anton Gasca Patricia Glad Gloris Goff Herold L. “Huck” Gregory Carolyn Harmon Duane Hatch Steve Horton Mary Louis Scanlan Humbert Howard Keen Tony Larimer Robert Louis

Beverly Love Clyde Dennis Meadows Chester Memmott Jean Moseley Joseph Palmer Scott Pathakis Chase N. Peterson Klaus Rathke Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader David Bennett Smith John Henry “Jack” Totzke Roger Van Frank David Wagstaff Rick Wallace Sandra Wilkins Bruce Woodward Rosemary Zidow

*In-kind gift **In-kind & cash gift † Deceased Donations as received between 8/1/2014 & 8/1/2015

T H e a r T o f g o o d e aT i n g .

D o w n to w n

60 West Market street (350 south) 801-363-0166 www.newyorkerslc.com

UTAHSYMPHONY.ORG

(801) 533-NOTE

Spotlight on: Lona Mae “The Volunteer Veteran”

Lona Mae Lauritzen has been involved with volunteering for Utah Symphony | Utah Opera for more than 25 years. In honor of the 75th anniversary of the Utah Symphony, we were able to learn more about how she celebrates her involvement with and the impact of the organization on her life. “I was coming to the performances with friends and then was asked if I would go up to Deer Valley® and take charge of the regular line there. The first day I went up there everyone was clustered around the opening and I thought we should do what we did during World War II, we lined up in the order we got there in and no one broke in line and they said, ‘That’s a nice suggestion!’ I became known as ‘The General’ because I would not let anyone break in line.

Lona Mae Lauritzen Volunteer Veteran

I’ve done 11 jobs for the symphony. I’m responsible for greeting at the door at the symphony. I’ve worked on the ball committee and in elementary schools. I’ve done open rehearsals, tours of the building, been a hostess for the Utah Symphony Guild for 20 years, mailings, membership renewal, helped with Finishing Touches and collected items for the auction, but so far I haven’t had to wash windows or sweep. I’ve never seen a performance at the Deer Valley® Music Festival though, I’m always helping. That should say something about my dedication. The Utah Symphony has been like my family. The Symphony very kindly nominated me to be put in the Hall of Fame with the Salt Lake Council of Women and I was one of the winners. When I was hospitalized, they sent me flowers, cards, called, and some people came to see me in spite of the fact that I was extremely contagious. A violinist even came and played for me on her day off. They’ve been wonderful to me. There you have the story of my life since 1989, it has all been the symphony. Actually, that’s what made me get better, because I was so determined to get back there. I just plain love the symphony. I appreciate the music they play for us, their professionalism, and their friendship.”

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

/upcoming concerts Mahler’s Symphony No. 5 November 6 / 2015 November 6 & 7 /

/ FiNiShiNg ToucheS / 10AM / AbrAvANel hAll 2015 / 7:30PM / AbrAvANel hAll

Thierry FiScher, conductor

Colin Currie, percussion

ANDreW NorMAN SWITCH (Utah Symphony Commission / World Premiere) MAhler Symphony No. 5

The Child and the Enchantments with utah opera November 13 & 14

/ 2015 / 7:30PM / AbrAvANel hAll

Thierry Fischer, conductor The Madeleine Choir School rAvel rAvel rAvel rAvel

Utah Opera Chorus Utah Symphony Orchestra

La valse Une Barque sur l’océan Boléro The Child and the Enchantments

Mahler’s “Tragic” Symphony November 20 & 21

/ 2015 / 7:30PM / AbrAvANel hAll

Thierry Fischer, conductor hAyDN MAhler

Symphony No. 6 “Morning” Symphony No. 6 “Tragic”

Enjoy the light, charming sounds of Haydn’s “Morning” Symphony followed by the powerful, emotion-filled expression of mortality in Mahler’s “Tragic” Symphony.

Messiah Sing-in November 28

/ 2015 / 7PM / AbrAvANel hAll

Rei Hotoda, conductor

Kick off your holiday season with the Messiah Sing-In. This cherished tradition invites all to share in the singing of Handel’s masterpiece with the Utah Symphony Orchestra. Bring your family, and your score, and join in on the majesty of Handel’s Messiah.

UTAHSYMPHONY.ORG

(801) 533-NOTE

Classical 89 Broadcasts September 12 / 9:30 AM

BORODIN Prince Igor: Dance of the Polovtsian Maidens

THIERRY FISCHER, Conductor

November 7 / 9:30 AM

J. STRAUSS Im Krapfenwaldl THIERRY FISCHER, Conductor

(recorded 1/3/15)

September 19 / 9:30 AM

BORODIN Prince Igor: Polovtsian Dance with Chorus

November 14 / 9:30 AM STRAUSS Eljen a Magyar!

THIERRY FISCHER, Conductor

(recorded 1/3/15)

THIERRY FISCHER, Conductor

(recorded 1/3/15)

September 26 / 9:30 AM

SHOSTAKOVICH Jazz Suite No. 2

November 21 / 9:30 AM J. STRAUSS Radetzky March

THIERRY FISCHER, Conductor

(recorded 1/3/15)

THIERRY FISCHER, Conductor

(recorded 1/3/15)

November 28 / 9:30 AM R. STRAUSS Ein Heldenleben

October 3 / 9:30 AM

THIERRY FISCHER, Conductor

BERLIOZ Damnation of Faust: Hungarian March

RALPH MATSON, Violin

THIERRY FISCHER, Conductor

(recorded 1/31/15)

(recorded 1/3/15)

October 10 / 9:30 AM J. STRAUSS Künstlerleben

December 5 / 9:30 AM MAHLER Symphony No. 3

THIERRY FISCHER, Conductor

TAMARA MUMFORD, Mezzo-Soprano

(recorded 1/3/15)

WOMAN OF THE UTAH SYMPHONY CHORUS THE MADELEINE CHOIR SCHOOL

October 17 / 9:30 AM

LUMBYE Champagne Galop

THIERRY FISCHER, Conductor

(recorded 2/6/15)

December 12 / 9:30 AM

(recorded 1/3/15)

SHOSTAKOVICH Symphony No. 15, I. Allegretto

October 24 / 9:30 AM

(recorded 1/10/15)

MARK WIGGLESWORTH, Conductor

BRAHMS Hungarian Dance No. 5

THIERRY FISCHER, Conductor

(recorded 1/3/15)

December 26 / 9:30 AM

MOZART Rondo for Piano and Orchestra

MARC-ANDRÉ HAMELIN, Piano ILAN VOLKOV, Conductor

(recorded 11/7/14)

classical89.org 60 89.1

& 89.5 fm

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

OUT ON THE TOWN

dining guide THE NEW YORKER 60 West Market Street. SLC’s premier dining establishment. Modern American cuisine is featured in refined dishes and approachable comfort food. From classic to innovative, from contemporary seafood to Angus Beef steaks – the menu provides options for every taste. Served in a casually elegant setting with impeccable service. Private dining rooms for corporate and social events. Lunch & Dinner. No membership required. L, D, LL, AT, RR, CC, VS. 801.363.0166

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

Salt Lake City’s #1

MARKET STREET GRILL DOWNTOWN 48