Utah Symphony by Mills Publishing Inc.

THE SOUND of the HUMAN EXPERIENCE

SEPT – OCT / 2015–16 UTAH SYMPHONY SEASON

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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

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

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Tour the British countryside. Be home by dinner.

The British Passion for Landscape

MASTERPIECES FROM NATIONAL MUSEUM WALES

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

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

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

MARCIA AND JOHN PRICE MUSEUM BUILDING

Music Director

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

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

UTAHSYMPHONY.ORG

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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

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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

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“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

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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

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 1 & 3

program

Beethoven Symphony Festival Nos. 1 & 3 September 18 /

2015 / 7:30PM / ABRAVANEL HALL

THIERRY FISCHER , Con du ctor

BEETHOVEN

Symphony No. 1 in C major, Opus 21 I. II. III. IV.

Adagio molto - Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio - Allegro molto e vivace

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BEETHOVEN

Symphony No. 3 in E-Flat major, Opus 55, “Eroica” I. II. III. IV.

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Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

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Beethoven Symphony Festival Nos. 2 & 7

program

Beethoven Symphony Festival Nos. 2 & 7 September 19 /

2015 / 7:30PM / ABRAVANEL HALL

THIERRY FISCHER , Con du ctor

BEETHOVEN

Symphony No. 2 in D major, Opus 36 I. II. III. IV.

Adagio molto - Allegro con brio Larghetto Scherzo: Allegro Allegro molto

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BEETHOVEN

Symphony No. 7 in A major, Opus 92 I. II. III. IV.

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Poco sostenuto - Vivace Allegretto Presto - Assai meno presto Allegro con brio

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UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 1 & 3

program notes

Ludwig van Beethoven (1770–1827)

Symphony No. 1 in C major, Opus 21 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings. PERFORMANCE TIME:

25 minutes.

BACKGROUND

According to scholarly consensus, Beethoven was nervous about tackling two of the musical forms for which we know him best–the symphony and the string quartet–and waited until he felt ready. Did he reserve them as a self-imposed rite of passage? Haydn, whom he revered as a teacher, was the reigning master of these forms and had virtually defined the rules for composing them. Haydn’s 12 “London” symphonies had scored a huge success in London, and Beethoven, having heard them, began composing a symphony of his own when he was in his mid-twenties. Sketches dating back to 1794 contain musical materials that Beethoven incorporated into this symphony. But he tabled them, and did not complete the process of composing this symphony until 1800, when he was almost 30. By then he had already demonstrated his abilities in most of the important musical genres of his day. Appropriately, the year was 1800; Europe was on the cusp of a new century and Beethoven was approaching the end of his “early” period, not yet facing the trial of his progressive deafness. He had every reason to approach the symphonic form with confidence, investing it with Classical grace and new ideas. He dedicated the work to his patron Baron Gottfried van Swieten, and premiered it in Vienna in April 1800. It was greeted with enthusiasm. Though to us it does UTAHSYMPHONY.ORG

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not suggest the form-breaking innovations of later Beethoven compositions, contemporary listeners hailed it as innovative and bold. WHAT TO LISTEN FOR

We can hear Viennese tradition throughout Beethoven’s First, and in particular the influence of Haydn and Mozart. But even as the symphony opens, we sense harmonic adventurism, as a series of unstable chords resolves without returning to the movement’s “home” until after a long introduction keeps us in suspense. It’s a fascinating passage that foreshadows the even longer and more elaborate development sections we hear in later Beethoven. The opening of the second movement echoes that of the first by introducing a key interval we heard before–a perfect fourth. But this movement, too, combines tradition with boldness, by relying unusually heavily on the woodwinds and trumpets in its scoring. Emphatic timpani lend a muscular quality to the sound. The third movement is labeled a minuet, but it is far from the discreet, stately minuets frequently encountered in Haydn’s symphonies. Instead it is rhythmically vigorous, with a speedy allegro marking that suggests the ebullient scherzos we hear in Beethoven’s later symphonies. In an intervening trio, many listeners hear humor in the scrambling string passages that sandwich themselves between woodwind phrases. The fourth movement brings the symphony into a symmetrical arc with a slow, deliberate opening that resolves in a way that recalls the first movement’s mysterious opening and meandering chords. Incorporating fragments of scales rather than more conventional melodies, the symphony again foreshadows a “Beethovenian” principle we encounter later: it’s not the melody that counts, but what the composer does with it. Note by exciting MASTERWORKS

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note, rising phrases in the violins culminate in an emphatic finale. Ludwig van Beethoven (1770–1827)

Symphony No. 3 in E-ﬂat major, Opus 68, “Eroica” INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 3 horns, 2 trumpets; timpani; strings. PERFORMANCE TIME:

47 minutes.

BACKGROUND

Haydn wrote 104 symphonies. Mozart, who died when he was only 35, wrote 41. Yet Beethoven’s Ninth Symphony was his last. After that, the form seemed more formidable, and the idea of composing dozens of symphonies in one lifetime passed into history. Composers began to think of the number nine as an upper limit for symphony composition, or even a jinx. Clearly, Beethoven had done something to change the way the music world thought about symphonies. What was it? If one symphony can be called a turning point in the way Beethoven and the world viewed the form, it is the “Eroica.” Where Beethoven’s first two symphonies are graceful and decorously Classical, with the influence of Haydn and Mozart clearly heard, the Symphony No. 3 is a bold musical utterance that is longer in duration and bolder in its ideas than were its predecessors–literally a “Sinfonia Eroica,” or heroic symphony. But this title, which Beethoven himself appended to the symphony, was a last-minute revision of his original idea. Always concerned with the important ideas and events of his time, Beethoven had Napoleon Bonaparte in mind as the hero of this work. Like many 38

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intellectuals who opposed the oppressive regimes of central Europe, Beethoven saw Bonaparte as a potential savior. As early as 1798, Beethoven considered writing a symphony inspired by Napoleon. Significantly, he composed much of the music for it during the summer of 1803, the year after he wrote the Heiligenstadt Testament—the unsent letter to his brothers that revealed the depths of his feelings about his life, art, and encroaching deafness. In our modern understanding of Beethoven’s lifetime of achievement, the Heiligenstadt Testament marks his transition from a young Classical composer to a unique musical mind grappling with ideas in a way no composer had done before. The “Eroica” Symphony received its premiere performance in December 1804 in a private concert at the home of Prince Lobkowitz in Vienna. It was brought before the public at Vienna’s Theater an der Wien in April 1805. WHAT TO LISTEN FOR

With stentorian E-flat chords rumbling through the orchestra, the “Eroica” Symphony opens with the largest orchestral movement composed up to that time. And though in those hugely scaled opening moments we don’t know how long the movement may last, the symphony already sounds “big” in its beginnings. These sonic blasts are followed by cello voices that suggest a main theme. But does this movement really have a “main theme” at all? The musical phrases we hear seem more concerned with movement and with a sense of tension, and it is through these means that the symphony builds a feeling of fateful importance within us. In the slow movement that follows, the sense of building tension continues, as if the symphony were brooding over the events of history as they take shape. This movement has come to be known as a funeral march; UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 3 & 2

program notes

the critic Paul Bekker, for one, described it as conveying “the emotions of someone watching the funeral procession from afar, passing by, and then fading in the distance.” But this is a halting rhythm—slow, yes, but not conducive to marching. Its solemnity seems to freeze and overwhelm us. Do we hear the sound of mourning for the past, or does the movement point us toward a dark, challenging future? This is one of the first symphonic movements whose slowness and gravity send a hush through the concert hall, and it remains one of the most seriously affecting movements in music. It is accorded a special reverence among musicians. Tellingly, when the news of George Szell’s death reached Leonard Bernstein at Tanglewood in July 1970, Bernstein led the players of the Boston Symphony Orchestra in an unscheduled, emotion-charged performance of this movement in tribute to the Hungarian-born conductor. Reportedly, there were not enough scores to go around– but the players did not need them.

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as the awakening of a sleeping giant, but surely it is the symphony’s hero rising up. As the movement takes shape into a triumphant march, we can imagine the hero marching into a historic destiny as the symphony’s finale blazes with light. Ludwig van Beethoven (1770–1827)

Symphony No. 2 in D major, Opus 36 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 2 horns, 2 trumpets; timpani; strings PERFORMANCE TIME:

34 minutes.

BACKGROUND

With the third movement, the shape of the symphony begins to emerge as an Orphic struggle through darkness and toward light. It begins with surprising softness, in a trio dominated by horns. The effect refreshes us and provides a sense of hope. And it propels us toward a fourth movement that surges with triumphant energy.

For musicologists and critics, the temptation to draw connections between a composer’s life and music is often irresistible. As listeners, we do this, too—hence the popular misperception of Mozart and Schubert, with their endless stream of lucid melodies, as cheerful innocents. Not even the life of Beethoven, who used composition to grapple with philosophical ideas and personal concerns, can be viewed in this way. There is no direct correlation between the “tone” of his experiences and the music he wrote, and there is no better proof of this than the Symphony No. 2.

Listeners who know their Beethoven are more than familiar with the melody that dominates the fourth movement of the “Eroica;” it is also heard in his ballet The Creatures of Prometheus and in the piano variations of Opus 33. But this melody, framed for the ballet, is just a catchy, danceable tune, cheerful and lyrical. In the “Eroica” it is something much more—an expression of apotheosis, joyful and heroic. Many listeners have described this movement

Beethoven approached the symphony with some deference. When he completed his Symphony No. 1 in 1800, he was almost 30, but still strongly showing the influence of his teachers Haydn and Mozart—the period musicologists call “early Beethoven.” In fact, the impetus for this initial foray may have been Haydn’s 12 very successful “London” symphonies, which combine inventiveness with elegance of craft; we know that Beethoven had listened to them and began

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Beethoven Symphony Festival Nos. 2 & 7

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writing a symphony in 1794, but deferred the project. He began composing his Second Symphony in 1801, about a year after completing the First. Though he was already a mature musician, this early period is as close as Beethoven ever came to “coloring inside the lines.” The melodies are graceful and their development is decorous, largely conforming to classical norms. Hearing them, we might guess their composer was unconflicted and optimistic. We would be wrong. As the distinguished music historian Piero Weiss pointed out when Hollywood came knocking at his door for a Beethoven biopic, we can’t hear Beethoven’s life in his music. When the producers asked Weiss what Beethoven was composing when he learned he was going deaf, he told them it was the Symphony No. 2—“the happiest music he ever wrote.” The chronology bears out Weiss’ contention. And, ironically, so does the soundtrack of an earlier Hollywood feature. Beethoven was living in the town of Heiligenstadt outside Vienna while working on the Symphony No. 2. Though he imbued the music with cheer and buoyant energy, his hearing loss was very much on his mind—in fact, he had moved out of the city in the hope that the country life might slow or reverse the course of his deafness. Continuing deterioration confirmed his worst fears. It was then that Beethoven wrote his famous “Heiligenstadt Testament”—a letter to his brothers that harrowingly described the bleakness he felt. “…What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing,” he wrote. “Such incidents drove me almost to despair; a little more of that and I would have ended my life—it 40

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was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.” He never sent the letter. And in 25 additional years of life, his art proved stronger than his despair. Beethoven returned to Vienna after completing the Symphony No. 2 and led its premiere performance at the Theater an der Wien. Also on the program were the premiere of his oratorio Christ on the Mount of Olives, his Symphony No. 1, and his Piano Concerto No. 3 (with Beethoven as soloist). WHAT TO LISTEN FOR

Beethoven enthusiasts sometimes challenge listeners by choosing a passage from Beethoven’s early period: is it Haydn, Mozart or Beethoven? The strongest aspects of resemblance lie in the pleasing euphony of the melodies in such works as the first two symphonies and piano concertos. Of these, the Symphony No. 2 is deemed a high point of the master’s early Classical style. But in it we can hear some of the boldness of orchestration that would become even stronger in Beethoven’s later works. For example, the first movement begins with an emphatic introduction that is rhythmically complex and surprising. For those listeners expecting the kind of tranquil predictability they might hear in Haydn, blasts from the horn section come as a jolt—strong dynamic contrasts that are a departure from Haydn’s elegant restraint.

Here’s a similar challenge for old-time movie buffs: Can you identify the classic Hollywood feature that confirmed musicologist Piero Weiss’ contention about this symphony? It’s Born Yesterday, the romantic comedy with Judy Holliday, William Holden, and Broderick Crawford. We know that Holliday’s and Holden’s UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

Beethoven Symphony Festival Nos. 2 & 7

program notes

characters will fall in love when they listen to an outdoor concert on the Potomac River, near where the infamous Watergate Hotel now stands. The music they hear—the second movement, marked larghetto, from Beethoven’s Symphony No. 2—is deeply and radiantly happy, as full of the joy of living as anything Beethoven ever wrote. Ludwig van Beethoven (1770–1827)

Symphony No. 7 in A major, Opus 92 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 3 horns, 2 trumpets; timpani; strings. PERFORMANCE TIME:

36 minutes.

BACKGROUND

When we think of Beethoven as the Promethean composer who broke boundaries and reinvented forms, his symphonies immediately come to mind; the word “fun” does not. Yet “fun” is a word often seen in critical appreciations of his Symphony No. 7. Its exuberance makes it seem like a symphony of joyful first movements and exciting climaxes, with scarcely a relaxed moment. Richard Wagner, in one of the most oft-quoted descriptions in music history, called Beethoven’s Seventh an “apotheosis of the dance.” This does not suggest that the symphony’s emphatic rhythms lend themselves to particular dance steps or to classical choreography; instead, their intense energy captures the feeling of explosive, spontaneous movement. And most commentators agree that it’s the rhythms that get us—not the more intimate, rustic suggestions of country dances in the “Pastorale,” but large-scale, buoyant, driving meters. Despite the appeal of this symphony’s elemental melodies, its powerful rhythmic drive is the work’s emotional UTAHSYMPHONY.ORG

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propeller, thrilling us with a feeling of palpable freedom, like riding in a convertible with the top down on a beautiful, empty road. It’s all we can do to keep from jumping out of our seats with leaping gestures that match our feelings about the music as we listen. Four years elapsed between the pastoral lyricism of his Symphony No. 6 and the completion of Beethoven’s Seventh Symphony in 1812, a longer interval than between any of his other consecutively numbered symphonies. During that time, he suffered setbacks including the end of his engagement to Countess Theresa Brunswick, which had been announced in1806. But if his romantic life was in stasis, his music was progressing during this period. It saw the composition of many other important works, including his string quartets in E-flat (Opus 74) and F minor (Opus 95); theatrically inspired music for Egmont, King Stephen and the Ruins of Athens; the Choral Fantasy; two piano sonatas, the F-sharp minor and “Les Adieux”; the trios in E-flat and D (Opus 70), and in B-flat (Opus 97); and more. Beethoven’s engagement with the great ideas of his day, and his impulse to express them in musically dramatic terms, are reflected in his major works that we associate with Napoleon. The “Eroica” Symphony (No. 3) and the “Emperor” Concerto are prominent among these, and his Seventh Symphony deserves a place among them. It received its first public performance in 1813 at a concert in Vienna, produced to benefit soldiers wounded at the battle of Hanau, where Austrian and Bavarian troops had attempted to cut off Napoleon’s army as it retreated from Leipzig. Though Beethoven had once viewed Napoleon as a champion of human values, he was by this time openly hostile to the emperor. Another Napoleonic work, Wellington’s Victory, was on the program with the premiere of the Symphony No. 7. MASTERWORKS

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The benefit performance brought together many of the most renowned musicians of the time not just as listeners, but into the orchestra itself—including the eminent composers Louis Spohr, Giacomo Meyerbeer and Johann Nepomunk Hummel, and Moscheles. Even Beethoven’s teacher (and Mozart’s storied rival) Salieri was there. The sense of occasion and the buoyancy of the music produced a hugely enthusiastic response. At the premiere and for decades afterward, audiences demanded that the second movement be encored. On the other hand, some of the professional musicians in the audience felt that the symphony was not just spectacular, but chaotic — notably Friederich Wieck, Schumann’s father-in-law, who described it as the work of a drunken composer. History has been kinder in judging this symphony’s intoxicating, nearly ecstatic energy. WHAT TO LISTEN FOR

This symphony’s bold, peppery repetitions, which took some of Beethoven’s contemporaries by surprise, begin in its first movement. An expansive introduction is marked poco sostenuto, with long, ascending scales. It then gives rise to a lively Vivace that begins the symphony’s dancing rhythms (with no fewer than 61 repetitions of the note E along the way). Sudden shifts in dynamics and jagged modulations intensify the feeling of unceasing spark and pulse. To many listeners, the second movement’s use of repetition is the most remarkably modern aspect of Beethoven’s Seventh. In most symphonies, a movement marked Allegretto might seem relatively quick; in Beethoven’s Seventh, it is the second and slowest of the four movements. But it is the movement’s use of repetition that belies its date. The impression of melody and energy is built on repetition rather than

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tune, looking forward to the more modern ideas of motivic and gestural development rather than a traditional, hummable theme. The development begins in the violas and cellos and moves to the violins as the violas and cellos transition to a second theme. This rotation continues with the original melody moving to the winds while the second melody moves to the first violin. This movement, with its fluid interplay of themes throughout the orchestra, has retained its popularity and has often been encored in performance. The third movement is comprised of a scherzo in F major paired with a trio in D major; the trio is based on a stirring Austrian pilgrims’ hymn, and incorporates a typically thorough development section—not just “ABA,” but “ABABA,” a pattern we also encounter in Beethoven’s Symphony No. 4 and in the second string quartet from his Opus 59. If the Seventh Symphony shocked some of Beethoven’s contemporaries, it is probably because of the lasting impression of its final movement, which is explosive in its energy; the musicologist Donald Tovey references its “Bacchic fury,” a phrase connoting a sense of abandon that is almost frightening. Dynamically, it is dominated by a triple-f marking that is extremely rare in Beethoven’s scores; in terms of sheer, sustained loudness, it’s hard to imagine going beyond this movement without resorting to cannon fire. The main melody, with its vivid impressions of whirling and stamping movement, is derived from Beethoven’s arrangement of an Irish folk song, “Save Me From the Grave and Wise” (one of 12 such songs he arranged). Today, of course, the emotions conveyed by this movement are not shock and surprise so much as ecstasy and triumph. Notes By Michael Clive

UTAH SYMPHONY 75 TH ANNIVERSARY SEASON

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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

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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)

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

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

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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

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