Emanuel Ax Plays Beethoven's "Emperor" by Mills Publishing Inc.

2016–17 UTAH SYMPHONY SEASON / SEP – OCT

COVER

THE SOUND of INSPIRATION

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Contents

September & October 2016 Performances Purchase tickets at utahsymphony.org or call 801-533-6683

6 Welcome

SEPTEMBER 9–10 | 7:30 PM

8 Utah Symphony

BEETHOVEN & TCHAIKOVSKY

10 Board of Trustees 15 Associate Conductor 16 A Look Ahead 17 Season Sponsor

SEPTEMBER 13 | 7:30 PM

20 Meet Madeline Adkins

MARY ANNE HUNTSMAN PERFORMS RACH 2

26 What is a Concertmaster? 29 Paul Meecham Q&A 33 Tagged & Hashtagged! 34 Season Sponsors

SEPTEMBER 16–17 | 7:30 PM

35–42 Tonight's Concert(s)

EMANUEL AX PLAYS BEETHOVEN’S “EMPEROR”

44 Support USUO 46 Perpetual Motion 48 Season Honorees

SEPTEMBER 23–24 | 7:30 PM

54 Corporate & Foundation Donors

SOUL UNLIMITED FEATURING ELLIS HALL

55 Individual Donors 58 Tanner & Crescendo Societies 59 Legacy Giving 62 Administration

SEPTEMBER 27 | 7 PM

67 Classical 89 Broadcasts

SALUTE TO YOUTH

68 Utah Symphony Guild 68 House Rules 71 Education

OCTOBER 21–22 | 7:30 PM

72 Acknowledgments

RACHMANINOFF’S PIANO CONCERTO NO. 3 Program notes and artist bios for upcoming and past performances are available on utahsymphony.org.

OCTOBER 25 | 7 PM

HALLOWEEN SPOOKTACULAR ON THE SEVEN SEAS! OCTOBER 28–29 | 7:30 PM

SUPERHEROES!

@UtahSymphony

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

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

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

Welcome

On behalf of the board, musicians and staff of Utah Symphony | Utah Opera, it is my great pleasure to welcome you to Abravanel Hall and tonight’s concert. Since joining USUO on July 1 as President and CEO, I’ve had the chance to meet some of the many people involved with this great organization and to immerse myself in our Deer Valley® Music Festival. Before arriving, I admired from afar the many ways that USUO is garnering attention in the arts world and was honored to join the Utah Symphony’s stunning 75th anniversary celebration concert in Carnegie Hall last April. I am now thrilled to have the opportunity to enjoy every week with this ensemble of exceptional musicians playing great symphonic masterworks in the acoustically superior space that this community built to showcase them. It was with great enthusiasm that I accepted the offer to lead Utah Symphony | Utah Opera. I am very excited about its potential and the opportunity to work with its forwardthinking artistic leaders, Thierry Fischer and Christopher McBeth, our world-class musicians, and its trustees, staff, volunteers and supporters. Our shared vision for the future is to continue to grow and excel in artistic achievement as we connect and serve this community through great live music. Enjoy tonight's concert! Paul Meecham President & CEO Utah Symphony | Utah Opera

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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Rei Hotoda Associate Conductor Barlow Bradford Symphony Chorus Director VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second

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

ENGLISH HORN Lissa Stolz

BASS TROMBONE Graeme Mutchler

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

TUBA Gary Ofenloch Principal

Erin Svoboda Associate Principal

Eric Hopkins Associate Principal

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

TIMPANI George Brown Principal

PERCUSSION Keith Carrick Principal Eric Hopkins Michael Pape KEYBOARD Jason Hardink Principal

Wen Yuan Gu Associate Principal Second

BASS* David Yavornitzky Principal

Hanah Stuart Assistant Principal Second

Corbin Johnston Associate Principal

Leon Chodos Associate Principal

Leonard Braus• Associate Concertmaster Emeritus

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

CONTRABASSOON Leon Chodos

ORCHESTRA PERSONNEL Llewellyn B. Humphreys Acting Director of Orchestra Personnel

HORN Edmund Rollett Acting Principal

Nathan Lutz Orchestra Personnel Manager

Karen Wyatt•• Jerry Chiu• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Paige Kossuth†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian Lynnette Stewart Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal

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

Jennifer Rhodes

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

LIBRARIANS Clovis Lark Principal Maureen Conroy

STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

Sam Elliot†† Acting Associate Principal

Lissa Stolz

UTAH SYMPHONY

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Board of Trustees

ELECTED BOARD David A. Petersen* Chair

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

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

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

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

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

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

TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates

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

E. Jeffrey Smith Barbara Tanner

HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous

Lisa Eccles Spencer F. Eccles The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson O. Don Ostler Stanley B. Parrish

Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts

NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Chair (Utah)

Susan H. Carlyle (Texas)

Harold W. Milner (Nevada)

David L. Brown (S. California)

Robert Dibblee (Virginia)

Marcia Price (Utah)

Anthon S. Cannon, Jr. (S. California)

Senator Orrin G. Hatch (Washington, D.C.)

Alvin Richer (Arizona)

William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John Dâ&#x20AC;&#x2122;Arcy* Treasurer Paul Meecham* President & CEO

MUSICIAN REPRESENTATIVES

Travis Peterson* Karen Wyatt* EX OFFICIO

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

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Music Director

Swiss conductor Thierry Fischer was appointed Music Director of the Utah Symphony in 2009 and his current contract is in effect through 2019. During his tenure, he has revitalized the music-making and programming, and brought a new energy to the orchestra and organization as a whole as demonstrated vividly during the organization’s recent 75th Anniversary celebrations. The pinnacle of these celebrations featured Maestro Fischer conducting the Utah Symphony at New York City’s Carnegie Hall. 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 made 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. Their CD 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 has also recorded works with the Utah Symphony including Mahler Symphony No. 1 and a trio of pieces commissioned for the orchestra’s 75th anniversary season—EOS, Goddess of the Dawn by Augusta Read Thomas, Control by Nico Muhly and Andrew Norman’s concerto for percussion, Switch. 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. 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.

UTAHSYMPHONY.ORG

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Associate Conductor

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

Rei Hotoda Associate Conductor

In September 2015, Ms. Hotoda was appointed to the position of Associate Conductor of the Utah Symphony—the first female to hold this position in the organization’s 75-year history. As Associate Conductor she plays 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’ 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. Ms. Hotoda's 2016–17 season includes guest conducting debuts with the Toledo Symphony Orchestra, Fresno Philharmonic, San Luis Obispo Symphony Orchestra, Symphony Nova Scotia, and a return to the Thunder Bay Symphony.

UTAH SYMPHONY

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A Look Ahead NEW SEASON. NEW CYCLES. One of the hallmarks of Thierry Fischer’s tenure as Music Director has been his composer cycles with past seasons featuring all the symphonies of Beethoven, Mendelssohn, Nielsen, and Mahler. This season you’ll experience not one, but three composer cycles. The excitement starts with the opening of the 2016–17 season in September and two back-to-back weekends of Beethoven as the Beethoven Piano Concerto cycle begins. Jonathan Biss performs Piano Concerto No. 1 on September 9 and 10, and Emanuel Ax performs Beethoven’s “Emperor” Concerto on September 16 and 17. This program will also feature Brahms' Symphony No. 1, marking the start of the Brahms symphony cycle. Maestro Fischer’s third symphony cycle devoted to Ives begins in November. EXPERIENCE THE RETURN OF EMANUEL AX It has been more than a decade since Grammy-winning pianist Emanuel Ax has performed at Abravanel Hall. On September 16 and 17, he returns to perform Beethoven’s “Emperor” Concerto on a program that also features Beethoven’s Overture to Fidelio and Brahms’ Symphony No. 1 under the direction of Music Director Thierry Fischer.

GET READY TO RACH! Many know Mary Anne Huntsman as the daughter of former governor Jon Huntsman, but she’s also a concert pianist who has toured the world performing in recitals, with orchestras, and for world dignitaries including Condoleezza Rice, Jimmy Carter, Margaret Thatcher, and many others. On September 13, she performs Rachmaninoff’s Piano Concerto No. 2 with the Utah Symphony for the 2016–17 season opening gala concert. Also on the program is Beethoven’s Symphony No. 5.

Purchase tickets at utahsymphony.org or call 801-533-6683 18

UTAH SYMPHONY

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A Look Ahead THE AMBASSADOR OF SOUL Our Entertainment Series starts on September 23 and 24 with Soul Unlimited, a tribute to Ray Charles, Motown, and more featuring the “Ambassador of Soul” Ellis Hall. In 2001, Mr. Hall met Ray Charles, who took him under his wing and signed him as the only other artist on his label. They worked together on the album Straight Ahead. Following its success, journalist Catherine Mabe declared of Ellis Hall that Charles “appointed an heir apparent to his R&B throne.” Shortly after Charles’ death in 2004, Ellis Hall put together a tribute to Ray Charles and began touring and performing it with orchestras. 57TH ANNUAL SALUTE TO YOUTH In 1959, Maestro Maurice Abravanel began selecting several talented young musicians to perform as soloists with the Utah Symphony. This tradition has continued every year since with past soloists including many future Utah Symphony musicians and others who have gone on to have international solo careers. The 57th annual performance on September 27 features Bree Fotheringham (age 18), Makenzie Hart (age 13), Ellen Hayashi (age 13), Amanda Hofheins (age 17), Matthew Nielson (age 16), Megan Tandar (age 10), Olivia Torgersen (age 17), Monet Wilson (age 14), and Kana Yoshigi (age 17). RACHMANINOFF’S PIANO CONCERTO NO. 3 The week before the Utah Symphony took the stage at Carnegie Hall in New York City last April, Andrey Gugnin was there performing a solo recital in the Weill Concert Hall. The Russian pianist, who was the gold medalist and audience choice winner at the 2014 Gina Bachauer Piano Competition, performs Rachmaninoff’s Piano Concerto No. 3 on October 21 and 22 under the direction of conductor Juraj Valcuha. Visit our website to preview his performance.

Read ahead about our upcoming performances. Program notes and artist biographies for upcoming concerts are available online at www.utahsymphony.org. UTAHSYMPHONY.ORG

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Meet Madeline Adkins THE UTAH SYMPHONY’S NEW CONCERTMASTER “From the moment I started working with the orchestra, they were so warm and friendly. There’s a unique spirit to the group and everyone really has such a great attitude and loves to play music. I’m really looking forward to being a part of that.” ~Madeline Adkins

Madeline Adkins madelineadkins.net

The Utah Symphony is thrilled to welcome Madeline Adkins as she begins her role as concertmaster this 2016–17 season. Originally from the college town of Denton, Texas, Ms. Adkins knew from a young age that she wanted to become a musician. She is the youngest of eight children, six of whom are currently musicians. “My parents were music professors at the University of North Texas,” says Ms. Adkins. “We were encouraged to play starting at the age of five, and many of us continued professionally in orchestras around the country.” Ms. Adkins received her bachelor’s degree summa cum laude from the University of North Texas and her master’s degree from the New England Conservatory. She recently finished sixteen seasons with the Baltimore Symphony, five of as assistant concertmaster and eleven as associate concertmaster. Ms. Adkins begins her appointment as concertmaster for the Utah Symphony at the opening concert of this season. She appreciates the rich history and legacy of the symphony, and looks forward to bringing her own experience and energy to the orchestra. She says, “It’s interesting to come into an orchestra in a leadership position because you’re bringing your years of experience but also respecting the traditions and the history of this group. It’s important to find that balance between bringing new energy and ideas while also wanting to take in what everyone else is doing and what Maestro Fischer’s vision is…each musician brings his or her own unique musical history to the group. That is one of the things that makes the orchestra such a fascinating musical organism… every person is unique and they each bring that experience to the orchestra. My goal is to strike that balance and try to jump on the moving train of where things are going.” Ms. Adkins plans to lead with a spirit of optimism, enthusiasm, and dedication as she joins the orchestra as concertmaster. “I try to bring as much energy as possible to what I’m doing. It

UTAH SYMPHONY

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OCTOBER 8–16, 2016

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Bizet’s Carmen

Jerry Herman: The Broadway Legacy Concert

OCTOBER 28 & 29, 2016

FEBRUARY 17 & 18, 2017

Superheroes!

Mozart’s Requiem

NOVEMBER 4 & 5, 2016

APRIL 21 & 22, 2017

Dvořák’s “New World” Symphony

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Beethoven & Rachmaninoff

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Meet Madeline Adkins helps people around you,” she says. “I really try to bring not only a physical energy, which is important in leading the violins or the string section, but also an emotional energy, to just really give 110% percent all of the time. I think when you lead by example, people really respond to that.” Ms. Adkins says there are numerous wellknown concertmasters in the industry that she looks up to, but one of her biggest role models is Alex Kerr, who is currently concertmaster of the Dallas Symphony, and has also served as concertmaster for the Royal Concertgebouw Orchestra in Amsterdam. She says, “He epitomizes, for me, that sense of optimism. He brings a positive attitude and obviously a great wealth of experience. I am impressed when interacting with musicians how positive he is…I aspire to emulate him more.” To young aspiring violinists and musicians, Ms. Adkins advises, “It’s hard to get away from the competitive aspects of music, but I think the more you can keep your mindset on the music, on the listeners, on the people who

get to enjoy and have their lives enriched by what you’re doing, the happier you’ll be. You’re going to make better music if you can focus on the beauty, the emotion, and having an impact on people’s lives.” In discussing the upcoming 2016–17 season, Ms. Adkins said, “It’s a great season. There are so many interesting concerts scheduled. The fact that we’re doing all of the Ives and the Brahms Symphonies is an interesting juxtaposition between the lesser-known and the more standard orchestral repertoire.” She is especially looking forward to her solo concerto debut on November 18 and 19. She will be performing Prokofiev’s Violin Concerto No. 2.“ Prokofiev is one of my favorite composers. I played for a number of years with Yuri Termirkanov, the director in Baltimore, so I feel an affinity with Prokofiev in particular. I’m really looking forward to playing that piece.” Ms. Adkins is also excited to explore the music of opera, which she hasn’t played much previously, and appreciates the unique opportunity the Utah Symphony | Utah Opera provides to play both symphonic and operatic repertoire.

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

UTAHSYMPHONY.ORG

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What is a Concertmaster? A concertmaster (from the German word Konzertmeister) is the leading violinist in a symphony orchestra. He or she is the principal violinist in the first violin section and acts as an assistant to the conductor and a spokesperson for the orchestra. Historically, concertmasters would conduct the orchestra from their chair, but this became difficult as larger orchestras became more common. Today, the concertmaster is responsible for supervising tuning, following the conductor’s cues, ensuring that the strings play the same bowing motions and musical phrasing/ articulation, playing solos in the absence of a soloist, and helping the orchestra to maintain a consistent, unified sound. In other areas of the world, like the United Kingdom, the concertmaster is simply known as “leader.” A concertmaster must have strong people skills and leadership abilities. They must maintain a level of professionalism and diplomacy, being able to skillfully communicate and negotiate with the musicians and conductor. The role of concertmaster, however, encompasses much more than leadership. A concertmaster must be a highly skilled musician, with the ability to execute technically difficult passages, perform and maintain a wide variety of tempi (speeds), analyze full musical scores to discern bowing order and musical phrasing, and effectively

count difficult rhythms and time signatures. The concertmaster must be flexible, with the ability to quickly make changes to follow the conductor’s cues or instructions. Additionally, the concertmaster must be very aware of his or her surroundings by listening carefully to all the different sections and constantly watching the conductor for cues. Utah Symphony’s Vice President of Operations and General Manager Jeff Counts said, “I like the way Tim Page put it in his 2002 article about concertmasters. He called them ‘first among equals’ and I think this captures the complex nature of artistic hierarchy quite well. The concertmaster role is essentially one of leadership and partnership.” Within Utah Symphony, Mr. Counts says the role has an impact on the sound and personality of the orchestra. “The concertmaster coordinates and defines the sound of the string section which, in many ways, has a significant impact on the personality of the entire orchestra. They accomplish this through the preparation of bowings and the offering of other stylistic direction during rehearsals,” said Mr. Counts. “They are also called upon to perform, with distinction, the frequent violin solos that occur in the orchestral repertoire. It’s a tough job, but the important ones often are.”

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2016-17 UTAH OPERA SEASON

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CARMEN Elise Quagliata

ESCAMILLO Christian Bowers

CONDUCTOR Robert Tweten

DON JOSÉ Dominick Chenes

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U TA H O P E R A S E A S O N S P O N S O R :

Paul Meecham Q&A Utah Symphony | Utah Opera’s President and CEO Paul Meecham started July 1 after completing a final 100th anniversary season with Baltimore Symphony Orchestra, where he held the role of their chief executive for 10 years. He shares why he and his family are excited to move to Utah and start a new chapter.

Q: First of all, welcome to Utah. Everyone is thrilled to have someone with your vast industry experience. What factors influenced you to take the role as the President and CEO of Utah Symphony | Utah Opera? A: Ultimately, it was an easy decision to make because of the people at USUO. In meeting with Thierry Fischer, Christopher McBeth, the board, staff and musicians, as well as several community leaders, I immediately sense a shared vision towards artistic and community excellence. I believe that the synergies created in merging the Symphony and the Opera have yet more potential to be tapped, and the success of the Deer Valley® Music Festival has added a whole new and exciting dimension. Q: Among other things, Utah is known as a mecca for outdoor recreation, phenomenal geographic landscape and community involvement. Tell us what your family is excited about experiencing. A: Well, we are certainly looking forward to the world-class skiing! And none in the family has ever visited the fabulous national and state parks in southern Utah. Also, I think my kids have already got their hearts set on Dinosaur National Monument! My wife and I love hiking, so couldn’t be happier in moving to Utah. We’ll have to see whether my thirteen-year old son and eleven-year old daughter will agree with us! Both our kids are keen on sports such as soccer and baseball, and my daughter rides

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horses, of which I’m told you have a few in the state! We are a close-knit family and have quickly picked up that Utah is a very family-friendly state so we expect to settle in very quickly. Q: Utah has had a big year in the media, attracting attention as the best place for skiing, mountain biking, as well as earning accolades as the top state for business. What has surprised you most about Utah? A: I think the biggest surprise has been the quality of all the arts. Obviously I was aware of the world-class symphony, but was less familiar with the equally high level of the opera, ballet, theater and visual arts scene. Q: Your experience leading top-tier orchestras is widely known and respected in the classical music industry. We feel fortunate to have attracted a leader with such a great track record to help shape what is yet to come. Describe what you see in store for the future of the organization. A: It’s perhaps too early to speak of an overarching vision yet—after all, I just began July 1! However, I will want to build upon the momentum that has developed during the 75th anniversary including the celebrated Carnegie Hall performance, the commercial recordings, and the artistic partnerships forged with the ballet, theater, and others. And just around the corner is another reason to celebrate—the 40th season of Utah Opera in 2017–18. There’s much to look forward to in the years ahead!

/upcoming concerts Dvořák’s “New World” Symphony November 4 & 5, 2016 / ABRAVANEL HALL Thierry Fischer, conductor

HAYDN IVES DVOŘÁK

Utah Symphony Orchestra

Symphony No. 7 “Noon” Symphony No. 1 Symphony No. 9 “From the New World”

Let the Utah Symphony transport you to another time and place with their performance of Dvořák’s most beloved composition, featuring what many consider to be one of the most beautiful melodies in all of classical music.

Brahms & Tchaikovsky November 11 & 12, 2016 / ABRAVANEL HALL Thierry Fischer, conductor Utah Symphony Orchestra

IVES BRAHMS TCHAIKOVSKY

Alexander Gavrylyuk, piano (Utah Symphony Debut)

Symphony No. 3 “The Camp Meeting” Symphony No. 3 Piano Concerto No. 1

Lift your spirits with this rousing performance that combines the courage and conviction of Brahms' Symphony No. 3 along with the grand opening chords and exuberant outbursts of Tchaikovsky’s Piano Concerto No. 1.

The Music of Prokofiev November 18 & 19, 2016 / ABRAVANEL HALL Thierry Fischer, conductor Barlow Bradford, chorus director Madeline Adkins, violin Alisa Kolosova, mezzo-soprano

PROKOFIEV PROKOFIEV PROKOFIEV

Utah Symphony Chorus University of Utah Choirs Utah Symphony Orchestra

Lieutenant Kijé Symphonic Suite Violin Concerto No. 2 (Concertmaster Madeline Adkins

in her Utah Symphony concerto debut)

Alexander Nevsky Cantata

Messiah Sing-In November 26 & 27, 2016 / 7:30 PM / ABRAVANEL HALL Messiah Chorus

Utah Symphony Orchestra

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 and Messiah Chorus. Bring your family, and your score, and join in the majesty of Handel’s Messiah.

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Beethoven & Rachmaninoff December 2 & 3, 2016 / ABRAVANEL HALL Utah Symphony Orchestra

Hans Graf, conductor Jeffrey Kahane, piano

MOZART BEETHOVEN RACHMANINOFF

Symphony No. 19 Piano Concerto No. 2 Symphony No. 3

Now here are two composers who knew how to go big. Enjoy the Utah Symphony’s performance of Beethoven’s soulful and radiant Piano Concerto No. 2 along with Rachmaninoff’s inventive and commanding Symphony No. 3.

Cirque Musica Holiday Spectacular! December 9 & 10, 2016 / 11 AM & 7:30 PM / ABRAVANEL HALL Bob Bernhardt, conductor

Utah Symphony Orchestra

Add some altitude to your holiday celebration with this fun-filled performance for the entire family. The cast of Cirque Musica puts on an unforgettable show of skill, grace, and incredible feats of strength—all to the tune of holiday favorites performed live by the Utah Symphony.

Here Comes Santa Claus! December 17, 2016 / 11 AM & 12:30 PM / ABRAVANEL HALL Rei Hotoda, conductor

Utah Symphony Orchestra

Nothing sets the holiday scene like hearing your wintry favorites performed live by the Utah Symphony. Kids from one to ninety-two will enjoy the musical gifts on stage, with a joyful sing-along closing out the concert. There may even be a special appearance by the jolly man himself.

Celtic Woman “Home for Christmas” December 21, 2016 / 7:30 PM / ABRAVANEL HALL Rei Hotoda, conductor Chloë Agnew, Lisa Lambe, Méav Ní Mhaolchatha, guest artists Utah Symphony Orchestra

Celebrate this holiday season with the celestial voices of multi-platinum Irish singing sensation Celtic Woman as they present Home for Christmas with the Utah Symphony.

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December 21, 2016 / 7:30 PM / ABRAVANEL HALL CHLOË AGNEW, LISA LAMBE, MÉAV NÍ MHAOLCHATHA, gu e s t a r t i s t s / UTAH SYMPHONY ORCHESTRA

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

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Tagged & Hashtagged! We loved seeing your photos this summer in Park City.

When Principal Trombone Mark Davidson isn’t performing, he loves exploring the local trails. He shared some of his favorites on utahsymphony.org/blog.

@CarolineBelnap had a fun night with friends hearing @utahsymphony perform all their “John Williams’ faves” at #DVMF.

@susandoubleu explored @visitparkcity by participating in our #DVMFadventure contest on Instagram.

It was music to our ears to see kids enjoying the #DVMF instrument petting zoo with @summerhaysmusiccenter.

#wegotothesymphonybecausewereclassy. We agree @nankarae. Classy people love @utahsymphony!

@homerjes beautifully captured this summer evening @deervalleyresort.

Follow and tag us on your favorite social media channels. Want to be featured on this page? Send your photos to connect@usuo.org.

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Emanuel Ax Plays Beethoven’s “Emperor”

program

Emanuel Ax Plays Beethoven’s “Emperor” September 16–17 / 2016 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER , Con du ctor EMANUEL AX , Pian o

BEETHOVEN

Overture to Fidelio, Opus 72

BEETHOVEN

Concerto No. 5 in E-flat for Piano and Orchestra, “Emperor,” Opus 73 I. II. III.

Allegro Adagio un poco mosso Rondo: Allegro

EMANUEL AX , Pian o

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Symphony No. 1 in C minor, Opus 68 I. II. III. IV.

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Emanuel Ax Plays Beethoven’s “Emperor”

artists’ proﬁles

See page 15 for Thierry Fischer’s artist profile. Born in modern-day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University where he majored in French. Mr. Ax made his New York debut in the Young Concert Artists Series, and captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

Emanuel Ax Piano

Always a committed proponent of contemporary composers with works written for him by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng and Melinda Wagner already in his repertoire, the 2016–17 season will feature two newly commissioned works. With the New York Philharmonic conducted by Alan Gilbert, January will bring the world premiere of HK Gruber’s Piano Concerto, followed in March by the European premiere with the Berlin Philharmonic and Sir Simon Rattle. In recitals throughout the season his program will include works by Schubert and Chopin partnered with Impromptus by Samuel Adams, commissioned by Music Accord and inspired by Schubert. His ongoing relationship with the Boston Symphony will include visits with them to Carnegie Hall, Montreal and Toronto. With the Cleveland Orchestra Mr. Ax will appear as the featured artist for their Gala opening concert of the season. As a regular visitor he will return to the orchestras of Chicago, Los Angeles, San Francisco, Cincinnati, Toronto, Seattle, Milwaukee and Detroit. A frequent and committed partner for chamber music, he has worked regularly with such artists as Young Uck Kim, ChoLiang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences, and holds honorary doctorates of music from Yale and Columbia Universities. For more information about Mr. Ax’s career, please visit www.EmanuelAx.com.

MASTERWORKS

Emanuel Ax Plays Beethoven’s “Emperor”

program notes

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Notes by Michael Clive

Ludwig van Beethoven (1770–1827)

Overture to Fidelio, Opus 72 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 2 trombones; timpani; strings PERFORMANCE TIME: 6

minutes

BACKGROUND

Though Beethoven composed relatively few works for the stage, he had great regard for theatrical music. But of the 30 opera librettos that were offered to him over the years, almost none received serious consideration. Fidelio, his one and only opera, arrived in the opera house only after 12 years of intermittent travail. Compare that with the output of his contemporary in Italy, the opera composer Gioachino Rossini, who—as the cultural historian John Clubbe notes—“could knock off an opera in a few weeks.” Only one other possible subject for an opera tempted Beethoven: Goethe’s Faust. And when Goethe and Beethoven, two giants of German culture, finally met—well, let’s just say the chemistry was not great. Still, the opera proved to be a masterpiece— the opera that Gustav Mahler, a major opera conductor and director, would call “the opera.” Love, primarily but not exclusively married love, is one of its two main themes; the other is freedom from political tyranny and injustice, a concern that we see in other Beethoven works, especially his Symphony No. 9. Beethoven’s ideals of romantic love, which have been the subject of speculation literally for centuries, are embodied in this opera’s story, in which the central

character, Leonore, risks her own life and endures extreme hardship to rescue her unjustly imprisoned husband. Though we cannot know to what extent his depiction of Leonore was inspired by the woman he called his “Immortal Beloved,” we know that his tremendous, passionate love for her was of lasting importance to him, and that he worked toward a committed love relationship in his own life. Fidelio derives its power from his dramatic celebration of the ideals of love expressed in his famous letter to the Immortal Beloved—a letter he never sent. The opera binds this theme of romantic love to the theme of human freedom from political tyranny. It takes place in prison, and its depiction of tortured prisoners released from their cells (by Leonore) into the light and air remains, unfortunately, quite modern. Its libretto was derived from a popular French play of 1798 by Jean-Nicolas Bouilly called Léonore, which is based, more or less, upon a true story about a wife rescuing her husband from prison during the time of the French Revolution. Léonore was a type of play pervasive at that time, known as the “rescue drama.” WHAT TO LISTEN FOR

Some 19th-century opera overtures preview the melodies to come; others set the mood, suggest the overall nature of the drama, or provide a kind of free-standing, small-scale version of the drama to come, incorporating its own musical materials to develop a theatrical premise, conflict and resolution. Beethoven composed three versions of possible overtures for Fidelio; the other two— the “Leonore” overtures—are so intensely theatrical that they might have competed

MASTERWORKS

Emanuel Ax Plays Beethoven’s “Emperor”

program notes

with the drama to come, especially with its relatively comic opening scene. But all three can stand as independent musical works embodying the philosophical themes of Fidelio, and they embody the textures, if not the tunes, of the opera itself. All of the opera’s emotions are here: the gravity, the love and the yearning. The martial quality of the music, combined in a way that only Beethoven could, mobilizing the full resources of the orchestra. The overriding sonic impression is of steadfast nobility of purpose, with the suspense of a hairsbreadth rescue and a rousing, triumphant finale foreshadowing the triumph of the opera’s forces for good. Ludwig van Beethoven (1770–1827)

Concerto No. 5 in E-ﬂat for Piano and Orchestra, “Emperor,” Opus 73 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 2 trombones; timpani; strings PERFORMANCE TIME: 38

BACKGROUND

minutes

Is there another piano concerto so frequently performed or widely accepted as a symbol of the form’s possibilities? Listeners who would never think of poring over varying interpretations of other works remember their first “Emperor” and argue over comparative interpretations.

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The sheer inventiveness and beauty of Mozart’s last and greatest piano concertos, composed from 1784 through 1786, had left Beethoven wondering how he could possibly advance the form. (Both men were pianists.) The “Emperor” Concerto, completed 25 years later, provides an emphatic answer. Its beauty lies not so much in the originality of its relatively few melodies, but in the poetic grandeur and depth of their development. Mozart’s uncanny mastery had pushed piano concertos from the salon to the concert hall; Beethoven gave them a breadth of scale and an engagement with ideas that have remained benchmarks through the Romantic and Modern eras. So who is the concerto’s “emperor”? As author Andrew Schartmann notes in his Myth and Misinterpretation in Beethoven’s Emperor Concerto, it is clear that listeners had Napoleon in mind when the Fifth became associated with that highly charged word. But whether this nickname is appropriate is another matter. “There is no question that the popular title originated from extramusical associations not sanctioned by the composer,” says Schartmann, who calls the term misleading. “It can only be hoped that performer[s] do not base their interpretations on these unfounded anecdotes.” Perhaps. But the anecdotes are inescapable, and there are good reasons why they seem tied to the notion of the common man versus an imperial ideal. Beethoven was deeply concerned with the philosophical ideas of the Enlightenment, and most particularly with the dilemma of the individual’s right to be free versus society’s need to be governed. Beethoven was among the many thinkers

Emanuel Ax Plays Beethoven’s “Emperor”

program notes

who first believed that as liberator of Europe from monarchies, Napoleon was a champion of human freedom who betrayed this noble cause by arrogating the power and privileges of monarchy to himself. The composer famously intended to dedicate his “Eroica” Symphony—which, like the “Emperor” Concerto, bears a key of E flat—to Napoleon, but furiously “undedicated” it in manuscript.

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Arthur Rubinstein and Vladimir Horowitz, brilliant pianists whose long and influential careers represented polar opposites in playing style. Rubinstein, one of the 20th century’s greatest interpreters of Chopin, waited until quite late in his career to tackle the “Emperor” Concerto, astonishing his admirers when he recorded it. His approach is characteristically restrained and poetic, in marked contrast to the power and dazzle of the Horowitz version. What’s more, Rubinstein’s comments—that it had taken him until late in life to discover the truth of the concerto buried under generations of misinterpretation and virtuosic display—were taken by many as a dig at Horowitz.

There are also good reasons why the concerto form is especially well suited to Beethoven’s philosophical concerns. Its most basic formal constraint—the one (soloist) versus the many (orchestra)—provides an ideal framework for exploring the individual’s relationship with society. As with his symphonies, Beethoven’s piano concertos pushed the scope and heft of the form as he worked his way through musical ideas. Beethoven greatly admired Mozart’s piano concertos, with their constant sense of spontaneity and delight, but did not pursue these qualities in his own concertos. Instead, they get progressively weightier, until in the Fifth we hear some of the noblest music ever written. For all its beauty, “delight” is not the prevailing effect; as we listen, we have the impression that all of human dignity is at stake.

This partisanship has produced a glorious legacy of performance. In the latter half of the 20th century, pianists including Claudio Arrau and Rudolf Serkin emphasized statesmanlike restraint and overall architecture in the “Emperor,” while others including Emil Gilels and Sviatoslav Richter thrilled with their fleetness and overpowering technique. This abundance has left today’s interpreters and listeners to enjoy one of Beethoven’s greatest creations any way we like—clearly a case of artistic freedom in the service of human freedom.

Playing the “Emperor” Concerto is almost mandatory for most top-flight pianists, regardless of specialty; for fans, deciding one’s preferences in the “Emperor” Concerto goes beyond an evening’s interpretation, to larger questions of performance style and aesthetic philosophy. Friendly debates over these matters have led to fistfights and worse. In recent decades we can trace these passions back to the friendly rivalry between

For all the philosophical meanings that many listeners hear in Beethoven’s Piano Concerto No. 5, its appeal is mainly a matter of sheer, abstract beauty, expressed through melodies that combine simplicity and grandeur. Their development seems profound yet personal, partly because Beethoven’s development sections often delineate only the accompanying line in the orchestra or the

WHAT TO LISTEN FOR

MASTERWORKS

Emanuel Ax Plays Beethoven’s “Emperor”

program notes

piano, leaving us to imagine the melody on our own. This draws us into the composition as few concertos do—one reason why the “Emperor” has achieved such rare popularity with its adoring public. The “Emperor” Concerto bears the hallmarks that have grown familiar through the canon of Beethoven piano concertos: the fastslow-fast arrangement of movements, the adherence to sonata form, the final rondo with its repeated melodic statements by the soloist. But its consistently noble character is unique. If Beethoven’s rededication of the “Eroica” symphony shows what he thought of emperors, the “Emperor” Concerto still seems aptly named for its elevated expression, which never flags. Rather than climbing to altitude, the concerto’s opening seems already to have arrived at a great height, announcing itself through repeated, solemn chords with the gilded quality of a royal fanfare. After an introduction, the splendid opening theme has a sense of firmness, strongly rooted in the concerto’s tonic key of E flat. It is balanced by a second theme that is no less noble but far softer, almost whispering its presence until the two themes reconcile. After this high-flying but worldly opening, the second-movement adagio seems to ascend still further, perhaps heavenward, stopping time with a sweet but melancholy meditation. After the end of a series of trills, listen for the second phrase of the poetic main theme: in his book The Rest Is Noise, the music critic Alex Ross identifies this as a source for Leonard Bernstein’s song “Somewhere” from the musical West Side Story.

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In the final movement, the main theme is really just an arpeggio reassembled. But with each dazzling iteration, Beethoven disassembles it still further, requiring the listener to take part in the performance through active listening—just as variations on a theme may require listeners to bushwhack their way back to the original theme. As in the concerto’s opening, the main theme of the final movement has the structure and imposing character of a fanfare. Beethoven performed his other concertos publicly, but by 1811 his increasing deafness prevented him from doing so. In listening, we can hear why: this concerto requires extreme virtuosity from the soloist. Entrances are precise and unforgiving, and some passages that have a free, cadenza-like quality are actually prescribed in detail. The premiere of the “Emperor” Concerto was played by pianist Friedrich Schneider in Leipzig. Johannes Brahms (1833–1897)

Symphony No. 1 in C minor, Opus 68 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon; 4 horns, 2 trumpets, 3 trombones; timpani; strings PERFORMANCE TIME: 32

minutes

BACKGROUND

By the time he completed his First Symphony, Johannes Brahms had successfully negotiated the “promising” phase of his career and was recognized as a master—an heir of the Viennese tradition who earned his place

Emanuel Ax Plays Beethoven’s “Emperor”

program notes

in the distinguished lineage of Romantic composers that started with Beethoven. No critic held Brahms’ music to a higher standard than the composer himself. Yet the idea of the symphonic form bedeviled him throughout his career. Why? To get a perspective on the expectations of Brahms’ public and his unease, it’s interesting to compare the premiere of his First Symphony to the publication of Harper Lee’s novel Go Set a Watchman and the continuing media ballyhoo that surrounds it. This work, like Brahms’ first, entered the world under a very long shadow. For Harper Lee, it was her own To Kill a Mockingbird. For Brahms, it was Beethoven’s Ninth. Both artists were haunted, or perhaps hounded, by public expectation and media speculation. Both were intensely private about their respective crafts. The premiere of Beethoven’s Ninth was in 1824. In the 52 years that elapsed between that concert and the one that introduced Brahms’ First, the Ninth came to be recognized as one of the most significant of all classical compositions. Other composers followed with more symphonies, but none that satisfied the Austrian-German popular sense that classical music was an art of everwidening horizons. Enthusiasts still waited for the composer who could continue the symphonic tradition in a way that would be worthy of Beethoven, expanding upon his achievements. How do you follow up another artist’s masterpiece? Brahms rejected talk of “Beethoven’s Tenth,” but could not avoid the listening public’s hopeful expectations of gravitas for his First. He worked on the symphony for more than two decades, though one could say that the last 14

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years were the hardest, as the most intensive periods of composition date from about 1862. The earliest sketches of the symphony, which were in D minor, later became the basis for his D minor Piano Concerto. The premiere of Brahms’ Symphony No. 1 occurred in the duchy of Baden in southwestern Germany rather than a musical capital such as Vienna or Berlin—perhaps a strategy to lower the stakes—and was an unqualified success, with responses ranging from dignified approval to outright elation. Brahms went on to write three more symphonies, but the nervousness he felt regarding the form never left him. WHAT TO LISTEN FOR

This symphony opens with a complex, nearly chaotic introduction that seems to part like storm clouds revealing a distant landscape. From there on we have a sense that Brahms is in total mastery of complex forces—that the scale and seriousness of this symphony are heard not in its length, but in the superb control and flow of its layered rhythms and inner voices. Throughout the symphony we hear a voice that is uniquely Brahms, with its sense of perfect flow no matter how many different elements are in play. Yet despite this distinctiveness, the talk of “Beethoven’s Tenth” continued, with some listeners noting similarities to various Beethoven works, including the finale of the Ninth. While some intentional quotations are embedded in Brahms’ music, including the rhythm of the “fate” theme from Beethoven’s Fifth, this symphony leaves us with a grandly scaled melody that is triumphant yet serene, and entirely Brahmsian.

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Utah Symphony | Utah Opera’s Annual Fund supports our general operations, including our educational outreach. Together with our main-stage 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% 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 donate today by visiting usuo.org/give or contact the USUO Development team at 801.869.9015.

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Poldark Season 2 on Masterpiece

Begins Sun. Sept. 25, 7PM The dashing Captain Ross Poldark rides again in a new season of the hit PBS swashbucklng drama.

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

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The momentum and impact of Utah Symphony | Utah Opera’s Comprehensive Campaign, The Campaign for Perpetual Motion, has resulted in contributions totaling nearly $40 million dollars since it was launched in 2011. Through a combination of cash gifts, multi-year pledges, endowment gifts and bequests, the campaign has helped fund special projects and core priorities for our orchestra, opera performances, and educational outreach for Utah’s youth. This extraordinary effort, led by the George S. and Dolores Doré Eccles Foundation, O.C. Tanner, and our Campaign Leadership, has enabled us to celebrate a major milestone, the Utah Symphony’s 75th Anniversary, with unique events ranging from community collaborations to the Mighty 5® Tour; raise our national profile and put Utah in the spotlight with recordings and a performance at Carnegie Hall; increase our endowment by $5.5 million; help us close the last four years with a balanced budget; and set the stage for a bright future of Connecting the Community through Great Live Music: Perform-Engage-Inspire.

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We extend special appreciation to the George S. and Dolores Doré Eccles Foundation, our Utah Symphony 75th Anniversary Signature Sponsor, for its extraordinary leadership and generosity, including a $500,000 challenge grant matched by the community. Our profound thanks to all who participated in this campaign.

FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($7 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 (3) 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 James A. & Marilyn Parke Thomas Billings & Judge Judith Billings Scott & Sydne Parker R. Harold Burton Foundation Dr. Dinesh & Kalpana Patel Howard & Betty Clark Frank R. Pignanelli & D’Arcy Dixon Thomas D. Dee III & Dr. Candace Dee John & Marcia Price Family Foundation Deer Valley Resort Dr. Wallace Ring E.R. (Zeke) & Katherine W.† Dumke Bert Roberts Burton & Elaine Gordon Theodore Schmidt Mr. & Mrs. Martin Greenberg The Sam & Diane Stewart Family Foundation Douglas & Connie Hayes Norman C.† & Barbara Tanner Roger & Susan Horn The Right Reverend Carolyn Tanner Irish Ronald & Janet Jibson Naoma Tate & the Family of Hal Tate Frederick Q. Lawson Foundation M. Walker & Sue Wallace Wells Fargo

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

ANONYMOUS

DOYLE ARNOLD & ANNE GLARNER

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

THIERRY & CATHERINE FISCHER**

ROGER & SUSAN HORN

HUNTSMAN CORPORATION & JON M. & KAREN HUNTSMAN FAMILY

THE RIGHT REVEREND CAROLYN TANNER IRISH**

RONALD & JANET JIBSON

EMMA ECCLES JONES FOUNDATION

EDWARD & BARBARA MORETON

GIB & SUSAN MYERS

WILLIAM & CHRISTINE NELSON

DR. DINESH & KALPANA PATEL

RESTAURANT TAX RAP TAX

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

Anonymous Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Deer Valley Resort** Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Grand & Little America Hotels* Douglas & Connie Hayes Frederick Q. Lawson Foundation

Scott & Sydne Parker Frank R. Pignanelli & Dâ&#x20AC;&#x2122;Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley** Gerald & Barbara Stringfellow Norman C. & Barbara L. Tanner Charitable Trust David Wall* Lois A. Zambo

UTAH SYMPHONY

Enriching excellence in the arts in Utah for more than half a century.

Utah Symphony Season Sponsor | 2016-17

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

Anonymous in honor of the March of Dimes Scott & Kathie Amann Arnold Machinery Mr. & Mrs. William C. Bailey BMW of Murray BMW of Pleasant Grove Judy Brady & Drew W. Browning R. Harold Burton Foundation Michael & Vickie Callen Chevron Corporation C. Comstock Clayton Foundation John & Flora D’Arcy Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Kristen Fletcher & Dan McPhun

Holland & Hart** Richard K. & Shirley S. Hemingway Foundation Tom & Lorie Jacobson Janet Q. Lawson Foundation Love Communications* Markosian Family Trust Carol & Anthony W. Middleton, Jr., M.D. Montage Deer Valley** OPERA America’s Getty Audience Building Program Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation

Dr. Wallace Ring Simmons Family Foundation Harris H. & Amanda Simmons Stein Eriksen Lodge** Summit Sotheby’s Nora Eccles Treadwell Foundation Utah Symphony Guild Vivint M. Walker & Sue Wallace Wells Fargo Jack Wheatley John W. Williams† Workers Compensation Fund Edward & Marelynn Zipser

Ann & Gordon Getty Foundation Goldman Sachs Elaine & Burton L. Gordon Susan & Tom Hodgson Chuck & Kathie Horman Hyatt Centric Park City** Josh & Cherie James Robert & Debra Kasirer Katharine Lamb Marriott Residence Inn* McCarthey Family Foundaton Charles & Pat McEvoy Pete & Cathy Meldrum Harold W. & Lois Milner Moreton Family Foundation Fred & Lucy Moreton Terrell & Leah Nagata National Endowment for the Arts Ogden Opera Guild Park City Chamber/Bureau David A. Petersen Glenn D. Prestwich & Barbara Bentley Promontory Foundation David & Shari Quinney Radisson Hotel* Brad & Sara Rencher

Dr. Clifford S. Reusch† Resorts West* The Joseph & Evelyn Rosenblatt Charitable Fund Lori & Theodore Samuels Ben & Peggy Schapiro Pauline Collins Sells Sounds of Science Commissioning Club George & Tamie† Speciale Thomas & Marilyn Sutton The Swartz Foundation Jonathan & Anne Symonds Zibby & Jim Tozer Tom & Caroline Tucker Utah Food Services* Utah Hispanic Chamber of Commerce* U.S. Bancorp Foundation

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

Anonymous Adobe American Express Ballard Spahr, LLP Haven J. Barlow Family B.W. Bastian Foundation H. Brent & Bonnie Jean Beesley Foundation Berenice J. Bradshaw Charitable Trust BTG Wine Bar* Caffe Molise* Marie Eccles Caine Foundation-Russell Family Chris & Lois Canale Capital Group Howard & Betty Clark** Daynes Music* Skip Daynes* Delta Air Lines* The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Dr. & Mrs. Ralph Earle Sue Ellis Chip & Gayle Everest Robert & Elisha Finney General Electric Foundation

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

UTAH SYMPHONY

Utah musicians on stage at the Gallivan Center

Caleb Chapman & Voodoo Orchestra

Big Band Dances on Tuesday Tuesday evenings evenings* Concerts on Thursday evenings See excellenceconcerts.or excellenceconcerts.org g for complete schedule

*Through September

Corporate & Foundation Donors

$5,000 to $9,999 Anonymous (2) Bambara Restaurant* Bourne-Spafford Foundation The Aaron Copland Fund for Music Diamond Rental* Discover Financial Services The Jarvis & Constance Doctorow Family Foundation The Dorsey & Whitney Foundation Spencer F. & Cleone P. Eccles Family Foundation EY Finca* Hoak Foundation Intermountain Healthcare J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City Macy’s Foundation Martine* Microsoft* Louis Scowcroft Peery Charitable Foundation Ruth’s Chris Steak House, Salt Lake City* Salt Lake City Arts Council Sky Harbor Apartments* Union Pacific Foundation Vanguard Charitable Endowment Program Victory Ranch & Conservancy $1,000 to $4,999 Anonymous Advanced Retirement Consultants Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Byrne Foundation Castle Foundation

City Creek Center Deseret Trust Company Henry W. & Leslie M. Eskuche Charitable Foundation ExxonMobil Foundation Victor Herbert Foundation Hotel Park City* Hyatt Place Hotel* Intermountain Healthcare Jones & Associates Lewis A. Kingsley Foundation Marriott City Center* MedAssets Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Nordstrom Park City Foundation The Prudential Foundation Ray, Quinney & Nebeker Foundation Snell & Wilmer L.L.P. Snow, Christensen & Martineau Foundation sPower Squatters Pub Brewery* Strong & Hanni, PC Summerhays Music* Swire Coca-Cola USA* Bill & Connie Timmons Foundation UMA Financial Services Inc. United Jewish Community Endowment Trust Utah Families Foundation The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Foundation Gifts received prior to 8/1/16

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

UTAH SYMPHONY

Individual Donors

ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) Fred & Linda Babcock Dr. & Mrs. Clisto Beaty Mr. & Mrs. Jim Blair Carol, Rete & Celine Browning Judy & Larry Brownstein Neill & Linda Brownstein Thomas Christofferson Amalia Cochran Marc & Kathryn Cohen Spencer & Cleone† Eccles Tom Farkas Jack & Marianne Ferraro John F. Foley, M.D. & Dorene Sambado, M.D.** Joseph & Dixie Furlong Jeffrey L. Giese, M.D. & Mary E. Gesicki David & SandyLee Griswold** Ray & Howard Grossman John & Dorothy Hancock Robert & Carolee Harmon Gary & Christine Hunter Mary P. Jacobs† & Jerald H. Jacobs Family Dale & Beverly Johnson G. Frank & Pamela Joklik Jeanne Kimball Thomas & Jamie Love Leslie Peterson & Kevin Higgins Rayna & Glen Mintz Dr. Thomas Parks & Dr. Patricia Legant Brooks & Lenna Quinn Dr. Richard & Frances Reiser James & Gail Riepe Robert & Kim Rollo Eric & Shirley Schoenholz Suzanne Scott Stuart & Molly Silloway Lynn Suksdorf Alexander & Sarah Uhle Albert & Yvette Ungricht Kathleen Digre & Michael Varner $3,000 to $4,999 Anonymous (4) Craig & Joanna Adamson

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Robert W. Brandt Jonathan & Julie Bullen Richard & Suzanne Burbidge Lindsay & Carla Carlisle Mark & Marci Casp Rebecca Marriott Champion Paul & Denise Christian Edward & Carleen Clark Gary & Debbi Cook David & Sandra Cope** Mr. & Mrs. Kenneth R. Cutler Mike Deputy Carol & Greg Easton Mr. & Mrs. Robert Ehrlich Midge Farkas Mr. Peter Fillerup Flynn Family Foundation C. Chauncey & Emily Hall Kenneth & Kate Handley Dr. & Mrs. Bradford D. Hare Mr. & Mrs. Jerry Huffman James & Penny Keras Hanko & Laura Kiessner Harrison & Elaine Levy Bill Ligety & Cyndi Sharp Herbert C. & Wilma S. Livsey Daniel & Noemi P. Mattis Michael & Julie McFadden Rich & Cherie Meeboer Richard & Jayne Middleton Richard & Ginni Mithoff Mr. & Mrs. Ralph Muller James & Ann Neal Marilyn H. Neilson Mr. & Mrs. Alvin Richer James & Anna Romano David & Lois Salisbury William G. Schwartz & Joann Givan Thomas & Gayle Sherry Gibbs & Catherine W. Smith Elizabeth Solomon Marilyn Sorensen Verl & Joyce Topham Mr. & Mrs. Vincent Trotta Dr. Ralph & Judith Vander Heide Susan & David† Wagstaff Ardean & Elna Watts Suzanne Weaver David & Jerre Winder

(801) 533-NOTE

E. Art Woolston & Connie Jo Hepworth-Woolston Chris & Lisa Young Gayle & Sam Youngblood $2,000 to $2,999 Anonymous (3) Robert & Cherry Anderson Dr. Melissa Bentley Anneli Bowen, M.D. & Glen M. Bowen M.D. Mr. & Mrs. John Brubaker Luann & James Campbell Chris & Lois Canale Coley & Jennifer Clark Raymond & Diana Compton Dr. & Mrs. Thomas Coppin David & Carol Coulter James & Rula Dickson Margarita Donnelly Howard Edwards Neone F. Jones Family Thomas & Lynn Fey Robert & Annie-Lewis Garda Heidi Gardner Mr. & Mrs. Eric Garen Mark Gavre & Gudrun Mirin Diana George Susan Glassman & Richard Dudley Randin Graves Dennis & Sarah Hancock John B. & Joan Hanna Geraldine Hanni Richard Herbert Sunny & Wes Howell Jay & Julie Jacobson Annette & Joseph Jarvis Sharon Jenkins M. Craig & Rebecca Johns Bryce & Karen† Johnson Jill Johnson Pauline WeggelandJohnson James R. Jones & Family J. Allen & Charlene Kimball Merele & Howard Kosowsky Val Lambson Mr. & Mrs. Melvyn L. Lefkowitz Paul Lehman Roger Leslie James Lether

Lisa & James Levy Elizabeth & Michael Liess Milt & Carol Lynnes David & Donna Lyon Mr. & Mrs. Wayne Lyski Jed & Kathryn Marti George & Nancy Melling Dr. Louis A. & Deborah Moench Barry & Kathy Mower Daniel & Janet Myers Thomas & Barbara O’Byrne Jason Olsen & Tim Thorpe O. Don & Barbara Ostler Linda S. Pembroke Ann G. Petersen Dr. & Mrs. S. Keith Petersen Jon Poesch Victor & Elizabeth Pollak Dan & June Ragan Dr. & Mrs. Marvin L. Rallison W. E. & Harriet R. Rasmussen Dr. Barbara S. Reid Joyce Rice Kenneth Roach & Cindy Powell Tom & Jeanne Rueger Thomas Safran Mark & Loulu Saltzman K. Gary & Lynda Shields Deborah & Brian Smith Christine St. Andre Larry R. & Sheila F. Stevens Steve & Betty Sullentrop Mr. & Mrs. Glen R. Traylor Susan Warshaw Bryan & Diana Watabe Jeremy & Hila Wenokur PATRON $1,000 to $1,999 Anonymous (2) Carolyn Abravanel Fran Akita Christine A. Allred Patricia Andersen Drs. Crystal & Dustin Armstrong Graham & Janet Baker Mr. Barry Bergquist Mr. & Mrs. William Bierer Reverend James Blaine Shauna Bona

Remember ONLY YOU CAN PREVENT WILDFIRES. smokeybear.com

Individual Donors Jim & Marilyn Brezovec Timothy F. Buehner Foundation Mr. & Mrs. William D. Callister, Jr. Bartell & Kathleen Cardon Mr. & Mrs. Lee Forrest Carter Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Dr. & Mrs. David Coppin Margaret Dreyfous Alice Edvalson Janet Ellison Naomi K. Feigal Robert S. Felt, M.D. Susan Gillett Rose & Ralph Gochnour Robert & Joyce† Graham Dr. & Mrs. John Greenlee Arlen Hale Dr. Elizabeth Hammond Lex Hemphill & Nancy Melich John Edward Henderson Steve Hogan & Michelle Wright Connie C. Holbrook Patricia Horton David & Caroline Hundley Todd & Tatiana James Drs. Randy & Elizabeth Jensen Maxine & Bruce Johnson Chester & Marilyn Johnson Dr. & Mrs. Michael A. Kalm Umur Kavlakoglu Susan Keyes Allison Kitching

Carl & Gillean Kjeldsberg Robert & Karla Knox Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Tim & Angela Laros Dr. Vivian Lee Dennis & Pat Lombardi Peter Margulies & Louise Vickerman Christopher & Julie McBeth Edward & Grace McDonough Clifton & Terri McIntosh Johanna & Jack McManemin David & Colleen Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville Dr. Jean H. & Dr. Richard R. Miller Nathan & Karen B. Morgan John & Mary Ann Nelson Oren & Liz Nelson Stephen & Mary Nichols Ruth & William Ohlsen Blaine & Shari Palmer Nancy & Rori Piggot Mr. Steven Price Keith & Nancy Rattie Richard C. & Margaret V. Romano Bertram H. & Janet Schaap Ralph & Gwen Schamel Mr. Grant Schettler Mr. August L. Schultz Daniel & Angela Shaeffer Dennis & Annabelle Shrieve

Barbara Slaymaker Dr. Otto F. Smith & Mrs. June Smith Dr. & Mrs. Michael H. Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Carol A. Thomas Mrs. Rachel J. VaratNavarro Mr. & Mrs. Brad E. Walton Nadine Ward Charles & Ellen Wells Margaret & Gary Wirth

Marsha & Richard Workman Norman & Kathy Younker* Michael & Olga Zhdanov Mr. & Mrs. Hugh Zumbro

*In-kind gift **In-kind & cash gift † Deceased

Gifts received prior to 8/1/16

“Music is the art which is most nigh to tears and memory.” ~Oscar Wilde IN HONOR OF George Brown Paula J. Fowler Abe & Arline Markosian David Park Mark & Dianne Prothro Clark T. Randt, Jr. Patricia A. Richards Bill & Joanne Shiebler Kevin Sohma IN MEMORY OF Jay T. Ball Mikhail Boguslavsky Ann Dick Ed Epstein Loraine L. Felton Neva Langley Fickling Herold L. “Huck” & Mary E. Gregory

Judith Ann Harris Roger Hock Marian Holbrook Steve Horton Winona Simonsen Jensen Eric Johnson Joan McEvoy Maxine & Frank McIntyre Dr. Walter Needham Russell Alan Peters Chase N. Peterson Mardean Peterson Kenneth Randall Dr. Clifford Reusch Ann O’Neill Shigeoka Maestro Joseph Silverstein Barbara Singleton Tamie Speciale Marjorie Whitney Merrill L. Wilson, M.D.

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

Tanner & Crescendo Societies

“You are the music while the music lasts.” ~T.S. Eliot Utah Symphony | Utah Opera offers sincere thanks to our patrons who have included USUO in their financial and estate planning. Please contact Kate Throneburg at kthroneburg@usuo.org or 801-869-9028 for more information, or visit our website at usuo.giftplans.org.

TANNER SOCIETY OF UTAH SYMPHONY Beethoven Circle gifts valued at more than $100,000 Anonymous (3) Doyle Arnold & Anne Glarner Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers

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

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

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

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

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

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

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

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

UTAH SYMPHONY

Legacy Giving

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

UTAHSYMPHONY.ORG

(801) 533-NOTE

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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

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