Rachmaninoff's Piano Concerto No. 3 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

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Mozart’s Requiem

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APRIL 21 & 22, 2017

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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

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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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UTAH SYMPHONY

Rachmaninoff’s Piano Concerto No. 3

program

Rachmaninoﬀ’s Piano Concerto No. 3 October 21–22 / 2016 / 7:30PM / ABRAVANEL HALL JURAJ VALČUHA , Con du ctor (Utah S ymp h on y D e b u t ) ANDREY GUGNIN , Pian o

PROKOFIEV

Symphony No. 3 in C minor, Opus 44 I. II. III. IV.

Moderato Andante Allegro agitato Andante mosso - Allegro moderato

/ INTERMISSION /

RACHMANINOFF

Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. II. III.

Allegro ma non tanto Intermezzo: Adagio Finale: Alla breve

ANDREY GUGNIN , Pian o

MASTERWORKS

Rachmaninoff’s Piano Concerto No. 3

artists’ proﬁles

Chief Conductor of the Orchestra Sinfonica Nazionale della Rai, Torino since 2009, Maestro Juraj Valčuha studied composition and conducting in Bratislava, Paris and St. Petersburg with Ilya Musin.

Juraj Valčuha Conductor Utah Symphony Debut

G U E S T C O N D U C TO R S P O N S O R

2005 saw his debut with Orchestre National de France. In the following seasons, he led the Philharmonia Orchestra, Rotterdam Philharmonic, Gewandhaus Leipzig, Swedish Radio Orchestra, Oslo Philharmonic, Staatskapelle Dresden, Munich Philharmonic, Orchestra del Maggio Musicale in Florence, and Santa Cecilia Orchestra in Rome. He made his US debut with the Pittsburgh Symphony, and has also conducted the Los Angeles Philharmonic and the National Symphony in Washington, D.C. The 2015–16 season marked his return with the New York Philharmonic and the Pittsburgh and San Francisco symphonies, as well as his debut with the Minnesota Orchestra. He enjoys recurring visits to the Munich and Czech philharmonics, the Swedish Radio, NDR Hamburg and Santa Cecilia orchestras, and the Orchestra del Maggio Musicale. He has toured with the Bamberg Symphony to the Beethoven Festival in Bonn, Frankfurt and Cologne, as well as with NDR Hamburg Orchestra to the Bratislava Festival. Earlier this year, he conducted Parsifal at the Budapest Opera. In the 2016–17 season, he will have his debut with the Chicago Symphony, and will also appear with the San Francisco, Pittsburgh, National and Utah symphonies, Art Center Ottawa, OSM Montreal and the Minnesota Orchestra. In Europe, he will return to the Frankfurt Radio, NDR Hamburg and Santa Cecilia orchestras, Orchestre de Paris, Orchestre National de France, Philharmonia in London, the Bratislava Festival, and the Orchestra del Maggio Musicale. On the opera scene, he will conduct Pique Dame in Florence, Elektra at Teatro di San Carlo Napoli and Peter Grimes at Teatro Comunale Bologna.

MASTERWORKS

Rachmaninoff’s Piano Concerto No. 3

Andrey Gugnin Piano

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artists’ proﬁles

Pianist Andrey Gugnin graduated from the Moscow Conservatory, where he studied under Professor Vera Gornostayeva and pursued postgraduate studies with her. In 2013 he took second prize in the International Beethoven Piano Competition in Vienna. In 2014 he was the gold medallist in the 16th Gina Bachauer International Piano Competition in Salt Lake City, Utah, as well as the winner of the audience favorite award. Following these awards he has appeared in many prestigious concert venues, including Carnegie Hall, and he is to record a solo disc on the Steinway & Sons label. His concerts have been heard in over 20 countries around the world. In Moscow, he has performed at the Great Hall of the Moscow Conservatory, the Tchaikovsky Hall and the International House of Music. He has a strong interest in chamber performances. He has participated in the Musical Olympus and Art November festivals, the Lake Ohrid Summer Festival in Macedonia, the Ruhr Piano Festival in Germany and others.

Rachmaninoff’s Piano Concerto No. 3

program notes

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Notes by Michael Clive

BACKGROUND

even non-programmatic music could conflict with these goals if it explored new ideas in composition, as both Prokofiev and Shostakovich wanted to do. According to Testimony, all of Shostakovich’s compositions after 1926, but especially his symphonies, were musical indictments of Soviet repression, and were constructed in a way that made his bold criticisms apparent to his audiences, but not to authorities. While the authenticity of Testimony has not been resolved, it has spurred re-evaluations of Shostakovich’s symphonies and Prokofiev’s, once considered less emotional and more “international” in style.

What did Soviet officials want from their composers? Music that was highly accessible to the proletariat and utile to the state, promoting the advantages of approved collective ideals and the values of the revolution. By the government’s reckoning,

With reinterpretation of both composers’ works, Prokofiev’s were found to be more richly emotional than originally thought. But such considerations may be moot in the case of Prokofiev’s Third and Fourth symphonies, since these were based on musical materials originally developed for theatrical works, which were historically Prokofiev’s most popular and most emotionally transparent compositions. His Symphony No. 3 incorporated musical ideas from his score for the opera The Fiery Angel, which had been accepted by conductor Bruno Walter for performance in the 1927–28 season of the esteemed Berlin State Opera. Another misconception about Prokofiev, held over from his youthful post-conservatory days, was that he was something of an enfant terrible who composed what came easily to him. These symphonies, which show his care and craft in reworking narrative music in nonprogrammatic, symphonic form contradict that idea.

Sergei Prokoﬁev (1891–1953)

Symphony No. 3 in C minor, Opus 44 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, side drum, tamtam, castanets, cymbals, bass drum, tambourine, bells, 2 harps; strings PERFORMANCE TIME: 34

minutes

There is no doubt that Sergei Prokofiev and Dmitri Shostakovich were two of the most important symphonists of the 20th century, but the unanimity ends there. Through the 1970s, their relative positions in the music world seemed clear, with Prokofiev the cosmopolitan international composer who knew how to handle the Soviet Union’s cultural bureaucracy, while Shostakovich was the prime example of the creative artist who was forced to compromise his artistic principles in the face of government threats to his friends, family and himself. All of that changed when Testimony, a volume purported to be Shostakovich’s own account of his life as a composer in the Soviet Union, became available in translation in the U.S. in 1979.

MASTERWORKS

Rachmaninoff’s Piano Concerto No. 3

program notes

The Fiery Angel was not staged during Prokofiev’s lifetime. An ambitious work set in the era of courtly love and chivalry, it combines a complex love story with lurid accounts of demonic possession, and has been called Prokofiev’s “craziest” score. But the Symphony No. 3 posed no such craziness, and received its premiere in 1929 by the Orchestre Symphonique de Paris under the baton of Pierre Monteux.

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choir and bass drum. Finally, in the fourth movement, Prokofiev reprises musical materials from earlier in the symphony, beginning at a comfortable andante pace and gradually accelerating, and we are left with the feeling that—despite the nonprogrammatic nature of the work—we have heard music with a narrative line. It’s almost as if we have experienced a ghost story in which the ghosts and the events are left to our own imaginations.

WHAT TO LISTEN FOR

If the Symphony No. 3 was born in a crucible of craziness, its construction shows little sign of that—though the music is, admittedly, quite intense. The introduction and development of thematic materials proceed along traditional lines, but the resulting sound is hectic and almost scary. Few symphonies have a more emphatic opening, with violent chords sweeping through the orchestra. Tolling bells create a sense of foreboding that provides a foil for the formal symphonic development of the first movement, and an impression of force, energy and struggle—we’re reminded of the conflict, struggle and resolution of opposing forces in Beethoven symphonies— prevails until we arrive at the second movement. Here the music relaxes and takes an inward turn, and the booming energy of the first movement gives way to more delicate textures. In the third movement, we hear hybrid elements from both of the movements that preceded it: though the textures are lighter than in the first movement, the sense of foreboding is back, as dithering strings create a chilling effect. They are intensified by insistent announcements from the brass

MASTERWORKS

Sergei Rachmaninoﬀ (1873—1943)

Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, bass drum, crash cymbals, snare drum; strings PERFORMANCE TIME: 40

minutes

BACKGROUND

Not all great interpreters of Rachmaninoff’s Piano Concerto No. 3 have a Russian background, like the virtuoso Andrey Gugnin. But a Russian upbringing certainly can’t hurt in playing this or any composition by Rachmaninoff, whose life and music were characteristically Russian. Rachmaninoff was a great pianist as well as composer. He was also famously melancholy. His moods were intensified when he was away from his home country, which he loved in his very bones; being away from Russia sometimes paralyzed him with homesickness. Yet he was also cosmopolitan and well-

Rachmaninoff’s Piano Concerto No. 3

program notes

traveled, and understood the practical advantages of a life of relative luxury and convenience in California, which had attracted other Russian emigres, including Stravinsky. Though Rachmaninoff composed this concerto in 1909 in the idyllic setting of his family’s country estate, Ivanovka, it was an appropriate vehicle for the composer’s later concert tours. In planning these tours, he viewed America almost as an economic promised land. As he knew well, spectacularly difficult concertos are the “money concertos”—they sell tickets. And the Rachmaninoff Third is one of the most difficult in the piano repertory. Our chances of hearing a great performance of this formidable concerto are probably greater than ever before, especially since the movie Shine, with actor Geoffrey Rush as pianist David Helfgott, brought its grueling demands to a wider public. Interestingly, our chances of hearing a woman pianist contend with Rachmaninoff’s virtuosic writing are also greater than ever. For decades after the master’s death in 1943, there was an unwritten (and unreasonable) rule of thumb against women tangling with his music, which requires huge reserves of power and an extremely large digit span. The trailblazing exceptions included Ruth Laredo and especially Alicia de Larrocha, the diminutive Spaniard who proved it was possible to power through Rachmaninoff’s gaping intervals and thundering octaves despite her small stature and hands. With our luxury of listening choices, we can easily forget how different things were in Rachmaninoff’s day and earlier, when fewer

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soloists were prepared to play the great concertos, and when the composers who wrote them were often prominent soloists in their own right. Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s great pianists—perhaps the greatest of all, according to some current re-evaluations. (Recordings of Rachmaninoff exist, and his performances are well documented.) With Frederic Chopin, Franz Liszt, and the great Baroque organists like Bach and Telemann, he was one of classical music’s legendary masters of the keyboard who were also great composers. Of these, he was an heir of Liszt—whose works demand power, speed and fire—rather than the poetic, introspective Chopin. If Tchaikovsky was the central and best known of the Russian Romantic composers, and if Glinka was the first and the father figure, then Rachmaninoff embodied their artistic culmination. As a conservatory student in Moscow and St. Petersburg, he focused intensively on both piano technique and composition, and he was recognized as a great pianist throughout his career; just before his death, he was touring the U.S. as a piano soloist. Despite his latterday moodiness and a bit of harmonic adventurism, you can hear that his style was rooted in the 1800s and in Russia as deeply as his predecessors’. But Glinka and Tchaikovsky remained in the motherland and died there in 1857 and 1893, respectively. Listening to Rachmaninoff’s long, brooding lines—their sweetness tinged with melancholy—it can be a jolt to learn that he died at his home

MASTERWORKS

Rachmaninoff’s Piano Concerto No. 3

program notes

in sunny Beverly Hills as recently as 1943. Another Russian expatriate composer, Igor Stravinsky, had come to the United States in 1939, became a naturalized U.S. citizen, and spent time living in Los Angeles. But as a composer, Stravinsky already inhabited a very different, more modern era. Rachmaninoff’s hallmarks are dazzling virtuosity and plush melody. Big intervals and big sound were natural parts of his musical vocabulary, and seemed to come naturally to his huge hands and long limbs; in fact, it is now believed that he had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions. But if Marfan’s contributed to his heroic sound, there was a more delicate aspect to the Rachmaninoff style—fleet passagework, rhythmic pliancy and long, singing lines. WHAT TO LISTEN FOR

Rachmaninoff’s third piano concerto is known to many pianists as Rach 3, or— thanks to Sylvester Stallone—as Rocky III because it is so formidable a heavyweight. The difficulties lie in Rachmaninoff’s unique combination of power, poetry and speed. Those huge, complex chords, thundering octaves, cascading phrases and purling legatos might be nearly impossible to play, but should sound effortless as they hold you in their thrall. It’s only afterwards, when you are released from their spell, that you might

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wonder how in the world the pianist played them with only two hands. Written in the three-movement form typical of Romantic concertos, the Piano Concerto No. 3 begins with an allegro movement in D minor. The opening statement, a relatively simple melody juxtaposed against a slower theme, frames a characteristic Rachmaninoff development section: brilliant passagework and thundering climaxes create intense drama before the original theme reappears in relative tranquility. The concerto’s second movement reveals what many listeners value most in Rachmaninoff: a melody of intense, swooning romanticism that goes wherever its organic, spontaneous development seems to lead it. This development is mediated by the reintroduction of the main melody from the first movement. Solo flourishes from the piano lead directly from the close of this central movement to the opening of the concerto’s third and final movement. This movement brings together the concerto’s various themes in a rousing finale. Instead of a rigid development section, the movement proceeds freely, building to an early climax that recalls the first movement. Then the movement’s original themes are restated, carrying the concerto to a blazing conclusion.

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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

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

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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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

www.darlingmeavenue.com

OUT ON THE TOWN

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

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

Salt Lake City’s #1

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