Hilary Hahn plays Dvořák’s Violin Concerto | Fischer conducts Rachmaninoff & Stravinsky by Mills Publishing Inc.

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January/February 2018 Performances

CONTENTS

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

6 Welcome 8 Utah Symphony 10 Board of Trustees 15 Music Director 16 Elizabeth Brown Dee Fund for Music in the Schools 18 Utah Symphony & El Sistema 22 Bernstein at 100

JANUARY 4–6 | 7:30 PM

HILARY HAHN PLAYS DVOŘÁK’S VIOLIN CONCERTO

26 Social Snapshots 28 Preconcert Rituals

JANUARY 12–13 | 7:30 PM

30 Season Sponsors

FISCHER CONDUCTS RACHMANINOFF & STRAVINSKY

31–38 Tonight’s Concert 39 Support USUO 40 Thank You 41 5th Grade Concerts

FEBRUARY 2–3 | 7:30 PM

51 Tanner & Crescendo Societies

MOZART & HAYDN

52 Legacy Giving 54 Administration 59 House Rules 62 Utah Symphony Guild

FEBRUARY 9–10 | 7:30 PM

64 Acknowledgments

DANCING & ROMANCING

Program notes and artist bios for upcoming and past performances are available on utahsymphony.org. @UtahSymphony

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

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

FEBRUARY 17 | 7 PM

A SYMPHONIC NIGHT AT THE MOVIES: HIGH NOON

FEBRUARY 23–24 | 7:30 PM

BERNSTEIN AT 100: SYMPHONY NO. 2 WITH CONRAD TAO

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 2018

UTAHSYMPHONY.ORG

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WELCOME

Paul Meecham

Thierry Fischer

Kem Gardner

President & CEO

Symphony Music Director

Chair, Board of Trustees

Welcome to a new year and tonight’s performance by the Utah Symphony. We begin 2018 with two concerts filled with lush orchestral grandeur featuring the music of Dvořák, Stravinsky, and Rachmaninoff. Two highly acclaimed guest artists—violinist Hilary Hahn and pianist Stephen Hough—join the Utah Symphony musicians for these concerts. For the remainder of January the orchestra will be providing an important sonic dimension to the signature production of Utah Opera’s 40th Anniversary Season, Moby-Dick. The beginning of February will bring the orchestra back to Abravanel Hall for a program of Classical-era masterpieces led by conductor Patrick Dupré Quigley making his anticipated debut, and featuring esteemed pianist Ronald Brautigam. You can celebrate with your Valentine at a concert of music from the golden age of Hollywood musicals, titled Dancing & Romancing, followed by the latest in our popular Films in Concert series, High Noon. This classic Western with an award-winning score by Dimitri Tiomkin is a world premiere performance presented in collaboration with Go West! Art of the American Frontier from the Buffalo Bill Center of the West at the Utah Museum of Fine Arts. Throughout 2018 we will join a world-wide celebration of the 100th anniversary of the birth

of Leonard Bernstein, the remarkable composer, conductor, educator, and humanitarian. His music captured the sound of mid-century urban America and we begin our tribute the last week of February with his Symphony No. 2 Age of Anxiety for orchestra and piano, with help from a favorite pianist of Utah audiences, Conrad Tao. February is a fitting month for us to begin this tribute to Bernstein as it includes our annual 5th Grade Concerts where nearly 20,000 students within busing distance will attend special concerts in Abravanel Hall (see p. 62 for more information). Many people around the world fondly remember Bernstein’s Young People’s Concerts that were broadcast on CBS television. The Utah Symphony has maintained a similar tradition of inspiring young people with great live music for multiple generations of Utahns. Much credit goes to the Utah State Legislature, which provides over one-third of the support towards their cost. The remainder of that credit goes to our many individual donors and corporate and foundation sponsors who cumulatively match the state’s support. On behalf of the musicians, staff, and board members at Utah Symphony | Utah Opera, we thank you for your support and advocacy of our organization. It is through your help that we are able to connect the community through great live music!

UTAH SYMPHONY

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UTAH SYMPHONY

Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Conner Gray Covington Assistant Conductor

Roberta Zalkind# Associate Principal

OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair

Peter Margulies Gabriel Slesinger††

Barlow Bradford Symphony Chorus Director

Elizabeth Beilman Acting Associate Principal

VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton

Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Leslie Richards†† Whittney Thomas

Robert Stephenson Associate Principal

Sam Elliot Associate Principal

Lissa Stolz

BASS TROMBONE Graeme Mutchler† David Hagee††

Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair

CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair

Ralph Matson Associate Concertmaster

Matthew Johnson Associate Principal

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

David Park Assistant Concertmaster

John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang

Erin Svoboda Associate Principal

BASS* David Yavornitzky Principal

Claude Halter Principal Second Wen Yuan Gu Associate Principal Second Evgenia Zharzhavskaya Assistant Principal Second Karen Wyatt•• Joseph Evans LoiAnne Eyring Lun Jiang Rebekah Johnson Tina Johnson†† Amanda Kofoed†† Veronica Kulig David Langr Melissa Thorley Lewis Hannah Linz•• Yuki MacQueen Alexander Martin Rebecca Moench Hugh Palmer• David Porter Lynn Maxine Rosen Barbara Ann Scowcroft• M. Judd Sheranian•• Lynnette Stewart Bonnie Terry• Julie Wunderle VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair

Corbin Johnston Associate Principal James Allyn# Antonio Escobedo†† Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera† HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore

ENGLISH HORN Lissa Stolz

TROMBONE Mark Davidson Principal

TUBA Gary Ofenloch Principal TIMPANI George Brown Principal Eric Hopkins Associate Principal

Lee Livengood

PERCUSSION Keith Carrick Principal

BASS CLARINET Lee Livengood

Eric Hopkins Michael Pape

E-FLAT CLARINET Erin Svoboda

KEYBOARD Jason Hardink Principal

BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Edmund Rollett Acting Principal

LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager

Alexander Love†† Acting Associate Principal

STAGE MANAGEMENT Chip Dance Production & Stage Manager

Llewellyn B. Humphreys Brian Blanchard Stephen Proser

Jeff Herbig Properties Manager & Assistant Stage Manager

TRUMPET Travis Peterson Principal Jeff Luke Associate Principal

• First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member

UTAH SYMPHONY

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BOARD OF TRUSTEES ELECTED BOARD Kem C. Gardner* Chairman

David Dee* Alex J. Dunn Brian Greeff Lynnette Hansen Matthew Holland Thomas N. Jacobson Mitra Kashanchi Thomas M. Love* Brad W. Merrill Theodore F. Newlin III* Dee O’Donnell Dr. Dinesh C. Patel Frank R. Pignanelli Gary B. Porter Shari H. Quinney Brad Rencher Joanne F. Shiebler* Naoma Tate

Thomas Thatcher David Utrilla Craig C. Wagstaff Bob Wheaton Kim R. Wilson Thomas Wright

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

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

Kristen Fletcher Burton L. Gordon Richard G. Horne Ronald W. Jibson

Warren K. McOmber E. Jeffrey Smith Barbara Tanner

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

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

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.)

William H. Nelson* Vice Chairman Annette W. Jarvis* Secretary John D’Arcy* Treasurer Paul Meecham* President & CEO Jesselie B. Anderson* Doyle L. Arnold* Judith M. Billings Howard S. Clark Gary L. Crocker

MUSICIAN REPRESENTATIVES

Elizabeth Beilman* Mark Davidson* EX OFFICIO

Margaret Sargent Utah Symphony Guild Dr. Robert Fudge Ogden Symphony Ballet Association *Executive Committee Member

LIFETIME BOARD William C. Bailey Edwin B. Firmage Jon Huntsman, Sr. Jon Huntsman, Jr. G. Frank Joklik TRUSTEES EMERITI Carolyn Abravanel Dr. J. Richard Baringer Haven J. Barlow John Bates HONORARY BOARD Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano Geralyn Dreyfous Lisa Eccles NATIONAL ADVISORY COUNCIL

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MUSIC DIRECTOR

Thierry Fischer has been Music Director of the Utah Symphony since 2009 and Principal Guest Conductor of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalized the orchestra, and his contract has been extended to 2022. He has led the orchestra in annual single composer cycles including Mahler, Ives, and Nielsen; has toured to Utah’s five national parks; and has forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings. Following a well-reviewed recording of Mahler’s 1st Symphony, the Utah Symphony recorded Mahler’s 8th symphony in Utah with the world-renowned Mormon Tabernacle Choir, recently released in Autumn 2017. Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation

Maestro Fischer has guested with many leading orchestras, most recently the Boston, Atlanta, Cincinnati, and Detroit Symphonies; the Mostly Mozart Festival Orchestra (New York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze; Salzburg Mozarteumorchester; and the Orchestre de la Suisse Romande. and In Autumn 2016, he visited South America for the first time to conduct the Sao Paulo Philharmonic. In recent years, he has also conducted the Scottish, Swedish, and Munich Chamber Orchestras; London Sinfonietta; and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres—this season he conducts the Ensemble Intercontemporain for the first time. 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 became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001– 2006. He was Chief Conductor of the Nagoya Philharmonic 2008–2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor. Thierry Fischer is represented by Intermusica.

UTAHSYMPHONY.ORG

(801) 533-NOTE

utah symphony | utah opera is delighted to announce the establishment of the Elizabeth Brown Dee Fund for Music in the Schools and thanks the Lawrence T. & Janet T. Dee Foundation for their vision and investment in our organization and the music education we offer annually to the entire state through our programs.

Elizabeth Brown Dee found joy in music throughout her life, and experienced its power to inspire at an early age. Born in 1921 and raised in Ogden, Elizabeth learned to play piano in the family parlor. Litz, as she was known to friends and family, also discovered an aptitude and love for visual art and design. She attended the University of Utah where she took studio art classes from LeConte Stewart, studied art at the Meizinger Art School in Michigan, and served in World War II as a Women’s Army Corps draftsman. After the

war she created award-winning window displays for women’s clothing stores in Ogden. Litz’s sister Beverly Brown Lund became an accomplished cellist, studying at the Eastman School of Music. In 1949 Beverly and a friend scraped together enough donations for the Utah Symphony to perform its first concert in Ogden. Soon Litz, Beverly, and their wide circle of friends, family, and fellow music lovers committed to raising support for multiple Utah Symphony performances in Ogden each year. Dedicated volunteers, staff, and patrons have continued this hallmark of the cultural life of Ogden to the present day. Litz worked passionately to make music and visual arts education available to the young people of Ogden. She understood the impact that experiencing world-class orchestral music made in the lives of her family and friends, and worked for decades as a volunteer, donor, and leader to expand access to the arts in her community. The Elizabeth Brown Dee Fund for Music in the Schools will ensure that Utah Symphony | Utah Opera will continue to inspire students in Ogden and throughout the state of Utah in perpetuity, striking a note which would have delighted Litz.

Utah musicians in concert at the

Gallivan Center

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Utah Symphony & El Sistema By Paula Fowler

Utah Symphony Associate Principal Horn Edmund Rollett visited the GraceNotes after-school music program at Jackson Elementary.

Utah Symphony | Utah Opera has caught on to the excitement about El Sistema, the ground-breaking movement to create social change by nurturing underserved students in learning and excelling in music in after-school programs. The program was initiated in Venezuela in 1975 by JosĂŠ Antonio Abreu, and North American music educators started hearing about its wonders more than 10 years ago. Its founder was featured at major arts conferences and inspired new teaching programs throughout the United States and Europe. One degree program in El Sistema that continues to thrive is located at the New England Conservatory of Music. An additional super spokesperson for Sistema is Gustavo Dudamel, a graduate of Venezuelaâ&#x20AC;&#x2122;s El Sistema program who is now in his ninth season as Music & Artistic Director at the LA Phil. Also of note, Baltimore Symphony Orchestra was so inspired by El Sistema that it created an organization called OrchKids. Through this program, after-school music lessons are provided for students who would not otherwise have access to instruments and teachers, in six inner-city schools. Continued on page 21

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AUDRA McDONALD

with the UTAH SYMPHONY

MARCH 23 & 24 \ 2018 \ 7:30 PM \ ABRAVANEL HALL ANDY EINHORN conductor \ AUDRA McDONALD vocalist

with a record-breaking six tony awards, two GRAMMY Awards, and a long list of other accolades to her name, Audra McDonald has off-the-charts vocal talent and artistry to match. Known for her roles on Broadway in Carousel, Master Class, Ragtime, A Raisin in the Sun, and Porgy and Bess, McDonald also won TV fame for Private Practice. Welcome one of the most honored performers of her generation to Abravanel Hall for an unforgettable performance with the Utah Symphony.

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Utah Symphony & El Sistema Utah Symphony | Utah Opera has sought the best way to support burgeoning El Sistemainspired programming in our own community. We supported a Sistema program run through the orchestra program at Park City High School, and now also provide support for the American Preparatory Academy (on its four campuses) and the GraceNotes program run by Salty Cricket Composers Collective at Jackson Elementary School in Salt Lake City. Some of our musicians have volunteered with the GraceNotes students on special Saturday sessions. Our support has helped these organizations gain leverage with funders, and we have also provided tickets so that Sistema program students can attend our symphony and opera performances. Beyond tickets and letters of support, this season USUO helped with an instrument donation drive at Abravanel Hall during the concerts in the

first two weeks of December. Donations assisted both the Utah Symphony Guild after-school violin program at the Northwest Center and the GraceNotes program. When young people learn the basics on an instrument and begin to make music themselves, they create something that hadn’t existed in their world before. Such musicmaking is an experience of self-disciplined accomplishment and individual empowerment. El Sistema’s motto is “Social Action for Music,” and Utah Symphony is proud to partner with local Sistema programs in providing opportunities in music-making and personal growth for students in our communities. Paula Fowler is USUO’s Director of Education & Community Outreach. She has been writing opera commentaries for Utah Opera for more than 15 years.

Bernstein at 100

Celebrating the Legacy of an American Musical Icon By Erin Lunsford

In the year 1918, American composer, conductor, pianist, and music educator Leonard Bernstein was born. Over the course of a storied career that spanned the globe (he was one of the first musicians born and educated in the United States to receive worldwide acclaim), he became nothing short of a legend. In the year of his 100th birthday, many orchestras are looking back at Bernstein’s legacy and how it has shaped the American musical landscape. The scope and depth of Bernstein’s work is astounding. He was highly sought-after as a conductor, holding a long tenure as Music Director of the New York Philharmonic and guest conducting with some of the best orchestras in the world, most notably with the Vienna Philharmonic. Bernstein didn’t just conduct, though. Also a highly skilled pianist, he often “play conducted” the piano concertos of Ravel, Mozart, and others—always an impressive feat. Furthermore, Bernstein produced a staggering number of recordings with the New York Philharmonic and numerous other orchestras, many of which still stand as pillars in the recorded catalogue today. In fact, Bernstein was instrumental in the first complete recorded cycle of Mahler’s nine symphonies, from which Maurice Abravanel surely took inspiration when he recorded the same cycle with the Utah Symphony in the 1960s and 1970s. Conducting is just one small piece of Bernstein’s legacy, however. Many of us also know and love him as a composer— his musical West Side Story was an immediate hit when it was released in 1957, and music from this groundbreaking work is still played by orchestras worldwide. His ability to capture the sound and mood of mid-century urban America in this musical, and in much of his other work, is what makes his music so captivating. He drew inspiration from styles that many may have considered to be at odds with each other—AustroGerman classical music, jazz, Jewish music, and the idioms of Broadway musicals all found their way into his compositions to create a tapestry that is distinctively and uniquely American. And yet, the themes Bernstein conveyed in his music were themes of global importance. His favorite idea to come back to was the individual’s search for faith, an idea that remains especially relevant today—he explored this theme in his Continued on page 24…

UTAH SYMPHONY

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Bernstein at 100

Celebrating the Legacy of an American Musical Icon

Symphony No. 2 for Piano and Orchestra, The Age of Anxiety as well as in Chichester Psalms, both of which will be performed during Utah Symphony’s “Bernstein at 100” festival. Beyond these incredible accomplishments, each enough for one lifetime on their own, Bernstein also catapulted classical music into the public psyche by televising the New York Philharmonic’s Young People’s Concerts on primetime television, starting in 1954 and continuing for almost two decades. He taught millions of Americans how to appreciate classical music through a new and exciting entertainment medium, furthering the reach of the American orchestra and guaranteeing new audiences for the future. So in the year of Leonard Bernstein’s 100th birthday, the Utah Symphony pays homage to the man that transformed the American classical music scene, propelled it into the 20th century, and fostered generations of musicians and music-lovers alike. Utah Symphony Artist Logistics Coordinator Erin Lunsford takes care of the many guest artists and guest conductors that perform with the orchestra, and enjoys writing about music in her spare time.

UTAH SYMPHONY

UTAH SYMPHONY B E R N S T E I N AT 10 0

LEONARD BERNSTEIN AT 100

Composer, conductor, educator, and humanitarian Leonard Bernstein captured the sound of mid-century urban America and became one of the undeniable giants of 20th-century music.

SYMPHONY NO. 2 WITH CONRAD TAO FEBRUARY 23–24

CHICHESTER PSALMS & DIVERTIMENTO MARCH 2–3

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THIERRY FISCHER CONDUCTOR CONRAD TAO PIANO

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Social Snapshots In the last few months, Broadway stars took over our social media accounts, incredible soloists graced our presence, and the orchestra’s performances merited standing ovations. Did you miss any of those concerts? Take a look at what concert goers posted on social media. We want to see your Utah Symphony experience! Take out your phone and snap a quick selfie before tonight’s performance and post your photos with #UtahSymphony or tag @UtahSymphony to join the conversation.

♥ @sjsurfer Special date night with my baby at

♥ @katierosebastian The first time I listened to

♥ @jonkimuraparker Signing the @utahsymphony

♥ @divankenge Getting ready to sing Summertime

the Utah Symphony to see RHAPSODY ON A THEME OF Paganini featuring Jon Kimura Parker at Abravanel Hall.

@steinwayandsons ten minutes before curtain!

Rachmaninoff’s Rhapsody on a Theme of Paganini was the first time I remember realizing that music can communicate things that words cannot. I was 6 or 7. All my piano lessons from then on had one purpose, and that was to help me get good enough to play it. ♥Great job, #utahsymphony!

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Preconcert Rituals By Renée Huang, Director of Communications

Professional musicians often spend much of their lives on the road performing in concert venues around the globe. Amid the hectic travel schedules, rehearsals, practice time, and adjustments to a different time zone, culture, and climate, regular routine is sacrificed. We asked Stephen Hough to share what pre-concert rituals help keep him grounded.

STEPHEN HOUGH On the day of a concert I have morning practice from about 10:30 to 1 PM. Then a substantial lunch, sushi is a favorite, and if a pudding is irresistible only a bite (or two). Then a walk, ideally somewhere where the spirit can soar, so a park, a museum, a surging cityscape. Then a nap, bedclothes thrown back, as if nighttime with the curtains firmly closed, phones unplugged, pillows fluffed, and unconsciousness for at least an hour. I set the alarm clock and at about two hours before the concert I am out of bed. Then, with the kettle on, I shower at full throttle—it takes the same time to brew a cup of tea as it does to wash your hair. I sip my mug of strong tea (I travel with my own kettle and the best tea I can find) and indulge in a half a cookie to lift the mood a little while I check emails. Then, dressed, I head over to the hall--I like to arrive about an hour before I’m due onstage. I like gentle, calm backstage practicing, most often on pieces other than the ones I’m playing that night. Then into concert clothes about ten minutes before going out from the wings. I hear the applause as I am bowing, then sitting on the bench, adjusting the stool, deep breath and… hands to keys, which is why I’m there in the first place. But then there are the occasions when none of the above is possible. And, strangely, those are often the best concerts. Ah, the frustration and joy of the glorious unpredictability of being human!

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Hilary Hahn plays Dvorˇ ák’s Violin Concerto

program

Hilary Hahn plays Dvořák’s Violin Concerto January 4 / 2018 / 7:30PM / DE JONG CONCERT HALL (PROVO, UTAH) January 5–6 / 2018 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor HILARY HAHN, violin

HAYDN

Symphony No. 8 in G Major “Le soir” I. II. III. IV.

DVOŘÁK

Allegro molto Andante Menuetto La tempesta: Presto

Slavonic Dances No. 8 in G minor: Presto (Op. 46) No. 3 in A-flat Major: Poco allegro (Op. 46) No. 2 in E minor: Allegretto grazioso (Op. 72) No. 5 in B-flat minor: Poco adagio - Vivace (Op. 72) No. 6 in D Major: Allegretto scherzando (Op. 46) No. 7 in C Major: Allegro vivace (Op. 72)

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DVOŘÁK

Concerto in A minor for Violin and Orchestra, Op. 53 I. II. III.

Allegro, ma non troppo Adagio, ma non troppo Finale: Allegro giocoso, ma non troppo

HILARY HAHN, violin

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Hilary Hahn plays Dvorˇ ák’s Violin Concerto

artist’s proﬁle See page 15 for Thierry Fischer’s profile. Three-time GRAMMY Award-winning violinist Hilary Hahn is renowned for her virtuosity, expansive interpretations, and creative programming. Her dynamic approach to music-making and her commitment to sharing her musical experiences with a broad global community have made her a fan favorite. In 2017–18 Hahn returns to repertoire from the 19th and 20th centuries, performing the Tchaikovsky, Dvořák, and first Prokofiev Violin Concertos across the United States and Europe. She performs Bernstein’s Serenade (after Plato’s “Symposium”) with the Los Angeles Philharmonic, Philadelphia Orchestra at home and at Carnegie Hall, as well as Houston Symphony at home and on tour in Belgium, Poland, Austria, and Germany as part of the celebrations of Bernstein’s centennial season.

Hilary Hahn violin GUEST ARTIST SPONSOR

Hahn took her first violin lessons in the Suzuki program of the Peabody Institute in her hometown of Baltimore at the age of three, and at five she began lessons with Klara Berkovich, who had just emigrated from St. Petersburg. At ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia to study with Jascha Brodsky, a former pupil of Eugène Ysaÿe and Efrem Zimbalist. Hahn completed her university requirements at sixteen, having already made her solo debuts with the Baltimore, Pittsburgh, Utah, and Bavarian Radio Symphonies; the Philadelphia, Cleveland, and Budapest Festival Orchestras; and the New York Philharmonic, among others. Hahn continued her studies for three more years, delving into languages, literature, and writing, and received her bachelor’s degree at nineteen. She spent four summers at the Marlboro Music Festival and another four in the total-immersion German, French, and Japanese programs at Middlebury College. She holds honorary doctorates from Middlebury College and Ball State University, where there is also a scholarship in her name. Hahn is an avid writer, having posted journal entries for two decades on her website, hilaryhahn.com, and published articles in mainstream media. On her YouTube channel, youtube.com/hilaryhahnvideos, she interviews colleagues about their experiences in music. Her violin case comments on life as a traveling companion, on Twitter and Instagram at @violincase.

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Hilary Hahn plays Dvorˇ ák’s Violin Concerto

program notes

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Notes by Michael Clive Joseph Haydn (1732–1809)

Symphony No. 8 “Le soir” PERFORMANCE TIME:

24 minutes

BACKGROUND

Joseph Haydn earned the epithet “Papa” not just because of his generosity to younger composers, but also because he was the father of so many musical forms. Before Haydn, the symphony was still taking shape as a variant of the concerto grosso, or a diverting suite of unrelated movements in dance rhythms of alternating tempos. After Haydn, the idea of structural unity and of musical ideas weaving all the way through four orchestral movements seemed natural. When we listen to a Haydn symphony, we intuitively recognize this idea. His Symphony No. 8, nicknamed “Le soir” (evening), is a case in point. It is the third of a trio of symphonies he composed inspired by the diurnal cycle, including “Le Matin” (morning) and “Le Midi” (midday). Even at this early date (1761), Haydn was beginning to think beyond the symphony’s decorative attributes to its broader thematic possibilities. WHAT TO LISTEN FOR

Haydn reserves his most pictorial programmatic effects for the two symphonies that precede “Le soir”—for example, the radiant sunrise depicted in “Le matin;” in fact, some musicologists feel the nickname “Le soir” came from Haydn’s patron rather than the composer himself. Instead, they point out that the symphony is more remarkable for introducing devices that Haydn and other composers would use in future symphonies, such as repeated use of dotted rhythms and of the fermata to stretch note values for dramatic effect. Whether or not he came up with the nickname, it was Haydn who set the symphony’s mood of quiet contemplation that seems to suggest the waning light of dusk, even as the gentle lilt of the allegro movement brings the choirs of the orchestra successively into the discourse. The andante movement, gentle and contemplative, is centered in the strings.

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Perhaps the symphony’s most overtly nocturnal section is the storm sequence that ends it at a presto pace. This passage has earned its own nickname, “La tempesta,” though as storms go it is tame compared to some others, such as Vivaldi’s in The Four Seasons. Achieved with skittering sixteenth notes, “La tempesta” takes us from drizzle to downpour and back again. Haydn would remember these effects from early in his career, using them again almost four decades later in his great oratorio The Seasons. Antonin Dvorˇák (1841–1904)

Slavonic Dances PERFORMANCE TIME:

25 minutes

BACKGROUND

Antonin Dvořák was fortunate in his friendships— particularly that of Johannes Brahms, who recommended the younger composer to Fritz Simrock, his publisher. Simrock commissioned Dvořák’s first set of Slavonic Dances, Op. 46, as a set of piano duets that could be played at home or in the concert hall. Dvořák composed them in 1878, orchestrating them in 1880. Written at top speed, they created a sensation and an orchestrated version soon followed, proving both Dvořák’s brilliance and Simrock’s canniness. But when Simrock requested a second set (the Op. 72), Dvořák had his professional sights set on larger-scale works: concertos, symphonies and operas. Simrock was blunt in insisting on more Slavonic Dances, which were simpler and more financially rewarding to publish than, say, a symphony. For Dvořák, the Slavonic dances were a subject of some ambivalence. He told Simrock that “To do the same thing twice is devilishly difficult,” and that “I have not the slightest inclination to think of such light music at present.” Nevertheless, he managed to produce the Op. 72 set of eight dances during the summer of 1886 and completed the orchestral version early in 1887. Enjoying the richness of the Slavonic Dances, we don’t need to read Dvořák’s correspondence to know that his resistance vanished as he composed

Hilary Hahn plays Dvorˇ ák’s Violin Concerto

program notes

the Op. 72 set. Some months after his initial reluctance, he reported that the composing“… is going quickly now…I am enjoying doing the Slavonic Dances immensely and I think they will be altogether different [than the Op. 46]…” WHAT TO LISTEN FOR

Dance rhythms pervade almost all of Dvořák’s compositions. Even the composer’s chamber works and symphonies are dominated by the dance rhythms of Bohemia. Bohemian dance numbers incorporating these rhythms and “folkish” melodies are what we find in Dvořák’s sets of Slavonic Dances; they swing in a way that American ears are attuned to, thanks to our rich tradition of jazz and roots music that also places emphasis on the second beat or later in the bar, rather than the first. Most listeners find the second set of Slavonic dances a tinge darker and more inward, though this impression is certainly not consistent. Dvořák identified these movements by specific dance rhythm, although their tempos and time signatures frequently shift gears. Many juxtapose contrasting slow and fast paces for dramatic effect. Antonin Dvorˇák (1841–1904)

Concerto in A minor for Violin and Orchestra, Op. 53 PERFORMANCE TIME:

BACKGROUND

31 minutes

The origins of Dvořák’s great Violin Concerto can be traced back to 1879 and a meeting between Dvořák and Joseph Joachim. Joachim was not only one of the most esteemed violinists of the era, but also the founder and director of the Hochschule für Musik in Berlin—10 years older than Dvořák, and already an established force in the classical music world when the younger

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composer’s career was still taking shape. It seems clear that Joachim already knew and admired Dvořák’s music even before meeting him: The two men shared a friendship with Brahms, who was a staunch advocate of Dvořák’s music, and Joachim had in fact performed the premiere of the Dvořák String Sextet in A Major. WHAT TO LISTEN FOR

It’s not surprising that a Czech violinist helped prove this concerto’s brilliance. It was composed between the two sets of Slavonic Dances during Dvořák’s “Slavic period,” which also included the Czech Suite, the Slavonic Rhapsodies, and the Symphony No. 6. There is an almost palpably Slavic feeling to these compositions. The rhythms swing, building momentum and then hesitating, as if drawing a breath. The modes are labile, so that a feeling of sweetness can suddenly turn melancholy with an ineffable sadness that was there all along. But though it is folk-inspired, this is far from folk music. Its craft is complex, with a certain boldness. The first movement begins with a combination of sonata and rondo forms. Its main theme greets us as a statement by the solo violin, without the customary foreshadowing in the orchestra. Then, just as the movement seems to be settling down, its second theme proceeds without the customary recapitulation. The second movement, with its singing quality, demonstrates Dvořák’s deep sensitivity to the sound of strings. This lyrical, flowing sound that so beautifully showcases the instrument is what fiddlers mean by “violinistic,” and it is the reason why this movement was favored for separate performance by 19th-century violinists. But it is in the third movement where we hear the strongest evidence of Dvořák’s “Slavic” style: an energetic allegro combining elements of folk dance and sophisticated, layered orchestration. Just the ticket for a brilliant, swirling finale.

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program

Fischer conducts Rachmaninoff & Stravinsky

Fischer conducts Rachmaninoﬀ & Stravinsky January 12–13 / 2018 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor STEPHEN HOUGH, piano

STRAVINSKY RACHMANINOFF

Funeral Song, Op. 5 Concerto No. 1 in F-sharp minor for Piano and Orchestra, Op. 1 I. II. III.

Vivace Andante Allegro vivace

STEPHEN HOUGH, piano

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STRAVINSKY

The Firebird (L’Oiseau de feu)

Tonight’s concert is dedicated to the memory of former Utah Symphony Associate Conductor Ardean Walton Watts. As members of his musical family, we are honored to share this night with his children, grandchildren, and all who were inspired by this Renaissance man.

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

Fischer conducts Rachmaninoff & Stravinsky

artist’s proﬁle

See page 15 for Thierry Fischer’s profile. Stephen Hough is regarded as a Renaissance man of his time. Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind which has earned him a multitude of prestigious awards and a longstanding international following.

Stephen Hough piano

Stephen Hough has appeared with most major American and European orchestras and plays recitals regularly in major halls and concert series around the world. He has given recitals in such cities as Beijing, Berlin, Chicago, Dublin, Hong Kong, London, Milan, Montreal, New York, Paris, San Francisco, Stockholm, Sydney, and Tokyo. He has also appeared with the BBC, Czech, London, Los Angeles, Netherlands, New York, and Royal Philharmonics; the Atlanta, Baltimore, BBC, Boston, Chicago, Houston, Montreal, National, NHK, Pittsburgh, San Francisco, St. Louis, and Toronto Symphonies; and the Budapest Festival, Cleveland, Minnesota, Philadelphia, Russian National, and Tonhalle Zürich Orchestras, among others. He is a regular guest at such festivals as Aldeburgh, Aspen, Blossom, Edinburgh, Hollywood Bowl, Mostly Mozart, Musica Viva, Ravinia, Salzburg, Tanglewood, Verbier, and the BBC Proms, where he has made more than 20 concerto appearances, including performing Tchaikovsky’s complete works for piano and orchestra over the summer of 2009 (a series he later repeated with the Chicago Symphony Orchestra). Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School. To find out more about Mr. Hough, please visit his website, www.stephenhough.com, or his Facebook fan page.

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program notes

Fischer conducts Rachmaninoff & Stravinsky

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Notes by Michael Clive Igor Stravinsky (1882–1971)

Funeral Song, Op. 5 PERFORMANCE TIME:

13 minutes

BACKGROUND

Stravinsky composed the Funeral Song in 1909 in honor of his teacher and mentor, Nikolai RimskyKorsakov, who died in 1908. As a piece d’occasion, the memorial work was performed only once, in concert at the St. Petersburg Conservatory, and then set aside. Scholars thought it likely that the score was destroyed in the violence of the Russian revolution in 1917. But Stravinsky never entirely forgot this work, which he called one of his best from that era—the early years immediately preceding The Firebird and Le sacre du printemps. WHAT TO LISTEN FOR

Funeral Song uses orchestral textures and mutating sonorities to develop a somber theme; the feeling is muted and elegiac. This approach is particularly appropriate in a work dedicated to Rimsky-Korsakov, whose mastery of sonority and orchestration was the exemplar for so many Russian composers. But according to Stravinksy specialist Natalya Braginskaya, the composition also reveals a Wagnerian strain. Stravinsky must surely have listened closely to Wagner during this period (Wagner died in 1883), though he later discounted the revolutionary German composer’s influence on his own work. Sergei Rachmaninoff (1873–1943)

Concerto No. 1 in F-sharp minor for Piano and Orchestra, Op. 1 PERFORMANCE TIME:

26 minutes

BACKGROUND

Sergei Rachmaninoff, the last of the great Russian Romantic composers, was also one of history’s

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great pianists—perhaps among the greatest of all, according to some current re-evaluations of his recordings, piano rolls, and performance reviews. 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 may have had Marfan’s Syndrome, a congenital condition associated with these skeletal proportions, and with heart problems. (Niccolò Paganini may have had it as well.) 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

Oddly, this concerto shows Rachmaninoff at his most youthful and most mature, despite the fact that he thoroughly revised it in 1917, when he was in his mid-forties. By this time his second and third concertos, with their swooning melodies and sweeping Romantic lines, were popular favorites. The first gives us drama, but also the meticulous construction of a finely tailored garment. He told the biographer Albert Swan that “I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily…” Composition students at the Moscow Conservatory, where Rachmaninoff studied, were instructed to base major compositions on specific models—in this case the Grieg Piano Concerto, with its hyper-dramatic outer movements. The original version virtually grafts Rachmaninoff’s original ideas onto the architecture of Grieg’s movements, but the revised version shows far more of the Russian composer’s originality while not sacrificing the bold tension of the original. The opening brass fanfare will remind many listeners of the Grieg, but it is developed with Rachmaninoff’s characteristic finesse. The central movement, a brief and elegant andante, leads us to a sparkling allegro in the final movement.

Fischer conducts Rachmaninoff & Stravinsky

program notes

Igor Stravinsky (1882–1971)

The Firebird (L’Oiseau de feu) PERFORMANCE TIME:

44 minutes

BACKGROUND

For most of his life Igor Stravinsky was the most famous composer in the world, but he did not come to fame early. His reputation was made through his early ballet compositions when he was in his mid and late twenties. This important phase of his career began when, after more established Russian composers Tcherepnin and Liadov turned it down, he was awarded the commission for The Firebird, his breakthrough ballet for Serge Diaghilev’s prestigious Ballets Russes. Suddenly, Stravinsky was in a hothouse of international talent; the Ballets Russes’ dancers included Vaslav Nijinsky and Bronislava Nijinska, and its settings and costumes were designed by such artists as Pablo Picasso and Léon Bakst. This success launched the beginning of a transformative musical journey that continued with Petrushka and the epochmaking Le sacre du printemps (The Rite of Spring). In less than five years, this astounding collaboration caused sophisticated Parisians to riot at the sound of a new and revolutionary sound in music far beyond anything imagined before. WHAT TO LISTEN FOR

Considering the fierce independence and sense of leadership Stravinsky arrogated to himself after achieving success, it seems odd to speak of the Russian composers whose influences he drew upon earlier in his career, as in The Firebird. But we can hear them in the score: the arch-traditionalist Glazunov, the mystic experimenter Scriabin, and most of all Rimsky-Korsakov, who was a Haydn-like father to two generations of Russian composers including Stravinsky. Without using the highly charged D-word (“derivative”), we can say that Stravinsky was in full control of the stylistic sources for his score and deployed them with mastery and invention, producing a score that managed to sound palpably and recognizably Russian, yet astonishingly fresh and international.

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It was exactly what choreographer-impresario Diaghilev wanted, and from the earliest stages of the score’s development, the buzz began to build. His selection of Stravinsky for the commission was based on a single, scintillating work, Fireworks, but the gamble seemed lucky from the start. Diaghilev was building on the new-found Parisian Russo-mania that followed the sensationally successful 1906 exhibition of Russian art at the Pétit Palais, and the sold-out run of Mussorgksy’s Boris Godunov, the hottest ticket of 1908. When he launched his brilliant ballet company that same year, he surprised no one in calling it the Ballets Russes. The aristocratic Stravinsky spoke French fluently and worked with Diaghilev’s creative team as if born to it. At their frequent working meetings, with story details hashed out collectively and Stravinsky demonstrating musical possibilities at the keyboard, it seems that an almost utopian atmosphere of shared creative intensity prevailed. Progress was rapid and the buzz grew louder. Everyone knew The Firebird was a potential smash, and it was: Diaghilev added two supplementary performances to the original three that had been scheduled, and all were sellouts. Make no mistake: this is a ravishingly beautiful score. Though it does not hint at the revolutionary innovations to come in Le sacre du printemps just a few years later, it is no less an inspired work, investing a folk-based scenario with sophistication and magic. In the music of the ballet score we hear the fullness of Stravinsky’s orchestral mastery (the required instrumental forces are extremely large) and his gift for narrative. The story conflates traditional Russian folk elements of the Firebird and Kashchei the Immortal into a single adventure as Prince Ivan, a recurrent and beloved character, falls in love with one of thirteen princesses along his travels. In an enchanted garden the prince rescues the captive Firebird, who grants him an enchanted feather that will bring aid if needed while on his adventures. And soon, he does need it: in seeking to marry the princess, Ivan has incurred the wrath of her treacherous father, Kashchei the Immortal, who threatens to turn him to stone. When the Firebird casts a spell on Kashchei, Prince Ivan destroys the mystical egg that is the source of his power, freeing his captives and winning the princess.

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Annette & Joseph Jarvis Ronald & Janet Jibson Laura Kiessner Allison Kitching Harrison & Elaine Levy Thomas & Jamie Love Keith & Vicki Maio

Dr. Jean H. & Dr. Richard R. Miller Stephen & Mary Nichols Thomas & Gayle Sherry Diana & Paul Smith Verl & Joyce Topham Karen Uranker Ardean† & Elna Watts

ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Members of the Maurice Abravanel or Glade Peterson Society support the symphony or opera through annual gifts of $2,500 or more and enjoy symphony or opera benefits throughout the season. For more information, please call 801-869-9028. Anonymous (6) Craig & Joanna Adamson Fran Akita Robert & Cherry Anderson Robert Baker E. Wayne & Barbara Baumgardner Melissa J. Bentley, M.D. Mr. & Mrs. William Bierer Robert W. Brandt† Mr. & Mrs. John Brubaker Richard & Suzanne Burbidge Kelly Burt Mark & Marcy Casp Hal & Cecile Christiansen Edward & Carleen Clark Amalia Cochran Raymond & Diana Compton Sandra & David Cope Ruth Davidson

Graeme Dayton David & Karen Gardner Dee Thomas D. Dee III & Dr. Candace Dee Margarita Donnelly Carol & Greg Easton Janet Ellison Blake & Linda Fisher Laura Forsgren Drs. Fran & Cliff Foster Robert & Annie-Lewis Garda Diana George Jeffrey L. Giese, M.D. & Mary E Gesicki The James S. Gulbrandsen, Sr. Family C. Chauncey & Emily Hall Kenneth & Kate Handley David & Judi Harris Jeff & Peggy Hatch

Lisanne & Don Hendricks Debbie Horton Sunny & Wes Howell Dixie & Robert Huefner Sherry & Jim Hulse M. Craig & Rebecca Johns Bryce & Karen† Johnson Maxine & Bruce Johnson Neone F. Jones Susan Keyes & Jim Sulat Merele & Howard Kosowsky Val Lambson Donald L. & Alice A. Lappe Victoria McNeil Le Vine Paul Lehman Herbert C. & Wilma S. Livsey Patricia & Mark Lucas Milt & Carol Lynnes David & Donna Lyon Jed & Kathryn Marti Donations received as of November 13, 2017

UTAH SYMPHONY

Thank You ABRAVANEL OR PETERSON SOCIETY $2,500 to $3,999 Zelda Marzec Daniel & Noemi P. Mattis Christopher & Julie McBeth George & Nancy Melling Mr. & Mrs. Richard Mithoff Marilyn H. Neilson Thomas & Barbara O’Byrne O. Don & Barbara Ostler Dr. S. Keith & Barbara Petersen Leslie Peterson & Kevin Higgins Dan & June Ragan W.E. & Harriet R. Rasmussen Dr. Richard & Frances Reiser Joyce Rice

James & Anna Romano Kenneth Roach & Cindy Powell Lousje & Keith Rooker Thomas Safran Mark & Loulu Saltzman John F. Foley, M.D. & Dorene Sambado, M.D. Margaret P. Sargent Shirley & Eric Schoenholz Barbara & Paul Schwartz William G. Schwartz & Joann Givan Christine St. Andre & Cliff Hardesty

Richard & Janet Thompson Mr. & Mrs. Glen R. Traylor Joseph Urban Susan & David† Wagstaff John & Susan Walker Bryan & Diana Watabe Suzanne Weaver & Charles Boynton David & Jerre Winder Catherine Wong Gayle & Sam Youngblood

Dr. & Mrs. Michael A. Kalm Carl & Gillean Kjeldsberg Guttorm & Claudia Landro Tim & Angela Laros Gary & Suzanne Larsen Anne Lee & Claude Halter Dr. Vivan S. Lee & Mr. Benedict Kingsbury James Lether Lisa & James Levy Ronald W. Tharp & Kate F. Little Ross & Kathleen Matthews Daniel & Noemi P Mattis Warren K. & Virginia G. McOmber George & Linda Mendelson Brad & Trish Merrill Dr. Nicole L. Mihalopoulos & Joshua Scoville

David Mortensen & RoseMarie Brittner Mahyera Michael & Leslie O’Malley Robert & Catherine Pedersen Mr. David A. Petersen Victor & Elizabeth Pollak Jana Ramacher Grant Schettler Jill & Richard Sheinberg Barbara Slaymaker Gibbs† & Catherine W. Smith Payam Tristani Rachel Varat-Navarro Susan Warshaw Erik & Linda Watts Dan & Amy Wilcox Norman & Kathy Younker Laurie Zeller Michael & Olga Zhdanov

PATRON $1,500 to $2,449 Anonymous (2) Barry Bergquist Shauna Bona Mr. & Mrs. Lee Forrest Carter Dr. & Mrs. Thomas Coppin David & Carol Coulter Kathleen & Frank Dougherty Katherine W.† & E.R. Dumke, Jr. Robert S. Felt, M.D. William Fickling Heidi Gardner Dr. & Mrs. John Greenlee Ronald & Kaye Gunnell Arlen Hale Drs. Carolyn & Joshua Hickman Caroline & David Hundley Scott Huntsman James Hynes Drs. Randy & Elizabeth Jensen

Donations received as of November 13, 2017

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Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Madeline Adkins & John Forrest Christine A. Allred Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Roger & Karen Blaylock Dana Carroll & Jeannine Marlowe Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Dr. & Mrs. David Coppin Denise Corr James & Rula Dickson Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Carolyn & Tom Fey Naomi K. Feigal David & Ann George Ralph & Rose Gochnour John Graham Geraldine Hanni Jay & Julie Jacobson

Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Robert & Karla Knox Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L Lekowitz Tiffany & Mark Lemons Dennis & Pat Lombardi John Lucas Julie & John Lund Yuki MacQueen Peter Margulies & Louis Vickerman Edward & Grace McDonough Clifton & Terri McIntosh Mr. & Mrs. Michael Mealey Lex Hemphill & Nancy Melich Hal & JeNeal Miller Harold & Dylan Miller Mary Muir Oren & Liz Nelson Charles & Amy Newhall Richard Oâ&#x20AC;&#x2122;Brien Mary Jane Oâ&#x20AC;&#x2122;Connor Ruth & William Ohlsen

Linda S. Pembroke Rori & Nancy Piggott David Porter Keith & Nancy Rattie Gina Rieke Theodore Rokich David & Lois Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Frances & Ron Schwarz Annabelle & Dennis Shrieve Dorotha Smart Dr. & Mrs. Michael H. Stevens Hope Stevens Amy Sullivan & Alex Bocock Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff M. Walker & Sue Wallace Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman Kathie & Hugh Zumbro Donations received as of November 13, 2017 * In-kind donation ** In-kind and cash donation

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

UTAH SYMPHONY

Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

Annual Fund

Utah Symphony | Utah Opera is grateful to the corporations, foundations, & public institutions that sustain our mission and to those who have pledged multi-year gifts (recognized in bold). For more information, please call 801-869-9013.

ENCORE $100,000 & ABOVE AHE/CI Trust The Church of Jesus Christ of Latter-day Saints Dominion Energy George S. & Dolores Doré Eccles Foundation The Florence J. Gillmor Foundation Emma Eccles Jones Foundation Janet Q. Lawson Foundation

The Tony & Renee Marlon Charitable Foundation Larry H. & Gail Miller Family Foundation O.C. Tanner Company Perkins-Prothro Foundation John & Marcia Price Foundation Salt Lake County Salt Lake County Zoo, Arts & Parks

Shiebler Family Foundation Sorenson Legacy Foundation State of Utah Summit County Restaurant Tax / RAP Tax Utah Division of Arts & Museums / National Endowment for the Arts Utah State Legislature / Utah State Board of Education Zions Bank

Marriner S. Eccles Foundation FJ Management, Inc. Grand & Little America Hotels*

Utah Symphony Guild

BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Lawrence T. & Janet T. Dee Foundation

OVERTURE $25,000 to $49,999 Arnold Machinery B.M.W. of Murray | B.M.W. of Pleasant Grove The Brent & Bonnie Jean Beesley Foundation Chevron Corporation C. Comstock Clayton Foundation Deer Valley Resort** Moreton Family Foundation

Perkins-Prothro Foundation Montage Deer Valley** Charles Maxfield & Gloria F. Parrish Foundation S.J. & Jessie E. Quinney Foundation Simmons Family Foundation Harris H. & Amanda P. Simmons Foundation

Stein Eriksen Lodge** The Sam & Diane Stewart Family Foundation Summit Sotheby’s Nora Eccles Treadwell Foundation Vivint.SmartHome Wells Fargo Foundation

Donations received as of November 13, 2017

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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT

MAESTRO $10,000 to $24,999 Adobe Bambara* B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation – Russell Family CenturyLink Community Foundation of the Lowcountry

Every Blooming Thing* Anne & Gordon Getty Foundation Richard K. & Shirley S. Hemingway Foundation Hyatt Centric Park City** McCarthey Family Foundation Merrill Lynch Wealth Management National Endowment for the Arts

The New Yorker* Park City Chamber Bureau Promontory Foundation Salt Lake City Arts Council The Swartz Foundation Union Pacific Foundation University of Utah Health Utah Office of Tourism Workers Compensation Fund

Spencer F. & Cleone P. Eccles Family Foundation Flynn Family Foundation The Val. A. Green & Edith D. Green Foundation Holland & Hart** Huntsman International LLC J. Wong’s Thai & Chinese Bistro* Jones Waldo Park City

Martine* Pro Helvetia, The Swiss Arts Council Raymond James & Associates Resorts West by Natural Retreats* St. Regis / Deer Crest Club U.S. Bancorp Foundation Utah Autism Foundation Victory Ranch & Conservancy

Graystone Consulting LOVE Communications Macy’s Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Peczuh Printing* Ray, Quinney & Nebeker Foundation Sinclair Oil Corporation Snell & Wilmer

Snow, Christensen & Martineau Foundation Squatters Pub* Stay Park City Stoel Rives Swire Coca-Cola, USA* TraskBritt P.C. The George B. & Oma E. Wilcox & Gibbs M. & Catherine W. Smith Fdn. Zuvii*

PATRON $5,000 to $9,999 Art Works for Kids! Bessemer Trust Berenice J. Bradshaw Trust The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust

FRIEND $2,500 to $4,999 Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Boeing Employees Community Fund Robert S. Carter Foundation Castle Foundation Cope & Cope Investments, LLC D’Addario Foundation Diamond Rental* Henry W. & Leslie M. Eskuche Charitable Foundation Fanwood Foundation * In-kind donation ** In-kind and cash donation

UTAHSYMPHONY.ORG

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Donations received as of November 13, 2017

Thank You DONORS TO UTAH SYMPHONY | UTAH OPERA ENDOWMENT Utah Symphony | Utah Opera is grateful to those donors who have made commitments to our Endowment Fund. The Endowment Fund is a vital resource that helps the long-term well-being and stability of USUO and, through its annual earnings, supports our Annual Fund. For further information, please contact 801-869-9028 Gael Benson Edward Ashwood & Candice Johnson Estate of Alexander Bodi The Elizabeth Brown Dee Fund for Music in the Schools Lawrence T. & Janet T. Dee Foundation

Thomas & Candace Dee Hearst Foundation Roger & Susan Horn The Right Reverend Carolyn Tanner Irish & Frederick Quinn Edward & Bambara Moreton Estate of Pauline C. Pace Perkins-Prothro Foundation

Kenneth† & Jerrie Randall The Evelyn Rosenblatt Young Artist Award Norman C. Tanner & Barbara L. Tanner Trust O.C. Tanner M. Walker & Sue Wallace

GIFTS MADE IN HONOR OF Dr. J. R. Baringer & Dr. Jeannette J. Townsend Neill & Linda Brownstein

Herond & Gaylen Hoyt Pamela Robinson-Harris & Jeff Harris

Joanne & Bill Shiebler The Right Reverend Carolyn Tanner Irish

GIFTS MADE IN MEMORY OF Jay T. Ball Janet Bennett Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Loraine L. Felton Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson Joseph S. Knowlton

Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney J. Ryan Selberg Bert Schaap Aurelia H. Schettler Catherine Schettler

Ben Schippen Rebecca “Becky” Sharp Sorensen Ann O’Neill Shigeoka, M.D. Claudia Silver-Huff Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Ardean Watts John W. Williams Lawrence Young Martin Zwick

Donations received as of November 13, 2017

UTAH SYMPHONY

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 Edward† & Edith† Brinn Shelly Coburn Captain Raymond & Diana Compton Anne C. Ewers Flemming & Lana Jensen

James Read Lether Daniel & Noemi P. Mattis Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bentley Kenneth A.† & Jeraldine S. Randall Mr.† & Mrs. Alvin Richer

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

Dianne May Dr. & Mrs. Louis A Moench Jerry & Marcia McClain Jim& Andrea Naccarato Stephen H. & Mary Nichols Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase† & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. & Sally† Quinn

Dan & June Ragan Mr. Grant Schettler Glenda & Robert† Shrader Mr. Robert C. Steiner & Dr. Jacquelyn Erbin JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Edward J. & Marelynn Zipser

Mahler Circle Anonymous (3) Eva-Maria Adolphi Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Ms. Marilyn Lindsay Turid V. Lipman Herbert C. & Wilma Livsey

CRESCENDO SOCIETY OF UTAH OPERA Anonymous Mr. & Mrs. William C. Bailey Judy Brady & Drew W. Browning Dr. Robert H.† & Marianne Harding Burgoyne Shelly Coburn 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 Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin

Stanley B. & Joyce Parrish Patricia A. Richards & William K. Nichols Mr.† & Mrs. Alvin Richer Jeffrey W. Shields G.B. & B.F. Stringfellow Norman† & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser

†Deceased

UTAHSYMPHONY.ORG

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LEGACY GIVING

Leave a lasting legacy of excellent music. When you make a gift through your estate, either now or at the end of your life, you provide invaluable support to Utah Symphony | Utah Opera. Your financial advisor or estate planning attorney can help you build a gift that can meet goals for you or your heirs, and provide USUO with the resources that create incredible music. Help USUO preserve our future of performing favorite symphonic and operatic works and new works for years to come. To learn more about how estate planning can benefit both you and USUO, please call Kate Throneburg at 801-869-9028 or visit us online at usuo.giftplans.org.

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SEASON 2 BEGINS JAN. 14, 8PM

ADMINISTRATION ADMINISTRATION Paul Meecham

Kate Throneburg

Mike Lund

David Green

Heather Weinstock

Manager of Special Events & DVMF Donor Relations

Joan Shiflett

Senior Vice President & COO

Julie McBeth

Alina Osika

Ali Snow

Lisa Poppleton

President & CEO

Executive Assistant to the CEO Executive Assistant to the COO & Office Manager

SYMPHONY ARTISTIC Thierry Fischer

Symphony Music Director

Anthony Tolokan

Vice President of Symphony Artistic Planning

Conner Gray Covington Assistant Conductor

Barlow Bradford

Symphony Chorus Director

Walt Zeschin

Director of Orchestra Personnel

Director of Individual Giving

Manager of Corporate Partnerships Grants Manager

Chelsea Kauffman Steven Finkelstein

Development Coordinator

MARKETING & COMMUNICATIONS Jon Miles Vice President of Marketing & Public Relations

RenĂŠe Huang

Director of Communications & Digital Media

Chad Call

Andrew Williams Lance Jensen

Website Manager

Mike Call

Executive Assistant to the Music Director & Symphony Chorus Manager

Aaron Sain

SYMPHONY OPERATIONS Jeff Counts

Kathleen Sykes

Vice President of Operations & General Manager

Cassandra Dozet

Director of Operations

Chip Dance

Production & Stage Manager

Jeff Herbig

Properties Manager & Assistant Stage Manager

Melissa Robison

Program Publication & Front of House Manager

Erin Lunsford

Director of Creative and Brand Strategy Digital Content Producer

Steven Jerman

Junior Graphic Designer

PATRON SERVICES Nina Starling

Director of Patron Engagement

Opera Company Manager

Mandi Titcomb

Opera Production Coordinator

DEVELOPMENT Leslie Peterson

Vice President of Development

Hillary Hahn

Senior Director of Institutional Gifts

Natalie Cope

Director of Major Gifts

Patron Information Systems Manager

Julie Cameron

Accounts Payable Clerk

EDUCATION Paula Fowler

Director of Education & Community Outreach

Beverly Hawkins

Symphony Education Manager

Kyleene Johnson

Symphony Education Assistant

Paul Hill

Opera Education Assistant

OPERA TECHNICAL Jared Porter

Senior Technical Director

Kyle Coyer

Technical Director

Kelly Nickle

Properties Master

Lane Latimer

Assistant Props

Keith Ladanye

Production Carpenter

Travis Stevens Carpenter

Scenic Charge Artist

Andrew J. Wilson

COSTUMES Verona Green

Patron Services Manager

Robb Trujillo

Group Sales Associate

Ellesse Hargreaves

Marketing Manager - Patron Loyalty

Michelle Peterson

Jared Mollenkopf

Dusty Terrell

0PERA ARTISTIC Christopher McBeth Principal Coach

Payroll & Benefits Manager

Sales Manager

Artist Logistics Coordinator

Carol Anderson

Alison Mockli

Faith Myers

Patron Services Assistant

Opera Artistic Director

Controller

Annual Fund Coordinator

Marketing Manager - Audience Development

Orchestra Personnel Manager

Director of Information Technologies

Rachel Campbell

Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith Sales Associates

Nick Barker Mat Jagiello Mara Lefler Rhea Miller Pat Murnin Anthony Roberts Ananda Spike

Costume Director

Melonie Fitch

Rentals Supervisor

Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp

Rentals Assistants

Amanda Reiser Meyer Wardrobe Supervisor

Milivoj Poletan Tailor

Tiffany Lent

Cutter/Draper

Donna Thomas

Milliner & Crafts Artisan

Ticket Agents

Chris Chadwick Yoojean Song Connie Warner

ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan

Yancey J. Quick Daniel Hill Michelle Laino

Vice President of Finance & CFO

Stitchers

Wigs/Make-up Crew

We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.

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HOUSE RULES

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available free of charge at each performance on a first-come, first-served basis at Abravanel Hall. Ask at the Coat Check for details.

WHEELCHAIR SEATING Ample wheelchair seating is available. Please inform our ticket office representative when making your reservation that you require wheelchair space. Arrive 30 minutes before curtain time to obtain curbside assistance from the House Manager.

LATECOMERS In consideration of patrons already seated in the hall, reserved seating will be held until curtain, after which alternate seating will be used. During some productions late seating may not occur until an intermission after which time you may be seated by an usher in an alternate section. When traveling to performances, please allow ample time for traffic delays, road construction, and parking.

YOUNG CHILDREN Utah Symphony | Utah Opera welcomes children five years of age and older. Some concerts, including Family Matinees and special programs, are open to children of all ages. Please call 801-533-6683 for a list of these special performances. All children,

UTAHSYMPHONY.ORG

(801) 533-NOTE

regardless of age, must have their own tickets for all performances. No babes-in-arms are allowed unless specifically indicated.

QUIET PLEASE As a courtesy to performers on stage and to other audience members, please turn off cell phones, pagers, beeping watches, or any other noisemaking device. Also, please refrain from allowing concession items such as candy wrappers and water bottles to become noisy during the performance.

CLEANLINESS Thank you for placing all refuse in trash receptacles as you exit the theatre.

COPYRIGHT ADHERENCE In compliance with copyright laws, it is strictly prohibited to take any photographs or any audio or video recordings of the performance.

NEED EXTRA LEG ROOM? Let us know when making reservations; we can help.

EMERGENCY INFORMATION In the event of an emergency, please remain seated and wait for instructions. Emergency exits are located on both sides of the house. Please identify the exit closest to your location.

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ACKNOWLEDGMENTS UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR

Melissa Robison PROGRAM NOTES ANNOTATOR

Michael Clive Cultural writer Michael Clive is program annotator for the Utah Symphony, the Louisiana Philharmonic Orchestra, and the Pacific Symphony, and is editor-in-chief of the Santa Fe Opera.

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• •An Anintimate intimateeuro eurocafé café• • Free FreeValet ValetParking Parking 22 22East East100 100South South

Phone Phone• •801.363.9328 801.363.9328 www.martinecafe.com www.martinecafe.com Top TopPhoto: Photo:Image Imagelicensed licensedbybyIngram IngramImage Image

801-363-2739 B-Breakfast B-BreakfastL-Lunch L-LunchD-Dinner D-DinnerS-Open S-OpenSunday SundayDL-Delivery DL-DeliveryT-Take T-TakeOut OutC-Children’s C-Children’sMenu MenuSR-Senior SR-SeniorMenu MenuAT-After-Theatre AT-After-Theatre

LL-Liquor LL-LiquorLicensee LicenseeRR-Reservations RR-ReservationsRequired RequiredRA-Reservations RA-ReservationsAccepted AcceptedCC-Credit CC-CreditCards CardsAccepted AcceptedVS-Vegetarian VS-VegetarianSelections Selections B-Breakfast L-Lunch D-Dinner S-Open Sunday DL-Delivery T-Take Out C-Children’s Menu SR-Senior Menu AT-After-Theatre LL-Liquor Licensee RR-Reservations Required RA-Reservations Accepted CC-Credit Cards Accepted VS-Vegetarian Selections Top Photo: Image licensed by Ingram Image

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a little winter getaway

Enjoy a holiday escape with our Winter Getaway Package.

• Luxurious Accommodations for two in a Superior Tower King Room • Welcome Gift Bag • $60 Little America Dining Credit

D A I LY B R E A K F A S T B U F F E T

W E E K D AY L U N C H B U F F E T

D A I LY D I N N E R M E N U F R O M 5 P M - 1 0 P M 801-596-5704

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Legacy Village of Sugar House

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INDEPENDENT LIVING • ASSISTED LIVING • MEMORY CARE

801.486.6000

1212 E. Wilmington Avenue • Salt Lake City, UT 84106 www.legacyvillagesugarhouse.com

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