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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!

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456 Trolley Square Salt Lake City, Utah 84102 801.359.2020 www.thespectacle.com

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

Nathan Royal

7:30 PM Thursday nights excellenceconcerts.org â&#x20AC;˘ 385-743-0146

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

7:30 PM / ABRAVANEL HALL

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SAINT-SAËNS DANSE MACABRE SAINT-SAËNS SYMPHONY NO. 1 BERNSTEIN SYMPHONY NO. 2 “AGE OF ANXIETY” ARTISTS

THIERRY FISCHER CONDUCTOR CONRAD TAO PIANO

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THIERRY FISCHER CONDUCTOR BARLOW BRADFORD CHORUS DIRECTOR CHORISTER FROM THE MADELEINE CHOIR SCHOOL UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHOIRS

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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program

Mozart & Haydn

Mozart & Haydn February 2–3 / 2018 / 7:30PM / ABRAVANEL HALL PATRICK DUPRÉ QUIGLEY, conductor RONALD BRAUTIGAM, piano

MOZART

Overture to Così fan tutte, K. 588

MOZART

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 “Jeunehomme” I II III.

Allegro Andantino Rondo: Presto

RONALD BRAUTIGAM, piano

/ INTERMISSION /

MOZART

Eine kleine Nachtmusik, K. 525 I. II. III. IV.

HAYDN

Allegro Romanze: Andante Menuetto: Allegretto Rondo: Allegro

Symphony No. 99 in E-flat Major I. II. III. IV.

Adagio - Vivace assai Adagio Menuetto: Allegretto Vivace

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Mozart & Haydn

artists’ proﬁles

Conductor Patrick Dupré Quigley is the founder and artistic director of the internationally-acclaimed ensemble Seraphic Fire. He frequently collaborates with the Cleveland Orchestra, the San Francisco Symphony, and the New World Symphony. He was nominated for a GRAMMY Award for his recording of Brahms’ German Requiem. This season, Quigley takes the podium with the Cleveland Orchestra in Mozart, the Utah Symphony in Haydn, and Seraphic Fire in masterworks of Bach, Monteverdi, Pärt, and the Pulitzer Prize-winning composer David Lang. Mr. Quigley is a music director finalist for the Spartanburg Philharmonic, leading that ensemble in Sibelius’ Symphony No. 2, along with music of Glière and Mozart.

Patrick Dupré Quigley conductor C O N D U C TO R S P O N S O R

In addition to his busy guest conducting schedule, Quigley regularly leads Seraphic Fire on critically-acclaimed tours. His performances have been described by the press as “extraordinary” (Gramophone Magazine), “authoritative” (The Philadelphia Enquirer), “inspirational” (The Chicago Sun-Times), “vivid, sensitive” (The Washington Post), and displaying “transformative brilliance” (New York Lucid Culture). He is the recipient of the Robert Shaw Conducting Fellowship, the ASCAP Adventurous Programming Award, and the Louis Botto Award for his entrepreneurial leadership of Seraphic Fire. Quigley holds degrees from the Yale University School of Music and the University of Notre Dame. He lives with his husband in Washington, D.C. where they are restoring a turn-of-the-century row home.

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artists’ proﬁles

Mozart & Haydn

Ronald Brautigam has earned a reputation as one of Holland’s most respected musicians, remarkable not only for his virtuosity and musicality but also for the eclectic nature of his musical interests. He has received numerous awards, including the Dutch Music Prize and a 2010 MIDEM Classical Award for Best Concerto Recording, recognizing his reconstruction of Beethoven’s Piano Concerto WoO 4 (also known as Piano Concerto No. 0). A student of the legendary Rudolf Serkin, Ronald Brautigam performs regularly with leading orchestras including the Royal Concertgebouw, London Philharmonic, BBC Philharmonic, City of Birmingham Symphony, Hong Kong Philharmonic, Sydney Symphony, Japan Philharmonic, Budapest Festival Orchestra, Orchestre National de France, Gewandhausorchester Leipzig, and the Rundfunk-Sinfonieorchester Berlin. He has performed alongside a number of distinguished conductors including Riccardo Chailly, Bernard Haitink, Frans Brüggen, Sir Simon Rattle, Christopher Hogwood, Marek Janowski, Sir Roger Norrington, Marin Alsop, Ivan Fischer, and Sir Mark Elder. Recent highlights also include appearances with Gulbenkian Symphony Orchestra and the Prague Symphony Orchestra; a concert tour of Japan and New Zealand; and most recently, performances of all the Beethoven Piano Concertos in one week (three concerts with the Oulu Symphony Orchestra in Finland).

Ronald Brautigam piano

Besides his performances on modern instruments, Ronald Brautigam has established himself as a leading exponent of the fortepiano, working with orchestras such as the Orchestra of the Age of Enlightenment, Orchestra of the Eighteenth Century, the Freiburg Baroque Orchestra, the Hanover Band, Tafelmusik, Concerto Copenhagen, l’Orchestre des ChampsElysées, and the Wiener Akademie. Ronald Brautigam is Professor at the Musikhochschule in Basel, Switzerland.

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program notes

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Notes by Michael Clive

Wolfgang Amadeus Mozart (1756–1791)

Overture to Così fan tutte, K. 588 PERFORMANCE TIME:

4 minutes

BACKGROUND

The collaboration between Mozart and librettist Lorenzo da Ponte is considered one of the great partnerships in Western art. Da Ponte, who was perhaps the greatest Italian poet of his generation—his principal rival was the legendary lover and memoirist Giacomo Casanova—worked with Mozart on three of his greatest operatic masterpieces: Don Giovanni, Le nozze di Figaro, and Così fan tutte. It’s fair to say that the first two entries in the Mozart-da Ponte collaboration were more innovative than Così. Like Nozze, it is an opera buffa—that is, a comic opera in the Italian language bearing standard hallmarks of the form. But where the story of Nozze was based on the radically modern plays of Beaumarchais and was politically subversive, Così was conventional for its day, a romantic farce based on a prank. The story had been kicking around for years, and a setting had even been attempted by Mozart’s contemporary Antonio Salieri, though he never completed it. Controversy arose later on. A story line that seemed like sophisticated, titillating comedy in 1790, when Così premiered at the Burtheater in Vienna, seemed vulgar and morally questionable in the decades that followed. Today it could be the basis for a

movie bromance by Judd Apatow: Two beset buddies get lured into a bet that they can seduce each other’s girlfriend, don disguises, and complications ensue. But despite the opera’s steady stream of fabulous solo arias, duets, and a magnificent trio and quartet, it is still less frequently performed than Nozze and Don Giovanni. But for today’s opera companies, the problem is not the story’s raciness, but its misogyny: When the girlfriends give way to temptation and are exposed, the moral lesson put forward is the one we learn in the title, usually translated as “Women are like that.” And boys will be boys. WHAT TO LISTEN FOR

Mozart’s thrillingly beautiful opera overtures do not generally quote the melodies that will come later in the opera. But they do more than merely set the mood for the drama to come; they wordlessly bring us into the heart of the story, providing a context for the drama. In the case of Così fan tutte, we hear boisterous energy that rolls along gleefully, telling us that we should enjoy the action with a clear conscience. But as always in Mozart opera overtures, we must pay special attention when the tempo shifts gears. In this case, when the overture reaches an emotional climax nearly at its end, the pace changes from rollickingly fast to portentously slow, and where themes have been tossed playfully from one orchestral section to another, suddenly we hear an emphatic tutti. It’s as if Mozart is making a grave, portentous announcement. And that is, in fact, what happens. The entire orchestra joins in the emphatic chords that are not heard again until the opera is almost over, when the two sadder-but-wiser buddies sing in unison, not once, but twice:

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program notes

Mozart & Haydn

“Così fan tutte.” Yes, women are like that—at least according to Mozart and da Ponte, who preview this message in the overture’s whirlwind of a finale. Wolfgang Amadeus Mozart (1756–1791)

Concerto No. 9 in E-ﬂat Major for Piano and Orchestra, K. 271 “Jeunehomme” PERFORMANCE TIME:

31 minutes

BACKGROUND

Mozart did everything early. As the satirist and music commentator Tom Lehrer quipped at age 40, “By the time Mozart was my age, he’d been dead for five years.” When did young Mozart make the transition from young prodigy to mature genius? Enthusiasts can argue about anything, including this unprovable point. But it’s widely agreed that his Piano Concerto No. 9, the “Jeunehomme,” is a milestone. Managing his son Wolfgang’s early career as a kind of musical novelty act, Leopold Mozart began the tradition of musikalischen Kinder—young musical prodigies—that continued into the 20th century, typically with violin and piano soloists who were groomed to look even younger than they actually were. But as much as he loved and depended upon his father, Wolfgang was constantly sprinting ahead rather than looking back. As a child he possessed

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a virtuoso’s skill on the violin and other instruments, but the piano held a special place for him. It might seem especially fitting that a concerto written by a prodigy at the brink of adulthood—a young man—would be nicknamed the “Jeunehomme.” But the name is actually a reference to Victoire Jenamy, an accomplished pianist who was in Salzburg during the winter of 1776–77. Daughter of the esteemed ballet master Noverre, Victoire was only seven years older than Mozart (28 at the time) and is thought to have performed the concerto’s premiere. It’s hard to resist speculating why the amorous young Mozart would have dedicated this remarkable concerto to a young woman who was probably trained as a dancer as well as a musician. WHAT TO LISTEN FOR

Listen carefully—are those portents of Beethoven concertos to come? Rather than beginning this concerto with a thenstandard roundup of melodies from later in the concerto, Mozart introduces the music with an abbreviated introduction that is nosed out by the eager entrance of the soloist. This truncated opening is a structure we also hear in Beethoven’s fourth and fifth concertos, which plunge us into the action without delay; Beethoven learned much from Mozart’s concertos, and may have been inspired by the way Mozart brings the piano’s solo voice into play with utter freedom in this one.

Throughout the first movement, the mood might be described as cozy. But then, in the second movement, Mozart boldly switches

Mozart & Haydn

program notes

to a minor key: C minor, the relative minor of the concerto’s home key of E-flat Major. Suddenly the concerto expresses a sense of light and shadow. Musicologists tell us that only 5 of Mozart’s 27 piano concertos are composed with central movements in the minor; in this case, the mood is elegiac and the sound is songlike. It reaches a level of expressiveness beyond Mozart’s previous concertos. The fast-paced final movement is in rondo form, allowing a call-andresponse pattern between orchestra and soloist. Mozart (and many other composers of concertos) relied on the rondo form, with its escalating repetitions of an initial theme, to showcase the soloist’s virtuosity and build a sense of mounting drama in the final movement. In this case, the increasing tension is dramatically broken twice: at a late cadenza that prefaces the concerto’s vigorous conclusion, and earlier in the movement, when a brief cadenza introduces a courtly minuet. It seems likely that this dance passage is a musical tribute to Victoire Jenamy and her father.

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tell just by enjoying it once through. The most important fact about this serenade for strings is that it was written with no other purpose than to delight the ear. Its success in doing just that has made it one of the most popular musical works of any kind ever composed. Considering its phenomenal appeal, we know surprisingly little about the circumstances of Eine kleine Nachtmusik’s composition. It’s fortunate that Eine kleine Nachtmusik is so beautiful, because its sprightly melodies pop up everywhere. On Broadway and in the movies it has suggested romance, inspiring Ingmar Bergman’s Smiles of a Summer Night, which Stephen Sondheim adapted as A Little Night Music. As the musicologist Wolfgang Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.” On every street corner? Now, there’s an idea. WHAT TO LISTEN FOR

Wolfgang Amadeus Mozart (1756–1791)

Eine kleine Nachtmusik PERFORMANCE TIME:

BACKGROUND

15 minutes

There’s a strong case to be made for saying nothing at all about Eine kleine Nachtmusik, and simply letting the music speak—or sing—for itself. Everything a critic or analyst can tell you about this work is something you already know, or—on the off chance you have never heard it before—you can

Enthusiasts will note that Eine kleine Nachtmusik, like the “Jeunehomme” Concerto, is in E-flat Major, a key that Mozart is thought to have chosen when he wanted an especially bright sound. In this case, the suite begins with an emphatic statement that combines mellowness and vigor through its emphatic upward arpeggio, a musical gesture known as a “Mannheim rocket.” The term is not as important as its effect, which here is energetic, yet airy. As the first movement proceeds in all its familiarity, the vigor of the opening gives way to a graceful development section.

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program notes

Mozart & Haydn

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Although the feeling of this suite is nothing like a symphony, it does unfold in four movements, with the outer movements quicker and more energetic than the courtly interior sections, which are more romantic in feeling—the second movement a romanze (a songlike movement) in C Major, and the third movement a danceable minuet in G Major. The final movement is an effervescent rondo. Marked “allegro,” its bubbling development and recapitulation sections are followed by a long coda. Throughout the suite, but especially in this movement, it is impossible to listen without grinning.

for both London engagements, knew of the Londoners’ receptivity to Haydn’s music, and he arranged commissions not only for the symphonies, but for many other works, including an opera. The Symphony No. 99, which was the first entry in the second of two sets of “London” Symphonies, took shape when Haydn was 61. He wrote it in Vienna, the city where he lived and had deep musical roots, and where his friend Mozart was a neighbor. The younger composer died in 1791, two years before Haydn wrote No. 99. The symphony was a commission for performance at the King’s Theatre in London, where it premiered in 1794.

Joseph Haydn (1732–1809)

WHAT TO LISTEN FOR

Symphony No. 99 in E-ﬂat Major PERFORMANCE TIME:

25 minutes

BACKGROUND

It’s common to think of the last of Haydn’s 104 symphonies—his “London” Symphonies— as the glory and valediction of his long career. But it may be more accurate to view these wonderful symphonies, which he wrote in two sets of six for two London tours, as the great works he composed to secure his retirement. Haydn was about 60 when he composed them for performance in London, a city that had always been enormously appreciative of his talent. He was acclaimed in the press, treated as an A-list celebrity, and extremely well paid there. Johann Peter Salomon, the industrious German musician and impresario who made the arrangements

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Haydn was open and unstinting in his admiration of Mozart, whom he called the greatest composer he knew of. The older composer also never stopped listening and learning, and more than one commentator has noted that when it came to symphonies, Haydn—the most esteemed role-model for the junior composers of his day—was more influenced by the younger, bolder Mozart than the other way around. We hear this especially in late symphonies such as the No. 99. Here Haydn, composing in a form he nearly invented, was testing new ideas, such as the inclusion of the clarinet in his orchestra, which he likely heard in much of Mozart’s music. For context, Haydn was a mature composer when he began work on his first symphony, when Mozart was about 5.

The form of the No. 99 is an elegant example of the symphonic tradition that Haydn himself fashioned, with its four

Mozart & Haydn

program notes

movements designed as a unified arc and the orchestra framed as a unified ensemble, rather than the Baroque convention of a suite of contrasting movements proceeding as a discourse between foregrounded and backgrounded players. We are drawn in with an adagio announcement that builds expectation, then greeted with the energy and verve of the brisker themes that dominate the movement. The second movement, a lustrous adagio, sings with Haydn’s gift for melody. In the third movement, Haydn adds a danceable minuet, pauses for dramatic effect—a trick he loved— and occasional bursts of unexpected energy. The finale is a delight, full of wit and whimsy. What should we make of the fact that this symphony, like Eine kleine Nachtmusik and Mozart’s “Jeunehomme” Concerto, has a home key of E-flat Major? That’s up to you and the conductor. In his book This Is Your Brain on Music, the musician and neuroscientist Daniel J. Levitin demonstrates that the well-tempered tuning we hear in today’s orchestras treats all keys equally, so

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the descriptors sometimes associated with individual keys—dark, bright, closed, open, monumental, intimate—are meaningless in a modern context. But there are exceptions. For composers and others with rare mental traits, individual keys can have their own emotional associations. These traits include absolute pitch (an extreme form of sense memory) and synesthesia (in which a musical tone can trigger another sensory effect, such as color). And in Haydn’s day, when the modern conventions of tuning hadn’t quite been worked out yet, there were still some lingering differences in individual keys, and all were slightly lower—or “darker”—than we hear them today. Finally, there was Haydn’s abiding consideration for his players: He knew that for every choir in the orchestra, some keys were virtually unplayable, and some keys simply fit the instruments more comfortably than others. This is why, if you have plans for composing a violin sonata in C-sharp Major, you should drop them.

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FOR THE 2017–18 CONCERTS, Utah Symphony Assistant Conductor Conner Gray Covington has chosen the title Go West! for the program. We will take students through a musical narrative of the expansion to our western frontiers. We look forward to this annual chance to share great repertoire played by our dedicated musicians. This year’s concerts take place between February 6 and 20, 2018, and are supported by Naoma Tate and the Family of Hal Tate. They are part of the Go West! Festival in Salt Lake in the winter/spring of 2018.

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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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(801) 533-NOTE

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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

(801) 533-NOTE

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

(801) 533-NOTE

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.

HUDSON PRINTING COMPANY www.hudsonprinting.com 241 West 1700 South Salt Lake City, UT 84115 801-486-4611 AUDITING AND ACCOUNTING SERVICES PROVIDED BY

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relax and enjoy our complimentary shuttle! The New Yorker is a Salt Lake City icon that set the stage for fine dining in Utah and has been providing fresh, innovative food and outstanding hospitality in a warm, inviting atmosphere for decades of diners. Enjoy delicious food, relax and ride our complimentary shuttle to Abravanel Hall, Capitol Theatre and the new Eccles Theatre. Ride back and enjoy dessert and a nightcap, a cozy way to end your evening out on the town!

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Provided by Love Communications, Salt Lake City The organization is committed to equal opportunity in employment practices and actions, i.e. recruitment, employment, compensation, training, development, transfer, reassignment, corrective action and promotion, without regard to one or more of the following protected class: race, color, religion, sex, national origin, age, disability, family status, veteran status, sexual orientation, gender identity and political affiliation or belief. Abravanel Hall and The Janet Quinney Lawson Capitol Theatre are owned and operated by the Salt Lake County Center for the Arts. By participating in or attending any activity in connection with Utah Symphony | Utah Opera, whether on or off the performance premises, you consent to the use of any print or digital photographs, pictures, film, or videotape taken of you for publicity, promotion, television, websites, or any other use, and expressly waive any right of privacy, compensation, copyright, or ownership right connected to same.

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Whether it’s before or after service the showand or award an evening dining, dining,providing providing exceptional exceptional service and award winning. winning. dinner with friendsmenu and family—enjoy cutquality steaks, The Thecontemporary contemporary menu features featuresthe thehand highest highest quality fresh seafood, locally-crafted beers, classically available. available.Select Selectfrom froman anabundant abundantoffering offeringofoffresh fresh inspired cocktails and an award wine list. seafood seafoodflown flowninindaily, daily, Angus Angus Beef Beefwinning steaks, steaks,and andaa variety variety L,D,ST,C,LL,RA,CC, V S. 801-238-4748 ofofnon-seafood non-seafooddishes. dishes.Open Open7 7days daysaaweek weekserving serving breakfast, breakfast,lunch, lunch,dinner, dinner,Sunday SundayBrunch. Brunch.B,B,L,L,D,D,C,C,AT, AT,S,S, LL, LL,CC, CC,VS. VS.801.322.4668 801.322.4668

MARTINE MARTINE22 22East East 100 100BREWERY South. South.Award Awardwinning winning ambience, ambience, SQUATTERS PUB 147 West located locatedininaaSLC. historic historic brownstone. Martine Martine offers Salt Salt Lake Lake Broadway Joinbrownstone. us before and after offers the show for City Cityaasophisticated sophisticated dining dining experience experience kept simple.Locally Locally eclectic daily specials and traditionalkept pubsimple. favorites such sourced sourced ingredients, ingredients, pre-event pre-event $25 $25three three courseprix prix fixe. fixe. as bacon topped meatloaf, pizzas and acourse delicious array Extensive Extensive bar bar and wine wine service. service. martinecafe.com martinecafe.com of burgers, alland paired with our world-class beer and L,welcoming L,D,D,T,T,LL, LL,RA, RA, CC, CC,VS. VS.801-363-9328 801-363-9328 atmosphere. L, S, AT ,LL, D, CC, VS

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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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