c l a s s i c a l l y
UTAH SYMPHONY SEASON / MAR – APR
CHARGED
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March/April 2018 Performances
CONTENTS
Purchase tickets at utahsymphony.org or call 801-533-6683
6 Welcome
MARCH 2–3 | 7:30 PM
8 Utah Symphony
BERNSTEIN AT 100: CHICHESTER PSALMS & DIVERTIMENTO
10 Board of Trustees 15 Music Director 16 Preconcert Rituals 21 DVMF Celebrates 15 Years 24 Getting to Know you our Volunteers 30 Season Sponsors 31–38 Tonight‘s Concert
MARCH 16 | 7:30 PM
DVOŘÁK’S SERENADE FOR STRINGS
39 Support USUO 40 Thank You 41 Young Musicians in Concert 51 Tanner & Crescendo Societies 52 Legacy Giving 53 Utah Symphony Guild
MARCH 23–24 | 7:30 PM
AUDRA MCDONALD WITH THE UTAH SYMPHONY
54 Administration 59 House Rules 61 A Ghost Light Podcast Extra! 64 Acknowledgments 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
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.
APRIL 6 | 10 AM APRIL 6–7 | 7:30 PM
TCHAIKOVSKY’S “LITTLE RUSSIAN” & PROKOFIEV WITH CONRAD TAO
APRIL 13–14 | 7:30 PM
WHOLE LOTTA SHAKIN’ FROM SWING TO ROCK
APRIL 20–21 | 7:30 PM
GRIEG’S PIANO CONCERTO WITH ALEXANDRA DARIESCU
APRIL 27–28 | 7:30 PM
FISCHER CONDUCTS SHOSTAKOVICH
© 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 Abravanel Hall and this performance of the Utah Symphony! We believe in the power of music to bring people closer through a shared experience and have recently taken steps to make it easier for families to experience our concerts together. With our new Family Pass, a family of four can attend a performance—and sit in the best seats available—for a total of just $30, and additional youth tickets are only $5 each! While children 5 and older may enjoy any of our concerts, we have two performances in March and April specifically targeted for family enjoyment that include actors and visuals to enhance the musical experience. Dr. Seuss’ Green Eggs and Ham will be presented on March 17 and Enchantment Theatre Company Presents Scheherazade on April 14, both with live music by the Utah Symphony musicians. Our Masterworks and Entertainment series concerts in March and April embrace a wide range of music to enjoy with classical
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masterpieces from Bernstein to Shostakovich and lighter favorites from Broadway to Elvis and Johnny Cash. We’re thrilled to present debuts by conductor Karina Canellakis and pianists Alexandra Dariescu and Boris Giltburg, as well as the return of conductor Kazuki Yamada, pianist Conrad Tao, and Broadway star Audra McDonald! When our musicians are not in Abravanel Hall in March and April, they will be performing for youth in schools throughout the state and beyond. And, for the second year, 17 members of the Utah Symphony and music director Thierry Fischer will be travelling to Haiti during their week off at the end of March to provide much-valued instruction and mentorship to 100 young Haitian instrumentalists. On behalf of the musicians, staff, and board members at Utah Symphony | Utah Opera, thank you for helping us bring people together through the shared experience of 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
Robert Stephenson Associate Principal
Sam Elliot Associate Principal
Barlow Bradford Symphony Chorus Director
Elizabeth Beilman Julie Edwards Joel Gibbs Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas
Lissa Stolz
BASS TROMBONE Graeme Mutchler† David Hagee††
VIOLIN* Madeline Adkins Concertmaster The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton Kathryn Eberle Associate Concertmaster The Richard K. & Shirley S. Hemingway Chair Ralph Matson Associate Concertmaster David Park Assistant Concertmaster Claude Halter Principal Second 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
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ENGLISH HORN Lissa Stolz
TUBA Gary Ofenloch Principal
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
Matthew Johnson Associate Principal
Erin Svoboda Associate Principal
John Eckstein Walter Haman Andrew Larson Anne Lee Louis-Philippe Robillard Kevin Shumway Pegsoon Whang
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood
Eric Hopkins Michael Pape
E-FLAT CLARINET Erin Svoboda
BASS* David Yavornitzky Principal
BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair
KEYBOARD Jason Hardink Principal
Corbin Johnston Associate Principal James Allyn Benjamin Henderson†† Lee Philip†† Edward Merritt Jens Tenbroek Thomas Zera†
Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos
HARP Louise Vickerman Principal
HORN Edmund Rollett Acting Principal
FLUTE Mercedes Smith Principal The Val A. Browning Chair
Alexander Love†† Acting Associate Principal
Lisa Byrnes Associate Principal Caitlyn Valovick Moore PICCOLO Caitlyn Valovick Moore OBOE James Hall Principal The Gerald B. & Barbara F. Stringfellow Chair
Llewellyn B. Humphreys Brian Blanchard Stephen Proser TRUMPET Travis Peterson Principal Jeff Luke Associate Principal
TIMPANI George Brown Principal Eric Hopkins Associate Principal
LIBRARIANS Clovis Lark Principal Maureen Conroy† Katie Klich†† ORCHESTRA PERSONNEL Walt Zeschin Director of Orchestra Personnel Andrew Williams Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Jeff Herbig Properties Manager & Assistant Stage Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
Peter Margulies Gabriel Slesinger†† TROMBONE Mark Davidson Principal
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
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
Lisa Eccles 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, Jr. G. Frank Joklik Clark D. Jones 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 NATIONAL ADVISORY COUNCIL
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UTAH SYMPHONY
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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 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 worldrenowned 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. 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, and 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 from 2001–2006. He was Chief Conductor of the Nagoya Philharmonic from 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
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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 two of our guest artists to share what pre-concert rituals help keep them grounded.
It would be so cool to have a formula that would guarantee you a good performance! No stress, no worries, just do a, b, c, and d and you’re fresh and in top shape, every single time. (That might sound a little boring, but, oh, it would be such a hard thing to refuse). Unfortunately, despite dreaming of such a formula for years and thinking, multiple times, that I’ve stumbled on it, I haven’t really. The closest I came is finding that there is—perhaps!—a formula, one that would work for one specific day and one specific performance. But how to find it, without the help of hindsight or a personal coach?
Boris Giltburg piano
An afternoon nap is good—unless you wake up with a heavy head. A relaxing walk to take your mind off the performance is good—unless you’re so excited that your brain seems to contain ten Energizer bunnies who won't stay quiet. Even the bowl of pasta you always swear by (“slowburn energy!”) may find itself sitting uneasily in your stomach next to the superfluous panna cotta, both not quite helping concentration. Or you may be in a country where no serious food is to be found at all between 2:30 PM (when you’re still rehearsing) and 7 PM (by which time you’re already warming up backstage, your heart so thumping with adrenaline that no thought of even a sandwich would dare to encroach). Even practicing—the most obvious thing to do—can sometimes reach a point at which it’s more beneficial to close the lid of the piano and go outside for some fresh air. So, a concert day might be a combination of some (or all) of the above—but the moment of going onstage and playing for the audience is the highest point of the day, guaranteed, and with no formula needed.
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UTAH SYMPHONY
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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 two of our guest artists to share what pre-concert rituals help keep them grounded.
Alexandra Dariescu piano
UTAHSYMPHONY.ORG
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My ritual starts in the morning with a positive attitude. You never know what can go wrong on the day of a concert (flights canceled, trains running late, piano missing…) so an optimistic outlook is incredibly helpful. I like to practice slowly in the morning, on the score, looking at every detail and refreshing the memory. If there’s a rehearsal with an orchestra, I usually save energy for the evening performance. Lunch consists of fish, rice, and lots of veggies. A nap is always welcome but if I can’t fall asleep, I lie down and breathe three in seven out, a ritual I’ve had for years. I also visualize the hall, coming in and feeling free. Freedom, inspiration, and being in the moment are my essentials for a great performance. As musicians, we always practice for tomorrow’s concert, think about what we’ll play in two year’s time. But when the spotlight is on, “now” is the most important! Forget anything else and live in the moment, think only about the music and then the magic happens! I like a good cup of coffee and chocolate about an hour before the concert, followed by warming up (Grindea technique), and the 30 minutes prior to the performance I spend alone, no talking, no phone, just thinking about the music, what I want to communicate to the audience. Every concert is a blessing and I sincerely feel grateful for every opportunity I have to perform, to do what I love!
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DVMF Celebrates 15 Years By Renée Huang, Director of Communications
As a resident of Park City, Director of Communications Renée Huang first fell in love with summer in the mountains while attending Deer Valley® Music Festival outdoor orchestra concerts. As the festival celebrates its 15th season in 2018, she takes a look at the growth and impact it’s had on the local economy.
During the summer months when Abravanel Hall lies quiet to the reverberating sounds of classical music, the hills surrounding Park City come to life as the Utah Symphony retreats to its home in Deer Valley. Founded in 2004, the vision of the Deer Valley® Music Festival is to deliver a high quality and musically diverse experience in casual settings of unparalleled natural beauty. The 6-week festival provides as many as 18 chamber music, classical, and pops concerts in several venues throughout Park City: the Deer Valley® Resort Snow Park Outdoor Amphitheater, St. Mary’s Church, and salon events in private homes in the Park City area.
UTAHSYMPHONY.ORG
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Over the years, the festival has featured bigname stars including Earth, Wind and Fire, Tony Bennett, Steve Martin and the Steep Canyon Rangers, the Beach Boys, Jewel, and Broadway legends such as Idina Menzel, Kristin Chenoweth, Matthew Morrison, and Leslie Odom Jr. As part of the educational outreach mission of Utah Symphony | Utah Opera, the festival education events offered 3 sessions of Pro-Am clinics, in which Utah Symphony members coached 49 area community orchestra musicians and music students from Park City High School in strings, woodwinds, and brass sections. Over the course of the
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UTAHSYMPHONY.ORG / 801-533–NOTE (6683) SEASON SPONSOR
DVMF Celebrates 15 Years
2016–17 academic year, Summit County school participation in Utah Symphony | Utah Opera education programs totaled 1,710 students and 85 teachers from 9 schools. Beyond educational outreach, the popularity of the festival has grown exponentially, seeing an 80 percent increase in audience numbers since the festival's inception, and a 25 percent increase in attendance in 2017 from the previous year. What does the continued growth trajectory and exciting future mean for the 15th anniversary of the festival? A hootenanny “Barn Bash” of epic proportions is being planned at High West Distillery’s Blue Sky Ranch in celebration of 15 years of summer music in the mountains. The Western-themed fundraiser will feature a musical performance by American country group Asleep at the Wheel. For more information or to purchase a ticket, please contact Heather Weinstock at 801.869.9011 or vipevents@usuo.org. For more information, visit deervalleymusicfestival.org
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Getting to know you our Volunteers… By Melissa Robison
We have over 600 volunteers each year that work as hosts, gift shop volunteers, light walkers, supernumeraries, and docents, as well as for our special events, Guild and Youth Guild, and our galas. We couldn’t function without the endless hours they dedicate to Utah Symphony | Utah Opera. Enjoy getting to know two of our wonderful volunteers and join us by emailing volunteers@usuo.org.
Anne Polinsky is a Utah native and has lived here and in Idaho. She graduated from the University of Utah with a degree in accounting, but is now retired. She also volunteers for several other local organizations, including Sundance Film Festival and Park City Kimball Arts Festival. How long have you been a USUO volunteer and what do you love most about volunteering here? Carolyn Holloway was the
person who first got me involved and we think it was about 2006, so just over a decade! I enjoy working with the other volunteers and the patrons. It’s nice to see the outreach that USUO does, and the younger people from Youth Guild and students attending performances.
Would you share any memorable moments or favorite concerts?
I think one of my favorite concerts (among many) is the first time I saw Pink Martini at Deer Valley and how the audience reacted to their talent. Why is it important to have classical music and opera in your life? I made a New Year’s resolution a couple of years ago
to have more music in my life and this was a perfect way to do it. It not only helps with relaxation, but I’ve read that it also keeps one’s brain from deteriorating, and who doesn’t love that?
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UTAH SYMPHONY
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Getting to know you our Volunteers… Whit Wirsing was born in Roanoke, Virginia. He has a degree in philosophy from Virginia Tech and a degree in Spanish from the University of Utah. He teaches English as a second language for the Granite District and Continuing Education department at the University of Utah and Lumos School. He is the author of the Ultimate Spanish Phrase Finder published by McGraw-Hill in 2009. Whit is most often seen at the symphony intermission receptions acting as the head “sommelier.” His beautiful origami cranes add a bright spot to the tables. How long have you been a USUO volunteer and what do you love most about volunteering here? I’ve been volunteering since
September 2011. I enjoy several things about volunteering. I want people to enjoy the experience of coming to the symphony, to have a good time, and want to come back. Second, I like the people that I work with. Would you share any memorable moments or favorite concerts?
I remember the night of a post-concert reception when the whole orchestra, the staff, and the board were in attendance. The champagne was flowing, and everyone was in high spirits. Another night that was memorable was about three years ago when it was a Latino night. I loved that because I speak Spanish, and the Latino community that likes classical music fits like glove with the rest of the music-loving community. Why is it important to have classical music and opera in your life? My grandmother was a concert pianist. She mostly
played with symphonies in the Roanoke and southwest Virginia area, but once she played César Franck’s Symphonic Variations. I have a CD of it, and my CD is no better than what my grandmother played that night. My mother also played the piano (she died when I was 12), and both my aunts played. So it’s in the blood. I can’t imagine life without it. And we are the organization for people whose love of music is in their blood. Melissa Robison is our Front of House and Publication Manager who also managers our Volunteer Network and has the pleasure of working with over 600 volunteers each season.
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UTAH SYMPHONY
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Utah Symphony Season Sponsor | 2017-18
BRING A
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FOR ONLY $
BERNSTEIN AT 100:
Chichester Psalms & Divertimento
March 2 & 3
PAGLIACCI / GIANNI SCHICCHI
Utah Opera
March 12 & 14
TCHAIKOVSKY’S “LITTLE RUSSIAN” & PROKOFIEV
FAMILY NIGHTS ADD SOME WONDER & EXCITEMENT
to your family outings with thrilling music and captivating stories that will inspire young minds without breaking your budget.
with Conrad Tao
April 6 & 7
WHOLE LOTTA SHAKIN’
—From Swing To Rock
April 13 & 14
GRIEG’S PIANO CONCERTO
with Alexandra Dariescu
April 20 & 21
FISCHER CONDUCTS SHOSTAKOVICH April 27 & 28
RICHARD STRAUSS’ DON QUIXOTE & ZARATHUSTRA May 4 & 5 DIE FLEDERMAUS
Utah Opera
May 12, 14, 16, 18 & 20
FAMILY NIGHT TICKETS: $ 30 / 2 ADULTS + 2 CHILDREN Additional children / $5 each, up to 6 per pass Discount available for Children ages 5–18 801-533-NOTE (6683) UtahSymphony.org \ UtahOpera.org
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UTAH SYMPHONY
program
Bernstein at 100: Chichester Psalms & Divertimento
Bernstein at 100: Chichester Psalms & Divertimento March 2–3 / 2018 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor UTAH SYMPHONY CHORUS UNIVERSITY OF UTAH CHOIRS BARLOW BRADFORD, chorus director
SAINT-SAËNS
Symphony in A Major I. II. III. IV.
BERNSTEIN
Adagio - Allegro Andantino Scherzo: Vivace Finale: Allegro molto - Presto
Chichester Psalms I. II. III.
Psalm 108: 2; Psalm 100 Psalm 23; Psalm 2: 1–4 Psalm 131; Psalm 133: 1
OLIVER LAUGHLIN, chorister from The Madeleine Choir School ANTHONY VILLANUEVA, chorister from The Madeleine Choir School
/ INTERMISSION / STRAVINSKY
Symphony of Psalms I. II. III.
BERNSTEIN
Divertimento for Orchestra I. II. III. IV. V. VI. VII. VIII.
CONCERT SPONSOR
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Psalm 38: 13–14 Psalm 39: 2–4 Psalm 150 Sennets and Tuckets Waltz Mazurka Samba Turkey Trot Sphinxes Blues In memoriam; March: “The BSO Forever” GUEST ARTIST SPONSOR
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Bernstein at 100: Chichester Psalms & Divertimento
artist’s profile
See page 15 for Thierry Fischer’s profile.
Barlow Bradford chorus director
Over the course of his musical career, Dr. Barlow Bradford has distinguished himself as a conductor, composer, arranger, pianist, organist, and teacher. As an orchestral and choral conductor, he co-founded the Utah Chamber Artists in 1991 and has led that organization to international acclaim for its impeccable, nuanced performances and award-winning recordings. Dr. Bradford’s focused, energetic conducting style led to his appointment as Music Director of the Orchestra at Temple Square in Salt Lake City and Associate Director of the Mormon Tabernacle Choir. Prior to that, he was Director of Orchestras at the University of Utah. His compositions and arrangements have garnered much attention for their innovation and dramatic scope, from delicate, transparent intimacy to epic grandeur. Arrangements by Bradford have been performed/recorded by the Cleveland Orchestra, San Francisco Symphony, Dallas Symphony, Tucson Symphony Orchestra, New York Choral Artists, Seattle Pacific University, Baylor University, Mormon Tabernacle Choir/Orchestra at Temple Square, Newfoundland Festival 500, and the San Francisco Gay Men’s Chorus, among others. In addition to his post as Director of the Utah Symphony Chorus, Dr. Bradford continues as Artistic Director of Utah Chamber Artists and serves as the Ellen Neilson Barnes Presidential Chair of Choral Studies at the University of Utah.
UTAH SYMPHONY CHORUS Soprano Julie Barker Courtney Bergen Anadine Burrell Kiersten Erickson Gillian Finkelstein Julie Hadlock Sarah Hansen Cadie Payne Melissa Stettler Stephanie Stiles
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Alto Jessica Benson Emily Bolman Caroline Campbell Kahli Dalbow Dacia Gray Emily Larsen Anna Lucero Misti Moberly Vanessa Vega Jessica Wadley
Tenor Wes Eldredge David Hansen Jon Hansen John Hayward Mark Hayward David Layton Garrett Medlock Brian Tanner Connor Thompson Dan White
Bass Logan Anderson John Bergquist Skyler Bluemel Bradley Clark Nathan Curtis Brett Finlay Joel Longhurst Andrew Luker Hal Mauchley Matthew Robertson
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chorus
Bernstein at 100: Chichester Psalms & Divertimento
UNIVERSITY OF UTAH CHAMBER CHOIR Alto Leddy Berdiss Rebecca Clarke Kyra Furman Alla Keoppel Haylee Markham Michaela Mathis Jessica Mella Christina Phillips Talia Stivender
Soprano Madeline Ashton Lexie Davis Mikaela Holbrook Julia Ivory Jacquelyn Musig Bethany Pehrson Julia Thomas Jordyn Updyke
Tenor Logan Bingham Carson Ivory Anders Larson Mason McDermaid Cory Mendenhall Dayne Romero Jordan Tolman Kort Zarbock
Bass John Bergquist Zach Earl Jacob Hayes Yu-Feng Huang Joseph Hutchins Stefan Larson Brennon Nelson Brett Rasmussen Michael Ropp Tanner Smith Qi Su Michael Zurligen
UNIVERSITY OF UTAH A CAPPELLA CHOIR Soprano Whitney Bracho Katherine Brim Abby Broadbent Barbara Cramer Leslie Dixon Maren Hansen Mailee Herzog Kearsa Hodgson Jessica Jones Emily Marsden Alexis McCann Ana Miranda Gabrielle Nicholson Laura Obeso Ryann Peterson Annie Staker Ina Stewart Emily Voorhees Ashley Williams
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Alto Lucy Allen Sara Bayler Shae Bunker Julie Burningham Lorilie Chavez Mary Culbertson Stephanie Doktor Amanda Fox Gabriella Gonzales Victoria Hansen Malone Jacoway Janelle Johnson Anna Madison Ellen Moffatt Sky Nelson Maggie Olsen Emma Peterson Ashley Ramos Kieran Scholes Kendall Thorsen
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Tenor Mitchell Andersen Niklas Hansen Yu-Feng Huang Scott King Tyler Knight Jacob Lobrot Cory Mendenhall Zach Nguyen Cole Parker Max Schultz Alan Smith Joshua Steed
Bass John Bergquist Matthew Burns Alan Chavez Cheney Doane John Hansen Alex Malin Brett Rasmussen Ray Reynolds Jude Ruelas Jacob Schickedanz Dylan Thomas Cody WeaverCarlson Jordan Wood Jacob Young
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Bernstein at 100: Chichester Psalms & Divertimento
artist’s profile
Located in downtown Salt Lake City, The Madeleine Choir School is far more than a music school. MCS offers students strong character formation and a holistic approach to exceptional age-appropriate learning. Modeled after the historic cathedral schools in Europe, the Choir School music curriculum is unmatched and also provides outstanding instruction in the humanities, mathematics, and the sciences, as well as foreign languages, visual arts, theology, and athletics. Students graduate from the Choir School having received an exceptional music education, including intensive vocal training, music theory, music history, and a minimum of two years of violin study. The Madeleine Choir School, a mission of the Roman Catholic Bishop of Salt Lake City and a service of The Cathedral of the Madeleine, is an elementary school for children in Pre-Kindergarten through Grade Eight. Established in 1996, the school continues the cathedral tradition of inspiring young people to become engaged scholars, effective communicators, dedicated liturgical musicians,
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and responsible world citizens who seek to build a civilization of justice, mercy, and love. The choristers in grades five through eight regularly assist with worship life at The Cathedral of the Madeleine and participate in the annual concert series. During the academic year, they can be heard at the Cathedral’s 5:15 PM Mass Monday through Thursday, and on Sundays at the 11:00 AM Mass. The students tour nationally and internationally, and regularly collaborate with Utah Symphony | Utah Opera and other local arts organizations. The Choristers of The Madeleine Choir School were honored to partner with the Utah Symphony on their recently released recording of Gustav Mahler’s Symphony No. 8 also featuring the Mormon Tabernacle Choir. We invite you to visit our campus to gain a first-hand experience of our school. Please visit our website at utmcs.org for a list of scheduled admissions events, or contact our Director of Admissions at admissions@utmcs.org or 801-323-9850 extension #103.
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Bernstein at 100: Chichester Psalms & Divertimento
program notes
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Notes by Michael Clive
Camille Saint-Saëns (1835–1921)
Symphony in A Major PERFORMANCE TIME:
24 minutes
BACKGROUND
In discussing the earlier compositions of Camille Saint-Saëns, particularly the symphonies that preceded his popular No. 3, one subject is unavoidable: his extreme precocity. Four of his five symphonies were written when he was in his teens or twenties. His Symphony in A Major actually predates the one we know as No. 1, which he wrote at age 17. His Symphony in F Major, which he titled “Urbs Roma” (“The City of Rome”), dates from 1856, when he was all of 21. Writing in the 1980 edition of the authoritative The New Grove Dictionary of Music and Musicians, essayist Ralph. P. Locke sweeps all of the works dating to 1850 or earlier into the category of juvenilia, and describes the Symphony in A as the most ambitious of these. That may be convenient, but it is also misleading. These are not youthful works; like Mozart, Saint-Saëns was writing fully mature works while still in his teens. In fact, the teenaged Saint-Saëns, with his sober disposition and scholarly bent, was already keenly aware of the conventions and history of symphonic form. Later in his career he would demonstrate mastery in every genre of 19th-century music; in his early symphonies we find him exploring Viennese tradition, French style, and his own youthful ideas in works that show the meticulous craftsmanship of a master hand at age 15. WHAT TO LISTEN FOR
Fresh, alive, youthful—this symphony bubbles with energy and charms us on its own terms,
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without reaching for profundity. Yes, we can hear the echoes of Beethoven in the leisurely way the introduction unfolds, but it is relaxed rather than portentous. Refinement and taste prevail throughout. Some listeners hear this symphony as presenting hints of eventual climaxes that don’t quite materialize. But to others, it is a genial work that offers graceful melody and seamless craftsmanship without burdening us with emotional freight. That was destined to come later in Saint-Saëns’ career—in the tone poems, operas, and the Third Symphony. Leonard Bernstein (1918–1990)
Chichester Psalms PERFORMANCE TIME:
18 minutes
BACKGROUND
The versatility of Leonard Bernstein’s protean intellect was without apparent limit. For example, who would have guessed that a composer and conductor of his stature would have a penchant for writing poetry in rhyming couplets? They dominate the libretto of his opera Trouble in Tahiti, which he wrote himself. Some observers, including this one, would contend that such poetry was not his strongest suit. Nonetheless, when he took a leave from his responsibilities as Music Director of the New York Philharmonic in 1965, he explained his reasons in a letter to The New York Times constructed in AA/BB rhymes, including these: But not to waste: there was a plan, For as long as my sabbatical ran, To write a new theater piece. (A theater composer needs release,
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Bernstein at 100: Chichester Psalms & Divertimento
program notes
And West Side Story is eight years old!) And so a few of us got hold Of the rights of Wilder’s play The Skin of Our Teeth
As with Giuseppe Verdi’s lifelong ambition to write an opera based on Shakespeare’s King Lear, Bernstein’s setting of The Skin of Our Teeth never came to fruition despite the promise of a brilliant match. It had been beset with unexpected problems from the outset, including the murder of an intended collaborator, the composer and writer Marc Blitzstein (whose flair for theatrical verse was brilliant). WHAT TO LISTEN FOR
Bernstein was passionately committed to human values—a citizen of the world who never lost sight of his Jewish roots. His Symphony No. 3, “Kaddish,” was the last major work he composed before Chichester Psalms, and both contain verse sung in Hebrew. But where “Kaddish” is a tragic outcry of loss and remembrance in honor of John F. Kennedy—Kaddish is the Jewish prayer for the dead—Chichester Psalms is a work of joy and hope. For Bernstein, composing Chichester Psalms represented a return to a tonal composition style after a period of wide-ranging musical experimentation. Bernstein’s versatility and musical knowledge enabled him to work in any genre, and in the 1950s and 60s, academic explorations of atonality, electronics, and aleatoric sound were ascendant among America’s classical composers. For him, the question was not whether he could keep up with these developments, but whether he wanted to. Looking back on the period during a 1977 press conference, he noted “I spent almost the whole year writing 12-tone music and even more experimental stuff. I was happy that all
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these new sounds were coming out: but after about six months of work I threw it all away. It just wasn’t my music; it wasn’t honest. The end result was the Chichester Psalms which is the most accessible, B-flat majorish tonal piece I’ve ever written.” (B-flat major is known as an especially “playable” key.) Structurally, Chichester Pslams is a threemovement choral suite in which each movement includes one complete biblical psalm plus additional psalmic verses. It’s a brilliant scheme, capturing the intrinsic poetry of each single psalm while reminding us of something larger. The musical settings combine Hebrew and Christian traditions of patterned iteration and repetition. As always with Bernstein, theatricality and energy are keynotes. Who else could make even quiet, slow passages seethe with electricity? And if the music is “B-flat majorish,” there is still plenty of freshness and novelty, including unusual time signatures such as 7/4 and 10/4. Still, the openness and accessibility of expression are never in doubt, giving us a chance to fully absorb the suite’s full-voiced commitment to peace, hope, and humanity’s longing to reach out to the divine. Igor Stravinsky (1882–1971)
Symphony of Psalms PERFORMANCE TIME:
22 minutes
BACKGROUND
Igor Stravinsky’s epoch-making ballet Le Sacre du printemps premiered about 17 years before he composed the Symphony of Psalms: Another way to view this chronology is to remember that by 1930, when the conductor and music publisher Serge Koussevitzky commissioned this
UTAH SYMPHONY
Bernstein at 100: Chichester Psalms & Divertimento
program notes
work, Stravinsky had already been the most famous composer in the world for almost a generation. It was composed as an occasional work to mark the 50th anniversary of the Boston Symphony Orchestra, of which Koussevitzky was music director. But the symphony’s distinctiveness and its status as a masterpiece have eclipsed the original dedication. At age 48, Stravinsky was no longer the enfant terrible of classical composers, but he had not lost his power to surprise. Where Koussevitzky had suggested an accessible work for orchestra without chorus, Stravinsky insisted on something very different: a psalmbased symphony with choral text based on Psalm 150. It is considered a landmark of his neo-classical period, a time when he was rethinking the lessons of great composers of the past, most notably Haydn. The outward features of the Symphony of Psalms suggest that Stravinsky was at least as mindful of the Baroque period as the Classical in developing it. There is something Bachian in its tightly focused setting of the psalm, an iterative song of praise that has attracted composers including Bruckner, Franck, and, yes, Bach (in his cantatas 190 and 225). Stravinsky also incorporated the Baroque technique of imitative writing to create a kind of tonal painting of the outside world’s scenic effects and natural phenomena, such as weather; it wasn’t unusual for Baroque composers to use ascending scales to suggest movement toward heaven or even to create pictures using the arrangement of notes in the score. WHAT TO LISTEN FOR
The language of the psalms came to us at a time when poetry was almost universally chanted or sung. The idea of reciting them without music would have seemed anomalous
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to the biblical David, and their poetic qualities seem even more beautiful when we imagine him raising his voice in praise accompanying himself on his harp. Centuries later Stravinsky’s setting of these verses seems equally personal despite its austere, monumental quality. As in his neo-classical opera Oedipus Rex, Stravinsky chose Latin (in this case the Vulgate) for his text, giving it a kind of gleaming purity. The sound of the symphony is burnished and low. High strings—violins and violas—are absent, and in the choruses, lower male voices prevail. In listening to the symphony, we can infer that Stravinsky wanted us to be sensitive to large effects rather than small artifacts. Often contemptuous of critical analysis, he brushed off references to modes such as the Phrygian and the Lydian (ancient five-note scales), and to Byzantine and Gregorian effects, as labels applied by “script-writers’ baggage-stickers.” But he did not reject them outright—saying instead that they may have been “operative” in the composing process. But he did note that “The allegro in Psalm 150 was inspired by a vision of Elijah’s chariot climbing the Heavens; never before had I written anything quite so literal as the triplets for horns and piano to suggest the horses and chariot.” In a manner unique to this 20th-century master, the symphony combines modern and ancient in a way that seems outside of time. It is one of the pieces in which Stravinsky explores the octatonic scale, which ascends in a symmetrical pattern of alternating whole and half steps. Though we need not keep this scale or any other in our ears as we listen, one device remains easy to hear: Stravinsky’s skillful use of fugal counterpoint. Strongly characteristic of Baroque religious music, this contrapuntal writing gives antique resonance to the symphony.
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Bernstein at 100: Chichester Psalms & Divertimento
program notes
Leonard Bernstein (1918–1990)
Divertimento for Orchestra PERFORMANCE TIME:
14 minutes
BACKGROUND
Leonard Bernstein was both a citizen of the world and a distinctively American voice in music. But it can also be said that he had two home towns: New York City, where as Music Director of the New York Philharmonic he was loved by both his players and his public; and Massachusetts, where he attended Boston Latin School and Harvard University, and received formative training as a conductor at the Berkshire Music Center in Tanglewood. There he served as assistant to Serge Koussevitzky, Music Director of the Boston Symphony Orchestra and perhaps his era’s greatest champion of new music. The Divertimento was a commission from the BSO to mark the orchestra’s centennial. Bernstein was past 60 when he composed it, but in his elation at receiving the assignment and in the joyful exuberance of the work itself, we can sense the young talent who electrified America and the world when he was in his 20s. Interviewed by The Boston Globe shortly before the premiere, Bernstein said “It reflects my youthful experiences here where I heard my first orchestral music. I nearly fell out of my chair I was so excited.” Bernstein’s enthusiasm was such that his inspiration exceeded the original scope of the commission: What was envisioned as a simple, celebratory pièce d’occasion became an eight-movement suite bursting with invention. Like so much of Bernstein’s best
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music, it combines the energy and popular appeal of his theater works with inner complexity and sophistication. In it, Bernstein addresses two audiences: the listening public and the orchestral players. WHAT TO LISTEN FOR
If we think of a similarly celebratory work with the same joyful energy—Brahms’ Academic Festival Overture, ending with its traditional tossing of mortarboards—the warning “hold onto your hats” is not out of place here. The Divertimento spans a broad range of styles. In eight movements based mainly on dance rhythms, we hear popular genres in some sections and full-blown symphonic styles in others. There’s even a blues movement. All of these are spun from a simple, two-note figure—B and C—in a manner traditional in musical tributes. With music of such wide-open accessibility, explanation is excess. But a few hints can’t hurt. Among these: The title of the opening movement, “Sennets and Tuckets,” is not an exotic musical form you don’t know, but simply a fancy Elizabethan reference for a fanfare, which is the traditional way to open this kind of celebratory work. The reference is playful. The succeeding movements include a waltz, a samba, and a turkey trot, but don’t expect strict adherence to dance rhythms; the waltz, for example, is in 7/8 time. There are tributes galore here—the waltz, for example, is a tip of the cap to Tchaikovsky, whose Symphony No. 6 contains a waltz in 5/4 time. Other “in jokes” there for the hearing include bouquets tossed to Beethoven and to the Boston Pops. The Divertimento’s final movement, labeled “The BSO Forever,” references Sousa in its title and the elder Johann Strauss’ Radetzky March in its sound, for a finale that is truly international.
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We are proud of the incredible talent of Utah’s youth musicians, and we’re excited to share their performances with you. Two opportunities for you to hear outstanding young musicians in concert are coming up soon. Utah Symphony Youth Guild Recital Saturday, April 14
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Utah Symphony All-Star Evening Tuesday, May 22
| 7 pm
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Youth Guild members prepared for months in dedicated practice. Auditions in March selected a wonderful array of talents and repertoire for you to enjoy. Join us for the Youth Guild Recital, which is free and open to the public.
High schooler Jarom Martineau from Provo, Utah solos with the Utah Symphony playing Rachmaninoff’s Piano Concerto No. 1. In the second half of the program students from 11 different youth orchestras sit side-by-side with the musicians of the Utah Symphony. Conner Gray Covington conducts the concert. For tickets, visit utahsymphony.org or call 801-533-6683
TH E 2018–19 SALUTE TO YOUTH
concert in September 2018 will be the 59th year for this concert. Audition repertoire is available at www.usuoeducation.org. Information about auditions for next season will be available by mid-April.
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Thank You FRIEND $1,000 to $1,499 Anonymous (5) Carolyn Abravanel Christine A. Allred Drs. Crystal & Dustin Armstrong Curtis Atkisson, Jr. Diane Banks & Dr. Mark Bromberg Mr. & Mrs. William D. Callister, Jr. Dana Carroll & Jeannine Marlowe Po & Beatrice Chang Michael & Beth Chardack William J. Coles & Dr. Joan L. Coles Gloria Comiskey Dr. & Mrs. David Coppin Denise Corr Dorothy B. Cromer James & Rula Dickson Margaret Dreyfous Alice Edvalson Eric & Shellie Eide Carolyn & Tom Fey Naomi K. Feigal Harry Franta† David & Ann George Robert & Mary Gilchrist Ralph & Rose Gochnour John Graham Mr. & Mrs. Richard R. Graham Geraldine Hanni John Edward Henderson Connie C. Holbrook
Jay & Julie Jacobson Todd & Tatiana James Dale & Beverly Johnson Jocelyn Johnson Chester & Marilyn Johnson Paulette Katzenbach Thomas H. Klassen & Carolyn Talboys-Klassen Robert & Karla Knox Greg Larson Sheryl Laukat Mr. & Mrs. Melvyn L. Lekowitz Tiffany & Mark Lemons Allan & Kay Lipman 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 Dan & Janet Myers Oren & Liz Nelson Charles & Amy Newhall Richard O’Brien Mary Jane O’Connor Ruth & William Ohlsen
Linda S. Pembroke Rori & Nancy Piggott David Porter Keith & Nancy Rattie Dr. Barbara S. Reid Gina Rieke Theodore Rokich Mr. & Mrs. Robert Rollo David & Louis Salisbury Janet Schaap James Schnitz Mr. August L. Schultz Frances & Ron Schwarz Annabelle & Dennis Shrieve Sandra Sigman Dorotha Smart Mercedes Smith Larry R. & Sheila F. Stevens Dr. & Mrs. Michael H. Stevens Hope Stevens Walter & Lorraine Stuecken Amy Sullivan & Alex Bocock Douglas & Susan Terry Gail Tomlinson Craig & Christy Wagstaff M. Walker & Sue Wallace Gerard & Sheila Walsh Mary & Scott Wieler Margaret & Gary Wirth Marsha & Richard Workman John & Jean Yablonski
Donations received as of January 12, 2018 * In-kind donation ** In-kind and cash donation
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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 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
Lawrence T. & Janet T. Dee Foundation Marriner S. Eccles Foundation
FJ Management, Inc. Grand & Little America Hotels* Utah Symphony Guild
BRAVO $50,000 to $99,999 Carol Franc Buck Foundation Frederick Q. Lawson Foundation Huntsman 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 January 12, 2018
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utahfoodservices.com
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Thank You CORPORATE, FOUNDATION, AND PUBLIC SUPPORT
MAESTRO $10,000 to $24,999 Adobe Bambara* Bank of Utah B.W. Bastian Foundation R. Harold Burton Foundation Caffé Molise* Marie Eccles Caine Foundation– Russell Family CenturyLink Community Foundation of the Lowcountry
The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Every Blooming Thing* Gastronomy* 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 Ogden Opera Guild 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
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 Macy’s 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 Millcreek Coffee Roasters* George Q. Morris Foundation Nebeker Family Foundation Park City Foundation Park City Community Foundation Peczuh Printing* Prime Steakhouse* Ray, Quinney & Nebeker Foundation Rocky Mountain Power 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 The Capital Group Deluxe Corporation Foundation Discover Financial Services The Dorsey & Whitney Foundation Patricia Dougall Eager Trust Spencer F. & Cleone P. Eccles Family Foundation
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
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Donations received as of January 12, 2018
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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 Anita Alcabes Jay T. Ball Dr. Ray Beckham Janet Bennett Winifred Bradley Robert H. Burgoyne, M.D. Jeffrey L. Chaney Kathie Dalton Charles Dean Dean E. Eggertsen Loraine L. Felton Harry E. Franta Rosalie Frost Ursula Gleason Joanne Johnson Muriel Lindquist Panos Johnson
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Joseph S. Knowlton Valice M. Laramee Sonja Margulies Frank & Maxine McIntyre Bill Peters Glade & Mardean Peterson John A. Reinertsen Alvin Richer Kathryn Romney Frank & Shirley Russell Bert Schaap Aurelia H. Schettler Catherine Schettler Ben Schippen J. Ryan Selberg Ann O’Neill Shigeoka, M.D.
Claudia Silver-Huff Phyllis Sims Rebecca “Becky” Sharp Sorensen Hope B. Stevens Patrick L. Wade Robert Van Wagenen Nadine Ward Marie Watkins Ardean Watts John W. Williams Lawrence Young Dr. I. Zelitt Martin Zwick
Donations received as of January 12, 2018
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
Herbert C. & Wilma Livsey 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 Edward Ashwood & Candice Johnson 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
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
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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.
Utah Arts Festival 2018
MA K E A REGUL AR NIGHT OUT
A B IG NI GHT OUT.
June 21-24 Library Square Personalize your Ruth’s Chris experience with our popular three-course Prime Time dinner menu offered nightly until 6:30PM starting at just $49.95.
uaf.org
Salt Lake City • 801.363.2000 275 S. West Temple
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
Andrew Williams
Orchestra Personnel Manager
Director of Individual Giving
Manager of Corporate Partnerships Grants Manager
Chelsea Kauffman
Annual Fund Coordinator
Steven Finkelstein
Development Coordinator
MARKETING & COMMUNICATIONS Jon Miles
Director of Information Technologies Controller
Alison Mockli
Payroll & Benefits Manager
Jared Mollenkopf
Patron Information Systems Manager
EDUCATION Paula Fowler
Director of Education & Community Outreach
Beverly Hawkins
Symphony Education Manager
Kyleene Johnson
Vice President of Marketing & Public Relations
Symphony Education Assistant
RenĂŠe Huang
Opera Education Assistant
Director of Communications & Digital Media
Paul Hill
Aaron Sain
OPERA TECHNICAL Jared Porter
Chad Call
Kyle Coyer
Director of Creative and Brand Strategy
Senior Technical Director
Marketing Manager - Audience Development
Technical Director
Executive Assistant to the Music Director & Symphony Chorus Manager
Mike Call
Properties Master
SYMPHONY OPERATIONS Jeff Counts
Kathleen Sykes
Lance Jensen
Vice President of Operations & General Manager
Cassandra Dozet
Director of Operations
Melissa Robison
Program Publication & Front of House Director
Chip Dance
Production & Stage Manager
Jeff F. Herbig
Properties Manager & Assistant Stage Manager
Erin Lunsford
Website Manager Digital Content Producer
Steven Jerman
Junior Graphic Designer
PATRON SERVICES Nina Starling
Director of Patron Engagement
Faith Myers
Sales Manager
Andrew J. Wilson
Patron Services Manager
Robb Trujillo
Group Sales Associate
Ellesse Hargreaves
Artist Logistics Coordinator
Patron Services Assistant
0PERA ARTISTIC Christopher McBeth
Marketing Manager - Patron Loyalty
Opera Artistic Director
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Michaella Calzaretta Opera Chorus Master
Mandi Titcomb
Opera Production Coordinator
DEVELOPMENT Leslie Peterson
Vice President of Development
Hillary Hahn
Kelly Nickle
Lane Latimer
Assistant Props
Keith Ladanye
Production Carpenter
Travis Stevens Carpenter
Dusty Terrell
Scenic Charge Artist
COSTUMES Verona Green
Costume Director
Melonie Fitch
Rentals Supervisor
Jessica Cetrone Kierstin Gibbs LisaAnn DeLapp
Rachel Campbell
Rentals Assistants
Genevieve Gannon Sarah Pehrson Jackie Seethaler Powell Smith
Wardrobe Supervisor
Nicholas Barker Mateusz Jagiello Ellen Lewis Rhea Miller Ananda Spike
Donna Thomas
Sales Associates
Ticket Agents
ACCOUNTING & INFORMATION TECHNOLOGY Steve Hogan
Vice President of Finance & CFO
Amanda Reiser Meyer Milivoj Poletan Tailor
Tiffany Lent
Cutter/Draper Milliner & Crafts Artisan
Chris Chadwick Yoojean Song Connie Warner Stitchers
Yancey J. Quick Daniel Hill Michelle Laino
Wigs/Make-up Crew
Senior Director of Institutional Gifts 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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UTAH SYMPHONY
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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,
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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.
59
KUED’s NEW LIFESTYLE CHANNEL
Now on Channel 7.4 and still on Comcast 393
Re-Scan your TV sets to make sure you get all of our channels.
A Ghost Light Podcast Extra! Host Jeff Counts interviews Concertmaster Madeline Adkins
Jeff: So, Madeline, tell us about this incredible instrument you’re playing now. Madeline: It’s really very exciting. As you know, for the past five years I was playing on Marin Alsop’s Guadagnini, which she graciously allowed me to bring to Utah for my first season. I took it into the shop of my friend, violin maker John Young, here in Salt Lake City to be cleaned up in preparation for its return and while discussing what I might possibly do next, he said “A friend of mine owns a beautiful Guad and may be looking to lend it to the right person.” Jeff: You’re kidding. That almost seems like fate. Madeline: I know! Turns out, John was a longtime friend of Jacques Israelievitch, the concertmaster of Toronto Symphony for 20 years and St. Louis before that. Sadly, Jacques died in 2015 from cancer at the quite young age of 67. His wife Gabrielle had been reluctant to loan the instrument at first, as she felt like this was the embodiment of Jacques and couldn’t bear to part with it. But she was thinking it’d be best for the instrument to be played. Jeff: What can you tell us about Jacques? Madeline: He came to the U.S. as a teenager when his family’s business in France was destroyed during a wave of anti-semitism. On the plane over he met Oistrakh, if you can believe it! Anyhow, he bought this Guadagnini (the “ex-Chardon”) when he got his first concertmaster job in St. Louis and, since he was the recipient of incredible generosity throughout his career and always maintained a commitment to teaching and mentoring the next generation of musicians, Gabrielle felt compelled to pay it forward. Jeff: Incredible. So, you went to meet Gabrielle. What is she like?
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Madeline: Gabrielle Israelievitch is an acclaimed children’s book author, psychologist, and artist. A real Renaissance woman. She is truly an incredible spirit. We spent several hours speaking about Jacques and then it came time to play the instrument for the first time. It was right there in the living room, where Jacques had taught so many students over the years, and in fact only feet from where he had played the violin for the last time. The first notes I played were the slow movement of Bruch. Almost instantly, Gabrielle was in tears. “It sounds just like Jacques,” John (who was with me) said. Gabrielle used FaceTime with one of her sons so he could hear. The experience was incredibly emotional for all. Jeff: I can imagine that this moment will always be one of the highlights of your career. Madeline: Of my life! When I brought it back to Utah, that weekend was my first Scheherazade with the Utah Symphony. Although I only had played the violin for two days, that opening E of the piece was such a gorgeous note that I forged ahead and decided to make the switch immediately. So that weekend, only four days after playing the instrument for the first time, and on what would have been Jacques’ 69th birthday, I played Scheherazade. In my dressing room was a huge bouquet of flowers. The note read “Thank you from Jacques.” Jeff: What an honor for you and for the Utah Symphony. Madeline: It’s humbling. And also thrilling. I can’t wait to perform a concerto on this instrument! Jeff Counts is Vice President of Operations and General Manager of Utah Symphony. He hosts Utah Symphony's Ghost Light podcast, a behind the curtain look into the world of classical music and the artists who make it, available on Stitcher, iTunes, and www.utahsymphony.org.
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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!
R E S TA U R A N T / D O W N T O W N
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Ballard Spahr Andrews & Ingersoll, llp Dorsey & Whitney, LLP Holland & Hart, LLP Jones Waldo NATIONAL PR SERVICES
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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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UTAH SYMPHONY
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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
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