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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

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

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!

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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

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

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.

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(801) 533-NOTE

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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Preconcert Rituals By Renée Huang, Director of Communications

Alexandra Dariescu piano

UTAHSYMPHONY.ORG

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.

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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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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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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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FISCHER CONDUCTS SHOSTAKOVICH April 27 & 28

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program

Fischer conducts Shostakovich

Fischer conducts Shostakovich April 27–28 / 2018 / 7:30PM / ABRAVANEL HALL THIERRY FISCHER, conductor BORIS GILTBURG, piano TRAVIS PETERSON, trumpet

SHOSTAKOVICH

Concerto No. 1 in C minor for Piano and Orchestra, Op. 35 I. II. III. IV.

Allegro moderato Lento Moderato Allegro con brio

BORIS GILTBURG, piano TRAVIS PETERSON, trumpet

SHOSTAKOVICH

Concerto No. 2 in F Major for Piano and Orchestra, Op. 102 I. II. III.

Allegro Andante Allegro

BORIS GILTBURG, piano

/ INTERMISSION /

SHOSTAKOVICH

Symphony No. 10 in E minor, Op. 93 I. II. III. IV.

Moderato Allegro Allegretto Andante-Allegro

A number of US Veterans are special guests of Utah Symphony tonight, as part of annual outreach to veterans in our community. Free tickets to select symphony concerts are available to veterans through VetTix.org.

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Fischer conducts Shostakovich

artists’ proﬁles

See page 15 for Thierry Fischer’s profile. Born in 1984 in Moscow, Boris Giltburg moved to Tel Aviv at an early age, studying with his mother and then with Arie Vardi. He went on to win numerous awards, most notably the Second Prize and Audience Prize at the Rubinstein Competition in 2011. In 2013 he won First Prize at the Queen Elisabeth Competition, catapulting his career to a new level. In 2015 he began a long-term recording plan with Naxos Records.

Boris Giltburg piano

Giltburg has appeared with many leading orchestras such as the Philharmonia Orchestra, Israel Philharmonic, DSO Berlin, Frankfurt Radio Symphony, London Philharmonic Orchestra, Swedish Radio Symphony, Danish Radio Symphony, St. Petersburg Philharmonic, and Baltimore Symphony. He made his BBC Proms debut in 2010 and frequently tours to South America and China, and has also toured Germany with the Orchestre National du Capitole de Toulouse. He has played recitals in leading venues such as Leipzig Gewandhaus, Carnegie Hall, London Southbank Centre, Louvre, and Amsterdam Concertgebouw. In the 2017–18 season Giltburg begins a year-long residency in Brussels at both Flagey and Palais des Beaux-Arts, performing in recital and with the Deutsche Kammerphilharmonie and Paavo Järvi as well as Brussels Philharmonic and Stéphane Denève. He is also Artist-inResidence in The Hague with the Residentie Orkest under Nicholas Collon, with whom he appears at the Amsterdam Concertgebouw. In North America he plays for the first time with the Pacific Symphony and Ben Gernon; Utah Symphony and Thierry Fischer; and National Arts Centre Ottawa Orchestra and Alexander Shelley. Engagements in the UK include his debut with the Hallé Orchestra and returns to the Royal Liverpool Philharmonic, City of Birmingham Symphony Orchestra, and Bournemouth Symphony. Recital appearances this season include Southbank’s International Piano Series, Radio France, Bilbao Philharmonic Society, and Liszt Festival Raiding. He also tours Europe with the Pavel Haas Quartet. Boris is an avid amateur photographer and blogger, writing about classical music for a non-specialist audience.

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artists’ proﬁles

Fischer conducts Shostakovich

Travis Peterson joined the Utah Symphony as Principal Trumpet in 2013. He grew up on a dairy farm outside of the central Minnesota town of Milaca. He started playing trumpet at the age of ten and joined the school band and jazz band. While in high school and during his first years in college, he was also a member of the drum and bugle corps The Madison Scouts. After high school, he studied music education at the Jacobs School of Music at Indiana University, where he studied with Edmund Cord. After finishing his degree at IU, he went on to receive his Graduate Diploma in performance from New England Conservatory in Boston, M.A. He studied with Ben Wright and Tom Rolfs, both of the Boston Symphony Orchestra. He played with the New World Symphony in Miami Beach for three years under the direction of Michael Tilson Thomas. Travis has performed with the Tanglewood Music Center Orchestra, National Repertory Orchestra, Spoleto USA Festival Orchestra, Artosphere Festival Orchestra, and Opera North. He has also played as guest assistant principal in the Grant Park orchestra in Chicago. He can regularly be seen performing with the Strings Festival in Steamboat Springs during the summer under the direction of Michael Sachs, principal trumpet of the Cleveland Orchestra. Travis has performed several times with the Boston Symphony Orchestra, including their 2015 European Tour and the Boston Pops. He has also performed as guest Principal Trumpet with the San Francisco Symphony. Mr. Peterson is happily married to the love of his life.

Travis Peterson trumpet

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program notes

Fischer conducts Shostakovich

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Notes by Michael Clive

that his life, his family and his music were gravely threatened from then on.

Dmitri Shostakovich (1906–1975)

Concerto No. 1 in C minor for Piano and Orchestra, Op. 35 PERFORMANCE TIME:

BACKGROUND

21 minutes

Dmitri Shostakovich spent most of his adult life living and composing in the shadow of Joseph Stalin, the General Secretary of the Communist Party and murderous dictator of Soviet Russia. All human activity, especially any kind of productive work, was subject to government scrutiny and control under Stalin, and his displeasure with Shostakovich’s 1904 opera Lady Macbeth of the Mtsensk District turned the young Shostakovich from a rising star to a marked man overnight. With Stalin’s disapproval, the composer rightly assumed

Shostakovich composed his Piano Concerto No. 1 during a kind of golden moment just before the onset of his bleak, undeclared state of house arrest. Praised as a pianist and as a potentially great composer, he performed the premiere of his Piano Concerto No. 1 in 1933. According to contemporary accounts, the concerto was enthusiastically received. Just a year later, Pravda published the famous editorial under Stalin’s byline denouncing Shostakovich’s satirical melodrama Lady Macbeth— already winning rave reviews in foreign productions—for a musical style that the Kremlin’s cultural apparatchiks deemed decadent, cosmopolitan, and detrimental to the revolutionary cause. Thus the Piano Concerto No. 1 may be Shostakovich’s last and freest musical utterance before his long, agonized period of composing with one eye on his music and the other over his shoulder. WHAT TO LISTEN FOR

Ironically, this concerto has every outward appearance of flattering Soviet social ideals. Technical proficiency in performance was considered of particular value in the Soviet state, which saw the arts as a way to compete for prestige on the world’s stages— especially in piano, violin, and ballet. The young Shostakovich not only created the solo part, but according to contemporary accounts, he performed it with heroic flair and technical brilliance. The concerto is structured in four movements rather than the traditional three, but the

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program notes

Fischer conducts Shostakovich

moderato third movement clocks in at less than two minutes, and functions more as an introduction to the rousing allegro con brio finale than as a separate musical statement. Shostakovich’s later works have been reinterpreted in the light of history as incorporating irony and sarcasm as a means of skirting his government critics. But we also hear these elements in this early work, composed before he incurred the wrath of the censors. We can consider this unusual work as a double concerto, with the solo piano stating musical subjects and the solo trumpet commenting on them; in later years, Shostakovich said that he originally intended to write it as a trumpet concerto, then switched to a double-concerto format, and finally executed a piano concerto with a featured part for solo trumpet. The concerto’s prevailing characteristics are wit, humor, and youthful energy, with mercurial shifts in mood. Its first allegretto movement, full of twists, opens onto a stately waltz; the brief third movement leads us to a brilliant close with a hectic piano part and an increasingly insistent trumpet. The many musical quotations in this movement include Haydn, Beethoven, Mahler, and even a traditional Yiddish folk song. It is said that only Shostakovich could have knit these disparate sources so comfortably into a unified whole.

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Dmitri Shostakovich (1906–1975)

Concerto No. 2 in F Major for Piano and Orchestra, Op. 102 PERFORMANCE TIME:

20 minutes

BACKGROUND

Since the publication of the English translation of Shostakovich’s controversial memoir Testimony in 1979, musicologists have reinterpreted and argued about Shostakovich’s music and his relations with the Soviet regime, especially during Stalin’s reign of terror. Shostakovich filled his music with ironic meanings he hoped would elude bureaucrats. It might seem obvious that the composer and his family could breathe a little easier after the death of the tyrant who had denounced his music as harmful to the interests of the people, but his second piano concerto and its performance history suggest otherwise. Scholars and critics hear the irony and sarcasm of Shostakovich’s big symphonies in this work, even though it is more intimate and personal in expression, and was written four years after Stalin’s death. Given Shostakovich’s own proficiency as a pianist, it is surprising that he did not write more than just two piano concertos; the gap between this one and his first was more than 20 years. In concert, his son Maxim played the work at a breakneck pace, and his recording of it, with Dmitri conducting, gives us some idea of what this must have sounded like in the concert hall. The impression is

Fischer conducts Shostakovich

program notes

one of virtuosic speed achieved at the expense of intimacy of expression; modern interpretations give us both qualities. WHAT TO LISTEN FOR

This concerto radiates energy and cheer. Its buoyancy strikes an unusual balance with the virtuosity it demands of the soloist; the music requires a combination of youthful spirit and mature, sometimes blistering technique. In light of Shostakovich’s troubled relationship with the Soviet authorities, it’s not surprising that his remarks about his own music tend to be exercises in misdirection. In a letter written shortly after he finished composing this concerto, he described it as having “no redeeming artistic merits.” That was four years after Stalin’s death, when Shostakovich may still have been lying to protect his family from the murderous Soviet regime that first threatened their lives 27 years earlier. But it is also possible that he was trying to deflect public scrutiny from a composition that was highly personal to him. Nikolai Volkov, who translated Shostakovich’s disputed memoir Testimony, has argued poignantly of Shostakovich’s creation of this concerto as both a gift for his son Maxim and a kind of scrapbook-depiction of his years as a piano student. Maxim introduced the concerto to the public as a final exam in conservatory. The concerto opens with a merry theme in the winds, with the piano almost sneaking into the melodic discussion. As new thematic material is introduced, the movement opens into a boisterous tumult that culminates in climactic silence, after which the piano is showcased on its own. The second movement, a romantic andante, is more introspective in

3/5

mood. The concerto closes with an exuberant allegro, full of dance rhythms and a folk-like mood. This movement is almost an in-joke for piano students who have labored over “Hanon” exercises. Dmitri Shostakovich (1906–1975)

Symphony No. 10 in E minor, Op. 93 PERFORMANCE TIME:

20 minutes

BACKGROUND

When Stalin attacked the music of the 26-year-old Dimitri Shostakovich, denouncing the most highly acclaimed Russian opera since Tchaikovsky’s Queen of Spades, the young composer knew that his bad review in Pravda wasn’t just about art; it was a potential death sentence from a mass murderer. As a family man who had seen fellow-artists terrorized and sent to the gulags, Shostakovich knew he was in danger. During the following two decades, until Stalin’s death in 1953, he became known as an ardent apologist, producing evidence of his “reform” in public statements, written testimony, and in his symphonies. But was his apology sincere, or is there—as many now believe—a bitter critique beneath the surface? Shostakovich’s Symphony No. 10 is at the center of this debate. He worked on this symphony during the summer of 1953, the year of Stalin’s death, though he may have begun composing it two years earlier. It was his first symphony in five years, since a 1948 denunciation renewed the government’s oppressive scrutiny of his life and work.

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program notes

Fischer conducts Shostakovich

According to a friend and colleague of the composer, the pianist Tatiana Nikolayeva, Shostakovich worked on the symphony while also composing his 24 Preludes and Fugues for the piano. This would date his initial sketches for the work as early as 1951. Musicologists confirm that the symphony’s opening movements incorporate thematic material recycled from an unfinished violin sonata dating back to 1946. Such details of chronology are not important in themselves, but they indicate that Shostakovich began drafting this symphony perhaps a couple of years before Stalin died, then continued to work after the dictator’s death— perhaps reimagining the symphony’s meaning and scope. At a time when many composers were questioning the symphonic form’s continued relevance, Shostakovich produced a symphony of monumental gravity. Was it, in fact, composed as a comprehensive critique of Soviet rule? Many analysts believe that it was, and that it expresses the horrors of life under Stalin as only a great work of art can. WHAT TO LISTEN FOR

In Testimony, Shostakovich’s disputed memoir, and in lectures on this subject, the translator and editor Nikolai Volkov has strongly supported the idea that Shostakovich used his art to reveal the brutal truth about Stalin’s reign at great personal risk. According to Volkov, the composer wrote that “…I did depict Stalin in my next [s]ymphony, the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the [s]ymphony is about. It’s about Stalin and the Stalin years.” While there is continuing controversy surrounding Testimony, the music supports

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4/5

its words: In the extended moderato that comprises the symphony’s opening, we seem to experience the Russian people’s misery, despair and desperate struggle to survive under Stalin. Twenty years of atrocities are depicted in twenty minutes. The music is almost cinematic—graphic, dramatic, and riveting. By turning to waltzes and marches to construct the symphony’s second and third movements, Shostakovich reanimated Russian symphonic tradition in a way that the cultural apparatus would not find suspicious, but that would resonate with contemporary listeners’ nostalgia for their cultural heritage. The waltz in the third movement is notable for the motif based on the German transliteration of Shostakovich’s name into musical notes—D-S-C-H—in a technique familiar since Bach. This symphony has been described as 48 minutes of eloquent despair and 2 minutes of human triumph. Those triumphant moments come at the very end, in a depiction of endurance and hope redeemed. As in so much of Russian history, the strength to survive prevails over suffering and affirms the human spirit. Recollections by listeners who attended this symphony’s premiere, on a bleak day in Leningrad in December 1953, suggest one of the strangest and most dramatic events in musical history: An auditorium full of listeners overcome with emotion, weeping and cheering, having encountered their own lives in a great symphony, while the government officials whom it condemned looked on in smug satisfaction at the supposed rehabilitation of the composer.

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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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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

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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

UTAHSYMPHONY.ORG

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Donations received as of January 12, 2018

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

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.

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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

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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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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.

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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!

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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.

Redeemable at any Market Street Restaurant or Fish Market 64

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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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