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Contents PUBLISHER Mills Publishing, Inc. PRESIDENT Dan Miller OFFICE ADMINISTRATOR Cynthia Bell Snow ART DIRECTOR / PRODUCTION MANAGER Jackie Medina PROGRAM DESIGNER Patrick Witmer GRAPHIC DESIGNERS Leslie Hanna Ken Magleby Patrick Witmer ADVERTISING REPRESENTATIVES Paula Bell Jim Copeland Karen Malan Dan Miller Paul Nicholas OFFICE ASSISTANT Jessica Alder ADMINISTRATIVE ASSISTANT Kyrsten Holland EDITOR Melissa Robison Cover photo: Thierry Fischer The UTAH SYMPHONY | UTAH OPERA program is published by Mills Publishing, Inc.,772 East 3300 South, Suite 200, Salt Lake City, Utah 84106. Phone: 801/467.8833 Email: advertising@millspub.com Website: millspub.com. Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities.
© COPYRIGHT 2014
UTAH SYMPHONY SEP–OCT 2014
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31
Video Games Live
Mahler’s Symphony No. 1, “Titan”
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51
Bronfman Plays Brahms
Doc Severinsen: Solid Gold
55 55th Annual Salute to Youth
67 Prokofiev’s Symphony No. 7
73 Halloween Hi-Jinks 6 Welcome 8 Testimonial 10 Board of Trustees 12 Utah Symphony 13 Musician Spotlight 14 Season Honorees 23 Season Sponsor 76 Campaign for Perpetual Motion
79 Utah Symphony Guild 80 Planned Giving 81 Tanner & Crescendo Societies 82 Corporate & Foundation Donors 84 Individual Donors 87 Administration 88 Classical 89 Broadcasts 90 Acknowledgments 5
Welcome
Melia Tourangeau USUO President & CEO
Thierry Fischer Utah Symphony Music Director
It is our pleasure to welcome you to Abravanel Hall and the beginning of another season of great, live music provided by the world-class Utah Symphony Musicians. The board, the
“This great orchestra belongs to our community—it is ours to care for and preserve, to cherish, and to celebrate. staff, and the musicians of Utah Symphony | Utah Opera have worked very hard to build a revitalized organization over the last few years and we want the world to know about it. We’ve just returned from an unprecedented tour to southern Utah, providing high-quality musical experiences to visitors and citizens of those communities with the backdrop of Utah’s Mighty 5® National Parks. If you weren’t able to join us in person on this historic tour, we hope you observed with great pride the national attention the tour garnered in the press and the classical music world.
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Dave Petersen USUO Board of Trustees Chair
This month we launch our two-year project to perform all of Mahler’s symphonies in honor of the legacy of Maurice Abravanel and the Utah Symphony, whose recordings of these symphonies are still regarded by professional musicians as some of the very best available. We are also developing plans for recording and hope to share some of those initiatives with you soon. These special projects and the presence of a full time professional symphony orchestra in our community are possible thanks to the support of many local community leaders, as well as many others detailed in our Campaign and Season Sponsor listings in this playbill. This great orchestra belongs to our community —it is ours to care for and preserve, to cherish, and to celebrate. Thanks to the strong foundation set by the board leadership of Pat Richards during the last decade, and the exceptional administrative and artistic leadership teams in place, we believe Utah Symphony | Utah Opera is positioned to shine brightly as Utah’s cultural ambassador for many years to come.
UTAH SYMPHONY SEP–OCT 2014
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Testimonial
It is a great shared honor to be members of the Utah Symphony | Utah Opera Board of Trustees and to serve as co-chairs to the Campaign for Perpetual Motion . The orchestra and opera are privileged to provide the thrill and joy of live music through which people can feel inspired and one with each other. Utah Symphony | Utah Opera has set high goals that mirror those we have as a community and state. Building a revitalized organization with aspirations to greater heights in quality, excellence, and service, inspires a great sense of community pride.
Kem & Carolyn Gardner Co-chairs Campaign for Perpetual Motion Utah Symphony | Utah Opera
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Along with our family, we are dedicated to investing in the future of our symphony and opera. We are investing in the expansion of what Maestro Maurice Abravanel established, namely the international reputation of one of America’s top orchestras. We’re investing in the expansion of what leaders in our community built when they created this beautiful hall—a place for great, live music, but also a place for people to come together, and to come together through music. We’re standing on big shoulders and we have a responsibility to continue this legacy. But it’s more than a great responsibility—it’s also a great joy. We are happy to have the opportunity to share our joy with you.
UTAH SYMPHONY SEP–OCT 2014
Subscribe Now! Save up to 25% on your tickets when you subscribe to the Utah Symphony’s 2014–15 season.
HigHligHts include:
• Mahler Symphonies 1, 2, 3 & 4 • André Watts performs Beethoven’s “Emperor” Concerto • Beethoven’s Ninth • Yefim Bronfman performs Brahms Piano Concerto No. 2
MAHLER SYMPHONIES 1, 2, 3, 4
ANdRé WATTS, PIANO
BEETHOVEN’S SYMPHONY NO. 9
For subscriptions, visit utahsymphony.org or call 801-533-6683
Season Sponsor:
YEfIM BRONfMAN, PIANO
Board of Trustees ELECTED BOARD David A. Petersen* Chair
Kristen Fletcher* Kem C. Gardner* David Golden Gregory L. Hardy Thomas N. Jacobson Ronald W. Jibson* Laura S. Kaiser Thomas M. Love R. David McMillan Brad W. Merrill Greg Miller Edward B. Moreton Theodore F. Newlin III* Dr. Dinesh C. Patel Frank R. Pignanelli Mark H. Prothro Brad Rencher Bert Roberts Joanne F. Shiebler* Diane Stewart Naoma Tate
Thomas Thatcher Bob Wheaton John W. Williams
LIFETIME BOARD William C. Bailey Deedee M. Corradini Edwin B. Firmage Jon M. Huntsman Jon Huntsman, Jr. G. Frank Joklik
Clark D. Jones Herbert C. Livsey, Esq. David T. Mortensen Scott S. Parker Chase N. Peterson Patricia A. Richards*
Harris Simmons Verl R. Topham M. Walker Wallace David B. Winder
TRUSTEES EMERITI Carolyn Abravanel Haven J. Barlow John Bates
Burton L. Gordon Richard G. Horne Warren K. McOmber
Mardean Peterson E. Jeffery Smith Barbara Tanner
HONORARY BOARD Senator Robert F. Bennett Rodney H. Brady Kim H. Briggs Ariel Bybee Kathryn Carter R. Don Cash Bruce L. Christensen Raymond J. Dardano
Geralyn Dreyfous Lisa Eccles Spencer F. Eccles Howard Edwards The Right Reverend Carolyn Tanner Irish Dr. Anthony W. Middleton, Jr. Marilyn H. Neilson
O. Don Ostler Joseph J. Palmer Stanley B. Parrish Marcia Price David E. Salisbury Jeffrey W. Shields, Esq. Diana Ellis Smith Ardean Watts
William H. Nelson* Vice Chair Annette W. Jarvis* Secretary John D’Arcy* Treasurer Melia P. Tourangeau* President & CEO Jesselie B. Anderson Edward R. Ashwood Dr. J. Richard Baringer Kirk A. Benson Judith M. Billings Howard S. Clark Gary L. Crocker David L. Dee* Alex J. Dunn
MUSICIAN REPRESENTATIVES
John Eckstein* Lee Livengood* EX OFFICIO
Ann Petersen Utah Symphony Guild Genette Biddulph Ogden Symphony Ballet Association Jennifer Streiff Vivace Judith Vander Heide Ogden Opera Guild *Executive Committee
NATIONAL ADVISORY COUNCIL Joanne F. Shiebler Susan H. Carlyle Chair (Utah) (Texas)
Harold W. Milner (Nevada)
David L. Brown (S. California)
Robert Dibblee (Virginia)
Marcia Price (Utah)
Anthon S. Cannon, Jr. (S. California)
Senator Orrin G. Hatch (Washington, D.C.)
Alvin Richer (Arizona)
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UTAH SYMPHONY SEP–OCT 2014
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Enjoy the best of performing arts in America. Every Friday night at 8:00 beginning Sept. 26
kued.org UTAH SYMPHONY SEP–OCT 2014
KUED The University of Utah
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Utah Symphony Thierry Fischer, Music Director / The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation Jerry Steichen Principal Pops Conductor Vladimir Kulenovic Associate Conductor VIOLIN* Ralph Matson 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
VIOLA* Brant Bayless Principal The Sue & Walker Wallace Chair Roberta Zalkind Associate Principal Joel Gibbs Julie Edwards Silu Fei Carl Johansen Scott Lewis Christopher McKellar Whittney Thomas
Alex Martin Acting Assistant Concertmaster
CELLO* Rainer Eudeikis Principal The J. Ryan Selberg Memorial Chair
Claude Halter Principal Second
Matthew Johnson Associate Principal
Wen Yuan Gu Associate Principal Second
John Eckstein Walter Haman Noriko Kishi†† Anne Lee Kevin Shumway Pegsoon Whang BASS*
David Park Assistant Concertmaster
Hanah Stuart Assistant Principal Second Karen Wyatt •• Tom Baron • Leonard Braus • Associate Concertmaster Emeritus Joseph Evans LoiAnne Eyring† Teresa Hicks Lun Jiang Rebekah Johnson Tina Johnson†† Veronica Kulig David Langr Melissa Thorley Lewis Yuki MacQueen Rebecca Moench David Porter Lynn Maxine Rosen Barbara Ann Scowcroft • M. Judd Sheranian Lynnette Stewart Julie Wunderle ••
David Yavornitzky Principal Corbin Johnston Associate Principal James Allyn Frank W. Asper, Jr. Edward Merritt Claudia Norton Jens Tenbroek Thomas Zera HARP Louise Vickerman Principal FLUTE Mercedes Smith Principal The Val A. Browning Chair Lisa Byrnes# Associate Principal Caitlyn Valovick Moore Associate Principal Melanie LanÇon†† PICCOLO Caitlyn Valovick Moore
OBOE Robert Stephenson# Principal
TROMBONE Larry Zalkind† Principal
James Hall Acting Principal
Mark Davidson Acting Principal
Titus Underwood Acting Associate Principal
Zachary Guiles Acting Associate Principal
Lissa Stolz ENGLISH HORN Lissa Stolz CLARINET Tad Calcara Principal The Norman C. & Barbara Lindquist Tanner Chair, in memory of Jean Lindquist Pell
TUBA Gary Ofenloch Principal TIMPANI George Brown Principal
Erin Svoboda Associate Principal
Eric Hopkins Associate Principal
Lee Livengood
PERCUSSION Keith Carrick Principal
BASS CLARINET Lee Livengood E-FLAT CLARINET Erin Svoboda BASSOON Lori Wike Principal The Edward & Barbara Moreton Chair Leon Chodos Associate Principal Jennifer Rhodes CONTRABASSOON Leon Chodos HORN Bruce M. Gifford Principal Edmund Rollet Acting Associate Principal Llewellyn B. Humphreys Ronald L. Beitel Stephen Proser TRUMPET Travis Peterson Principal The Robert L. & Joyce Rice Chair Jeff Luke Associate Principal Peter Margulies Nick Norton
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BASS TROMBONE Graeme Mutchler
Eric Hopkins Michael Pape†† KEYBOARD Jason Hardink Principal LIBRARIAN Clovis Lark Principal Maureen Conroy Associate Librarian ORCHESTRA PERSONNEL Eric V. Johnson Director of Orchestra Personnel Myroslava Hagen Orchestra Personnel Manager STAGE MANAGEMENT Chip Dance Production & Stage Manager Mark Barraclough Assistant Stage & Properties Manager • First Violin •• Second Violin * String Seating Rotates † Leave of Absence # Sabbatical †† Substitute Member
UTAH SYMPHONY SEP–OCT 2014
Musician Spotlight Biography I’m Eric, the new tall, skinny, percussionist/timpanist of the orchestra. I just moved here from New York City, though I was raised in Florida and born in Plymouth, Massachusetts. Hobbies/Interests I grew up with lots of animals in the household (me being one of them), so I’m currently debating over getting either a cockatoo, a teacup piglet, or a labradoodle to live with me in my downtown condo. I don’t have a car; I do have a bicycle. I love the fact that downtown Salt Lake is so self-sustaining and connected. I’m nostalgic about music of the 1990s and I always liked school lunch. Eric Hopkins Section Percussion and Associate Principal Timpani
Musical Notes Every orchestra has one percussionist who doubles as timpanist— that’s me. Those two functions feel quite different to me, and it’s a pleasure to get to wear different hats. To me percussion is more black and white; it’s technical; it’s sharp. Timpani is more grayscale, round, and intellectual (read nerdy). Percussionists don’t get to play much classical era music, but timpanists do, and it feels scholarly.
UTAH SYMPHONY
PRE-CONCERT LECTURES Arrive early and enjoy our Conductor and/or Guest Artist give a fun, behind the music lecture for the Masterwork Concerts. 7:00 pm in Abravanel Hall.
UTAH SYMPHONY SEP–OCT 2014
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Season Honorees Utah Symphony | Utah Opera is grateful to our generous donors who through annual cash gifts and multi-year commitments at the following levels make our programs possible. The following listing reflects contributions and multi-year commitments received between 8/1/2013 and 8/1/2014
M I LLE N I U M $250,0 0 0 & A B OV E
EDWARD R. ASHWOOD & CANDICE A. JOHNSON
GAEL BENSON
DIANE & HAL BRIERLEY
LAWRENCE T. & JANET T. DEE FOUNDATION
E.R. (ZEKE) & KATHERINE W. DUMKE
KEM & CAROLYN GARDNER
MR. & MRS. MARTIN GREENBERG
ANTHONY & RENEE MARLON
CAROL & THEODORE NEWLIN
PATRICIA A. RICHARDS & WILLIAM K. NICHOLS
MARK & DIANNE PROTHRO ARTS FOUNDATION
THEODORE SCHMIDT
SHIEBLER FAMILY FOUNDATION
UTAH STATE LEGISLATURE/ UTAH STATE OFFICE OF EDUCATION
JACQUELINE WENTZ
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NAOMA TATE & THE FAMILY OF HAL TATE
UTAH SYMPHONY SEP–OCT 2014
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Season Honorees E N C O R E $10 0, 0 0 0 & A B OV E
DR. J. R. BARINGER & DR. JEANNETTE J. TOWNSEND
R. HAROLD BURTON FOUNDATION
THE RIGHT REVEREND CAROLYN TANNER IRISH
EMMA ECCLES JONES FOUNDATION
ROGER & SUSAN HORN
WILLIAM H. & CHRISTINE NELSON
DR. DINESH AND KALPANA PATEL
JAMES LEVOY SORENSON FOUNDATION
DELL LOY & LYNNETTE HANSEN
EDWARD & BARBARA MORETON
RESTAURANT TAX RAP TAX
B R AVO $ 50, 0 0 0 & A B OV E
Scott & Jesselie Anderson Thomas Billings & Judge Judith Billings Patricia Dougall Eager† Marriner S. Eccles Foundation The Florence J. Gillmor Foundation Elaine & Burton L. Gordon Grand & Little America Hotels* William Randolph Hearst Foundation Janet Q. Lawson Foundation Elinor S. McLaren & George M. Klopfer Montage Deer Valley
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Pauline C. Pace† Scott & Sydne Parker Frank R. Pignanelli & D’Arcy Dixon Albert J. Roberts IV St. Regis Deer Valley Stein Eriksen Lodge The Swartz Foundation UBS Financial Services Jack & Mary Lois† Wheatley Lois A. Zambo
UTAH SYMPHONY SEP–OCT 2014
2014/15 UTAH SYMPHONY SEASON
Utahsymphony.org has all the information you will need on upcoming concerts, guest artist and musician interviews, and the best ways to experience the Utah Symphony. Want even more of an inside scoop? Look for these great Utah Symphony social media outlets to get all the up-to-date information:
@Utahsymphony
For tickets, call (801) 533-NOTE (6683)
@Utahopera
Season Honorees OV E R T U R E $25, 0 0 0 & A B OV E
Arnold Machinery Mr. & Mrs. William C. Bailey Ballard Spahr, LLP** BMW of Murray BMW of Pleasant Grove Rebecca Marriott Champion Chevron Corporation Thomas D. Dee III & Dr. Candace Dee John H. & Joan B. Firmage Thierry & Catherine Fischer** Kristen Fletcher & Dan McPhun Tom & Lorie Jacobson
Frederick Q. Lawson Foundation Jack & Jan Massimino Carol & Anthony W. Middleton, Jr., M.D. Gib & Susan Myers Ogden Opera Guild James A. Parke Charles Maxfield & Gloria F. Parrish Foundation Alice & Frank Puleo S. J. & Jessie E. Quinney Foundation Simmons Family Foundation
Harris H. & Amanda Simmons The Sam & Diane Stewart Family Foundation Norman C. & Barbara Tanner Zibby & Jim Tozer Nora Eccles Treadwell Foundation Vivint M. Walker & Sue Wallace Wells Fargo John W. Williams Workers Compensation Fund Edward & Marelynn Zipser
Ferguson Bath, Kitchen & Lighting Gallery Thomas & Lynn Fey George & Debra Felt Mr. Joseph F. Furlong III Sterling & Shelli Gardner Foundation Gastronomy, Inc.* Ann & Gordon Getty Foundation Shari Gottlieb Haven J. Barlow Family Douglas & Connie Hayes Richard K. & Shirley S. Hemingway Foundation Susan & Tom Hodgson Holland & Hart** Hotel Monaco* Hyatt Escala Lodge at Park City** Mary P. Jacobs & Jerald H. Jacobs Family Ronald Jibson G. Frank & Pamela Joklik Jones Waldo** Laura & Chuck Kaiser Mr. & Mrs. Wayne Lyski Mr. W. A. Holman Mr. & Mrs. Charles McEvoy Harold W. & Lois Milner Rayna & Glen Mintz Moreton Family Foundation Fred & Lucy Moreton Mount Olympus Water* Sally Boynton Murray Trust Terrell & Leah Nagata National Governor’s Association New York Ltd. OK3 Air
Park City Chamber/Bureau Mr. David A. Petersen Promontory Foundation Protel Networks* Dr. Clifford S. Reusch The Joseph & Evelyn Rosenblatt Charitable Fund Salt Lake City Arts Council Lori & Theodore Samuels Peggy & Ben Schapiro Selecthealth Sky Harbor Apartments* George & Tamie Speciale Thomas & Marilyn Sutton Jonathan & Anne Symonds Thomas & Caroline Tucker Albert & Yvette Ungricht Utah Food Services* Utah Hispanic Chamber Of Commerce* Utah Symphony Guild Kathleen Digre & Michael Varner Wheeler Foundation
M A E S T R O $10, 0 0 0 & A B OV E
Adobe Foundation American Express Anonymous Maggie & Nadim Abuhaidar Art Works For Kids! Bambara Restaurant* B. W. Bastian Foundation David & Sylvia Batchelder E. Wayne & Barbara Baumgardner Brent & Bonnie Jean Beesley Foundation Mr. & Mrs. William Bierer Lynn Blodgett Berenice J. Bradshaw Charitable Trust Judy Brady & Drew W. Browning Mr. & Mrs. Neill Brownstein Carol Franc Buck Foundation Caffe Molise* Marie Eccles Caine Foundation-Russell Family The Capital Group Kathryn & Roger Carter* CenturyLink Howard & Betty Clark C. Comstock Clayton Foundation Daynes Music* Skip Daynes* The Jarvis & Constance Doctorow Family Foundation Dorsey & Whitney LLP The Katherine W. Dumke & Ezekiel R. Dumke, Jr. Foundation Edwards Lifesciences Hague† & Sue Ellis Estee Lauder* Fabian & Clendenin
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See page 82–86 for an additional listing of our generous donors whose support has made this season possible.
* In-Kind Gift ** In-Kind & Cash Gift † Deceased
UTAH SYMPHONY SEP–OCT 2014
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Utah Symphony gratefully acknowledges the George S. and Dolores Doré Eccles Foundation as the 2014–15 Season Sponsor and the lead donor to our Campaign for Perpetual Motion
UTAH SYMPHONY SEP–OCT 2014
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Video Games Live
program
Video Games Live Sep 6 | 11 am & 8 pm Abravanel Hall Tommy Tallarico, Host, Creator, Producer, Guitar Emmanuel Fratianni, Conductor Candence Choir Steve Meredith, Cadence Choir Music Director Matt Yelton, Audio Engineer Mike Runice, Video Operator Chad Gore, Lighting Director Cesar Solorio, Production & Stage Manager
SELECTIONS TO BE ANNOUNCED FROM STAGE.
CONCERT SPONSOR
C O M M U N I T Y PA R T N E R BLUE LOGO
UTAH SYMPHONY SEP–OCT 2014
WHITE LOGO
SPECIAL EVENT
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Video Games Live
Tommy Tallarico Host, Creator, Producer, Guitar
artists’ profiles
Tommy Tallarico is a veritable video game industry icon. As one of the most successful video game composers in history, he has helped revolutionize the gaming world, creating unique audio landscapes that enhance the video gaming experience. He is considered the person most instrumental in changing the game industry from bleeps & bloops to real music now appreciated worldwide by millions of fans. He is the founder, CEO and Chairman of G.A.N.G. (Game Audio Network Guild), a non-profit organization dedicated to promoting excellence in interactive audio (www.audiogang.org). Tallarico has been writing music for video games for more than 22 years. Tommy was one of the first people to ever use live guitar and 3-D audio in a video game (The Terminator), and was instrumental in bringing true digital interactive 5.1 surround to the gaming world. His score for Advent Rising has been noted as “one of the greatest musical scores of all time” by websites such as Yahoo, Gamespot, and others. He holds three Guinness World Records including the person who has worked on the most commercially released video games. For more information about Tommy please visit www.tallarico.com.
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SPECIAL EVENT
UTAH SYMPHONY SEP–OCT 2014
Video Games Live
Emmanuel Fratianni Conductor
artists’ profiles
Awarded a visiting artist visa by the United States in 2000, Emmanuel Fratianni arrived in Los Angeles to become a soughtafter conductor, composer, pianist, and music team member in the Hollywood film, television, music and video game industries as well as the concert world. An award-winning composer, his work has been performed by some of the finest and most recorded orchestras in the world, including the Los Angeles Philharmonic, Hollywood Bowl Orchestra, National Symphony Orchestra and the London Philharmonic Orchestra. In the United States Emmanuel Fratianni has guest conducted the Houston Symphony Orchestra, Dallas Symphony, Indianapolis Symphony, Utah Symphony orchestra, the National Symphony Orchestra at Wolf Trap as well as the San Francisco Symphony at Davies Hall. Around the world he has guest conducted orchestras such as the Royal Scottish National Symphony, The Malaysian Symphony Orchestra, the National Symphony Orchestra of Chile and in Asia the Beijing Opera and Performing Art Orchestra. Emmanuel is currently Principal Conductor and Music Director of the acclaimed international symphonic tour Video Games Live™. Video Games Live™ is an immersive concert event featuring music from the most popular video games of all time. Created, produced and hosted by well known game industry veteran and superstar Tommy Tallarico, top orchestras and choirs around the world perform along with exclusive synchronized video footage and music arrangements, synchronized lighting, well known internet solo performers, electronic percussion, live action and unique interactive segments to create an explosive one-of-a-kind entertainment experience.
Incorporated in 2002, Video Games Live™ is the first and most successful video game touring concert in the world, having been performed over 250 shows in 25 countries on 5 continents. Over 11,000 people were present for the debut performance at the Hollywood Bowl with the L.A. Philharmonic. Since then over 1 million people have experienced the show live. Video Games Live has released 2 albums worldwide (both of which debuted in the Billboard Top 10) as well as an award-winning full length feature DVD/Blu-Ray. In 2010 the show aired nationally on PBS and quickly became one of the top rated PBS Specials of all time. Inducted into the Guinness Book of World Records for the biggest game concert in the world (over 100,000 in China), Video Games Live™ continues to break new ground and thrill audiences worldwide with brand new content each year. For more information please visit www.videogameslive.com
UTAH SYMPHONY SEP–OCT 2014
SPECIAL EVENT
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Video Games Live
artists’ profiles
Cadence Choir Snow College
Cadence is the Select Choir from the Horne School of Music at Snow College in Ephraim, Utah. The group is made up of 36 singers, most of whom are vocal music majors in the college’s Bachelor of Music program. Directed from its inception by Dr. Steve Meredith, the group sings a remarkably diverse repertoire each year, ranging from Renaissance music to classic rock, and does so with authenticity. Because of this flexibility, the group has been invited to perform at numerous state, regional and national events, and in numerous professional capacities, including the recent Star Wars Live and Josh Groban tours, and performances of Video Games Live at venues throughout the western US. The current members of Cadence are excited to be invited to perform VGL with the Utah Symphony for the third time, and are glad to welcome back several alumni for tonight’s appearance. They also wish to thank Mr. Tommy Tallarico and the producers of this event for the great opportunity.
Dr. Steve Meredith Music Director
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MASTERWORKS
Steve Meredith is the director of the Horne School of Music at Snow College in Ephraim, Utah where he also serves as the Director of Choral Activities. Under his leadership, the music program obtained the first 4-year degree in the history of Snow College: a Bachelor of Music degree in Commercial Music. As a speaker and clinician, Dr. Meredith is much in demand, particularly for his unique insights into the future of music education at the college/university level. A noted vocal soloist, Dr. Meredith’s 30-year career has taken him to some of the world’s greatest venues, where he has performed as a soloist with many notable conductors and ensembles, including numerous stints as a soloist with the Utah Symphony. Equally at home in the recording studio, his voice has been featured in many films, TV shows and other national and regional commercial projects. He is currently working on a music library project for EMH Classical Music and Warner/Chapell Music.
UTAH SYMPHONY SEP–OCT 2014
Utah Symphony gratefully acknowledges OC Tanner as the 2014–15 Masterworks Series Sponsor and a lead donor to our Campaign for Perpetual Motion
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UTAH SYMPHONY SEP–OCT 2014
Mahler’s Symphony No. 1
program
Mahler’s Symphony No. 1, “Titan” Sep 12–13 | 8 pm Abravanel Hall Thierry Fischer, Conductor
ALEXANDER MOSOLOV LUDWIG VAN BEETHOVEN
The Iron Foundry, op. 19 Wellington’s Victory, op. 91 I. Battle II. Victory / INTERMISSION /
GUSTAV MAHLER
Symphony No. 1 in D Major, “Titan”
I. Langsam, Schleppend- Immer sehr gemählich II. Blumine III. Kräftig bewegt, doch nicht zu schnell IV. Feierlich und gemessen, ohne zu schleppen V. Stürmisch bewegt
We are recording Mahler’s Symphony No. 1 during tonight’s concert and plan to release that recording as part of our 75th Anniversary Celebration.
M A H L E R C YC L E S P O N S O R
C O N C E R T & C O N D U C TO R S P O N S O R
KEM & CAROLYN GARDNER
UTAH SYMPHONY SEP–OCT 2014
MASTERWORKS
31
Mahler’s Symphony No. 1
artist profile
Swiss conductor Thierry Fischer has been Music Director of Utah Symphony since 2009. He has revitalized the symphony’s music-making and programming, and brought a new energy to the orchestra and organization as a whole. From 2013–14 he was Principal Conductor of the BBC National Orchestra of Wales, and returns as a guest conductor every season. In 2013–14 Fischer’s guest engagements included debuts with the Detroit, Atlanta and Cincinnati Symphonies and Oslo Philharmonic, and returns to the Orchestre National de Bordeaux and BBC Symphony. In 2014–15 he debuts with the Rotterdam Philharmonic, Residentie Orkest, and Salzburg Mozarteumorchester. In 2012 Fischer’s recording for Hyperion of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus was awarded the International Classical Music Award (opera category). Thierry Fischer Music Director The Maurice Abravanel Chair, endowed by the George S. and Dolores Doré Eccles Foundation
Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30’s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe, where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and then became Principal Conductor and Artistic Advisor of the Ulster Orchestra “The Swiss conductor is the 2001–06. He was Chief Conductor of the Nagoya Philharmonic 2008–11, real thing—a musician of clear making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary intelligence, technical skill, and Guest Conductor.
podium personality, drawing performances that blended
Thierry Fischer is represented by Intermusica worldwide and CAMI in North America.
impeccable balancing, textural clarity and fizzing exhilaration” - Chicago Classical Review, July 2013
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MASTERWORKS
UTAH SYMPHONY SEP–OCT 2014
Utah Symphony gratefully acknowledges Kem & Carolyn Gardner as the 2014–15 75th Anniversary Mahler Cycle Sponsors and lead donors to our Campaign for Perpetual Motion
utahsymphony.org/mahler
Mahler’s Symphony No. 1
program notes
1/3
The Iron Foundry (“Zavod“): Machine Music
Alexander Mosolov (1900–1973)
Composer
COMPOSED: 1926–1927 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, bass drum, crash cymbals, snare drum, tam tam, thunder sheet; strings DURATION: Appoximately 5 minutes
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MASTERWORKS
Stylistically, The Iron Foundry is characteristic of its time, which immediately predated the official endorsement of social realism as an aesthetic policy. The Russian Revolution of a decade earlier had thrown the Russian Romantic tradition of composers such as Tchaikovsky into a kind of eclipse; they were considered appropriately nationalistic but inappropriately luxurious. Social Realist compositions replaced picturesque literary allusions with more worldly subjects that often elevated the worker to heroic status, and The Iron Foundry was composed within this tradition. Upon hearing a performance at the ISCM festival in Liege in 1930, a French critic described it as “A kind of lyrical theme, the song of steel, or possibly of man.” The work’s three-part structure begins with an allegro section in which the sound of the tam-tam and other repeated figures create the impression of mechanical work. As this effect takes shape and grows in intensity, the work seems to build in speed and intensity, with gears meshing and cogs interlocking as in a giant, well-oiled machine. In the second section, a trio, the machine seems to shut down—an interruption that amounts to an industrial crisis. But as upper winds and snare drum are engaged in a syncopated exchange, the problem is solved through collective action and the efficient operations established in the opening return. In the final section, the great machine is restored to even higher efficiency. If descriptions of the ballet’s factory-inspired scenario sound didactic or hokey, the music sounds anything but. It’s dynamic, fresh, and equally appealing to citizens of 21st-century America as it was to those of the 20th-century Soviet Union. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
UTAH SYMPHONY SEP–OCT 2014
NEW CD RELEASE AND ERICH GRAF MEMOIRS
FLUTE BY KEYBOARD
Czerny, Previn, Karg-Elert,Casadesus, Busoni,Gieseking
Lee Jordan-Anders, piano
FLUTE BY KEYBOARD Erich Graf, former Principal Flutist,Utah Symphony, plays works composed by great keyboardists: Czerny, Previn, Karg-Elert, Busoni, Gieseking
Mahler’s Symphony No. 1
program notes
2/3
Wellington’s Victory
Ludwig Van Beethoven (1770–1827)
Composer
Not many of Beethoven’s orchestral compositions can rightly be called rarities. But the relatively brief work we know as Wellington’s Victory is rarely encountered in concert halls these days. It began life as an oddity, when Beethoven’s friend Johann Nepomuk Maelzel persuaded him to compose a piece to commemorate Wellington’s victory over Joseph Bonaparte at the Battle of Vitoria (Spain) in 1813. Maelzel intended the piece to be played on his “panharmonicon,” a mechanical contrivance capable of playing military band instruments. But Beethoven’s scoring went beyond Maelzel’s expectations—calling for so many instruments that the panharmonicon could not accommodate them all. Beethoven’s solution to this problem was to further expand the composition, adding an introductory section and renaming it Wellington’s Victory. Contrary to a widely held misconception, this work has absolutely no association with Wellington’s victory over Napoleon Bonaparte at the Battle of Waterloo. Relatively brief and with elements of pastiche, Wellington’s Victory generally fascinates and pleases listeners with its inclusion of recognizable tunes to represent the contending sides in battle. We hear “Rule Britannia” and “God Save the King” representing the British side; for the French, a song we know as “For He’s a Jolly Good Fellow” actually conveyed a very different message to Beethoven’s contemporaries: “Marlborough Has Left for the War.”
COMPOSED: 1813 INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 4 trumpets, 3 trombones; timpani, crash cymbals, field drums, bass drum, cannon, ratchet, triangle; strings DURATION: Appoximately 1 hour
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Although Wellington’s Victory was never played on the panharmonicon, musicologists contend that vestiges of Maelzel’s contraption can be heard in Beethoven’s music: the inventor’s enthusiasm for his mechanized band may well have spilled over into Beethoven’s music, adding to the sense of jubilation that has helped it survive to this day. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
UTAH SYMPHONY SEP–OCT 2014
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Yefim Bronfman
Alvin Richer, Chairman
Mahler’s Symphony No. 1
program notes
3/3
Symphony No. 1in D Major As the first movement of the symphony takes rise, we hear the legacy of Beethoven: the seemingly random accretion of natural sounds as they gather into music, evoking a beautiful spring morning. As the tempo hastens, the movement’s key settles into D Major and we hear the wayfarer’s walking theme as he seeks consolation over love’s disappointment. Many listeners hear a questing, self-questioning mind at work in Mahlerian movements such as this one, prompted by a wounding experience: As we listen, are we working through the lover’s personal anguish? Or are we surrendering to self-pity?
Gustav Mahler (1770–1827)
Composer
COMPOSED: 1888–1889 INSTRUMENTATION: 4 flutes, 2 doubling piccolo, 4 oboes, 1 doubling English horn, 4 clarinets, 1 doubling bass clarinet, 1 doubling E-flat clarinet, 3 bassoons, 1 doubling contrabassoon; 7 horns, 5 trumpets, 4 trombones; 2 timpani, crash cymbals, gong, triangle, bass drum, harp; strings DURATION: Appoximately 1 hour 38
MASTERWORKS
We know the rustic Austrian dances known as Ländler from composers dating back to Haydn, Beethoven and Mozart (who loved to write them). But in Mahler, they are staples in his recurring juxtaposition of the elegant and the vulgar. In the second movement of this symphony, the example we hear is based on Mahler’s 1880 song “Hans und Grethe.” Some listeners hear suggestions of taking comfort through drinking here—a frequent element in such country dances. But any possible humor or sentimentality is eclipsed in the symphony’s third movement, a funeral march that intensifies the contrast between elegance and vulgarity to a degree that Mahler’s contemporary audiences found disturbing. Yes, that is the familiar children’s song “Frère Jacques” (known in German as “Brüder Martin”) that we hear in the midst of the grotesquely solemn funeral march. More street music follows—café songs, hints of klezmer and Magyar themes—before Mahler startlingly transports us to an extended lyrical passage that brings the movement to a close. The symphony ends with one of the most theatrical movements in the symphonic repertory, as the hysteria of a violently dissonant opening evokes what Mahler called “the cry of a wounded heart.” This agony yields to a peaceful, expansive melody borne up by cellos and violins; and though the pain of the opening bars returns, it includes trumpet fanfares suggesting the eventual triumph over the pain of lost love. Eventually we hear a reprise of the morning sounds that opened the symphony and a final interchange between optimism and despair. Mahler’s scoring instructs that the horn players rise to their feet, playing “as if to drown out the entire orchestra” in triumphant resolution. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org. UTAH SYMPHONY SEP–OCT 2014
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Bronfman Plays Brahms
program
Bronfman Plays Brahms Sep 19–20 | 8 pm Abravanel Hall Thierry Fischer, Conductor Yefim Bronfman, Piano
IGOR STRAVINSKY ARNOLD SCHOENBERG
Symphonies of Wind Instruments Transfigured Night, op. 4
/ INTERMISSION /
JOHANNES BRAHMS
Piano Concerto No. 2 in B-flat Major for Piano and Orchestra, op. 83
I. Allegro non troppo II. Allegro appasssionato III. Andante IV. Allegretto grazioso
Yefim Bronfman, Piano
GUEST ARTIST SPONSOR
UTAH SYMPHONY SEP–OCT 2014
MASTERWORKS
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Bronfman Plays Brahms
artist’s profile
For Thierry Fischer‘s biography, see page 32.
Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding technique and exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audiences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings. After a break of many years, he will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and Esa-Pekka Salonen and to Singapore, Hong Kong, Taipei, Beijing, Sydney and Melbourne. In the spring he will join Anne-Sophie Mutter and Lynn Harrell for their first US tour together. Widely praised for his solo, chamber and orchestral recordings, he was nominated for a GRAMMY® Award in 2009 for his Deutsche Grammophon recording of Esa-Pekka Salonen’s piano concerto with Salonen conducting; with Salonen he also won a GRAMMY® Award Yefim Bronfman in 1997 for his recording of the three Bartók Piano Concerti with the Piano Los Angeles Philharmonic. His performance of Beethoven’s Fifth Piano concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival is Widely regarded as one now available on DVD and his performance of Rachmaninoff’s third concerto with of the most talented virtuoso the Berlin Philharmonic and Sir Simon Rattle was released on DVD, by the pianists performing today. EuroArts label. His most recent CD releases are the 2014 GRAMMY® nominated Magnus Lindberg’s Piano Concerto No. 2 commissioned for him and performed by the New York Philharmonic conducted by Alan Gilbert on the Da Capo label; Tchaikovsky’s Piano Concerto No. 1 with Mariss Jansons and the Bayerischer Rundfunk; and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte Nova/BMG label. Born in Tashkent in the Soviet Union on April 10, 1958, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher and Rudolf Serkin. Yefim Bronfman became an American citizen in July 1989.
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MASTERWORKS
UTAH SYMPHONY SEP–OCT 2014
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Bronfman Plays Brahms
program notes
1/3
Symphonies of Wind Instruments It is only natural that we hear traces of France in the Symphonies of Wind Instruments—indeed, in many of Stravinsky’s compositions. But how much? The cultural link between France and Russia goes back to the days of Catherine the Great, when French was routinely spoken in court and in aristocratic households, and when French aesthetic standards were the ones to which Russian artists aspired. The link remained strong right through the Russian Revolution: Rimsky’s unique sound has been described as combining the dark Russian soul and cold Russian winter with the translucent elegance of French harmonies and textures.
Igor Stravinsky (1882–1971) Composer
COMPOSED: 1920 INSTRUMENTATION: 3 flutes, 1 doubling piccolo, alto flute, 2 oboes, 1 English horn, 2 clarinets, alto clarinet, 3 bassoons, 1 doubling contra bassoon; 4 horns, 3 trumpets, 3 trombones and tuba DURATION: Appoximately 10 minutes 46
MASTERWORKS
When Stravinsky became famous, he and Debussy became friends. But Debussy was 20 years older; he was already acknowledged as a great composer, and some say that the younger Stravinsky’s sudden celebrity rankled him. Stravinsky’s descriptions of their relationship are filled with veneration, but in a letter, Debussy offered his younger friend this advice: “ Cher Stravinsky, you are a great artist! Be, with all your energy, a great Russian artist! It is a good thing to be from one’s country, to be attached to the earth like the humblest peasant!” At the time, Bartók and Kodály were pioneering the field of ethnomusicology, and the principles of Russian nationalism in musical composition were still fresh in Stravinsky’s mind—as evidenced in such folkloric works such as The Firebird, The Rite of Spring and Petrushka. He probably did not need a Frenchman to tell him to be less international, less cosmopolitan, and more Russian; we hear these strains of Russian folk style in the Symphonies as well. Within two years he composed Pulcinella, marking a stylistic shift that lasted half a century—in this case, to his “neo-classical” phase. He would not return to the wellspring of Russian folk music until he composed the Requiem Canticles in 1966. The structure of the Symphonies was heard as an oddity when it was introduced in 1920, but this may have been because most listeners were unfamiliar with the Russian Orthodox Church. The Symphonies of Wind Instruments closely parallels the Russian Orthodox burial service. Did Stravinsky compose it as a valediction not only to Debussy, but also to his own Russian roots? We can only listen—and guess. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org. UTAH SYMPHONY SEP–OCT 2014
Bronfman Plays Brahms
program notes
2/3
Transfigured Night Listening to Verklärte Nacht, we might never guess that Shoenberg’s twelve-tone musical innovations were in the offing. Schoenberg used the string sextet form to create a sense of fecundity and the shimmering textures of a moonlit forest. He rescored the work a number of times; tonight’s orchestration dates from 1943.
Arnold Schoenberg (1874–1951) Composer
Schoenberg took inspiration for Verklärte Nacht from a poem by the Austrian poet Richard Dehmel—a love poem with an intensely psychological narrative line taken from the collection Weib und Welt (Woman and World). The chill of the poetic scenario’s night air and the tension of physical intimacy between man and woman are evident from the music’s opening bars, and though the text is not included in Schoenberg’s composition, it is in direct accord with Dehmel’s poem, beginning with the woman’s anguished confession to her lover that she is pregnant by another man. In pursuing what she thought was her only chance at happiness—motherhood—she feels that now, having met her true love, fate is punishing her. With her confession, the man and woman embark on a journey of transfiguration that takes them through the darkness of the forest in five uninterrupted movements. The man’s initial consoling response to his lover’s words is reflected in mellow, deep-toned lines that are followed by a rapturous love duet. The transition from guilt through forgiveness brings them to an ecstatic union that goes beyond the physical impulse of love to something deeper: their love, the man assures her, will make the child his. Both lovers are transfigured through the night of communion they share—as is the unborn child they look forward to raising together.
COMPOSED: 1899 INSTRUMENTATION: Strings DURATION: Appoximately 32 minutes
UTAH SYMPHONY SEP–OCT 2014
The author of those lines, Richard Dehmel, was in attendance at the premiere of Verklärte Nacht in Vienna. “I had intended to follow the [movement] of my text in your composition,” he later told Schoenberg. “But I soon forgot to do so, I was so enthralled by the music.” Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
MASTERWORKS
47
Bronfman Plays Brahms
program notes
3/3
Concerto No. 2 in B-flat Major The Brahms Piano Concerto No. 2 is a work of virtuosic demands but not of virtuosic display. Brahms gives the scherzo its own expressive identity, with an energy that must follow seamlessly from the drama of the first movement without competing with it.
Johannes Brahms (1833–1897) Composer
The first movement, marked allegro non troppo, opens serenely with a dignified statement in a single horn that prompts an interchange with the piano. The introduction of a motif in the woodwinds brings an unusual cadenza, after which the full orchestra repeats the woodwind motifs and introduces new materials. Without mapping these entrances and the twining thematic materials, we can hear that Brahms’ layered development of the movement is far subtler and more complex than most romantic concertos. Then, belying his “wisp of a scherzo” description, Brahms gives us a second movement that is a three-part scherzo in a stormy D Minor. In contrast with Beethoven’s piano concertos (the lessons of Beethoven were never far from Brahms’ mind), the piano voice does not struggle with the orchestra or stand out as its antagonist; instead, it plays as the foregrounded voice in a unified ensemble. Then, as the scherzo unfolds in the second movement, it extends the stormy mood of the first movement’s darkest passages. In the third movement, marked andante, the contemplative mood of the concerto’s opening bars returns with a tender melody introduced as a cello solo. A softly voiced cadenza develops this theme; Brahms would draw upon this melody again later in his career, in the song “Immer leiser wird mein Schlummer.” But the peaceful “slumber” suggested by this theme soon gives way to a tumultuous development section that leads to unexpected key changes; only after an unfamiliarsounding reprise of the theme in the cello does the development finally regain the movement’s original key, providing a sense of resolution.
COMPOSED: 1880–1881 INSTRUMENTATION: 2 flutes, 1 doubling piccolo, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 2 trumpets; timpani; strings and solo piano DURATION: Appoximately 50 minutes 48
MASTERWORKS
Our lingering memories of the concerto’s early strains of melancholy and of its stormy, unstable passages are overcome in its spirited fourth movement. Marked allegretto grazioso, it brings the concerto to a brilliant, spirited close. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org. UTAH SYMPHONY SEP–OCT 2014
Utah Symphony gratefully acknowledges Zions Bank as the 2014–15 Entertainment Series Sponsor and a lead donor to our Campaign for Perpetual Motion
Doc Severinsen: Solid Gold
program
Doc Severinsen: Solid Gold Sep 26–27 | 8 pm Abravanel Hall Doc Severinsen, Conductor & Trumpet Vanessa Thomas, Vocalist Joseph Wolverton, Vocalist
SELECTIONS TO BE ANNOUNCED FROM STAGE.
CONCERT SPONSOR
UTAH SYMPHONY SEP–OCT 2014
ENTERTAINMENT
51
Doc Severinsen: Solid Gold
artists’ profiles
“Heeeeere’s Johnny!” That lead-in, followed by a Big Band trumpet blast, was the hallmark of late night television for three decades. The ‘Johnny’ was Johnny Carson, the announcer was Ed McMahon. and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. Within a week of the final telecast of The Tonight Show with Johnny Carson on May 22, 1999, Doc Severinsen and his Big Band were on the road, and to this day, audiences across America love and respect Doc and his Big Band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire. His musicianship keeps this iconic American music fresh to this day. Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen, a dentist. Little Doc had originally wanted to play the trombone, but Doc Doc Severinsen Sr., a gifted amateur violinist, urged him to follow in his father’s footsteps. Conductor & Trumpet Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’s music store. And so, a trumpet it would be. A week later, with the help of his father and a volume of instructions, the seven-yearold was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music A Grammy award winner, Doc has Educator’s National Contest and, while still in high school, was hired to go on the road recorded more than 30 albums with the famous Ted Fio Rito Orchestra. However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey and subsequently, Benny Goodman bands in the late 40s. Doc performs on an S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in Massachusetts. Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of Classical music, Jazz, Big Band, and now even World music. In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can. Which has proven to be good enough for the millions of people who count themselves his fans.
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ENTERTAINMENT
UTAH SYMPHONY SEP–OCT 2014
Doc Severinsen: Solid Gold
Vanessa Thomas Vocalist
artists’ profiles
Soprano/Mezzo Soprano Vanessa Thomas is a popular vocalist in the Kansas City area, and regularly performs in concerts and in recital all over the country. Thomas, known for her seamless 4-octave range, has an unusual versatility in a variety of musical genres, including Jazz, Musical Theater, Opera, and other Classical styles, such as Operetta and Oratorio. Recent credits include the world premiere of John Brown by Kirke Mechem (composer of the famed opera Tartuffe), and appearing as guest vocalist with Minnesota Orchestra, Milwaukee Symphony, Chattanooga Symphony, and Doc Severinsen and His Big Band tours, as well as holiday pops concerts “Jingle Bell Doc” and “Doc the Halls” with Doc Severinsen. Thomas has performed with such notable players as Severinsen, Ed Shaughnessy, Mike Metheny, Ernie Watts, Chip McNeill, and Gary Foster; and operatic baritones James Maddalena and Donnie Ray Albert. She has sung under the baton of James Conlon, Julius Rudel, and Robert Spano, and has worked with arrangers Dick Lieb, Adi Yeshaya, Alan Baylock, and Jay Chattaway. One of the finest tenors to have emerged from America in recent years, Joseph Wolverton first came to international attention by winning the Opera Company of Philadelphia’s Pavarotti Competition. His debut as the Duke in Rigoletto with Seattle Opera, and his subsequent Paul in Krasa’s Verlobung im Traum with Washington Opera, and Cavaradossi in Tosca at Théatre Royal de la Monnaie have consolidated an impressive international career, delighting audiences worldwide.
Joseph Wolverton Vocalist
UTAH SYMPHONY SEP–OCT 2014
European highlights have included leading roles in Lucia di Lammermoor at the Gran Teatro del Liceo Barcelona, L’elisir d’amore with Hamburgische Staatsoper, Werther in Malaga, Tosca at Théatre Royal de la Monnaie, and Le Villi and Cavalleria Rusticana for Opera Bergen. His concert repertoire includes Beethoven’s Missa Solemnis and Ninth Symphony, Berlioz’s Requiem, Mahler’s Eighth Symphony and Verdi’s Requiem, which he has performed with orchestras such as Chicago Symphony Orchestra, Detroit Symphony, Buffalo Philharmonic, and Indianapolis Symphony. His upcoming season includes return engagements at Opera Grand Rapids as Pinkerton in Madama Butterfly, and Pollione in Norma with Opera Holland Park. In recognition of his work The Amici di Verdi Society invited him to perform a recital at the Salone di Barezzi in Busseto, Italy, while his already impressive discography includes Mascagni’s Silvano, available on CD from Elysium Records.
ENTERTAINMENT
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Deseret News
55th Annual Salute to Youth
The Deseret News is honored to sponsor the 55th Annual Salute to Youth Concert. Abravanel Hall rarely shines as bright as when the most talented young musicians in the state showcase their artistry alongside the Utah Symphony. The classical music we will enjoy tonight rests upon impressive scaffolding. The elaborate organizational and physical efforts that maintain a world-class orchestra in an elegant symphony hall is evidence of our community’s abiding commitment to the arts. But there is another invisible scaffold that is even more vital for the flourishing of great music. That is the interior scaffold of human talent. This talent is not born, it is constructed in the daily struggle of working to get it just right. The musicians honored tonight have chosen music and they learn from the exacting critiques of their teachers and then strive to improve. The Deseret News provides news about what matters most to Utah’s families. Tonight, the news could not be better, it is a story about the successful pursuit of artistic excellence made possible by patient parents, dedicated teachers and disciplined students. This is a story worth telling year after year. Thank you for joining the Deseret News once again in this annual celebration of what is best in our community. Paul Edwards Editor Deseret News 54
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program
55th Annual Salute to Youth
55th Annual Salute to Youth Sep 30 | 7 pm Abravanel Hall Vladimir Kulenovic, Conductor
GEORGE FRIDERIC HANDEL
Concerto for Harp in B-flat Major, op. 4 I. Andante allegro Caroline Richards, Harp
WOLFGANG AMADEUS MOZART
Sinfonia Concertante in E-flat Major I. Allegro maestoso Maggie Ivory, Violin Rebecca Epperson, Viola
CAMILLE SAINT-SAËNS
Introduction and Rondo Capriccioso, op. 28 Karen Ferry, Violin
FRÉDÉRIC FRANÇOIS CHOPIN
Concerto for Piano No. 2 in F Minor, op. 21 III. Allegro vivace Sanne Christensen, Piano
/ INTERMISSION / LUDWIG VAN BEETHOVEN
Violin Concerto in D Major, op. 161 I. Allegro ma non troppo Shenae Anderson, Violin
PAUL CRESTON
Concertino for Marimba I. Vigoroso Michael Marsden, Marimba
CONCERT SPONSOR
UTAH SYMPHONY SEP–OCT 2014
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55th Annual Salute to Youth
artists’ profiles
Currently Associate Conductor of the Utah Symphony, Music Director of Lake Forest Symphony and Resident Conductor of the Belgrade Philharmonic, Vladimir Kulenovic has also served as Principal Conductor of the Kyoto International Music Festival in Japan. Among his 2012–13 season highlights were debuts with the Leipzig Symphony, Zagreb Philharmonic and with the Jacksonville Symphony as one of the six top emerging conductors chosen by the League of American Orchestras for its bi-annual Bruno Walter National Conducting Preview. During the 2013–14 season he made debuts with Evergreen Symphony (Taipei), Grand Rapids Symphony, Knoxville Symphony, and Lake Forest Symphony, and returned to lead the Jacksonville Symphony and Macedonian Philharmonic. Other recent engagements include performances with the Beethoven-Orchester Bonn at the Beethovenhalle, Deutsche Kammerakademie/Neuss am Rhein, the Juilliard Orchestra, the National Arts Centre Orchestra in Ottawa and the Slovenian Vladimir Kulenovic Philharmonic. Festival appearances include Aspen, Cabrillo, Salzburg Associate Conductor Mozarteum and Verbier. As conducting fellow at the Verbier Festival in 2009, Mr. Kulenovic conducted two “An admirable statement internationally televised performances and was subsequently invited to serve as the of talent and potential…” conducting assistant to Kurt Masur at the Leipzig Gewandhaus Orchestra. He also - The Baltimore Sun had the honor of preparing the Belgrade Philharmonic at the Dubrovnik Festival for Zubin Mehta. He has collaborated with celebrated soloists such as Leon Fleisher, Augustin Hadelich, Mischa Maisky, Philippe Quint, Joseph Silverstein and Akiko Suwanai. Vladimir Kulenovic was awarded the Alfred B. Whitney Award for highest scholastic achievement at The Boston Conservatory, where he graduated summa cum laude and as valedictorian, earning a Bachelor’s degree in piano performance and a Master’s degree in conducting. Among his other awards are the Bruno Walter Memorial Scholarship, Mendelssohn-Bartholdy Scholarship, the 2012 and 2013 Solti Foundation U.S. Career Development Award, and the Charles Schiff Conducting Prize for Excellence. Mr. Kulenovic holds graduate diplomas from both the Peabody Conservatory and The Juilliard School and has studied with Marin Alsop, James DePreist, Kurt Masur and Gustav Meier. vladimirkulenovic.com
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55th Annual Salute to Youth
Caroline Richards Harp
Maggie Ivory Violin
Rebecca Epperson Viola UTAH SYMPHONY SEP–OCT 2014
artists’ profiles
Caroline Richards, 17, has been studying harp with ShruDeLi Ownbey for 12 years. She placed 1st in the Utah State Fair Competition in 2005, 2007, and 2008. In July 2009 she placed 4th in the National American Harp Society Competition. In July 2011 Caroline performed at the Eleventh World Harp Congress in Vancouver, Canada. In May 2012 Caroline was a guest performer on the Kaleidoscope Concert in Minneapolis at the Suzuki Association of America Conference. In December 2013 she appeared with the Salt Lake Choral Artists at Libby Gardner Hall. In June 2014 Caroline participated in the Lyon and Healy 150th Celebration in Chicago as a youth soloist. Caroline performs regularly at the Grand America Hotel. She is a senior at American Fork High School where she excels academically and is an officer in the school’s chapter of FCCLA. She lives in Pleasant Grove and is the daughter of Ryan and Mary Richards. Maggie Ivory, 15, is a full scholarship student at the Gifted Music School in Salt Lake City, and currently studies violin with Eugene Watanabe. In 2012, Maggie soloed with the Utah Symphony on the Salute to Youth concert conducted by Maestro Thierry Fischer, and just last December she performed in New York City at Carnegie Hall’s Weill Recital Hall. She was awarded top prizes at the Utah Stradivarius Competition in 2010 and 2013, soloed with the Oquirrh Mountain Symphony Orchestra, was featured several times on KBYU-FM, toured Europe with the Rocky Mountain Strings, and at the age of ten, was Concertmaster of the Suzuki Youth Orchestra of the Americas. Maggie’s past violin teachers include Deborah Moench and Ramona Stirling. She has also performed in masterclasses for Robert Lipsett, James Ehnes, Andres Cardenes, and Joseph Silverstein. She loves traveling, playing tennis, and is a 4.0 student at Olympus High School. Maggie is the daughter of Frank and Rachael Ivory and resides in Salt Lake City, Utah. Rebecca Epperson, 17, began the violin at age three. She started playing viola when she was 12, and has studied the viola exclusively since November 2013. Rebecca is a full-scholarship recipient in the Gifted Music School Orchestra, where she is Principal Violist, and is the violist in the Veloce string quartet. Rebecca has placed each year that she has participated in the American String Teachers Association festival at Weber State University and received an Honorable Mention in the Utah ENTERTAINMENT
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55th Annual Salute to Youth
artists’ profiles
Symphony Youth Guild recital auditions in 2012 and 2014. Rebecca won the American Fork Salute to Youth competition where she soloed with the American Fork Symphony in April of 2014. She has also won state awards for her musical compositions. Rebecca currently studies with Dr. Elizabeth Wallace, and past teachers include Janet Epperson and Karen Child. In her spare time, Rebecca likes to run, bake, read and write. She is a senior at Northridge High School and resides in Layton, Utah. Karen Lela Ferry, 14, is a student of Deborah Moench. Karen was the 3rd place winner in the 2013 International Stradivarius Competition, Utah Division. She is a two-time winner of the Utah Symphony Youth Guild competition, and 1st place winner of the UMTA Concerto Competition and the ASTA Stringfest at WSU. Karen has performed in master classes with Robert Lipsett (Colburn School of Music), Kathryn Eberle (Utah Symphony) and Daniel Ching (Miro String Quartet). As a member of the Gifted Music School Orchestra, Karen has performed with Leon Fleisher, Andres Cardenes, Bill McLaughlin and Joseph Silverstein. Karen has soloed with the Oquirrh Mountain Symphony and performed on the Covey Center of the Performing Arts “Evening of Young Artists.” She has also concertized in Europe with the Rocky Mountain Strings. Karen is a 9th grader at Box Elder Middle School and enjoys running, tap dancing and braiding hair. She is the daughter of Ben and Meg Ferry of Corinne.
Karen Lela Ferry Violin
Sanne Jane Christensen Piano
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Sanne Jane Christensen, 13, is an 8th grader at Treasure Mountain Junior High School in Park City and a full scholarship student at the Gifted Music School. Sanne started her piano training at the age of four with Lena Bates and currently studies under Dr. Vera Oussetskaia Watanabe. She was selected to perform on the 2013 Youth Guild Recital. Her other awards include multiple first prizes in the Con Brio Music Competition and two Concerto wins in the University of Utah SummerArts Competition. She has performed twice as a competition winner with the SummerArts orchestra in Libby Gardner Hall. Sanne is an avid reader and enjoys math and science at school. When not studying, she also loves to swim, ski and ride her bike.
UTAH SYMPHONY SEP–OCT 2014
55th Annual Salute to Youth
Shenae Anderson Violin
Michael Marsden Marimba
UTAH SYMPHONY SEP–OCT 2014
artists’ profiles
Shenae Anderson, 16, began studying the violin at age three with Deborah Moench. She is currently studying with Eugene Watanabe. Shenae soloed on Utah Symphony Salute to Youth concerts in 2008 and 2010. In December of 2010, she was invited back by Maestro Thierry Fisher to be a guest soloist with the Utah Symphony for its staff conductor auditions. Since 2008, she has won numerous competitions, including Youth Guild, MTNA, and Utah State Fair. Shenae was the winner of the Stradivarius International Violin Competition Utah Division in 2013. She studied with Robert Lipsett at the Aspen Music Festival in Colorado. In 2014, Shenae auditioned at Curtis Institute of Music and was one of the 13 finalists out of 130 applicants. Shenae will solo with Salt Lake Symphony in April of 2015, and she will be one of the featured soloists on the Utah Symphony’s All-Star Evening concert in May of 2015. Shenae has a 4.0 GPA and will be graduating a year early from Summit Academy High School in Draper. Michael Marsden, 17, is currently a senior at Woods Cross High School, where he is a high honor student and performs with the Wind Ensemble, Percussion Ensemble, Jazz Lab, and smaller ensembles. He has studied privately with Keith Sorenson and Heath Wolf, and currently studies with Utah Symphony timpanist George Brown and percussionist Keith Carrick. Michael previously appeared with the Utah Symphony as a soloist in the Salute to Youth Concert in 2011, and he performed with them this past spring in the All-Star Evening Concert. As a member of the Davis Youth Symphony he has been featured twice as a soloist. He also performs with the Utah Youth Symphony and Philharmonic Orchestras, and the University of Utah HYPE (Honor Youth Percussion Ensemble). Michael consistently receives superior ratings at Solo and Ensemble festivals and awards at Percussive Arts Society competitions. He recently returned from the Percussion Institute at Interlochen Summer Music Camp in Michigan.
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/upcoming concerts BartÓk’s Concerto for Orchestra Nov 7–8 / 8 pm Abravanel Hall Ilan Volkov, conductor BARTÓK MOZART R. STRAUSS BARTÓK
Marc-André Hamelin, piano
Hungarian Sketches Rondo in A Major for Piano and Orchestra Burleske for Piano and Orchestra Concerto for Orchestra
Mahler’s Symphony No. 2 Nov 14–15 / 8 pm Abravanel Hall Thierry Fischer, conductor Celena Shafer, soprano HAYDN MAHLER
Jennifer Johnson Cano, mezzo-soprano Utah Symphony Chorus
Symphony No. 5 Symphony No. 2 “Resurrection”
Dvořák’s Symphony No. 7 Nov 21–22 / 8 pm Abravanel Hall Thierry Fischer, conductor DVOŘÁK SAINT-SAËNS DVOŘÁK
Fumiaki Miura, violin
My Home Violin Concerto No. 3 Symphony No. 7
Messiah Sing-In Nov 29–30 / 7 pm Abravanel Hall Thierry Fischer, conductor
Utah Symphony Chorus
To kick off the holiday season, the entire Abravanel Hall audience will be the choir for Handel’s Messiah. Bring your family (and your score) so you can sing along.
/upcoming concerts Beethoven’s Ninth Dec 5–6 / 8 pm Abravanel Hall Thierry Fischer, conductor Celena Shafer, soprano Cynthia Hanna, mezzo-soprano DUTILLEUX BEETHOVEN
Chad Shelton, tenor Michael Dean, bass-baritone Utah Symphony Chorus
Métaboles Symphony No. 9 “Choral”
Joy to the World with Pink Martini Dec 12–13 / 8 pm Abravanel Hall Jerry Steichen, conductor
Pink Martini, guest artist
Portland’s favorite “little orchestra” joins the Utah Symphony in Abravanel Hall for a holiday show that brings music, magic and excitement from around the world right to our doorstep.
Here Comes Santa Claus! Dec 13 / 11 am & 12:30 pm Abravanel Hall Vladimir Kulenovic, conductor
All is merry and bright with holiday music in Abravanel Hall. Don’t forget your wish list because, if rumors are true, Santa will be in the lobby to discuss your naughty or nice status.
New Year’s in Vienna Jan 2–3 / 8 pm Abravanel Hall Thierry Fischer, conductor SHOSTAKOVICH BORODIN SHOSTAKOVICH BERLIOZ J. STRAUSS, Jr. LUMBYE
Festive Overture Polovtzian Dances Jazz Suite No. 2 Hungarian March Künstlerleben Champagne Galop
WOLFGANG RIHM Sehnsuchtswalzer from Drei Walzer BRAHMS Hungarian Dance No. 5 J. STRAUSS, Jr. Im Krapfenwald’l J. STRAUSS, Jr. Eljen A Magyar
Reserve your seats today at utahsymphony.org or call 801-355-ARTS (2787)
program notes
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Concerto for Harp in B-flat Major, op. 4 Handel’s Opus 4 Concerto No. 6 is most often performed in its organ and orchestra iteration, but there are clear indications in the scoring of the accompaniment that the original version for harp represents his intentions best. Though not so virtuosic as the true Organ works from the set, No. 6 offers the harpist a highly transparent orchestration upon which to hold court and for much of the first movement, in fact, the harp speaks alone. The work was first performed in 1736 (with a harpist as soloist) on a program that featured some of Handel’s larger concert works and another of the Opus 4 Organ Concerti. The addition of a Harp Concerto was (and still is, frankly) an unusual and rare treat that evening. George Frideric Handel (1685–1759) Composer
Sinfonia Concertante, K. 364 The sinfonia concertante genre was briefly popular in 18th Century Europe. It was designed to blend the best features of the Classical-era symphony and the concerto and, though Mozart did not add significantly to the form, the quality of his few contributions was stunning. The K. 364 work for violin and viola ranks among the best music Mozart ever wrote for solo strings. It was completed in 1779 and Mozart required the violist (himself, possibly) to tune his instrument up one half step to add brilliance to its sonority. This, and a handful of other intriguing orchestration techniques, made the Sinfonia Concertante a very unique sonic experience in its day and one that still surprises today. Wolfgang Amadeus Mozart (1756–1791) Composer
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Introduction & Rondo Capriccioso, op. 28 Saint-Saëns wrote the Introduction and Rondo Capriccioso in 1863 for his friend, the violin virtuoso Pablo de Sarasate. It is a true showpiece, designed to display the complete range of Sarasate’s technical prowess, and the famous violinist’s lifelong affinity for the piece proves its value as a “star vehicle.” In fact, his frequent programming of the work in ensuing years may well have guaranteed its lasting popularity. Like so many of his fellow Frenchmen, Saint-Saëns was in the thrall of Spain and its musical rhythms (think Bizet and his Carmen). Given this predisposition and the heritage of his frequent collaborator, many of Saint-Saëns’ works for solo violin have this flavor in them; the Opus 28 tour de force is no exception. Camille Saint-Saëns (1835–1921) Composer
Concerto for Piano No. 2 Chopin wrote his two piano concerti in 1830, when he was only 20 years old. The numbering of the works was due to their publication dates and do not correspond to their premieres. Regardless, as the first public essay into the concerto genre by the young Chopin, No. 2 has always been judged by its Classical veneer. Liszt once wrote that Chopin did harm to his own ideas by constraining them with traditional formal models but Chopin was no mere student mimic. He was breaking ground on the very virtuosic “showcase” style of composition that Liszt himself and Rachmaninoff later perfected. In both of his concerti, Chopin unabashedly casts the piano as the hero, one whose deeds are plentiful and thrilling. Frédéric Chopin (1810–1849) Composer
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program notes
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Concerto for Violin in D Major, op. 61 The Violin Concerto came during a productive time for Beethoven. He had many fertile periods during his life but these times of plenty were often offset by equally notable stretches of paucity. In the busy years leading up to his violin masterpiece he had penned no less than the mighty 3rd Symphony, the 4th Piano concerto and the Appassionata sonata. The position of the Violin Concerto after the 4th Piano Concerto is interesting in that it would represent his penultimate essay into the concerto genre. As such it was more Romantic than its existing piano siblings and also more adventurous than anything anyone else had done before. Ludwig van Beethoven (1770–1827) Composer
Concertino for Marimba From the composer: “This work, which was commissioned by Frederique Petrides, conductor of the Orchestrette Classique, and dedicated to her, was completed in March 1940. It is in three movements and is designed to demonstrate the capabilities of the marimba as a solo instrument with orchestral accompaniment. The first movement, marked ‘Vigorous,’ is based on two main themes, a strongly rhythmic one and a lyric one, both of which are announced in the orchestral introduction. The development of these themes occurs mainly in the solo part, and within the 3/4 meter are incorporated various rhythmic patterns. There are no isolated cadenzas to reveal the virtuosity of the soloist, as the composition as a whole affords numerous opportunities to display this phase.”
Paul Creston (1906–1985) Composer
Notes by Jeff Counts
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Prokofiev’s Symphony No. 7
program
Prokofiev’s Symphony No. 7 Oct 24–25 | 8 pm Abravanel Hall Ignat Solzhenitsyn, Conductor & Piano (Utah Symphony Debut)
WOLFGANG AMADEUS MOZART
Piano Concerto No. 18 in B-flat Major, K. 456
I. Allegro vivace II. Andante un poco sostenuto III. Allegro vivace
Ignat Solzhenitsyn, Piano
/ INTERMISSION /
SERGEI PROKOFIEV
Symphony No. 7 in C-sharp Minor
PAUL HINDEMITH
I. Moderato II. Allegretto III. Andante espressivo IV. Vivace
Symphonic Metamorphesis on Themes of Carl Maria von Weber
I. Allegro II. Turandot: Scherzo III. Andantino IV. March
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UTAH SYMPHONY SEP–OCT 2014
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Prokofiev’s Symphony No. 7
artist’s profile
Recognized as one of today’s most gifted artists, and enjoying an active career as both pianist and conductor, Ignat Solzhenitsyn’s lyrical and poignant interpretations have won him critical acclaim throughout the world. In recent seasons, his extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, St. Louis, Los Angeles, Seattle, Baltimore, Washington, Montreal, Toronto, London, Paris, Israel, and Sydney; and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, James DePreist, Charles Dutoit, Lawrence Foster, Valery Gergiev, Krzysztof Penderecki, André Previn, Mstislav Rostropovich, Gerard Schwarz, Wolfgang Sawallisch, Maxim Shostakovich, Yuri Temirkanov and David Zinman. In addition to his recital appearances in the United States at New York’s 92nd Street Y, Philadelphia’s Kimmel Center, St. Ignat Solzhenitsyn Paul’s Ordway Theatre, Ann Arbor’s Hill Auditorium, Salt Lake Conductor & Piano City’s Abravanel Hall, San Francisco’s Herbst Theatre, and many others from coast to coast; Solzhenitsyn Both pianist and conductor, has also given numerous recitals in Europe and the Far East in such major Ignat Solzhenitsyn’s lyrical musical centers as London, Milan, Zurich, Moscow, Tokyo, and Sydney.
and poignant interpretations have
A winner of the Avery Fisher Career Ignat Solzhenitsyn serves on the won him critical acclaim Grant, piano faculty of the Curtis Institute of He has been featured on many throughout the world. Music. radio and television specials, including CBS Sunday Morning and ABC’s Nightline. Born in Moscow, Mr. Solzhenitsyn resides in New York City with his wife and three children.
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Prokofiev’s Symphony No. 7
program notes
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Piano Concerto No. 18 in B-flat Major Vienna is one of the cities we associate most closely with Mozart — where he spent some of the most productive years of his brief life, and where he died. He was living there in 1784, a year of furious activity that included the composition of his Piano Concerto No. 18 and five others, all masterpieces.
Wolfgang Amadeus Mozart (1756–1791) Composer
Mozart’s 1784 concertos generally open with emphatic, militarysounding introductions (despite the absence of trumpets and drums in the orchestration), and the 18th certainly follows this pattern. As its first movement unfolds, its development has a natural, discursive quality that the eminent musicologist Phillip Huscher has described as “more discreet and conversational than flamboyant” (this although a certain showiness was expected in a keyboard concerto of the day). “The simultaneous clarity and intricacy of the wind writing is especially remarkable,” says Huscher. In the central movement, the already intimate quality of the music closes in still further, drawing the listener into a close communion with the soloist. The movement takes the form of a theme and variations, proceeding through five variations and eventually arriving at a highly elaborated coda. The pattern of development is the mirror-image of the first movement’s —dominated by passages in the minor, but with modulations into the major. Commentator Don Anderson describes this movement as the “jewel” of the concerto.
COMPOSED: 1784 INSTRUMENTATION: flute, 2 oboes, 2 bassoons; 2 horns; strings and solo piano DURATION: Appoximately 29 minutes
UTAH SYMPHONY SEP–OCT 2014
The concerto concludes with an energetic allegro. The lively pace is spiced with brassy fanfares and exposed horns. Despite a few moments of melancholy, the concerto concludes with an air of triumphant resolution and energy. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
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Prokofiev’s Symphony No. 7
program notes
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Symphony No. 7 in C-sharp Minor
Sergei Prokofiev (1891–1953) Composer
COMPOSED: 1952 INSTRUMENTATION: 3 flutes, 1 doubling as piccolo, 3 oboes, 1 doubling as English horn, 3 clarinets, 1 doubling as bass clarinet, 2 bassoons, 1 doubling as contra bassoon; 4 trumpets, 3 trombones, 3 horns, tuba; timpani, snare drum, tambourine, glockenspeil, woodblock, xylophone, crash cymbals, triangle, bass drum; strings DURATION: Appoximately 31 minutes
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In music — perhaps in all the arts — nothing is more difficult than simplicity. Composers including Mozart, Bartók and Britten as well as Prokofiev created simple music with the utmost seriousness of intent. And, whether or not by coincidence, Britten and Prokofiev paralleled each other in the creation of some of their simplest, most sophisticated works. Britten’s The Young Person’s Guide to the Orchestra dates from 1946; Prokofiev’s Peter and the Wolf in 1936. Britten composed his “Simple Symphony” in 1934; Prokofiev originally envisioned his seventh as a “simple symphony” intended for young listeners and began composing it late in 1951. But the symphony grew in scope and complexity, finally embodying the breadth and proportions of a “grownup” symphony for performance by a large orchestra in a concert hall. Although the symphony ultimately grew beyond his original conception, it retains an ingratiating simplicity, with all the charm of Prokofiev’s tuneful narrative scores. Even before its premiere, Prokofiev’s colleagues were praising it to the Soviet press; the composer Dmitri Kabalevsky called it “joyful, lyrical and delightful.” After the premiere, this praise was echoed by the public. The symphony’s opening movement is serene in mood, built on three themes: a melancholy melody stated in the violins followed by a sweeping dance phrase, culminating in a motif that is almost metronomic in its mechanical-sounding rhythm. In the second movement we hear a waltz that echoes with the sound of Russian Nationalist composers such as Tchaikovsky. The mood of almost sentimental, romantic reminiscence continues in the melodious third movement, an andante. The animated and joyful fourth movement, marked vivace, reprises melodies from the first movement bring the symphony to a vigorous, optimistic resolution. This symphony was Prokofiev’s final completed score of a major work, and its premiere was the last performance of his own music that he attended before his death in 1953. Prokofiev was posthumously honored with the Lenin Prize for the symphony in 1957. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
UTAH SYMPHONY SEP–OCT 2014
Prokofiev’s Symphony No. 7
program notes
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Symphonic Metamorphosis on Themes of Carl Maria von Weber The composer Paul Hindemith is remembered today for more than just his music. Although his most important compositions have entered the standard orchestral repertory — foremost among them the Symphonic Metamorphosis on Themes of Carl Maria von Weber and the programmatic symphony “Mathis der Maler” — Hindemith was also an important music theorist and educator.
Paul Hindemith (1895–1963) Composer
COMPOSED: 1943 INSTRUMENTATION: 3 flutes, 1 doubling as piccolo, 3 oboes, 1 doubling as English horn, 3 clarinets, 1 doubling as bass clarinet, 3 bassoons, 1 doubling as contra bassoon; 4 horns, 2 trumpets, 3 trombones, tuba; timpani, triangle, tambourine, glockenspiel, tom tom, snare drum, tenor drum, chimes, crash cymbals, woodblock, bass drum, gong; strings DURATION: Appoximately 21 minutes
UTAH SYMPHONY SEP–OCT 2014
Though Hindemith preserves the original themes in this work, the term “metamorphosis” is well chosen; virtually everything surrounding the themes is transformed. The harmony is greatly expanded with new harmonies and countermelodies, and with phrases appended to the original themes. The surprising result is that we can readily identify the original Carl Maria von Weber theme as we listen, though what we hear sounds completely different. The first movement is based on the fourth of a set of eight piano duets, but aside from a theme that Hindemith gives to the oboe, little about the movement suggest Weber’s original material. When this theme is played in parallel at irregular intervals by the flute and the piccolo, the result is a novel, calliope-like effect. Opera fans will note the second movement’s reference to the Chinese fantasy Turandot. But remember: the source is not Puccini, but Weber by way of Jean-Jacques Rousseau’s 1767 Dictionaire de Musique. Hindemith is free in his adaptation of the theme. Like Weber, he builds tension by repeating it until a dramatic climax is reached. The third movement is drawn from a section of Weber’s Six Pieces for two pianos marked andantino con moto. Added touches that are solely Hindemith’s include a sprightly flute solo. In the finale, based on the same piano duo, a Weber motif suggestive of a horn call is developed as the dramatic conclusion of the Symphonic Metamorphosis. Notes by Michael Clive. For more complete program notes including backgrounds on the composer and pieces programmed tonight, visit utahsymphony.org.
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Halloween Hi-Jinks
program
Halloween Hi-Jinks Oct 28 | 7 pm Abravanel Hall Jerry Steichen, Conductor
ANDREW LLOYD WEBBER CAMILLE SAINT-SAËNS MODEST MUSSORGSKY MANUEL DE FALLA JOHANN STRAUSS JR. JOHN WILLIAMS
Overture to The Phantom of the Opera Danse Macabre op. 40 Night on Bald Mountain Ritual Fire Dance from El Amor Brujo Thunder & Lightning Polka op. 324 Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone
/ INTERMISSION /
JOHANN SEBASTIAN BACH FRANZ WAXMAN JOHN WILLIAMS
Toccata and Fugue in D Minor The Bride of Frankenstein Devil’s Dance from The Witches of Eastwick
CHARLES GOUNOD
Funeral March of a Marionette
RICHARD WAGNER
Ride Of The Valkyries from Die Walkure
CONCERT SPONSOR
UTAH SYMPHONY SEP–OCT 2014
C O N D U C TO R S P O N S O R
SPECIAL EVENT
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Halloween Hi-Jinks
artist’s profile
Maestro Gerald Steichen has established himself as one of America’s most versatile conductors. He currently holds the positions of Principal Pops Conductor of the Utah Symphony and Music Director of the Ridgefield Symphony (Connecticut). He also completed sixteen seasons as Principal Pops Conductor of the New Haven Symphony Orchestra. Jerry begins his tenure as the Music Director for Ballet West in 2014
Jerry Steichen Conductor
Steichen is a frequent guest conductor for the New Jersey Symphony and has appeared with the Boston Pops, Cincinnati Symphony, Indianapolis Symphony, as well as the symphonies of Naples, Florida; Portland, Oregon; the Florida Orchestra in Tampa; Columbus, Oklahoma City, Hartford and the New York Pops. International appearances include the Hong Kong Philharmonic Orchestra, Tokyo City Symphony, the NDR Philharmonie Hannover at the Braunschweig Festival, and numerous appearances with the Norwegian Radio Symphony. During ten seasons with the New York City Opera, Steichen led performances including La Bohème, L’Elisir d’Amore, Jake Heggie’s Dead Man Walking, Rachel Portman’s The Little Prince, Jonathan Miller’s production of The Mikado, The Pirates of Penzance, and Rodgers & Hammerstein’s Cinderella. In …one of America’s 2007, he led the New York City Opera Orchestra and soloists in a live WQXR most versatile conductors. broadcast of Wall to Wall Opera from New York’s Symphony Space. A gifted pianist, he performed on stage for the New York City Opera’s acclaimed productions of Porgy and Bess and Carmina Burana. He has also conducted Utah Opera, Anchorage Opera, New Jersey Opera Theater, Glimmerglass Opera in Cooperstown, NY, and Opera East Texas. Steichen toured nationally as the associate conductor with The Phantom of the Opera, The Secret Garden, and Peter Pan, and he conducted CATS in New York for two years. He has also appeared on Broadway, portraying Manny the Accompanist in the Tony Award-winning Master Class. In pursuit of his passion for education, Steichen spent eighteen years with the “Meet the Artist” series at Lincoln Center as conductor, clinician and pianist. Originally from Tonkawa, Oklahoma, Maestro Steichen holds degrees from Northern Oklahoma College, Oklahoma City University and the University of Southern California. He currently resides in New York City.
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SPECIAL EVENT
UTAH SYMPHONY SEP–OCT 2014
2014/15 UTAH SYMPHONY SEASON
An invitation to join the
uTah SYmphonY YouTh Guild As Music Director of the Utah Symphony, I invite all families with children between the ages of 8 and 18 to join the Utah Symphony Youth Guild. The Youth Guild fosters musical excellence through education events, provides service and competition opportunities, and encourages attendance at Utah Symphony and Utah Opera performances by providing specially discounted ticket vouchers. Thierry Fischer Utah Symphony Music Director
The YouTh Guild offers an array of inspiring opportunities for your family. Join us for the Salute to Youth concert on September 30 when the Youth Guild Committee will be in the Abravanel Hall lobby before the concert and during intermission to answer your questions about the Youth Guild. To join The uTah SYmphonY YouTh Guild, or To learn more, pleaSe viSiT:
usuoeducation.org/youth-guild or call the Education Department at 801-869-9092.
P E RP ET UAL motion
PERP ET UA L motion
CAMPAIGN LEADERSHIP Campaign Co-Chairs
Scott and Jesselie Anderson Lisa Eccles Kem and Carolyn Gardner Gail Miller and Kim Wilson Bill and Joanne Shiebler
Honorary Co-Chairs Spencer F. Eccles
Jon M. Huntsman The Right Reverend Carolyn Tanner Irish
UTAH SYMPHONY | UTAH OPERA IN PERPETUAL MOTION
We are grateful for the momentum of The Campaign for Perpetual Motion, a $20 million public campaign to celebrate Utah Symphony’s 75th Anniversary in 2015–16. We have exciting plans leading up to this anniversary—including recording, broadcasting, and touring at the state and national levels, and even internationally. We look forward to sharing these plans with you in the coming months. We launched the Campaign with a remarkable $5 million lead gift from the George S. and Dolores Doré Eccles Foundation, whose tradition of support totaling more than $32 million spans three decades. This lead gift was made in addition to a $1 million gift from the Foundation to our Leadership Campaign, which during 2011 and 2012 prepared a solid foundation for the public fundraising effort. More than 35 individuals, corporations, and foundations contributed to the Leadership Campaign, including an extraordinary $4.6 million capstone gift from O.C. Tanner Company. Stay tuned—we know you will be proud of our plans to build and showcase your world-class symphony and opera throughout Utah and beyond. Find out more at usuo.org/support.
UTAH SYMPHONY SEP–OCT 2014
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P E RP ET UAL motion
We are forever grateful to the following leaders whose visionary support secured the permanence of Utah Symphony | Utah Opera through our Leadership Campaign in 2011 and 2012, and who set the stage for its bright future as lead supporters of The Campaign for Perpetual Motion.
FOUNDING CAMPAIGN DONORS George S. and Dolores Doré Eccles Foundation ($6 Million) O.C. Tanner Company ($4.6 Million) PRINCIPAL GIVING ($1 Million & above) Gael Benson The Church of Jesus Christ of Latter-day Saints Foundation Lawrence T. & Janet T. Dee Foundation Kem & Carolyn Gardner Larry H. & Gail Miller Family Foundation Mark & Dianne Prothro Questar® Patricia A. Richards & William K. Nichols Shiebler Family Foundation Sorenson Legacy Foundation Zions Bank LEADERSHIP GIVING (up to $1 Million) Anonymous (2) Scott & Jesselie Anderson Edward R. Ashwood & Candice A. Johnson Mr. & Mrs. William C. Bailey Dr. J. R. Baringer & Dr. Jeanette J. Townsend Thomas Billings & Judge Judith Billings R. Harold Burton Foundation Howard & Betty Clark Thomas D. Dee III & Dr. Candace Dee Deer Valley Resort E.R. (Zeke) & Katherine W. Dumke Burton & Elaine Gordon Mr. & Mrs. Martin Greenberg Dell Loy & Lynette Hansen Roger & Susan Horn 78
Anthony & Renee Marlon Carol & Anthony W. Middleton, Jr., M.D. Edward & Barbara Moreton William H. & Christine Nelson Carol & Ted Newlin Scott & Sydne Parker Dr. Dinesh & Kalpana Patel Frank R. Pignanelli & D’Arcy Dixon John & Marcia Price Family Foundation Bert Roberts Theodore Schmidt Norman C. & Barbara Tanner The Right Reverend Carolyn Tanner Irish Naoma Tate & the Family of Hal Tate M. Walker & Sue Wallace UTAH SYMPHONY SEP–OCT 2014
Utah Symphony Guild
The Utah Symphony Guild is proud to be celebrating its 61st anniversary. Because we believe great music can elevate the human spirit, the purpose of the Guild is to foster, promote and facilitate the Utah Symphony financially, socially and educationally. We provide meaningful and satisfying opportunities for service, educational endeavors, innovative fundraising and social interaction while recognizing the power of music that bonds us together and enriches our lives. We invite you to become a member. Contact Membership Vice President, Kari Landro at 801-541-2559 for more information.
The Utah Symphony Youth Guild is dedicated to giving students greater involvement with the arts and supporting the Utah Symphony through volunteer service and education activities. Membership is open to families with children ages 8 to 18. While the Youth Guild encourages everyone to reap the many benefits of learning to play an instrument, membership is open to musicians and non-musicians alike. For more information, call Janet Hales at 801-463-1696. We invite you to visit the Utah Symphony Guild Gift Shop to see the new merchandise for the 2014–15 season! Find the perfect gift or treat yourself to that special something. All proceeds benefit the Utah Symphony.
UTAH SYMPHONY GUILD
GIFT SHOP
Open prior to and during the intermission of Utah Symphony performances. Located in the Abravanel Hall lobby.
UTAH SYMPHONY SEP–OCT 2014
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Planned Giving
Together, we’re planning the future of Utah Symphony | Utah Opera. What are your plans? Patricia A. Richards joined the Utah Opera Board of Trustees in 1994. After the merger with the Utah Symphony in 2002, she was appointed Vice Chairman of the Utah Symphony | Utah Opera Board of Trustees in 2004 and served as Board Chairman from 2005 to 2014. Pat knows firsthand what it takes to run a world-class organization like USUO: strong leadership, community support, a civic tradition of valuing the arts, and—above all—artistic excellence. An important sign of USUO’s bright future is its ability to recruit the best musical talent that exists today. Under Pat’s leadership, in 2009 Thierry Fischer was appointed Pat knows firsthand what it takes the Utah Symphony’s seventh Music Director. During his tenure, more than to run a world-class organization new musicians have joined the orchestra, with auditions now attracting upwards of like USUO: strong leadership, 200 applicants.
community support, a civic tradition of valuing the arts, and—above all— artistic excellence
Pat is extending the already significant impact of her service with a planned gift that ensures USUO will continue to attract the very best and maintain the highest standards for the benefit of Utah audiences. In the future, the Patricia A. Richards and William K. Nichols Endowment Fund will support general operations, artist salaries, performances, recordings, commissions, and tours for both Utah Symphony and Utah Opera. To learn how you, too, can include USUO in your plans, contact us at 801.869.9013 or sgee@usuo.org. photo: Pat Richards and Bill Nichols with Kathryn Eberle, USUO’s Associate Concertmaster (violin) and Jens Tenbroek (bass) who joined the orchestra in 2011.
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UTAH SYMPHONY SEP–OCT 2014
Tanner & Crescendo Societies Utah Symphony | Utah Opera thanks the members of our Tanner and Crescendo Societies, patrons who have included USUO in their financial and estate planning. Together, we can ensure that great live music is preserved for future generations. Membership is open to all those who express their commitment through a planned gift at any level. Please contact Shaleane Gee at sgee@usuo.org or 801.869.9013 for more information.
Tanner Society of Utah Symphony Beethoven Circle
gifts valued at more than $100,000
Anonymous (3) Dr. J. Richard Baringer Haven J. Barlow Alexander Bodi† Edward† & Edith Brinn Captain Raymond & Diana Compton Elizabeth W. Colton† Anne C. Ewers
Flemming & Lana Jensen James Read Lether Daniel & Noemi P. Mattis Joyce Merritt† Anthony & Carol W. Middleton, Jr., M.D. Robert & Dianne Miner Glenn Prestwich & Barbara Bently Kenneth A. & Jeraldine S. Randall
Robert L.† & Joyce Rice Mr. & Mrs. Alvin Richer Patricia A. Richards Sharon & David† Richards Harris H. & Amanda P. Simmons E. Jeffrey & Joyce Smith G.B. & B.F. Stringfellow Mr. & Mrs. Norman C. Tanner Mr. & Mrs. M. Walker Wallace
Herbert C. & Wilma Livsey Mrs. Helen F. Lloyd† Gaye Herman Marrash Ms. Wilma F. Marcus† Dr. & Mrs. Louis A. Moench Jerry & Marcia McClain Jim & Andrea Naccarato Pauline C. Pace† Mr. & Mrs. Scott Parker Mr. & Mrs. Michael A. Pazzi Richard Q. Perry Chase & Grethe Peterson Glenn H. & Karen F. Peterson Thomas A. and Sally† Quinn
Helen Sandack† Mr. Grant Schettler Glenda & Robert† Shrader Dr. Robert G. Snow† Mr. Robert C. Steiner & Dr. Jacquelyn Erbin† Kathleen Sargent† JoLynda Stillman Edwin & Joann Svikhart Frederic & Marilyn Wagner Jack R. & Mary Lois† Wheatley Afton B. Whitbeck† Edward J. & Marelynn Zipser
Mahler Circle Anonymous (3) Dr. Robert H.† & Marianne Harding Burgoyne Mr. & Mrs. Kenneth E. Coombs Patricia Dougall Eager† Mr. & Mrs.† Sid W. Foulger Paul (Hap) & Ann† Green Robert & Carolee Harmon Richard G. & Shauna† Horne Mr. Ray Horrocks† Richard W. James† Estate Mrs. Avanelle Learned† Ms. Marilyn Lindsay Turid V. Lipman
Crescendo Society of Utah Opera Anonymous Mr. & Mrs. William C. Bailey Alexander Bodi† Berenice J. Bradshaw Estate Dr. Robert H. † & Marianne Harding Burgoyne Elizabeth W. Colton† Dr. Richard J. & Mrs. Barbara N. Eliason Anne C. Ewers Edwin B. Firmage
Joseph & Pat Gartman Paul (Hap) & Ann† Green John & Jean Henkels Clark D. Jones Turid V. Lipman Herbert C. & Wilma Livsey Constance Lundberg Gaye Herman Marrash Richard W. & Frances P. Muir Marilyn H. Neilson Carol & Ted Newlin
Pauline C. Pace† Stanley B. & Joyce Parrish Patricia A. Richards Mr. & Mrs. Alvin Richer Robert L.† & Joyce Rice Richard G. Sailer† Jeffrey W. Shields G.B. & B.F. Stringfellow Norman & Barbara Tanner Dr. Ralph & Judith Vander Heide Edward J. & Marelynn Zipser †Deceased
UTAH SYMPHONY SEP–OCT 2014
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Corporate & Foundation Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year with gifts up to $10,000. For a listing of our Season Honorees, who have made gifts of $10,000 and above see pages 14–18. $5,000 to $9,999 Anonymous (2) AT&T** Bourne-Spafford Foundation Byrne Foundation Doubletree Suites* The Dorsey & Whitney Foundation Durham Jones & Pinegar, P.C. Spencer F. & Cleone P. Eccles Family Foundation Henry W. & Leslie M. Eskuche Charitable Foundation Every Blooming Thing* Fleming’s Prime Steakhouse & Wine Bar* Flower Patch* Goldman, Sachs & Co. Hamilton Partners* Huntsman Corporation Martine* McCarthey Family Foundation Parallel Wines* Louis Scowcroft Peery Charitable Foundation Rasmussen Landscapes* Ruth’s Chris Steak House* Security National Life Insurance Co. Snell & Wilmer L.L.P. Squatters Pub Brewery* Stoel Rives Union Pacific Foundation U. S. Bancorp Foundation Utah Families Foundation Victory Ranch Club $1,000 to $4,999 Advanced Retirement Consultant Richard D. Bass Foundation Bertin Family Foundation Rodney H. & Carolyn Hansen Brady Charitable Foundation Robert S. Carter Foundation Castle Foundation Chevron Humankind Matching Gift Fund City Creek Ellessa Mae, LLC Enterprise Holdings Foundation ExxonMobil Foundation Fidelity Charitable Gift Fund Fisher Vineyards*
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Victor Herbert Foundation Home Depot* Homewood Suites By Hilton Thomas A. & Lucille B. Horne Foundation Hyatt Place Hotel* Iasis Healthcare Inn at Rancho Santa Fe* J. Wong’s Asian Bistro* Joe Wrona Law Firm Jones & Associates Jones Waldo Park City Kirton McConkie Leavitt Group of Salt Lake, Inc. Love Communications The Lund Foundation M Lazy M Foundation Macy’s Marriott City Center* Millcreek Cacao Roasters* Millcreek Coffee Roasters* George Q. Morris Foundation Mountain Dentistry Nebeker Family Foundation Park City Foundation Ray, Quinney & Nebeker Foundation The Charles & Annaley Redd Foundation Resorts West Shilo Inn* Snow, Christensen & Martineau Foundation So Cupcake* Strong & Hanni, PC Summit Sotheby’s Swire Coca-Cola, USA* Bill & Connie Timmons Foundation United Jewish Community Endowment Trust Utah Humanities Council Wasatch Advisors $300 to $999 Henricksen/Butler Intermountain LDS Hospital Jewish Federation of Cleveland Legacy Music Alliance Megadyne Medical Products Romney Lumber Company SAD Foundation Utah Medical Products
UTAH SYMPHONY SEP–OCT 2014
VOLUNTEER WITH UTAH SYMPHONY | UTAH OPERA
Individual Donors We sincerely appreciate our annual contributors who have supported our programs throughout the last year.
2014–15 Abravanel Society Partner ABRAVANEL & PETERSON SOCIETY $5,000 to $9,999 Anonymous (4) Mr. & Mrs. Alan P. Agle Scott Amann Jeremy B. Andrus Doyle Arnold & Anne Glarner Dr. & Mrs. Clisto Beaty JJ Bienaime Berenice J. Bradshaw Charitable Trust Carol, Rete & Celine Browning Hal & Cecile Christiansen Edward & Carleen Clark Hal M. † & Aileen H. Clyde Amalia Cochran B. Gale† & Ann Dick John† & Margarita Donnelly Patricia Dougall Eager† Dr. & Mrs. Ralph Earle Spencer & Cleone† Eccles Jack & Marianne Ferraro Thomas & Lynn Fey Peter Fillerup* Robert & Elisha Finney Robert & Annie-Lewis Garda Jeffrey L. Giese, M.D. & Mary E. Gesicki Ray & Howard Grossman The James S. Gulbrandsen, Sr. Family Marti Harvey Mr. & Mrs. William Hindle Charles & Kathie Horman Scott Huntsman Mary P. Jacobs & Jerald H. Jacobs Family Robert & Debra Kasirer Jeanne Kimball Bill Ligety & Cyndi Sharp Robin & Nassir Marrouche Daniel & Noemi P. Mattis Richard & Jayne Middleton Mr. & Mrs. Richard Mithoff Francie Denise Mortenson O. Don & Barbara Ostler Jon & Betty† Poesch Glenn & Mary Potter Keith Rattie Mr. & Mrs. Alvin Richer James & Gail Riepe Dr. Wallace Ring Frank & Helen Risch Todd Romano David & Lois Salisbury Michael & Chris Savage William G. Schwartz & Joann Givan Daniel & Diane Siegel Elizabeth Solomon
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Dr. & Mrs. Charles W. Sorenson, Jr. David & Susan Spafford Sam & Diane Stewart Melia & Mike Tourangeau Frederic & Marilyn Wagner David J. & Susan Wagstaff John & Marva Warnock Bryan & Diana Watabe Lynnette C. Loveland Weston Tom & Wendy Wirth $3,000 to $4,999 Anonymous (5) Brent Amil & Allisyn Okawa Robert & Cherry Anderson Richard & Alice Bass Charles Black* Mr. & Mrs. Jim Blair Robert W. Brandt James & Marilyn Brezovec Richard & Suzanne Burbidge Michael Callen Mr. & Mrs. William D. Callister, Jr. Mark Casp Raymond & Diana Compton Cindy & Christopher Cutler Mr. & Mrs. Kenneth R. Cutler Dr. & Mrs. J. Michael Dean David L. & Karen Dee Mrs. Keith Dillard J. I. “Chip” & Gayle Everest Neone F. Jones Family Midge & Tom Farkas Robert S. Felt, M.D. Jerry & Sara M. Fenn Larry Flanders & Ursula A. Zwick Drs. Fran & Cliff Foster Bob & Linda Frankenberg Heidi Gardner Susan Glassman & Richard Dudley Wallace Graham & Lynn Nicholas David & Sandylee Griswold Kenneth & Kate Handley John B. & Joan Hanna Kenneth & Geraldine Hanni Dr. & Mrs. Bradford D. Hare Bob & Ursula Hoshaw Gary & Christine Hunter M. Craig & Rebecca Johns Dale & Beverly Johnson William G. & Kelly Johnson Barbara Jones Carl & Gillean Kjeldsberg Donald L. & Alice A. Lappe Kurt Larsen Roger Leslie James Lether Harrison & Elaine Levy Herbert C. & Wilma S. Livsey Kathy Lynch David & Donna Lyon Mac & Ann MacQuoid David & Nickie McDowell Michael & Julie McFadden Mr. & Mrs. Michael Mealey
Rich & Cherie Meeboer George & Nancy Melling Brad & Trish Merrill Dr. Louis A. Moench & Deborah Moench Bill & Connie Timmons Foundation Marilyn H. Neilson Thomas Parks & Patricia Legant Chase & Grethe Peterson Joel & Diana Peterson Leslie Peterson & Kevin Higgins Victor & Elizabeth Pollak Dr. Glenn Prestwich & Dr. Barbara Bentley Joe Prothro Dr. & Mrs. Marvin L. Rallison Henry Roenigk Mark Saltzman John F. Foley, M.D. & Dorene Sambado, M.D. Mr. & Mrs. Carmelo Santoro Bertram H. & Janet Schaap Deborah Schiller Stuart & Molly Silloway Gibbs & Catherine W. Smith Christine St. Andre Jason & Shayneh Starks Jerry Steichen Drs. Gerald B. & Nancy Ahlstrom Stephanz Jolynda Stillman Dr. Paula M. Swaner Temkin Family Verl & Joyce Topham Dr. Jeannette J. Townsend Mr. & Mrs. Glen R. Traylor Mr. & Mrs. Vincent Trotta Jane Urbaska John & Susan Walker Gerard & Sheila Walsh Ardean & Elna Watts Jeremy & Hila Wenokur David Wilson David & Jerre Winder $2,000 to $2,999 Anonymous (3) Craig & Joanna Adamson Joseph & Margaret Anderson Mr. & Mrs. Marshall Beere Anneli Bowen, M.D. & Glen M. Bowen M.D. Jonathan & Julie Bullen Mr. & Mrs. Chris Canale Paul & Robyn Carter David Cohen Ms. Debbi Cook Mr. & Mrs. Tom Cooper Mike Deasy Thomas & Laurie Eastwood Alice Edvalson James P. Felt Genevieve I. Gardner Mr. & Mrs. Dave Gill Robert & Joyce† Graham Randin Graves Val John & Elizabeth Green Barbara Hartman
Mr. & Mrs. Jim Haynes Lisette & Charles Hetzel The Steven Horton Family Wes Howell Dixie S. & Robert P. Huefner Gil & Thelma Iker Summer Irvin Jay & Julie Jacobson Annette & Joseph Jarvis Bryce Johnson Jill Johnson Mr. & Mrs. Clark D. Jones J. Allen & Charlene Kimball Scott & Stefani Kimche Mr. Darryl Korn & Ms. Jeannie Sias David & Tami Krajeski Arthur B. Laffer Mihail Lari Mr. & Mrs. W. Alan Larson Mary Leader Philip & Naomi Lippincott Patricia & Mark Lucas Milt & Carol Lynnes John MacFarlane Jed & Kathryn Marti David Mash Barry & Kathy Mower Mary Muir Jake Murdock Dan & Janet Myers Oren & Liz Nelson Bradley Olch Edward W. & Arlene Otto Linda S. Pembroke Patricia Pond Julie Korenberg, Ph.D, M.D. & Stefan Pulst, M.D. Dan & June Ragan W. E. & Harriet R. Rasmussen Dr. Richard & Frances Reiser Richard & Carmen Rogers Wayne & Amy Rogers Mr. & Mrs. Robert Rollo Mr. Robert Rose† Margaret P. Sargent Mr. August L. Schultz K. Gary & Lynda† Shields Margot L. Shott Dr. Otto F. Smith & Mrs. June Smith Jill Smith Thomas Stemberg Mr. & Mrs. G. B. Stringfellow Steven Taylor Ann Jarcho Thomas Judith & Ralph Vander Heide Marion L. & Sue Ann Walker Suzanne Weaver E. A. Woolston & Connie Jo Hepworth-Woolston $1,000 to $1,999 Anonymous (4) Ms. Cynthia Adams Christine A. Allred Drs. Crystal & Dustin Armstrong Fred & Linda Babcock
UTAH SYMPHONY SEP–OCT 2014
Metropolitan Opera National Council Utah District Auditions
Be there when the next group of young local hopefuls begin their journeys
Saturday, November 15, 2014 Libby Gardner Concert Hall, University of Utah *11:00 AM to 1:00 PM and 2:00 to 5:00 PM: Auditions *5:00 to 5:30 PM: While the judges deliberate, enjoy a reception with the competitors and vote for your favorite singer to receive an audience choice award *5:30 PM: Announcement of the Winner(s) The auditions are open to the public to view free of admission charge. *Schedule subject to change depending on number of competitors, please visit our website after November 7, 2014 for updated an schedule.
www.UtahMONCAuditions.org The MONC Utah District Auditions are supported in part by Utah Arts & Museums, with funding from the State of Utah and National Endowment for the Arts, as well as a grant from the Salt Lake City Arts Council.
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Individual Donors Daniel & Sheila Barnett Kay Howells Keith & Connie Barnhart Caroline Hundley Mr. & Mrs. Peter J. Barris Joel & Joy Kellman David & Rebecca Bateman Mr. & Mrs. Alan D. Kerschner James & Judy Bergman Eunice Kronstadt Barry Bergquist Tim & Angela Laros Bruce Bienenstock Mel & Wendy Lavitt John & Toni Bloomberg Sonja Margulies† Alex Bocock & Amy Sullivan Jimmy & Kat Martin* Mr. & Mrs. John Brubaker Christopher & Julie McBeth Mr. & Mrs. Lee Forrest Carter Greg Miller James & Andrea Clarke David & Suzanne Moore Dr. & Mrs. David Coppin Nancy Nichols William & Bonnie Daniloff Stephen & Mary Nichols Ruth Davidson Dr. & Mrs. Richard T. O’Brien James & Rula Dickson Ann G. Petersen Mr. Paul Dougan Dr. & Mrs. S. Keith Petersen Curtis & Susan Empey Rori & Nancy Piggott Edward B. & Deborah Felt Eugene & Pamela Podsiadlo Donna Flanagan James & Anna Romano Dena Fleming Hildegard & Angela Rayner Heidi Gatch Mindy Reynolds Stuart† & Diana George Gina Rieke Nancy Gilbert Catherine Rowan Mr. & Mrs. Richard R. Graham Mr. & Mrs. D. Brent Scott Amanda Greene David & Claudia Seiter Phillip Grigg Julie Senet Geoffery Grinney Angela Shaeffer C. Chauncey & Emily Hall Mr. & Ms. Jeffrey W. Shields & John Edward Henderson Mary Ross Mr. John P. Hill, Esq. Lisa Shine Connie C. Holbrook Mr. John Shuff UFS_SymphonyAd2012.pdf 1 12/8/11
Barbara Slaymaker Dorotha Smart Larry & Pamela Stevenson Dr. John Robert Stewart Kay Stoneburner Nancy Straetmans Ms. Bente Strong Mary Sumner Ronald W. Tharp & Kate F. Little Douglas Terry Carol A. Thomas David Thomas Karen Urankar Carleen A. Wallace Susan Warshaw Charles & Ellen Wells Bob & Sharon Winders Gayle Youngblood In Honor of Barbara & Steven Anderson H. Brent & Bonnie Jean Beesley Dr. & Mrs. Joseph C. Bentley Paula J. Fowler Patricia A. Richards Barbara Ann Scowcroft William & Joanne Shiebler Joe V. Siciliano In Memory Of Berry Banks David Wells Bennett 11:12 AM
Dr. Robert H. Burgoyne Stewart Collins Kathie Dalton Carolyn Edwards Neva Langley Fickling Calvin Gaddis Herold L. “Huck” Gregory Carolyn Harmon Duane Hatch Mary Louis Scanlan Humbert Howard Keen Robert Louis Beverly Love Clyde Meadows Scott Pathakis Kathy Sargent Shirley Sargent Ruth Schwager Ryan Selberg Dr. Ann O’Neill Shigeoka Robert P. Shrader John Henry “Jack” Totzke Roger Van Frank Rosemary Zidow
*In-kind gift **In-kind & cash gift Donations as received between 8/1/2013 & 8/1/2014
Administration ADMINISTRATION
Melia P. Tourangeau
President & CEO
David Green
Thierry Fischer, Music Director Hillary Hahn
Director of Foundation & Government Gifts
Ashley Magnus
Mike Lund
Director of Information Technologies
SaraLyn Pitts
Controller
Manager of Corporate Gifts
Alison Mockli
Executive Assistant to the CEO
Annual Giving Manager
Jared Mollenkopf
Executive Assistant to the Music Director & the Senior VP & COO
Special Events Manager
Julie Cameron
Senior Vice President & COO
Julie McBeth
Marsha Bolton
Heather Weinstock
Office Manager
Melanie Steiner-Sherwood Natalie Cope
Ruth Eldredge
Grants Manager
Conor Bentley
Development Coordinator
Payroll & Benefits Manager Patron Information Systems Manager
Accounts Payable Clerk EDUCATION
Paula Fowler
Thierry Fischer
Kate Throneburg
Director of Education & Community Outreach
Symphony Music Director
Development Assistant
Anthony Tolokan
Jon Miles
Symphony Education Manager
Vice President of Symphony Artistic Planning
MARKETING & COMMUNICATIONS
Tracy Hansford
SYMPHONY ARTISTIC
Beverly Hawkins
Jerry Steichen
Vice President of Marketing & Public Relations
Vladimir Kulenovic
Director of Public Relations
Renée Huang
Jared Porter
Associate Conductor
Chad Call
Jay Morris
Symphony Chorus Director
Aaron Sain
Principal Pops Conductor
Barlow Bradford
Education Assistant OPERA TECHNICAL
Opera Technical Director
Marketing Manager
Assistant Technical Director
Graphic Design & Branding Manager
Production Carpenter
Myroslava Hagen
Website Manager
Properties Master
SYMPHONY OPERATIONS
Marketing Communications Manager
Assistant Props
Eric V. Johnson
Director of Orchestra Personnel Assistant Orchestra Personnel Manager
Jeff Counts
Mike Call
Ginamarie Marsala
Crystal Young-Otterstrom
Keith Ladanye Kelly Nickle
Lane Latimer
John Cook
Vice President of Operations & General Manager
Vivace & Cadenza Coordinator
Manager of Artistic Operations
Director of Tickets Sales & Patron Services
Operations Manager
Patron Services Manager
Assistant Rentals Supervisor
Group & Corporate Sales Manager
Rentals Assistant
Charlotte Craff
Cassandra Dozet Chip Dance
Production & Stage Manager
Mark Barraclough
Assistant Stage & Properties Manager
Melissa Robison
Program Publication & Front of House Manager
PATRON SERVICES
Nina Richards
Natalie Thorpe
Shawn Fry
Faith Myers
Sales Manager
Andrew J. Wilson
Patron Services Assistant
Scene Shop Manager & Scenic Artist COSTUMES
Verona Green Costume Director
Melonie Fitch
LisaAnn DeLapp
Vicki Raincrow
Wardrobe Supervisor
Milivoj Poletan
Tailor
Ellesse Hargreaves
Tara DeGray
Brooke Adams Kati Garcia Ben Ordaz Jackie Seethaler Powell Smith Robb Trujillo
Anna Marie Coronado
Chris Hamberg Jenny Bakes Shelley Carpenter Tanner Crawford Daniel Hill
Carey Cusimano
Nick Barker Sophie Bona-Layton Chelsea Madsen Emma McFarland Emily O’Connor Liz Shattler Aubrey Shirts
Shaleane Gee
ACCOUNTING & INFORMATION TECHNOLOGY
0PERA ARTISTIC
Christopher McBeth
Opera Artistic Director
Caleb Harris
Opera Chorus Master
Carol Anderson Principal Coach
Michelle Peterson
Opera Company Manager
Shaun Tritchler
Production Coordinator DEVELOPMENT
Leslie Peterson
Vice President of Development Vice President of Development, Deer Valley® Music Festival Director of Major Gifts
UTAH SYMPHONY SEP–OCT 2014
Account Coordinator
Sales Associates
Ticket Agents
Steve Hogan
Vice President of Finance & CFO
Cutter/Draper
Milliner & Crafts Artisan
Chris Hamberg Connie Warner Stitchers
Yancey J. Quick
Wigs/Make-up Designer
Wigs/Make-up Crew
We would also like to recognize our interns and temporary and contracted staff for their work and dedication to the success of utah symphony | utah opera.
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Classical 89 Broadcasts Sept 6 | 9:30 AM DUKAS The Sorcerer’s Apprentice Yan Pascal Tortelier, Conductor (recorded 10/26/13) Sept 13 | 9:30 AM NIELSEN Symphony No. 2, “The Four Temperaments” I. Allegro collerico Ronald Brautigam, Piano Thierry Fischer, Conductor (recorded 11/9/13) Sept 20 | 9:30 AM BEETHOVEN Piano Concerto No. 3 II. Largo Ronald Brautigam, Piano Thierry Fischer, Conductor (recorded 11/15/13) Sept 27 | 9:30 AM HAYDN Symphony No. 4 II. Andante Thierry Fischer, Conductor (recorded 11/16/13 Oct 4 | 9:30 AM HAYDN Symphony No. 4 III. Tempo di menuetto Thierry Fischer, Conductor (recorded 11/16/13) Oct 4 | 8:00 PM VERDI La Traviata Sara Gartland (Violetta) Cody Austin (Alfredo) James Westman (Giorgio Germont) Robert Tweten, Conductor Oct 11 | 9:30 AM STRAVINSKY Elegy for J.F.K. Abigail Levis, Mezzo-Soprano Thierry Fischer, Conductor (recorded 11/23/13)
Oct 11 | 8:00 PM Mozart: The Abduction from the Seraglio Celena Shafer (Konstanze) Andrew Stenson (Belmonte) Amy Owens (Blonde) Tyson Miller (Pedrillo) Gustav Andreassen (Osmin) Christopher McBeth (Pasha Selim) Gary Thor Wedow, Conductor Oct 18 | 9:30 AM TCHAIKOVSKY Suite from The Sleeping Beauty Thierry Fischer, Conductor (recorded 4/20/13) Oct 25 | 9:30 AM TCHAIKOVSKY Piano Concerto No. 1 III. Allegro con fuoco Conrad Tao, Piano Thierry Fischer, Conductor (recorded 4/20/13) Nov 1 | 9:30 AM BERLIOZ Symphonie fantastique IV. March to the Scaffold V. Dreams of a Witches’ Sabbath Thierry Fischer, Conductor (recorded 4/27/13) Nov 8 | 9:30 AM DVOŘÁK Violin Concerto Augustin Hadelich, Violin Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 15 | 9:30 AM DVOŘÁK Slavonic Dances, Nos. 1-4 Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 22 | 9:30 AM BRAHMS Symphony No. 2 Vladimir Kulenovic, Conductor (recorded 5/25/13) Nov 29 | 9:30 AM BEETHOVEN Egmont: Overture Thierry Fischer, Conductor (recorded 9/13/13)
classical89.org 89.1 & 89.5 fm
MUSIC IN THE K E Y O F G R E AT
Acknowledgments UTAH SYMPHONY | UTAH OPERA 123 West South Temple Salt Lake City, UT 84101 801-533-5626 EDITOR
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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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Frank Pignanelli, Esq. Utah Symphony | Utah Opera is funded by the Utah Arts Council, Professional Outreach Programs in the Schools, Salt Lake City Arts Council, Salt Lake County Zoo, Arts, and Parks Tax (ZAP), Summit County Restaurant Tax, Summit County Recreation, Arts and Parks Tax (RAP), Park City Chamber Bureau, and the Utah Humanities Council. 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 Capitol Theatre are owned and operated by 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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