The King of Instruments

Friday and Saturday, September 15-16 2017 • 7:30 pm Timberline Middle School, Alpine organ Andrew Unsworth, TIMPANOGOS SYMPHONY ORCHESTRA

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Member FDIC A Message from the Music Director

Dear Friends, University and Snow College, and has a thriving private studio. I want to personally thank Luca for elcome to the 2017-2018 his years of dedication to the TSO. He is a valuable Timpanogos Symphony asset to our organization. Orchestra concert season. This is Our final number on tonight’s program is our seventh full year and we are Richard Strauss’ Also Sprach Zarathustra. This thrilled to have you join us. We piece has particular significance for me. Performing Whave a great season lined up for you and I hope this music has been on my “bucket list” my entire that you won’t miss a single concert! adult life. It is one of the earliest pieces of classical Tonight, we feature tabernacle music I was ever exposed to. My organist, Dr. Andrew Unsworth, as our dad, though not a big classical music guest soloist. This concert has been lover, loved Also Sprach Zarathustra about two years in the making. We had and infused that love in me. It is a such a wonderful concert a few years large piece of music that calls for a ago, when Richard Elliott was our guest large orchestra. Strauss actually organist that I was hoping to repeat specifies the number of string that wonderful experience. Andrew players in each section. The strings Unsworth is a gifted organist and I’m total over 60 players and we have sure you will be amazed at his prowess just over 100 total players in the on the organ. orchestra. Not only does this music The organ we are using for this require a large orchestra but it also concert is owned by the Mormon Tabernacle requires a level of playing ability that most Choir. It is their touring organ. They were generous community orchestras would not attempt. I am enough to make it available for our use this proud of the excellent musicians in the TSO who concert, for which we are extremely grateful. have taken on the task of tackling this incredible We feature Dr. Unsworth tonight on the piece of music. I hope you enjoy it as much as I do! Jongen, Symphonie Concertante for Organ and Once again, we acknowledge our season Orchestra. This is a fabulous piece that features the sponsor, the Bank of American Fork. The bank has organ with the orchestra. Jongen was an generously agreed to provide a dollar for dollar exceptionally talented organist and composer. This match, up to $20,000 this year. For every dollar work is an exciting piece that shows off the donated to the TSO, the Bank of American Fork virtuosity of the soloist. Andrew is equal to the will match that donation. Please consider a task and really shines performing this concerto. contribution to the TSO and make your dollar The Symphonie Concertante is in four have double the impact. We couldn’t run this movements, and it truly demonstrates the organization and put on these types of concerts magnificence of the organ. I’m sure you will enjoy without the substantial contributions that our this majestic piece of music. faithful followers make to our organization. I am also delighted to feature Luca de la Florin on English horn in Sibelius’ The Swan of Tuonela. Thank you for your support and enjoy the Luca has been our principal oboist for the past concert! few years and we are lucky to have such a talented musician in our midst. Luca is finishing his John Pew doctoral degree in music at the University of Utah. Director In addition, he teaches oboe at Utah Valley Timpanogos Symphony Orchestra

The Timpanogos Symphony Orchestra is funded in part by grants from the National Endowment for the Arts, the George S. and Dolores Doré Eccles Foundation, the Utah Arts & Museums Council, the Rocky Mountain Power Foundation, and OC Tanner. Concert Program

Symphonie Concertante for Organ and Orchestra (1926) Joseph Jongen (1873-1953) Andrew Unsworth, organ I Allegro molto, moderato II Divertimento: molto vivo III Molto lento—Lento misterioso IV Toccata (moto perpetuo): Allegro moderato The Swan of Tuonela, op. 64 (1935) Jean Sibelius (1865-1957) Luca de la Florin, English horn Dorothy Olsen, cello INTERMISSION

Also Sprach Zarathustra (1896) Richard Strauss (1864-1949) I Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) II Von den Hinterweltlern (Of Those in Backwaters) III Von der großen Sehnsucht (Of the Great Longing) IV Von den Freuden und Leidenschaften (Of Joys and Passions) V Das Grablied (The Song of the Grave) VI Von der Wissenschaft (Of Science and Learning) VII Der Genesende (The Convalescent) VIII Das Tanzlied (The Dance Song) IX Nachtwandlerlied (Song of the Night Wanderer)

2 Our Guest Performers

Andrew E. Unsworth is one of three Giauque, and they are the parents of five full-time organists at the Mormon Tabernacle children. in Salt Lake City, where he participates in the Luca de la Florin is an active freelance daily recital oboist in Salt Lake City, Utah and is on faculty series on the with Utah Valley University and Snow College. 206-rank Florin has performed with orchestras across Æolian-Skinner the United States including the Utah, Detroit, organ and Toledo, Battle Creek, Jackson, Dexter, and accompanies the Kalamazoo Symphonies and holds principal Mormon positions with Sinfonia Salt Lake and the Tabernacle Timpanogos Symphony Orchestra. Florin has Choir on their performed under the baton of many leading weekly radio conductors including JoAnn Falletta, Courtney and television Lewis, Leonard Slatkin, Thierry Fischer, Rossen broadcast, Millanov, Hans Graf, Donato Cabrera and "Music and the Spoken Word." Prior to this many more. In addition to orchestral playing, appointment, he served as an Assistant Florin is an active chamber musician and Professor of Music at Stephen F. Austin State soloist. He has appeared University, in Nacogdoches, Texas, and as as soloist with the Utah Organist and Assistant Director of Music at Philharmonia, Sewanee the Cathedral of the Madeleine in Salt Lake Festival Orchestra, Albion City, Utah. Symphony Orchestra, Dr. Unsworth received his Bachelor of Jackson Chamber Music degree from Brigham Young University Orchestra, Borderline in organ performance and pedagogy and then Philharmonic, and the pursued graduate studies in historical Timpanogos Symphony performance practice at Duke University, Orchestra. Florin has which awarded him the Master of Arts and recorded multiple times Doctor of Philosophy degrees. He has on the Naxos and Bridge performed throughout the United States and record labels. Europe as a soloist and accompanist and was Florin is a sought-after a recitalist at national and regional conventions teacher amassing a large of the Organ Historical Society and American private studio. As a skilled Guild of Organists. Dr. Unsworth has also reed-maker, Florin teaches clinics on written articles on organ performance and reed-making and cane preparation. Florin sells teaching in nineteenth-century America for professional oboe and english horn reeds The Organ Yearbook, The American Organist, across the United States as well as to The Encyclopedia of the Organ, and The Australia, Europe, and South America. Tracker. He holds the Associateship Certifi- Currently, Florin is finishing his Doctoral cate from the American Guild of Organists, degree in Oboe Performance at the which awarded him the S. Lewis Elmer prize. University of Utah. Dr. Unsworth is married to Alison

3 4 Contributors

Gold Conductor’s John & Sherry Kelley Jan N. & Verla Rae Bair Steve & Dianne Jones Circle ($5,000 - Colleen Magleby Arvin & Maurine Jonathan Judd Up) Kirk & Shannon Bellon John & Betty Lamb Anonymous (1) Magleby Phil & Reesa Boren Richard & Kirsti Lee Kent & Karen Jay & Mili McQuivey Jerome & Sandra Kirk & Shannon Lundquist Frank & Broekhuijsen Magleby Deanna Metcalf Bruce Brushcke Colleen Magleby Conductor’s Cathie Miller Dennis & Lynette Dawn McNiel Circle ($1,000 - Robert & Jean Porcaro Butler Bonnie Meldrum $4,999) Gene & Richard & Nathlie Frank & Deanna Anonymous (4) Andrea Puckett Cavin Metcalf Richard & Randy & Daryl Rollins Autumn Chase Cathie Miller Patricia Clyde John & Carole Wright Matthew & Karen Dennis & Judy Miner Grant & Gayle Chase David & Patricia Drollinger Contributor Kay & Diane H. Mortensen Fidelity Charitable ($100 - $199) Christensen Chuck & Carolyn Gift Fund Jan N. & Verla Rae Bair Richard & Patricia Owen Linda Sheffield Karen Brunsdale Clyde Virgil & Jackie Parker Scott L. & Catherine Dennis & Race & Rosalyn Davies Richard & Janice B. Smith Lynette Butler Kent & Patty Davis Pedersen Thomas Carey Matt & Laura Dawson Helene Pockrus Sponsor Kay & Diane Peter & Barbara Dill Robert & Jean Porcaro ($500 - $999) Christensen David & Pat Dixon Paul & Chris Redd The Benevity Commu- James & Janice Comer John & Suzanne Georganne Remund nity Impact Fund Debra Holley Eddington Linda Rehart Sterling & Ralph & Edy Howes Sandra Ellexson Lois Ricks Carol Thomas KED Marketing Curtis & Phyllis Seymour & Juanita Daniel Todd Group Inc. Fillmore Robbins Tanner Charitable Trust Merrily Lau Scott & Miriam Frazier Randy & Daryl Rollins Linda Rehart Bart Fuhriman LaRae Savage Donor Dorothy Shields Nate & Janelle Lynn Shurtleff ($200 - $499) Keith & Karma Swain Fuhriman Kenn & Janice Smith Soren & Nina S.B. & Carol Szoke David & Nancy Emily Spencer Rae Andersen Gardner Robert & GayLynn Parley Belnap TSO Family Ryan & Mary Gifford Strong Robert & Members Randy & Diana Peter & Anita Thelen Donna Bowman Angie Allen Graham Sterling & Carol Lawrence & Kathryn Allen Angela Harris Thomas Carole Clarke Soren & Nina Rae Ralph & Edy Howes Charles W. Whitaker Linley Duncan Anderson Tim Irwin Teri Wilson Sandra Ellexson Mary Arnett Eldon & Sharon Ives Nate & Janelle Drake & Kristen Dee & Kay Jacobs Fuhriman Backman Steven & Jacquie Dee & Kay Jacobs Betsy & Ellis Bailey Johnson

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6 Program Notes

Symphonie Concertante for Organ and second movement is a sprightly divertimento, Orchestra Joseph Jongen (1873-1953) • emerging from the organ’s puckish motifs which, in 36 minutes 7/4 meter, sound even more playful. A more If the music of Belgian composer Joseph Jongen serious hymn-like interlude also quickens into a is known at all today, it is most likely to be his scherzo but, like the first movement, it concludes in larger orchestral works. Jongen’s extensive writing repose. for piano and, later, chamber ensemble, is rarely An impressionistic interplay of organ and performed, though those works exhibit an orchestral colors characterizes the mysterious, abundance of Gallic clarity and color befitting a languorous third movement that builds and contemporary of Fauré, d’Indy, Debussy, and Ravel. recedes in waves. This movement also ends quietly, But it is the grandiose, epic nature of works such building suspense for the brilliant, boisterous as the colossal Symphonie Concertante or the Pièce toccata finale. Written in the style of the great Symphonique that keep Jongen’s name on the French organ toccatas of Widor and Vierne, the concert stage today. organ’s moto perpetuo rhythms surge until the Born in Liège, Jongen studied at the Conserva- coda where, for the first time in the movement, toire there for sixteen years. After some dramatic pauses underscore the ongoing torrents composition lessons in Berlin with Richard Strauss, of pure sound. he returned to the same Conservatory as a professor in 1903. Jongen began teaching at the The Swan of Tuonela Royal Conservatory of Brussels in 1920, and Jean Sibelius (1865-1957) served as director from 1925 until his retirement 9 minutes in 1939. As “father of the Finnish nationalist movement” The Symphonie Concertante, composed in 1926, in music, Sibelius refined and defined for is one of the 20th-century masterpieces of subsequent composers the styles, sources, and literature for organ and orchestra. Jongen’s friend inspirations that mark the Finnish style. But this the Belgian violinist Eugene Ysaÿe once described nascent nationalism was not easily defined, and this work as a “symphony for two orchestras,” much of Sibelius’s style, as with his own tempera- since the difficult and relentless organ part ment, is marked by a juxtaposition of extremes constitutes essentially another orchestra that that relates directly to Finnish history, disposition, enriches the first. It was written for the Wanam- and culture: common and uncommon, gregarious aker Organ—at the time, the world’s largest pipe and introverted, inward and outward. organ—at the Wanamaker’s department store Sibelius’s early passion for music was fostered (now Lord and Taylor) in downtown Philadelphia. largely by his uncle, an amateur violinist, but he Circumstances conspired to prevent the piece didn’t begin formal studies until he was 15. By the from being performed on that organ at the time, late 1880s he was sufficiently talented as a violinist though, and Jongen started to refer to it as “that to be an accomplished chamber musician, but he unfortunate work.” But in the meantime the was not satisfied with a potential career as a Symphonie Concertante was championed and rank-and-file string player. During his student years recorded by many of the 20th century’s most at the Helsinki Music Institute, where he studied esteemed organists. Finally, the Symphonie from 1885 to1889, Sibelius’s compositional Concertante was performed in the store’s Grand exercises began to manifest a blend of serious and Court, with the Philadelphia Orchestra, in 2008. rigorous forms with folk-inflected melodies. After The first movement opens with an orchestral he left Finland for further studies in Berlin and fugue, though the movement itself is in classical Vienna, he discovered for himself the richness of sonata-allegro form. After a bustling first theme, a Finnish literature (especially the epic Kalevala), gentler second theme offers some respite. The which would inform his music throughout his life. organ then plays off against the orchestra in grand Sibelius regarded these legendary Finnish texts as paragraphs with a small number of brief, quieter thoroughly modern, and with inherent musical interludes, and the movement ends calmly. The

7 Program Notes

Sibelius regarded these legendary Finnish texts as can only worship him.” Strauss continued thoroughly modern, and with inherent musical- throughout his career to seek a balance between qualities. As his compositional style was tending Romantic expressivity and classical structure. towards the romanticism of Wagner and In his tone poems, though, Strauss leaned Bruckner, rather than the classicism of Brahms, decidedly toward grand philosophizing, at least in Sibelius felt that the influence of folk literature the topics he chose. In each one of his tone could find facile expression in his music, and in poems, with perhaps the exception of the rather 1891 he wrote his first overtly nationalist work, Lisztian Death and Transfiguration, the composer Kullervo. As James Hepokoski notes: “Sibelius’s life explores the theme of man grappling with his fate. work begins in earnest from this moment.” Before It could be said that each of Strauss’s long he was regarded as a national hero in Finland. protagonists—Don Juan, Till Eulenspiegel, Don The Swan of Tuonela, Sibelius’s orchestral tone Quixote, Zarathustra—is a hero in some way, not poem from 1895, also draws inspiration from the necessarily in the sense of “conqueror” or “leader”, Kalevala. It forms the second part of Sibelius’s suite but in the manner of someone who faces life’s of four tone poems, the Lemminkäinen Suite, which challenges with courage and solemnity. tells four tales from the Kalevala that center on Perhaps the best-known of these tone the young, heroic figure of Lemminkäinen. Sibelius poems—or at least its opening—is Also Sprach doesn’t so much tell the story of Lemminkäinen Zarathustra from 1896, based on Friedrich though these tone poems—they aren’t even in Nietzsche’s philosophical novel of the same name. the chronological order of the story—but rather In his novel, Nietzsche explored ideas such as paints scenes and picturesque tableaux from the eternal cycles, the “death” of God, and the advent folk tales. At the heading of the score for The of the Übermensch (or super-man) who has Swan of Tuonela, Sibelius wrote, “Tuonela, the land achieved complete self-mastery. Strauss named of death, the hell of Finnish mythology, is the parts of his tone poem directly after the surrounded by a large river of black waters and a sections in Nietzsche’s novel. rapid current, in which The Swan of Tuonela glides The opening “Sunrise,” used in the soundtrack majestically, singing.” An English horn, representing to Stanley Kubrick’s film 2001: A Space Odyssey, has the swan, sings its plaintive melody over the icy become an iconic passage of orchestral music. lake of sustained string sounds. Throughout the remainder of this work—which is much less familiar than the opening—Strauss Also Sprach Zarathustra alternates two adjacent keys: B major Richard Strauss (1864-1949) (representing humanity) and C major 35 minutes (representing the universe). Though adjacent, these Though Richard Strauss virtually defined keys are actually quite distant in terms of pitch German post-Romanticism, with his richly-scored content and theoretical practice. Strauss employs and intensely passionate operas, programmatic their contrast to highlight the disparity between tone poems, and sumptuous orchestral lieder, he the everyday challenges of mortality and the maintained a reverence (bordering on fixation) for yearning to be one with the cosmos—the conflict Viennese classicism. The plots of his operas Salome of nature and spirit. and Elektra engorge themselves on fin-de-siècle After the glorious dawn, Zarathustra wanders decadence, but the stories for Der Rosenkavalier, among various peoples and cultures, seeks Capriccio, and Ariadne auf Naxos would not be out learning and understanding, but is rejected by of place at all in the late 18th-century. And while those who cling to the past. He eventually finds joy one of Strauss’s musical gods was Wagner, the in the dance, and when night comes returns to his other was Mozart. In 1941, when he was asked to perpetually enigmatic sleep, and the philosophical contribute to a book about Mozart in Munich, “day” is complete. Strauss responded, “I cannot write about Mozart. I

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10 Members of the Orchestra

Conductor Haley Sheffield Nicole Archer French Horn John Pew Marcia Smith Matthew Baird Brad Freestone* 1st Violin Laura Tingey Nathan Ives Emily Gunderson Bonnie Whetten* Erin Wightman Rynell Lewis Tova Leigh-Choate Lisa Brodie Viola Clark Miner Jared Oliphant Kristin Domike Britney Anglesey* Bryson Murdoch Rex Ripplinger Tristyn Farrington Julie Boogert Douglas Pew Emilia Williams Stacie Glass Sophie Choate Flute/Piccolo Trumpet Gae Lyn Henderson Libby Halbrook Hillary Kimball* Marcia Harris* Linda Jankowski Christina Hall Anjanette Butler Ben Russell Rebekah Johnson Miriam Hone Nicole Elkins Harold Henderson Jennifer Kelley Elizabeth Mangus Nick Ayala Sam Evans Joy Laudie Clarissa Mortensen Oboe Trombone Kathryn Moore Tracy Owens Stephanie Simper Michael Burger* Diane Peterson Lily Springer Kerrie Davis Pearce Nitta Kaitlin Rackham Cami Turpin Genevieve Smith Jonathan La Follette Janice Vincent Denise Willey English Horn Tuba Véronique Willardson Cello Luca de la Florin* Mark Scott Rebekah Willey Dorothy Olsen* Clarinet Paul Sorenson 2nd Violin Rachel Burton Abigail Tippetts* Harp Dianne Freestone* Rachel Cutler Jonathan Belnap Julie Staples Dan Belnap Lillian Evans Bass Clarinet Mischael Staples Karen Brunsdale Rachel Hoffman Gary Miner Organ Sarah Cook Carolyn Lundberg E-flat Clarinet Andrew Unsworth Kelsey Decker Josh Ogden Ryan Wing Timpani Rachel Ebeling Stacie Ramos Bassoon Paul Worthen Jenn Fetzer Don Sherwood Christy Eisley* Percussion Megan Jensen Bryn Stanfill Christine Roach Kelli Stowers* Michelle Jones Alexis Watson Collin More Camille Barlow Michael Laudie Charles Whitaker Contrabassoon Tracy Furr Jennifer Lew Bass Ethan Welch *Principal Katie Parry Peter Burnett*

11 Concert Etiquette Thank you for joining us this evening. As a • If young children disrupt others' ability member of the audience, you are an to listen, please take them from the important part of tonight’s concert. As a auditorium until they are quiet. courtesy, please observe the following • Refrain from talking during the rules of concert etiquette: performance and be thoughtful of others • Arrive on time. If you are late, an by keeping programs, jewelry, candy usher will seat you during a break in the wrappers, and electronic devices silent. performance. • Watch the conductor when the music • Remain seated while the performance stops to decide whether or not to is in progress. If you must leave before the applaud. Some musical works have several performance is over, please wait until a movements and the audience applauds piece is finished and the audience is only after all movements have been applauding. performed.

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12 13 Behind the Scenes

Symphony Board of Directors TSO Promotional Symphony Logistics John Pew Penny Lee Design Denise Angus Paul Baird Annette Miner Keoki Williams Pam Bodtcher Mary Busath Gary Miner www.keokidesign.com Renee Pew Brad Freestone Brandy Price [email protected] Concert Manager Christina Hall Lindsey South House Manager Mary Busath Rachel Hoffman Brandy Price

Mission Statement The mission of the Timpanogos Symphony Orchestra is to present high-caliber performances which inspire musicians and audiences alike; to nurture understanding and appreciation of symphonic music; and to enrich the cultural life of the residents of Utah.

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