BEETHOVENBeethoven,’S Symphony No. 7 and Triple ST with Jenny Oaks Baker and her daughters, Hannah and Sarah 251 Timberline Middle School, Alpine May 7 & 8, 2021 7:30 PM

CELEBRATING 10 YEARS Concert Program

Concerto for , , and in , Op. 56 (1803) (1770-1827) I. Allegro II. Largo (attacca) III. Rondo alla (polacca) Sarah Baker, cello Jenny Oaks Baker, violin Hannah Baker, piano

Symphony No. 7 in A major, Op. 92 (1812) Ludwig van Beethoven (1770-1827) I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio

BEETHOVE1 N Thanks

We’d like to thank the Kenneth and LaRae Savage Family Foundation for their generous support of the Timpanogos Symphony Orchestra - 2020-2021 Season. We would also like to thank the following sources of support:

Member FDIC

Rocky Mountain Power Foundation

We’d like to thank the Utah County Cares Non-Profit Grant Program for its generous COVID relief funding.

BEETHOVE2 N Our Guest Artists

America’s choirs throughout the country including Violinist, Jenny The Tabernacle Choir and Orchestra on Oaks Baker is a Temple Square, The Millennial Choirs and Grammy Orchestras, The Timpanogos Symphony, nominated, and The Utah Symphony. A favorite with Billboard No. 1 audiences around the United States, they performer and have performed in Abravanel Hall in SLC, recording artist. Stevens Performing Arts Center and the She received BYUI Center in Idaho, on the Hour of her Master of Power TV Show broadcast worldwide Music degree from California, for Ambassador's Wives from the at the Congressional Club in Washington Juilliard School DC, for the Washington DC Temple and her Bachelor’s Degree from the Festival of Lights, for the World Congress Curtis Institute of Music. Jenny has of Families IX and at First Night On performed as a soloist at Carnegie Hall, Temple Square. They have also performed Lincoln Center, the Library of Congress the National Anthem for Vice President and as a guest soloist with The National Mike Pence as well as at the Days of Symphony, Jerusalem Symphony, Forty-Seven Rodeo, the Utah Jazz Pittsburgh Symphony, Utah Symphony Basketball Games at the Vivint Smart and the Tabernacle Choir on Temple Home Arena and for BYU Women’s Square. Jenny has released eighteen studio Conference at the Marriott Center. Jenny albums which have sold nearly a million Oaks Baker & Family Four have copies and consistently chart on Billboard. performed in England, Austria, Germany, Music from her Grammy nominated Switzerland, Greece, Albania, Kosovo, album, Wish Upon a Star is featured at North Macedonia, Israel, Japan, and Disney World and Disneyland to throughout Taiwan. Family Four are also introduce the nightly Fireworks Show. featured on many popular music videos. Jenny’s popular music videos can be Their debut album, “Jenny Oaks Baker & viewed on her YouTube channel. Jenny, her Family Four” hit #4 on the Billboard husband Matthew, and their four children Classical Crossover and Classical Charts (musical group Family Four) reside near and their most recent album, “Joy to the SLC, UT. World” hit #7 on the Billboard Classical Jenny, Hannah and Sarah have Crossover Chart. For more information performed in musical group “Jenny Oaks visit jennyoaksbaker.com Baker & Family Four" with orchestras and BEETHOVE3 N Our Guest Artists

Hannah Baker, age 18 began playing the piano when she was four years old. She studies with Dr. Irene Fox. Hannah has won the Utah Philharmonic Concerto Competition in 2021, the Utah Symphony Youth Guild Competitions in 2020 & 2018, 1st place in the Encore Keyboard Competi- tion, 2nd Place in the Great Performers Competi- tion Best Liszt Performance in 2019, 1st place in the Best Ravel Performance and 2nd Place in the Utah Music Teachers Association Concerto Competition in 2018. In 2015 Hannah won Salute to Youth thereby winning an opportunity to solo with The Utah Symphony. Hannah will be attending the Royal Academy of Music in London, England starting this Fall.

Sarah Baker, age 16, began playing cello at age three and studies with Dr. Alison Wells from the Royal Conservatoire of Scotland through FaceTime lessons. In 2017, Sarah won Salute to Youth thereby winning an opportunity to perform with The Utah Symphony. She has also won the Utah Philharmonic Concerto Competi- tion in 2017, 2019, 2020 and 2021 and has soloed with that orchestra three times. Sarah has won the Utah Symphony Youth Guild Competi- tion Ensemble Division in 2020 and the Elemen- tary Strings Division in 2016. She also won the Elementary Division of the Washington Perform- ing Arts Society Feder Competition in 2015. Sarah enjoys playing soccer, weight lifting, sprinting and politics. BEETHOVE4 N 20SEASON21 ELEVEN 22 When Instruments Roamed October An September the Earth!® 29 & 30, 2021 24 & 25, 2021 When Evening An Evening in Instruments in Paris Roamed the Music by French Earth!® Paris Composers A Family Halloween Concert

P I CTURES

& A Time of PRO KOF IEV

December 10 & 11, 2021 March 11 & 12, 2022 A Time of Wonder Pictures & Prokofiev A Christmas Concert Pictures at an Exhibition

Enjoy the TSO’s 2021-22 Season at our BRAHMS NEW VENUE, the Noorda Center for the Performing Arts at UVU in Orem

May 20 & 21, 2022 Brahms, Symphony No. 2 and Arutiunian Symphony No. 2 BEETHOVE5 N TSO Family Members

Julia Andrus Scott & Miriam Frazier Robert & Jean Porcaro Richard & Chris Arnold Gunther Haidenthaller Wendell Porter Ellis & Betsy Bailey Stan & Carol Hayden Kent Price Michelle Bagley Angela Harris Paul & Chris Redd Jan N. & Verla Rae Bair David & Tracy Henry Lois Ricks Duane & Anne Bishop Dee & Kay Jacobs Seymour & Juanita Robbins Ernest & Eunice Bramwell Angela Johnson Randy & Daryl Rollins Jerome & Sandra Broekhu- Paul Johnson Larry & Judy Sagers ijesen Steven & Jacquie Johnson Linda Sandifur Bruce & Karen Bruschke Steve & Diane Jones LaRae Savage Marie Buhler James Keane David Scott Dennis & Lynette Butler Rodney & Anne Kendall Scott L. & Catherine B. Smith Richard & Nathlie Cavin William & Jerie Keil Legrande & Marcia Smith Abagail Cox Gary Killpack Shelby Stastny Kay & Diane H. Christensen Charles Knadler Lynette Stoddard Howard Curtin Roger Lambert Robert & GayLynn Strong Kenneth & Helen Cutler Richard & Kristi Lee Keith & Karma Swain Todd Dailey Mike & Vicky Macias Jill Tingey Kent & Patty Davis Kirk & Shannon Magleby Sheila Watson Matt Dawson Diane Mancini Robert & Suzanne White David & Pat Dixon David McManus Linda Williams George & Margaret Domm Cathie Miller Teri Wilson Julie Durham Kaye & Lon Nally Sandra Ellexon William & Susan Packard Curtis & Phyllis Fillmore Helene Pockrus

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Official Florist of the Timpanogos Symphony Orchestra

BEETHOVE7 N Program Notes Concerto for Violin, 'Cello, and allow each of the soloists to develop and Piano in C Major, op. 56 expand on their material and share ideas Ludwig van Beethoven with each other—not to speak of giving The concerto in its various guises has the orchestra a significant part--would have long been an important part of the made for compositions that were just too symphonic literature, going back to the long and unwieldy, among other things. middle of the seventeenth century. But by But great artists meet difficulties that Beethoven’s time, some 150 years on, deter lesser folks, and Beethoven was more were most often written for than up to the job. Just why he wrote his one instrument—usually piano, violin, or “triple concerto” is subject to some ‘cello--with orchestral accompaniment. The conjecture, but there is some evidence that concerto that he composed in 1803 for he had in mind as his pianist his well-known three solo instruments and orchestra pupil and patron, Archduke Rudolf of stands apart for several reasons. It's the Austria—the Emperor’s son. The Archduke only concerto that he wrote for more than studied both piano and composition with one solo instrument, and in the rest of the Beethoven for almost two decades, and nineteenth century not very many of them became a very creditable pianist—his were written at all. patronage was significant financial support Now the idea of a group of soloists for Beethoven, and the two were close accompanied by an orchestra was not a friends to boot. Some speculate that the new one by that time, for an important somewhat easier piano part, compared genre of the Baroque era was the concerto with the two string soloists, is evidence that grosso. And during the time of Haydn, the archduke was the pianist in mind, but Mozart, and frères, the so-called sinfonia that’s not established. In any case, at the concertante, along with the concerto première in 1808, the archduke was grosso, exploited the idea of a group of neither the pianist, nor the dedicatee in the soloists accompanied by an orchestra. But, earlier publication. there was a rub. By Beethoven’s time, and The first movement begins quietly, with especially with the great man himself, the main theme heard immediately in the musical style had moved to one of low strings—there will be several more in extended musical architecture, driven by an the structure of this rather complicated integral emphasis of developing and movement. You can spot the next main manipulating musical ideas, and a greater idea when the woodwinds take it. Finally, rôle for the accompanying orchestra. All of our soloists enter, the ‘cello—as it does these factors didn’t leave as much room frequently in this concerto—taking the (and time) for multiple soloists to fully lead. Throughout this movement—given occupy the limelight. So, simple traffic that three soloists have to be given ample control between the soloists and the opportunity to shine—one does not hear orchestra posed structural problems. To as much as one would expect of the BEETHOVE8 N Program Notes composer’s vaunted ability to develop and with the main theme—this is a rondo, after extend aphoristic ideas. The pleasure in this all. And so it goes—the middle section has substantial movement is in following the an attractive turn to the minor mode. With variety of the constant interplay, as well as each solo section, each of the soloists the entertaining tunes and enterprising burns through increasingly impressive harmonic turns. A quick little, almost virtuosic figures, as Beethoven cunningly perfunctory, coda, with the requisite builds to a climax—interspersed with cascading scales, brings us to the end. typical Beethovenian dramatic pauses, The ensuing slow movement is an before bolting off again. Moving ahead, the elegant example of one of Beethoven’s composer turns on the heat with a turn to most endearing characteristics. In like duple metre, allowing the tempo to really manner to the beloved slow movements of surge in a blazing coda. A massive tutti his solo piano concertos, it leisurely and statement of the main polacca theme serenely spins out a remarkable brings us to the triumphant end. The “Triple long-breathed melody of breathtaking Concerto” may be somewhat of a beauty and eloquence. The key is Ab, a stepchild of Beethoven’s concertos, not relationship to the main key of the work garnering near as many performances as that is a favorite of the composer, and a the solo works, but it is marvelously decidedly “romantic” characteristic. As in entertaining, and a tour de force of handling other parts of the concerto the ‘cello takes a treacherous musical architecture. the lead, singing out in its higher register, --Wm. E. Runyan before yielding to the violin, which takes its © William E. Runyan 2020 turn with the same material. Throughout the movement the piano stays in the Symphony No. 7 in background, providing a filigree accompani- A Major, op. 92 ment. After a short time, all three instru- Ludwig van Beethoven ments participate in a kind of dance of This work is simply a gem, and while teasing give and take, and we’re quickly into certainly well known, deserves to be even the boisterous Rondo alla polacca of the better appreciated by concert audiences. last movement. Beethoven, himself, famously said that it In this particular rondo, was one of his best works. And, unlike so Beethoven chose the time signature of many works of genius that initially were three beats to the measure, with the pearls cast before swine, everybody knew characteristic dance accents of a polonaise. on the spot that this work was great. It is The main theme appears immediately, first commonplace, of course, for scholars to in the ‘cello and quickly taken up by the think of Beethoven’s musical life in three violin. Without much delay we’re into the great periods—the last being the time of contrasting material, much of it figurations. compositions that “challenge” comprehen- The orchestra then thunders in shortly sion and appreciation. The fecund middle BEETHOVE9 N Program Notes nineteenth century is the time of dozens of audience is on record for its enthusiastic the magnificent works that came to define response to this vivacious composition. No the composer and establish his eternal wonder, for there are few works by reputation, and his seventh symphony Beethoven so spurred by rhythmic stands pretty much near the end of that inspiration and drive. Wagner has been time. endlessly excoriated for the banal Written mostly during 1811 and comment that the work is “an apotheosis finished by early 1812, it is without doubt a of the dance.” While it may have been a complete reflection of the happy times and ham-fisted comment—neither Beethoven, optimistic personal attitude of the nor few others have alluded to any dances composer at that time in his life—both in the work--there is more than a grain of professionally and personally. We are all truth in the comment. familiar with the struggles and depressive After a few dynamic chords the first moments in his emotionally up and down movement opens with a long, slow life, but times were good about then. The introduction that is a perfect example of beloved “Pastoral” symphony was finished Beethoven’s skill at artfully creating an in 1808, and he then busied himself with atmosphere of expectation out of nothing important works, among them, the much more than a few scales, sustained “Emperor” and the music chords, and some melodic fragments. As it for Egmont. From that time on, until the ends it seems to fragment into just a few end of his life in 1827, Beethoven the man, repeated notes peeking out from octave to and his musical works underwent significant octave. And then there coyly appears a changes. His health underwent further murmur of the simple rhythmic figure deterioration, with debilitating family around which the first movement, proper, is squabbles and failures in personal relation- built. A multiplicity of themes inhabit this ships all contributing to the change. While driving, happy affair—all built in typical there were great works still to be written, Beethoven fashion out of that little dotted the flow of inspiration was lessened, his rhythm. social isolation increased, and the style of The second movement is a special his composition took on a new, abstract one—even for Beethoven. The first quality. audience immediately recognized its So, the uplifting joy and vigor of inherent appeal, and forced its encore, right Symphony No. 7 is a turning point. then. It consists of a “theme” that under- Beethoven, himself, conducted the goes a series of variations—or, rather more première—contemporary accounts strictly, is repeated with new and attractive entertainingly describe his energetic and elements added with each repetition, while exaggerated gesticulations on the podium. retaining all that which was added. And it’s And in the orchestra were some of the not really a theme in the melodic sense at luminaries of the musical scene. The all, rather just a basic chord progression in a BEETHOVE10 N Program Notes and Donations constantly repeated simple rhythm as a fundamental Richard Hoffman rhythm. Here again, is ample element in musical composi- Kerry Hopkins evidence of Beethoven’s tion, this is it. It doesn’t take Ralph & Edy Howes consummate skill at conjur- long, dashing to a headlong Tim Irwin ing up magic out of the conclusion that is nothing Kay & Dee Jacobs simplest of elements. There is less than breathtaking. Steve & Dianne Jones a new tune in the middle, in Samer Khouli the major mode—still with --Wm. E. Runyan the simple rhythm of the © 2015 William E. Runyan Jane Lister beginning. The material of Duane & Erlyn Madsen the opening returns, with Colleen Magelby some development added, Jay McQuivey and it all ends as it began. Bonnie Meldrum A driving and dynamic 2021 Valerie Myers scherzo can be expected Cathie MIller next, and the composer Major Donations Carroll Morris certainly delivers one, quite a Steve & Linda Nelson long one, at that, in an Soren & Nina Rae Andersen Robert E Ogden extended form that Richard & Chris Arnold Beethoven liked. This Jan N. & Verla Rae Bair William Parkin movement possesses all of Paulo Bangerter Gene & Andrea Puckett the impetus and rhythmic Jerome & Sandra Seymour & Juanita Robbins verve of the first movement, Broekhuijsen Roger & Linda Sheffield and again reaffirms the Bruce & Karen Bruschke Orval & Vonda Skousen composer’s optimism. The Dennis & Lynette Butler Kenn & Janice Smth last movement, if it is Kay & Diane H Christensen Scott L. & Catherine B. possible, trumps everything Lawrence & Carole Clarke Smith so far. It jumps right in with Richard C. & Patricia T. Shelby Stastny an intensity and jubilant S.B. & Carol Szoke ferocity rare even in Clyde Howard & Patricia Tanner Beethoven. Thumping, James & Janice Comer swinging, hammering—it Rachel Cutler Charles Whitaker relentlessly drives ahead, Scott & Heidi Dickson Neil Whitaker spurred by the timpani and David & Pat Dixon Anne Wright the horns. If ever there was Linley Duncan one movement from Curtis & Phyllis Fillmore Beethoven’s nine sympho- Gerry Hanni nies that reminds us of his David & Tracy Henry epochal innovation of BEETHOVE11 N Our Conductor John Pew is Music Director of the Timpa- music from the Baroque and classical periods, nogos Symphony Orchestra. An energetic family-friendly Halloween concerts, Broadway champion of live symphonic music known for classics and movie music, and an evening of his warm rapport with audiences and classic rock. musicians alike, he has led the TSO since its Past soloists with the TSO have included founding in 2011. Tabernacle Organists Richard Elliott and Now in its eighth season, the orchestra has Andrew Unsworth; violinists Jenny Oaks Baker, grown to include between 75 and 100 Monte Belnap, and Rosalie Macmillan; guitarist musicians, an actively engaged board of Lawrence Green; vocalists Nathan Osmond, directors, and many other volunteers who Melissa Heath, and Summerisa Stevens; pianists together donate more than 10,000 hours each Jeffrey Shumway, Scott Holden, Robin Hancock, year to bring symphonic music Vedrana Subotic, David Glen to North Utah County. Hatch, and Josh Wright; cellist Like John himself, the Elizabeth Marsh; and narrators musicians in the orchestra are Bruce Seely, Lloyd Newell, and unpaid. Selected by audition, John Bytheway. Past concerts they nonetheless represent have included performances different skill levels, from with the Deseret Chamber amateur to professional. John Singers, the Wasatch Chorale, is a master at keeping all of the Sego Lily Horn Quartet, and them inspired and engaged, the Highland Choral Arts. forging personal connections John’s passion can be and leading rehearsals with a traced to early childhood; he sense of energy and abandon. began piano lessons at age five. He is a tireless, enthusiastic In high school he held season teacher in many settings. He tickets to the San Francisco educates audiences through Symphony Orchestra and began his choice of repertoire and to amass a large collection of program notes and by taking the TSO and its classical scores and recordings, spending music to elementary schools and underserved countless hours studying the masters. He communities from Brigham City to Richfield. studied piano with Reid Nibley at Brigham He reaches out to youth through the TSO’s Young University, but pursued a career in Aspiring Musicians Competition and by inviting software engineering. John now works for SAP young musicians to play side-by-sides in the in Newtown Square, Pennsylvania and orchestra. He stretches the orchestra by telecommutes from his home office in programming a balance of challenging and American Fork. accessible music, by inviting professional His prior posts include Assistant Conductor musicians to coach sections and to critique the of the Santa Clara Chorale, Music Director of orchestra as a whole, and by featuring superb the Oakland Temple Pageant, and Music guest soloists. Director of the Temple Hill Symphony The TSO has gained a reputation among Orchestra in Oakland, California, a position he community orchestras for excellent perfor- held for eight years. mance and innovative programming. Innova- John and his wife, Renee, reside in tions have included new commissions, American Fork, Utah, and are the parents of performance premieres, and outside-the-box five children. programming such as an organ symphony, BEET12HOVE12 N Performance Sponsors

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