Peter & the Wolf

TIMPANOGOS A Halloween Concert SYMPHONY Prokofiev, Peter and the Wolf ORCHESTRA

3 performaces Friday and Saturday, October 27-28, 2017 Season Sponsor 7:00 pm - Saturday Matinee 3:00 pm American Fork Junior High

20 West 1120 North, American Fork Member FDIC A Message from the Music Director

Dear Friends, Chorale return to our concert again. Two years ago they joined us for our Halloween concert. elcome to the Timpanogos They are back again this year to sing with us on Symphony’s 2017 Halloween three numbers: “Dies irae” from Mozart’s concert. I’m excited we can Requiem, “Double Trouble” from Harry Potter once again offer this family and the Prison of Azkaban, and “Duel of the Wfriendly concert and have children of all ages Fates” from The Phantom Menace. Their new attend. The last two years we have thoroughly director is Jennifer Heder. It has been fun to enjoyed our Halloween concerts work with them. They add a and I am particularly gratified by all lot to this concert! the children that have attended. We continue our tradition We truly hope this is a memora- of having a costume parade at ble experience for children and our Halloween concert. This that it will open the door for them year, the costume parade will into classical music. occur during our playing of Our feature number for this “Throne Room and End Title,” concert is “Peter and the Wolf” by from Star Wars. Anyone in Sergei Prokofiev. This classic costume, old or young, is children’s tale was introduced to invited to parade across the the world in 1936 and has been stage during this number. We entertaining and educating will also have trick-or-treating children ever since. Many adults at the conclusion of the remember listening to this story when they concert. were children--maybe you’re one of them. It The Bank of American Fork continues its helps children (and adults) understand different matching donation program at this concert. The instruments in the orchestra, particularly the bank will match your donation dollar for dollar. flute, oboe, clarinet, bassoon, timpani, and Please, will you consider donating any amount strings. I hope that everyone who attends this to the Timpanogos Symphony through this performance will better appreciate the bank’s matching program? Your donation will be instruments of the orchestra and the outstand- doubled by the bank and make an important ing players who play them. difference to our organization. I’m delighted to have Bruce Seely as our Thank you for your support and enjoy the narrator for Peter and the Wolf. Bruce Seely is concert! one of the radio announcers at Classical 89 and a good friend of the TSO. I appreciate his John Pew participation and his ongoing support of our Conductor and Music Director organization. Timpanogos Symphony Orchestra I am also delighted to have the Wasatch

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.

Rocky Mountain Power Foundation Concert Program

“In the Hall of the Mountain King,” from Peer Gynt Edvard Grieg (1843-1907)

“Aunt Marge’s Waltz,” from Harry Potter and the Prisoner of Azkahan John Williams (b. 1932)

“Batman” Danny Elfman (b. 1953)

“Throne Room and End Title,” from Star Wars John Williams (b. 1932) Conducted by Douglas Pew

“Double Trouble,” from Harry Potter and the Prisoner of Azkaban John Williams (b. 1932) With the Wasatch Chorale

“Dies irae,” from Requiem Wolfgang Amadeus Mozart (1756-1791) With the Wasatch Chorale, Conducted by Jennifer Heder

Peter and the Wolf Sergei Prokofiev (1891-1953)

“Ghostbusters” Ray Parker, Jr. (b. 1954)

“Duel of the Fates” from The Phantom Menace John Williams (b. 1932) With the Wasatch Chorale

2 Our Guest Performers

The Wasatch Chorale is a community Singers, Concert Choir, and Women’s Chorus. choir based in Orem, Utah, whose mission is to She served as alto section leader for multiple perform high-quality, engaging music for the choirs and toured with BYU Singers to China in 2015 and Arizona in 2016. During her graduate studies she taught various conducting courses offered through the university and directed the University Chorale. She was also the graduate assistant for BYU Singers, Women's Chorus, and Concert Choir. She was the co-founder of Utah Collegiate Singers and the co-conductor from spring of 2013 until spring of 2014. community. Now over 40 years old, the group provides several concerts per year, both alone Bruce Seely is the morning music host on and combined with other choirs, symphonies, Classical 89 radio. He began a long radio special performers, and skilled instrumentalists. career in 1965 playing classical recordings on a local station in his hometown of Lethbridge, Jennifer Heder is currently director of Alberta Canada. He has been a radio news choirs at Spanish Fork High School where she announcer for most of his career but has teaches the Chamber Singers, Concert Choir, always enjoyed music in many of its forms. His Mosaic, Men’s Chorus, and Women’s Chorus. personal involvement in music has been mostly She also teaches music theory and history as a singer. He has sung second bass in the classes through the National AP and UVU Calgary Opera Chorus, the quartet Christmas Concurrent Enrollment programs. In 2017 she Cheer, the BYU A Cappella Choir, the Mormon was appointed the Tabernacle artistic director of Choir, and with the communi- the Utah ty-based choir, Baroque Wasatch Chorale. Ensemble. She is a member and active participant in the professional music organizations UMEA and ACDA. Jennifer earned her Bachelor of Arts degree in Music Education from Brigham Young University in 2013 and a Masters in Choral Conducting from Brigham Young University in 2016. While studying, she was a member of BYU University

3 The Wasatch Chorale

Conductor Jennifer Stevenson Sam Jessup Tenor Jennifer Heder Tricia Stolworthy Angela Johnson Craig Huish Soprano Amber Terry Julie Krieger Travis Packer Linda DeVilliers Nikki Woodley Colette Lindstrom Parley Smith Brystal Gerber Rebecca Young Cathy Matheson Bill Stoddard Janelle Gerber Alto Careshmeh Mele Nina Whitehead Mary Gurr Casey Brinkerhoff Erica Miller Daniel Wilcox Carole Harrison Karen Buhler Janet Olcott Bass Becca Hill Jaimie Bunker Charlene Pelton Bryan Allred Laurie King Becky Butterfield Katie Pelton Austin Arrington Anna Muhich Beryl Clayton Meredith Sabey Kevin Burnham Andrea Newmeyer Patti Drake Marci Schramm Cary Jamison Karen Newmeyer Luke Elmer Maryann Stevens Paulus Jankevicius Cherie Packer Simona Gabulaite Julie van Dijk Mark Melville Robyn Pendlebury Chris Gines Lorraine Wallace Lee Pierce Susie Record LeAnne Herdman Cheryl Walters Rick Shorten Nola Smith Vicki Jenkins Jordan Stevens

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4 Contributors

Gold Conductor’s Kay & Diane Christensen George & Margaret Georganne Remund Circle ($5,000 - James & Janice Comer Domm Linda Rehart Up) Debra Holley John & Suzanne Eddington Lois Ricks Anonymous (2) Ralph & Edy Howes Sandra Ellexson Seymour & Juanita Kent & Karen Lundquist KED Marketing Curtis & Phyllis Fillmore Robbins Group Inc. Scott & Miriam Frazier Randy & Daryl Rollins Conductor’s Merrily Lau Bart Fuhriman Linda Sandifur Circle ($1,000 - Robert & Jean Porcaro Nate & Janelle Fuhriman LaRae Savage $4,999) Linda Rehart David & Nancy Gardner Mike & Jessie Schoenfeld Anonymous (4) Dorothy Shields David & Fawn Geslison Lynn Shurtleff Richard & Patricia Clyde Keith & Karma Swain Ryan & Mary Gifford Glen & Beverly Smith Grant & Gayle Drollinger S.B. & Carol Szoke Randy & Diana Graham Kenn & Janice Smith Fidelity Charitable Russell & Chantel Scott L. & Catherine B. Gift Fund TSO Family Gunther Smith Scott L. & Catherine B. Angela Harris Emily Spencer Smith Members Angie Allen Lillian Howell Shelby Stastny Sponsor Kathryn Allen Ralph & Edy Howes Allen & Dianna Stott ($500 - $999) Soren & Nina Rae Tim Irwin Robert & GayLynn Strong The Benevity Community Anderson Eldon & Sharon Ives Keith & Karma Swain Impact Fund Mary Arnett Dee & Kay Jacobs Peter & Anita Thelen Sterling & Carol Thomas Richard & Chris Arnold Jeff & Rachel Jensen Sterling & Carol Thomas Daniel Todd Drake & Kristen Backman Rebekah Johnson Fred Ward Tanner Charitable Trust Betsy & Ellis Bailey Steven & Jacquie Johnson Charles W. Whitaker Jan N. & Verla Rae Bair Steve & Dianne Jones Neil Whitaker Donor Jonathan Judd David Wright ($200 - $499) Arvin & Maurine Bellon Jared Bishop Rodney & Anne Kendall Jeri Williams Soren & Nina Rae John & Betty Lamb Teri Wilson Andersen Roy & Pam Bodtcher Phil & Reesa Boren Richard & Kirsti Lee Parley Belnap Jane Lisler Karen Brunsdale Robert & Donna TSO members receive Bowman Henry Lisowski two season tickets and Lawrence & Carole Kent & Karen Lundquist Clarke Jerome & Sandra entrance to the “Meet the Vicky Macias Artist” pre-concert Linley Duncan Broekhuijsen Connie Bronson Kirk & Shannon Magleby reception before each Dee & Kay Jacobs Colleen Magleby concert. Membership John & Sherry Kelley Bruce Brushcke Dennis & Lynette Butler John & Sue Mason begins at $120 for the Colleen Magleby Dawn McNiel season or $10 per month. Kirk & Shannon Magleby Tyler Castaldo Richard & Nathlie Cavin Bonnie Meldrum Jay & Mili McQuivey Frank & Deanna Metcalf Frank & Deanna Metcalf Autumn Chase Matthew & Karen Chase Cathie Miller Cathie Miller Dennis & Judy Miner Gene & Andrea Puckett Kay & Diane H. Christensen David & Patricia Randy & Daryl Rollins Mortensen John & Carole Wright Ryan Christensen Richard & Patricia Clyde Jeff & Sharla Moyes Contributor Stanley & Maxine Cutler Chuck & Marilyn Owen ($100 - $199) Race & Rosalyn Davies Virgil & Jackie Parker Jan N. & Verla Rae Bair Kent & Patty Davis Richard & Janice Pedersen Robert & Donna Matt & Laura Dawson Karene Pierson Bowman Peter & Barbara Dill Helene Pockrus Dennis & Lynette Butler David & Pat Dixon Robert & Jean Porcaro Thomas Carey Paul & Chris Redd

5 Our Next Performance

December 15-16 2017 • 7:30 pm Timberline Middle School, Alpine Let Us Adore Him A Christmas Celebration

Tickets: General Admission $10 Seniors & Students $8 Family Pass: $30 Tickets at the door or at theTSO.org 801-210-2466

6 Program Notes

“In the Hall of the Mountain King,” The Sorcerer’s Stone (2001), The Chamber of from Peer Gynt Secrets (2002), and The Prisoner of Azkaban Edvard Grieg (1843-1907) (2004)—all of which were nominated for 3 minutes Grammy Awards. Though other composers The music of Norwegian composer Edvard took over in the later adaptations of the Harry Grieg is unfailingly evocative, and nowhere Potter novels, Williams’s themes continued to more so than in his incidental music for Henrik be quoted and recycled throughout the entire Ibsen’s play Peer Gynt. In 1875, Grieg composed series, giving it a unified, recognizable musical a total of about 90 minutes of music for the profile. play, in which the young Peer Gynt—a wanton In the quirky, comedic “Aunt Marge’s Waltz,” and carefree adventurer—struggles to find from The Prisoner of Azkaban, Harry’s himself only to realize that he must overcome uncontrolled rage has turned the odious Aunt himself first. The music was so successful it was Marge into a giant human balloon that bounces naturally destined for the concert hall, and and bumps its way out the door and into the Grieg compiled two Peer Gynt concert suites of sky. four movements each, publishing them as his Op. 46 (1888) and Op.55 (1891) respectively. “Batman” The first suite concludes with Grieg’s Danny Elfman (b. 1953) best-known melody, “In the Hall of The 3 minutes Mountain King,” which has become an iconic Though now regarded as one of the leading piece in popular culture. The dark, chromatic film composers of his generation, Danny Elfman theme now represents secretive and threaten- started out as an actor and pop musician. He ing situations in everything from television appeared in his first feature film in 1976, the dramas and cinema to video games and pop same year he took over as front-man for the songs. pop/ska band Oingo Boingo. Elfman didn’t start writing film scores until 1980, and scored his “Aunt Marge’s Waltz,” from Harry first feature film, Pee-wee’s Big Adventure in 1985. Potter and the Prisoner of Azkaban Before long he was writing award-winning John Williams (b. 1932) orchestral soundtracks for major film and 2 minutes television productions, including Batman (1990), Known almost exclusively for his symphonic film The Simpsons (1996), Good Will Hunting (1997) scores, John Williams is one of the most and Men in Black (1998). Elfman’s Grammy- famous composers (not just film composers) of winning score for Batman was his third the 20th and 21st centuries. A combination of collaboration with director Tim Burton, and his classical training, jazz gigs, and film-recording and first hit soundtrack. The CD album charted on orchestrating experience perfectly prepared Billboard, and the movie’s epic main theme, Williams to singlehandedly revive the wholly suited to the shadowy drama of the symphonic film scores in the mid-1970s in “Dark Knight,” quickly became a standard movies like Jaws, Close Encounters of the Third musical reference for the entire Batman Kind, and Star Wars. franchise Williams wrote the soundtracks for the first three instalments of the Harry Potter movies—

7 Program Notes

“Throne Room and End Title,” “Dies irae,” from Requiem from Star Wars Wolfgang Amadeus Mozart John Williams (b. 1932) (1756-1791) 7 minutes 3 minutes It was on the recommendation of Steven During the summer of 1791 a stranger in Spielberg, the director of Jaws, that George disguise, dressed in funereal gray, commissioned Lucas hired John Williams to create the Mozart to write a Requiem Mass, and warned quasi-operatic orchestral background to Star him not to try and find out who was funding Wars, complete with Wagner-style leitmotifs to the work. Mozart accepted the commission represent the main characters and themes. and began immediately, but within a few William’s soundtrack to Star Wars was later months became very ill. In his delirium, Mozart named by the American Film Institute as the began to think he was secretly being poisoned, best American film score of all time. and at the same time latched onto the notion The “Throne Room and End Title” cue from that he was writing his own Requiem, that the Star Wars accompanies victorious scenes of strange visitor was really an emissary of death. jubilation after the Rebel Alliance has destroyed Curiously, the sicker Mozart became, the the Death Star, delivering a crippling blow to harder he worked. He died before the the malevolent Empire. Interspersing Requiem was completed. triumphant fanfares with more lyrical Recent evidence suggests Mozart may have references to the movie’s other themes, this known the identity of the stranger all along. But music demonstrates the influence of numerous the death-tinged story of the Requiem’s classical composers, from Mendelssohn and composition excited the Romantic imagination, Wagner to Verdi, Holst, Vaughan Williams, and and was embellished to suit the 19th-century’s Walton. interest in the mysterious, the macabre, and the supernatural. In our own day, this music’s power “Double Trouble,” from Harry continues to impress contemporary audiences, Potter and the Prisoner of Azkaban and its tempestuous “Dies irae” (a portrayal of John Williams (b. 1932) the fiery punishment that awaits the wicked) 3 minutes has been appropriated in a wide variety of A film composer typically begins writing the contexts, from movie soundtracks (Amadeus, score once the director’s edits have been Eyes Wide Shut, X-Men 2) to TV shows and finalized. But John Williams composed “Double commercials. Trouble,” from Harry Potter and the Prisoner of Azkaban, while the film was still in production, knowing it would find a place in the final product. Using lyrics drawn directly from the witches’ scenes in Shakespeare’s Macbeth, “Double Trouble” functions as an appropriately macabre “Welcome back to Hogwarts” chorus for the young wizarding students.

8 Program Notes

Peter and the Wolf nominated for two Academy Awards. One of Sergei Prokofiev (1891-1953) the nominations was for “Best Original Song” 29 minutes for the movie’s theme song, also titled Sergei Prokofiev made a name for himself in “Ghostbusters,” which reached #1 on pre-revolutionary Russia as the enfant terrible of Billboard’s singles chart that same summer. the musical world. He moved to the West in Written, produced, and performed (including 1918, initially living in the United States but later vocals and all instrumentals) by Ray Parker, Jr., working mainly in Paris. Despite the repressive the song “Ghostbusters” was crafted in a communist Soviet regime, Prokofiev returned couple of hours, and was modeled after the to his homeland in 1934 and worked more or style of a late-night TV advertising jingle. The less within the Soviet system until his death in song has enjoyed continued popularity as a 1953. Halloween favorite in the decades following the One constant thread in Prokofiev’s oeuvre movie’s release. was his interest in music for the stage, and his bestknown works tend to be inherently “Duel of the Fates” from The dramatic. From the operas The Love of Three Phantom Menace Oranges and Lieutenant Kije to his most famous John Williams (b. 1932) ballet, Romeo and Juliet, and the melodrama of 4 minutes Peter and the Wolf, Prokofiev excelled in John Williams originally wrote “Duel of the creating musical narratives. Fates” in 1999 for the climactic light-sabre duel After receiving a commission in 1936 to in The Phantom Menace, from the Star Wars write a “children’s symphony,” Prokofiev devised prequel trilogy. He wanted the duel music to the story of “Peter and the Wolf’ himself, using carry overtones of “a dance or a ballet, a it as an opportunity to demonstrate not only religious ceremony of some kind.” The words pro-Soviet virtues of courage and resourceful- are loosely based on an old Welsh poem Cad ness, but also to introduce young listeners to a Goddeu (or “Battle of the Trees”). But Williams variety of orchestral instruments and effects. It had some friends from Harvard University took him less than a week to compose at the translate the current English translation of that piano, and only nine more days to score fully poem back into Celtic, then Greek, and then for the orchestra. In this work, a narrator into Sanskrit, losing much of its meaning in the presents the plot of Peter and his heroic process and producing just the kind of sonic capture of a ferocious wolf, but it is really the verbal ritual that Williams hoped for. In its orchestra that tells the story. musical style and effect, this chorus is modelled closely on the choral/orchestral writing in Orff’s “Ghostbusters” Carmina Burana and Prokofiev’s Alexander Ray Parker, Jr. (b. 1954) Nevsky. 4 minutes -Luke Howard The comedy film Ghostbusters was not only a huge popular hit in the summer of 1984, it was

9 Supporting the TSO is supporting not only this small organization but it's the whole community that surrounds it. You're not making this organization great, you're making this community great. Jeffrey Pew - Guest Artist

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10 Members of the Orchestra

Conductor Viola Oboe Trombone John Pew Britney Anglesey* Luca de la Florin Dustin Fuller* Assistant Libby Halbrook Kerrie Davis Darrell Knowles Conductor Christina Hall English Horn Jonathan La Follette Douglas Pew Miriam Hone Nicole Fullmer Tuba Elizabeth Mangus Paul Sorenson 1st Violin Clarissa Mortensen Clarinet Kristi Jenkins* Lily Springer Abigail Tippetts* Harp Tristyn Farrington Cami Turpin Jonathan Belnap Julie Staples Beverly Hansen Cello Bass Clarinet Keyboards Rebekah Johnson Gary Miner Miriam Hone Jennifer Kelley Dorothy Olsen* Joy Laudie Rachel Burton Bassoon Timpani Kathryn Moore Rachel Cutler Christy Eisley* Paul Worthen Diane Peterson Rachel Hoffman Christine Roach Lillian Howell Percussion Janae Pew Collin Moore Kelli Stowers* Carolyn Lundberg Bonnie Whetten Camille Barlow Stacie Ramos French Horn Véronique Willardson Brad Freestone* Paige Beal Don Sherwood Tova Leigh-Choate Tracy Furr 2nd Violin Bryn Stanfill Jared Oliphant Dianne Freestone* Alexis Watson Rex Ripplinger *Principal Dan Belnap Charles Whitaker Jenn Fetzer Emilia Williams Megan Jensen Bass Robert Lee* Trumpet Michelle Jones Marcia Harris* Nicole Archer Michael Laudie Ben Russell Nathan Ives Jennifer Lew Harold Henderson Douglas Pew Georg Meiwes Victoria Vergara Katie Parry Flute/Piccolo Marcia Smith Hillary Kimball* Laura Tingey Anjanette Butler Erin Wightman Karen Copeland

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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14 Playing under John has been such a personally enriching experience. He knows how to bring out the best in each of us as individuals and as an orchestra. He is passionate about the music and has such a gifted way of sharing that passion with the musicians. He brings an awareness of what is going on so we understand the unity of the whole. He excels at doing his "homework" and that motivates us to do our homework. – Lynda Pettersen, violinist

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17 After all my years conducting Timpanogos Chamber Orchestra with my mother, Lois Stout, I know what it takes to put together a program on the scale I experienced with the Timpanogos Symphony Orchestra. I was so impressed with the dedication of the players, the board, and all the support staff. It was a joy to see a Community Orchestra run so professionally and well. I've never seen it's equal in quality of planning and prep and support and players and organization. You and your group are truly a gift to the community, and I am so impressed with all the amazing things you are doing. Great work! You should be very proud. I know the conducting and the performance prep are only a tiny part of what goes into creating a night like I experienced with the Timpanogos Symphony Orchestra. – Lisa Brodie, violinist

18