M A H L E R SYMPHONY No. 8

UTAH SYMPHONY T H I E R R Y F I S C H E R MORMON TABERNACLE CHOIR ahler’s Eighth Symphony– written for a large orchestra, Mseveral soloists, and such extensive choral forces as to have earned itself the nickname “Symphony of a Thousand”–was, like most of this composer’s music, the product of a furiously busy holiday. He completed the draft of the enormous work between June and August of 1906 at his summer home in Maiernigg, in Carinthia, and wrote to the conductor Willem Mengelberg: “It is the biggest thing I have done so far. Imagine R

H that the universe begins to vibrate and to

Gustav Mahler Ä N

Z T

I sound. These are no longer human voices R O

M but planets and sun rotating.” Human voices, if not plane© ts and sun rotating, had been there in his Second, Third, and Fourth symphonies, all completed during the last decade of the old century. But in those works, as in Beethoven’s Ninth, the singing had been only part of the matter: conclusive in the Second Symphony (with its choral Resurrection finale) and the Fourth (with its soprano­child’s vision of Paradise), discovered and surpassed in the Third (with its song and angel chorus before the adagio ending). The Eighth Symphony is different–and different from any other symphony until Stravinsky’s Symphony of Psalms–in that the singing goes all the way through. Symphony meets oratorio. Symphony even, in the second part, meets opera. Mahler was one of the great opera conductors; at the time he was completing this work, in 1907, he was also coming to the end of a decade at the head of the court opera in Vienna. Yet he had abandoned, in his early twenties, the idea of writing an opera of his own. His symphonies would be his dramas, with a single character: himself. The Eighth Symphony, even though it has named characters in its second part, still forces on us one overpowering personality. Or else it seems a massive conventicle of all humanity–a ceremonial destined, by virtue as much of substance as of scale, to create its own high occasion. The first performance took place in Munich on September 12, 1910, with Mahler conducting, and with, indeed, around a thousand people taking part: a hundred and fifty in the orchestra, five hundred in the adult choirs, three hundred and fifty boys. (Among the thousand was the great­ grandmother of the Utah Symphony’s Principal Librarian, Clovis Lark. Her teenage daughter, Clovis’s future grandmother, attended the dress rehearsal and remembered the composer becoming angry with the chorus for shifting about, saying that if he could stand still through the piece, so could they.) The soloists included two singers Mahler had nurtured in his Vienna company, the soprano Gertrude Förstel and bass Richard Mayr, as well as Ottilie Metzger­ Lattermann, the leading Erda of the period. Facing them in the vast Neue Musik Festhalle (now a transport museum) was an audience that outnumbered the performers by more than three to one, and that also included some distinguished individuals. Richard Strauss and Camille Saint­Saëns were there, along with the young Alban Berg and Anton Webern. Thomas Mann, also present, immediately wrote Mahler a note describing his as “the most serious and sacred artistic will of the age.” Since finishing the score, Mahler had gone on to write Das Lied von der Erde and his Ninth Symphony, and to begin his Tenth. But the Eighth was the last work he heard: less than nine months after the performance he was dead. PART ONE: HYMNUS: VENI, CREATOR SPIRITUS In the beginning was the Word. After just a low pedal and a chord on the organ immediately affirming the symphony’s key of E­flat, the choir–voices alone, without instrumental doubling–comes in with the opening line of the old Latin hymn to the Holy Ghost: Veni, Creator Spiritus (Come, Creator Spirit). Mahler had converted to Roman Catholicism in 1897, but only out of necessity, in order to become head of the Viennese opera. His understanding of the hymn was not so much religious as psychological; it voiced a plea for a creative empowerment that would come not from some divine source but from the profoundly human. As Mahler was to recall, looking back to the period of the symphony’s composition: “The Spiritus Creator took hold of me and shook me and drove me on.” And the driving is there in the music: in the size and the pace (the marking is Allegro impetuoso) and in the way the opening summons provides the basic motifs and the rhythm (a weighty pulse ricocheting through different meters) for the entire movement–or “part,” to use the term

©MIGUEL MENDOZA Mahler justly preferred for sections on an unprecedented scale. These first few measures are indicative, too, in their use of space, for choir and organ are bound to sound from different parts of the building, and the brass, rushing in with a fanfare, from yet another. Soon, recognizing difference of position as an opportunity for dialogue, the choir splits into two groups that echo one another or go their own ways. These remain so throughout the rest of the work. In adapting the stanzas of the hymn to a continuous form, Mahler often repeats the initial invocation, or just the word “Veni,” almost to the extent that the part’s very beginning becomes its principal subject, with a secondary theme introduced in D­flat when the seven soloists enter, at the words “Imple superna gratia.” After the choir has reintroduced the “Veni” theme, and brought everyone together on an E­flat chord, a short interlude ensues, with shrill high woodwinds and later a tolling bell. The music is calm and bare for a moment, with little more than voices and a solo violin, but gradually it recovers some strength and seems to be headed for E­flat again. However, at this point, the orchestra goes off on another tangent, treating the “Veni” theme with exuberant irony. Confidence is restored by the solo bass, joined by his companions in a passage of love music, inimitably Mahlerian, the movement’s still center. At the orchestra’s reminder, the music moves forward again in a long and vigorous double fugue that involves everyone, including, for the first time, the boy choir. Serenity is reached in great waves, and the end seems in sight. But no: the great symphony picks up speed once more in remembering its origins, to arrive at a conclusive “Gloria,” with separately placed trumpets and trombones joining in the apotheosis of the principal ideas. Some kind of collision is going on through this part of the work: of hymn with sonata, of circling verses with constant onward motion, of words with music, of an unvarying pattern of syllables with a rhythmic turmoil, of a prayer that is simultaneously an answer, receiving its response in the sheer power and insistence of its demand. PART TWO: FINAL SCENE FROM GOETHE’S FAUST PART II Out of the prayer, then, comes another answer, in a vision out of Goethe’s Faust. That work had been one of the great Romantic handbooks, the subject of operas by Spohr, Gounod, and Boito, of concert dramas by Berlioz and Schumann, of a symphony by Liszt, and of songs, choruses, and character pieces by innumerable others. But the story of the human thirst for knowledge, even to dare damnation, is not what concerned Mahler. He took his text from the finale to the second play, where the action has passed from earth to heaven, and what is shown is the saving power of love. Love, the gift most wished for in the first part of the symphony, is in the second part displayed in operation. As Mahler wrote in a letter to his wife–and in a sentence that emulates his music as it moves in one great span through parenthesis and sidelight to its goal–“That which draws us by its mystic force, what every created thing, perhaps even the very stones, feels with absolute certainty as the center of its being, what Goethe here–again employing an image– calls the eternal feminine–that is to say, the resting­place, the goal, in opposition to the striving and struggling towards the goal (the eternal masculine)–you are quite right in calling the force of love.” Striving and struggling, the “Veni, Creator Spiritus” was the eternal masculine: vocal, dynamic. The second part of the symphony begins in E­flat minor and in slow march time, by contrast with the changing meters of the first part. For a long while, the music features only instruments, exchanging variants of a single theme that derives from the first part and that will pervade pretty much the entire phantasmagoric hour of this second. The concourse of instruments ventures into strange territories of color, and becomes stranger still when the men of the choir enter, almost whispering. Here Mahler includes a stage direction: “Mountain gorges, forest, crag, wilderness. Holy anchorites, across the mountainsides, resting in caves.” The feeling of great space is, indeed, there in the music, as much as in the first part, with orchestral groups chiming in across gulfs of sound, position or register: solo woodwinds, pizzicato low strings. and tremulant, expectant violins at the start, for instance. A turn to the major brings on the first soloist, the baritone as the Pater Ecstaticus, his ecstasy being that of love, followed by the bass as Pater Profundis, back in the minor and singing rather of oppression and difficulty. The eternal feminine is–in the vocal texture as much as in what is sung–still awaited. Moving forward on the principal theme, the orchestra duly introduces women’s voices as a choir of angels, “soaring in the higher atmosphere, carrying Faust’s soul,” to quote another direction Mahler inserts, and quickly joined by another choir, of holy boys, “encircling the highest peak.” Love’s victory is proclaimed. But this is not the end, for in the time of music, of heaven, and of the eternal feminine, victory is not so much conquest as celebration, not triumph but joy, not a moment but perpetual. Heaven’s sound, in the scherzando episode that develops, is as it was in Mahler’s Third and Fourth symphonies: bright, the voices female or juvenile. There is a contrasting passage with solo viola and violin, and a contralto picking up the love theme from the first part, before the tinsel of heaven is revisited. There we find Doctor Marianus, “in the highest, purest cell,” who sees the Virgin Mary and rapturously calls on her to reveal herself. Harps and harmonium accompany a slow string melody that moves the music towards its climax and its close. The final section opens with the choir in the calm of full assurance. Una Poenitentium–a penitent, once Gretchen, the sweetheart Faust abandoned–sings to God with twenty other sopranos as contrite souls. Her prayer is grandly prolonged and amplified by three women who, in successive arias and then in a trio, witness to the events of Jesus’s life and death: Magna Peccatrix (soprano), Mulier Samaritana (contralto), and Maria Aegyptiaca (contralto). Una Poenitentium then returns, in a brilliant orchestration with mandolin, celesta, and harps, to complete the plea for Faust’s soul. After an interlude from the holy boys, she sings again, and is rewarded by the voice of the Virgin, the Mater Gloriosa (soprano), at whose entry the music achieves its long­destined plateau of E­flat major. Now that the Mother of God is present, Doctor Marianus takes up his prayer, which is joined by the choirs. His words “Blicket auf!” (Look up!) are repeated again and again by voices and instruments. Finally, there is the “mystic chorus,” beginning at a pianissimo, “like a sigh,” to rise to emphatic fortissimo, in a roar of E­flat that, as it echoes on into an orchestral postlude, reflects and exceeds the close of the first part. —Paul Griffiths 6 Accende lumen sensibus, Light the light of our senses, infunde amorem cordibus. pour love into our hearts.

Hostem repellas longius Drive further away the enemy and pacemque dones protinus; forthwith grant peace; ductore [sic] te praevio under your guidance vitemus omne noxium. let us avoid all harm.

Tu septiformis munere, You are the sevenfold gift, the first dextrae Dei tu digitus. finger of God’s right hand.

Per te sciamus da Patrem Through you grant that we may Erster Teil: Part One: noscamus atque Filium, know the Father and recognise the Hymnus: Veni, Creator Spiritus Hymnus: Veni, Creator Spiritus te utriusque Spiritum Son, you of each the Spirit credamus omni tempore. let us believe for ever. 1 Veni, Creator Spiritus Come, Creator Spirit, mentes tuorum visita. visit the mind of your people. Accende lumen sensibus, Light the light of our senses, infunde amorem cordibus. pour love into our hearts. 2 Imple superna gratia, Fill with divine grace the hearts quae tu creasti pectora. that you have created. 7 Veni, Creator Spiritus, Come, Creator Spirit, Qui Paraclitus diceris, You who are the Paraclete, qui Paraclitus diceris, you who are the Paraclete, donum Dei altissimi, gift of God most high, donum Dei altissimi. gift of God most high. fons vivus, ignis, caritas living fount, fire, love et spiritalis unctio. and spiritual unction. Da gaudiorum praemia, Grant the rewards of joys, grant da gratiarum munera the gifts of graces; loosen the [Veni, Creator, [Come, Creator Spirit, dissolve litis vincula, chains of law, imple quae tu creasti pectora fill the hearts that you have adstringe pacis foedera. draw tighter the bonds of peace. superna gratia.] created with divine grace.] Pacemque dones protinus, Grant peace forthwith, ductore te praevio under your guidance 3 Infirma nostri corporis, Strengthen our weak body hostem repellas, drive away the enemy, virtute firmans perpeti. with eternal power. sic vitemus omne pessimum. thus let us avoid all that is worst.

4 [Tempo I (Allegro etwas hastig)] [Tempo I (Allegro, etwas hastig)] 8 Gloria Patri Domino, Glory be to the Father Lord, Deo sit gloria, et Filio glory be to God and to the Son, 5 Infirma nostri corporis, Strengthen our weak body Natoque qui a mortuis the one born who from the dead virtute firmans perpeti. with eternal power. surrexit, ac Paraclito, rose, and to the Paraclete Accende lumen sensibus, Light the light of our senses, in saeculorum saecula. world without end. infunde amorem cordibus. pour love into our hearts. Zweiter Teil: Part Two: 5 Pater profundus (tiefe Region) Pater profundus (deep region) Schlußszene aus Final Scene from Goethe’s Wie Felsenabgrund mir zu Füßen As the rocky chasm at my feet Goethes Faust „2. Teil“ “Faust Part II” Auf tiefem Abgrund lastend ruht, On the deep abyss weighs at rest, Wie tausend Bäche strahlend fließen As a thousand gleaming streams flow Bergschluchten, Wald, Fels, Mountain Gorges, Forest, Cliff, Zum grausen Sturz des Schaums der Flut, To the terrible plunge of the flood’s foam, Einöde Heilige Anchoreten, Desert Holy Anchorites, Wie strack mit eignem kräftigen Triebe As with its own great strength gebirgauf verteilt gelagert scattered up the mountain­side, Der Stamm sich in die Lüfte trägt – The trunk is born up into the air ­ zwischen Klüften living in clefts of the rocks So ist es die allmächtige Liebe, So is almighty Love Die alles bildet, alles hegt. That forms all, preserves all. 3 Chor und Echo Chorus and Echo Ist um mich her ein wildes Brausen, There is about me a wild rushing, Waldung, sie schwankt heran, Forest, that sways here, Als wogte Wald und Felsengrund, As if forest and rocky ground shook, Felsen, sie lasten dran, Rocks that weigh down on it, Und doch stürzt, liebevoll im Sausen, And yet there rose, in lovely sound, Wurzeln, sie klammern an, Roots that cling, Die Wasserfülle sich zum Schlund, The waters to the abyss, Stamm dicht an Stamm hinan. Trunks dense on trunks. Berufen, gleich das Tal zu wässern; Called as it were to water the valley; Woge nach Woge spritzt, Wave sprays over wave, Der Blitz, der flammend niederschlug, The lightning that flaming struck Höhle, die tiefste, schützt. The deepest cave shields us. Die Atmosphäre zu verbessern, To clear the atmosphere, Löwen, sie schleichen stumm­ Lions that creep silently Die Gift und Dunst im Busen trug – Took the poison and vapour in its bosom ­ Freundlich um uns herum, Tame about us, Sind Liebesboten, sie verkünden, They are Love’s messengers, they tell Ehren geweihten Ort, Honour the sacred place, Was ewig schaffend uns umwallt. What ever­creating surrounds us. Heiligen Liebeshort. The holy shrine of Love. Mein Innres mög’ es auch entzünden, My inner being it too must charm Wo sich der Geist, verworren, kalt, Where the spirit, confused, cold, 4 Pater ecstaticus Pater ecstaticus Verquält in stumpfer Sinne Schranken, Tormented in the limits of dull senses, (auf und abschwebend) (floating above and below) Scharf angeschlossnem Kettenschmerz. Feels the sharp pain of chains. Ewiger Wonnebrand, Eternal burning brand, O Gott! Beschwichtige die Gedanken, O God! Quieten my thoughts, Glühendes Liebeband, Glowing bond of Love, Erleuchte mein bedürftig Herz! Bring light to my needy heart! Siedender Schmerz der Brust, Seething pain of the breast, Schäumende Gotteslust. Foaming joy of God. 6 Engel (schwebend in der höheren Angels (hovering in the higher Pfeile, durchdringet mich, Arrows, pierce me, Atmosphäre, Faustens Unsterbliches tragend) atmosphere, bearing what is immortal of Faust) Lanzen, bezwinget mich, Lances, subdue me, Gerettet ist das edle Glied Saved is the noble limb Keulen, zerschmettert mich, Maces, beat me down, Der Geisterwelt vom Bösen: Of the spirits’ world from the wicked: Blitze, durchwettert mich! Lightning thunder through me! „Wer immer strebend sich bemüht, “Who ever­striving takes pains, Dass ja das Nichtige That now the worthless Den können wir erlösen.“ Him can we redeem.” Alles verflüchtige, Be cursed for ever Und hat an ihm die Liebe gar And if Love from above Glänze der Dauerstern, Shine forth the enduring star, Von oben teilgenommen, Was shared by him, Ewiger Liebe Kern. Eternal Love’s centre. Begegnet ihm die selige Schar The blessed host meet him Mit herzlichem Willkommen. With heartfelt welcome. Chor seliger Knaben Choir of Blessed Boys 9 Die jüngeren Engel Younger Angels (um die höchsten Gipfel kreisend) (circling in the highest heaven) Ich spür’ soeben, I feel now Hände verschlinget Join your hands Nebelnd und Felsenhöh’, In the mist and rocky heights Freudig zum Ringverein, Joyful in a ring, Ein Geisterleben A Spirit life Regt euch und singet Up and sing Regend sich in der Näh’. Dwelling near. Heil’ge Gefühle drein! Holy feelings! Seliger Knaben Of blessed boys Göttlich belehret, Taught by God Seh’ ich bewegte Schar. I see a throng. Dürft ihr vertrauen; You may trust; Los von der Erde Druck, Free from earth’s pressure. Den ihr verehret, The one whom you revere, Im Kreis gesellt, Gathered in a circle Werdet ihr schauen. You shall see. Die sich erlaben They rejoice Am neuen Lenz und Schmuck In the new spring and beauty 7 Die jüngeren Engel The Younger Angels Der obern Welt. Of the upper world. Jene Rosen aus den Händen Those roses from the hands Sei er zum Anbeginn, Let him begin here Liebend­heiliger Büßerinnen Of loving holy penitents Steigendem Vollgewinn To win the fulness of life Halfen uns den Sieg gewinnen, Helped us to win victory, Diesen gesellt! As their companion! Uns das hohe Werk vollenden, To complete the holy work, Diesen Seelenschatz erbeuten. To take this soul’s treasure as prize. Die seligen Knaben The Blessed Boys Böse wichen, als wir streuten, The evil drew back, as we strewed, Freudig empfangen wir Joyfully we take Teufel flohen, als wir trafen. The Devil flew, when we smote. Diesen im Puppenstand; This man into the state of chrysalis; Statt gewohnter Höllenstrafen Instead of the wonted pangs of Hell Also erlangen wir So we receive Fühlten Liebesqual die Geister; The spirits felt the torment of Love; Englisches Unterpfand. The angels’ pledge. Selbst der alte Satansmeister The old Satan himself Löset die Flocken los, Set loose the flakes of earth War von spitzer Pein durchdrungen. Was afflicted with sharp pain. Die ihn umgeben! That are about him! Jauchzet auf! Es ist gelungen. Rejoice! We have succeeded. Schon ist er schön und groß Then he is fair and great Von heiligem Leben. From holy life. 8 Die vollendeteren Engel The More Perfect Angels Uns bleibt ein Erdenrest There remains for us earthly remains Doktor Marianus Doctor Marianus Zu tragen peinlich; To bear with difficulty; (in der höchsten, (in the highest, Und wär’ er von Asbest, And were he of matter indestructible reinlichsten Zelle) purest cell) Er ist nicht reinlich. He is not pure. Hier ist die Aussicht frei, Here the view is free, Wenn starke Geisteskraft When the strong force of the Spirit Der Geist erhoben. The Spirit lifted up. Die Elemente The elements Dort ziehen Fraun vorbei, There pass women An sich herangerafft, Has snatched up to itself, Schwebend nach oben. Ascending above. Kein Engel trennte No angel could part Die Herrliche mittenin The glorious one among them Geeinte Zwienatur The united double nature Im Sternenkranze, In crown of stars, Der innigen beiden, Of both soul and body, Die Himmelskönigin, The Queen of Heaven Die ewige Liebe nur Eternal Love only Ich seh’s am Glanze. I see in splendour. Vermag’s zu scheiden. May divide them. 10 Höchste Herrscherin der Welt! Highest Lady of the world! 12 Magna peccatrix Magna Peccatrix Lasse mich im blauen, Let me in the blue (St. Lucae VII, 36) (St Luke, VIII, 36) Ausgespannten Himmelszelt Extended tract of Heaven Bei der Liebe, die den Füßen By the love that at the feet Dein Geheimnis schauen. See your mystery. Deines gottverklärten Sohnes Of your Son, enlightened by God, Billige, was des Mannes Brust Approve what in man’s breast Tränen ließ zum Balsam fließen Let tears flow as balsam Ernst und zart beweget Grave and tender moves Trotz des Pharisäerhohnes; In spite of the scorn of the Pharisees; Und mit heiliger Liebeslust And with holy joy of Love Beim Gefäße, das so reichlich By the box that so richly Dir entgegenträget. Brings him to meet you. Tropfte Wohlgeruch hernieder; Dropped down fragrance; Unbezwinglich unser Mut, Unconquered our courage Bei den Locken, die so weichlich By the locks that so gently Wenn du hehr gebietest; When you, sublime, command; Trockneten die heil’gen Glieder – Dried the sacred limbs ­ Plötzlich mildert sich die Glut, Suddenly wanes anger Wie du uns befriedest. If you grant us peace. 13 Mulier Samaritana Mulier Samaritana (St. Joh. IV) (St John, IV) Doctor Marianus und Chor Doctor Marianus and Chorus Bei dem Bronn, zu dem schon weiland By the well to which once Jungfrau rein im schönsten Sinn, Virgin, pure in fairest mind, Abram ließ die Herde führen; Abraham led the herds; Mutter, Ehren würdig, Mother, worthy of reverence, Bei dem Eimer, der dem Heiland By the pitcher which coolly Uns erwählte Königin, Our chosen Queen, Kühl die Lippe durft’ berühren; Touched the Saviour’s lips; Göttern ebenbürtig. Equal to God. Bei der reinen, reichen Quelle, By the pure, rich source Die nun dorther sich ergießet, That now there gushes, 11 Chor Chorus Überflüssig, ewig helle Overflowing, ever clear Dir, der Unberührbaren, To you, the immaculate, Rings durch alle Welten fließet ­ Flows throughout the world ­ Ist es nicht benommen, It is not denied Dass die leicht Verführbaren That the easily seduced 14 Maria Aegyptiaca Maria Aegyptica Traulich zu dir kommen. May come to you in consolation. (Acta Sanctorum) (Acta Sanctorum) In die Schwachheit hingerafft, In weakness gathered in Bei dem hoch geweihten Orte, By the sacred place Sind sie schwer zu retten; They are hard to save; Wo den Herrn man niederließ; Where the Lord was laid; Wer zerreißt aus eigner Kraft Who tears apart through his own strength Bei dem Arm, der von der Pforte By the arm that from the entrance Der Gelüste Ketten? The chains of lust? Warnend mich zurücke stieß; Warning pushed me back; Wie entgleitet schnell der Fuß How quickly does the foot slide Bei der vierzigjährigen Buße, By the forty­year penitence Schiefem, glattem Boden? On the sloping, smooth ground? Der ich treu in Wüsten blieb; That I truly spent in the desert; Bei dem seligen Scheidegruße, By the holy words of parting Chor der Büsserinnen Chorus of Penitents Den im Sand ich niederschrieb – That in the sand I wrote ­ Du schwebst zu Höhen You float up to the heights Der ewigen Reiche; Of the eternal kingdom; Vernimm das Flehen, Hear our pleading, Du Gnadenreiche! Full of grace! Du Ohnegleiche! Without peer! Zu drei The Three Una Poenitentium (Gretchen) Una Poenitentium (Gretchen) Die du großen Sünderinnen You who do not avert your gaze Vom edlen Geisterchor umgeben, By the noble choir of spirits surrounded, Deine Nähe nicht verweigerst From women who have sinned Wird sich der Neue kaum gewahr, The newly born scarcely knows, Und ein büßendes Gewinnen Raise into eternity Er ahnet kaum das frische Leben, He scarcely divines fresh life, In die Ewigkeiten steigerst, The victory gained by repentance, So gleicht er schon der heiligen Schar. So he becomes like the holy host. Gönn’ auch dieser guten Seele, Grant also this poor soul, Sieh! Wie er jedem Erdenbande See! How he from every bond of earth Die sich einmal nur vergessen, Who only once forgot, Der alten Hülle sich entrafft Tears aside the old veil Die nicht ahnte, dass sie fehlte, Who did not know that she erred, Und aus ätherischem Gewande And from the clothing of the ether Dein Verzeihen angemessen! Your forgiveness! Hervortritt erste Jugendkraft! Comes forth his first youthful strength! Vergönne mir, ihn zu belehren, Grant me to teach him, 15 Una Poenitentium Una Poenitentium Noch blendet ihn der neue Tag. Still blinded by the new day. (sonst Gretchen genannt. (once called Gretchen. Sich anschmiegend) Approaching) 17 Mater Gloriosa Mater Gloriosa Neige, neige, Turn, turn, Komm! Hebe dich zu höhern Sphären! Come, rise up to higher spheres! Du Ohnegleiche, You matchless one, Wenn er dich ahnet, folgt er nach. If he is aware of you, he will follow. Du Strahlenreiche, Rich in glory, Dein Antlitz gnädig meinem Glück! Your face in grace on my happiness! Doktor Marianus Doktor Marianus Der früh Geliebte, The one I early loved, (auf dem Angesicht anbetend) (prostrate in prayer) Nicht mehr Getrübte, No more troubled, Blicket auf zum Retterblick, Look up to the redeeming sight, Er kommt zurück. Comes back. Alle reuig Zarten, All you who repent, Euch zu seligem Geschick That tries to bring you 16 Selige Knaben Blessed Boys Dankend umzuarten. To a blessed fate. (in Kreisbewegung sich nähernd) (circling nearer) Werde jeder bessre Sinn That every better sense Er überwächst uns schon He grows the greater Dir zum Dienst erbötig; May serve you; An mächtigen Gliedern, With his mighty limbs, Jungfrau, Mutter, Königin, Virgin, Mother, Queen, Wird treuer Pflege Lohn Will true redemption Göttin, bleibe gnädig! Goddess, be gracious to us! Reichlich erwidern. Richly return. Wir wurden früh entfernt We were early distanced 18 Chorus mysticus Chorus Mysticus Von Lebechören; From the chorus of life; Alles Vergängliche All that passes away Doch dieser hat gelernt, Yet this man has learned, Ist nur ein Gleichnis; Is only a likeness; Er wird uns lehren. He will teach us. Das Unzulängliche, The inadequacy of earth Hier wird’s Ereignis; Here finds fulfilment; Das Unbeschreibliche, The ineffable Hier ist’s getan; Here is accomplished; Das Ewig­Weibliche The eternal feminine Zieht uns hinan. leads us up.

English version: Keith Anderson © 2006 Naxos Rights International Ltd. ©MIGUEL MENDOZA ©MIGUEL MENDOZA THIERRY FISCHER Thierry Fischer has been Music Director of the Utah Symphony orchestra since 2009 and Principal Guest Conductor of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalized the orchestra, and his contract was recently extended to 2022. He led the orchestra in a multi­season Haydn symphony cycle and Mahler, Beethoven and Nielsen cycles, has toured to Utah’s five national parks, and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Recordings®. Fischer visits Seoul at least 4 times a season, will tour internationally with the orchestra, and plays an important role in the artistic planning. Fischer has guested with many leading orchestras, most recently the Boston, Atlanta, Cincinatti and Detroit Symphonies; Mostly Mozart Festival Orchestra (New York); London Philharmonic; BBC Symphony; Oslo Philharmonic; Bergen Philharmonic; Rotterdam Philharmonic; Maggio Musicale Firenze, Salzburg Mozarteumorchester and the Orchestre de la Suisse Romande; and in Autumn 2016, visited South America for the first time to conduct the Sao Paulo Philharmonic. In the past year or two he has also conducted the Scottish, Swedish and Munich chamber orchestras, London Sinfonietta, and Chamber Orchestra of Europe. He is committed to contemporary music and has performed and commissioned many world premieres–this season he conducts the Ensemble Intercontemporain for the first time. Whilst serving as Principal Conductor of the BBC National Orchestra of Wales from 2006­2012 Fischer appeared every year at the BBC Proms and toured internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Netherlands Radio Philharmonic Orchestra and Chorus won the International Classical Music Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label. Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequently directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001­2006. He was Chief Conductor of the Nagoya Philharmonic 2008­2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor. —Thierry Fischer is represented by Intermusica. UTAH SYMPHONY Founded in 1940, the Utah Symphony performs more than 175 concerts each season and offers all Utahns easy access to world class live musical performances of the world’s greatest music in the state’s top venues. Since being named the orchestra’s seventh music director in 2009, Thierry Fischer has attracted leading musicians and top soloists, refreshed programming, drawn increased audiences, and galvanized community support. In addition to numerous regional and domestic tours, including the Mighty 5® Tour of Utah’s National Parks, the Utah Symphony has embarked on seven international tours and performed at Carnegie Hall in Spring 2016 coinciding with the orchestra’s 75th anniversary celebrations. The Utah Symphony has released more than 100 recordings, including the recent release of Mahler Symphony No. 1 in Fall 2015. Utah Symphony | Utah Opera, the orchestra’s parent organization, reaches 450,000 residents in Utah and the Intermountain region, with educational outreach programs serving more than 155,000 students annually. In addition to performances in its home in Salt Lake City, Abravanel Hall, and concerts throughout the state of Utah, the Utah Symphony participates in Utah Opera’s four annual productions at the Janet Quinney Lawson Capitol Theatre and presents the six-week Deer Valley® Music Festival each summer in Park City, Utah. With its many subscription, education, and outreach concerts and tours, the Utah Symphony is one of the most engaged orchestras in the nation.

For more information visit www.utahsymphony.org. UTAH SYMPHONY T H I E R R Y F I S C H E R

©BRANDON FLINT

Thierry Fischer Music Director The Maurice Abravanel Ralph Matson, Associate VIOLIN II Chair, endowed by the Concertmaster Claude Halter, Principal George S. and David Park, Assistant Second Dolores Doré Eccles Concertmaster Wen Yuan Gu, Associate Foundation Sara Bauman Principal Second Leonard Braus, Associate Matthew Cowan VIOLIN I Concertmaster Joseph Evans Madeline Adkins, Acting Emeritus Kristiana Henderson Concertmaster, The Jerry Chiu Lun Jiang Jon M. & Karen LoiAnne Eyring Rebekah Johnson Huntsman Chair, in Paige Kossuth David Langr honor of Wendell J. & Veronica Kulig Rebecca Moench Belva B. Ashton Melissa Thorley Lewis Lynnette Stewart Kathryn Eberle, Yuki MacQueen Julie Wunderle Associate Alex Martin Karen Wyatt Concertmaster, The Hugh Palmer Richard K. & Shirley S. Lynn Maxine Rosen Hemingway Chair Barbara Ann Scowcroft VIOLA BASS OBOE Brant Bayless, Principal, David Yavornitzky, Robert Stephenson, The Sue & Walker Principal Principal Wallace Chair Corbin Johnston, Titus Underwood, Acting Roberta Zalkind, Associate Principal Associate Principal Associate Principal James Allyn Martha Kleiner Elizabeth Beilman Eric Hansen Kirstin Hoyt Julie Edwards Edward Merritt Lissa Stolz Joel Gibbs Claudia Norton Carl Johansen Jens Tenbroek ENGLISH HORN Scott Lewis Thomas Zera Lissa Stolz Christopher McKellar Leslie Richards HARP CLARINET Whittney Thomas Louise Vickerman, Tad Calcara, Principal, Principal The Norman C. & CELLO Lysa Rytting Barbara Lindquist Rainer Eudeikis, Principal, Tanner Chair, in The J. Ryan Selberg FLUTE memory of Jean Memorial Chair Mercedes Smith, Lindquist Pell Matthew Johnson, Principal, The Val A. Erin Svoboda, Associate Associate Principal Browning Chair Principal John Eckstein Lisa Byrnes, Associate Daron Bradford Walter Haman Principal Jaren Hinckley Andrew Larson Christina Castellanos Lee Livengood Mira Luxion Sally Humphreys Jacob Saunders Caitlyn Valovick Moore BASS CLARINET Pegsoon Whang Lee Livengood Joyce Yang PICCOLO Caitlyn Valovick Moore E-FLAT CLARINET Erin Svoboda BASSOON TRUMPET TIMPANI Lori Wike, Principal, The Travis Peterson, Principal George Brown, Principal Edward & Barbara Jeff Luke*, Associate Moreton Chair Principal PERCUSSION Leon Chodos, Associate Nathaniel Hepler Keith Carrick, Principal Principal Mark Maliniak* Eric Hopkins Gabriel Beavers Peter Margulies Michael Pape Amanda Hales Nick Norton Jennifer Rhodes Joseph Reardon* KEYBOARD Kyra Sovronsky* Jason Hardink, Principal CONTRABASSOON Clay Christiansen Leon Chodos TROMBONE Vedrana Subotic Mark Davidson, Principal HORN Samuel Elliot, Acting ORGAN Edmund Rollett, Acting Associate Principal Richard Elliott Principal Zachary Guiles Alexander Love, Acting Joshua Holder* GUITAR Associate Principal Burt Mason* Colin Botts Nathan Basinger Bryce Mecham* Ronald L. Beitel LIBRARIANS William Bernatis BASS TROMBONE Clovis Lark, Principal Barbara Hill Graeme Mutchler Maureen Conroy Llewellyn B. Humphreys Stephen Proser TUBA Names in italics indicate Kit Weber Gary Ofenloch, Principal extra performers. *Antiphonal Ensemble

UTAH SYMPHONY T H I E R R Y F I S C H E R © © F R R Y

A ORLA BOYLAN, CELENA SHAFER A , N N C

T E SOPRANO H SOPRANO S O

M M A In recent seasons, P After two summers R S O S H N

A Irish soprano Orla as an apprentice L L Boylan has made a at Santa Fe Opera, number of the career of important debuts soprano Celena including the roles Shafer was of Gutrune in Götterdämmerung for launched to critical raves as Ismene in Opera North and Chrysothemis in Mozart’s Mitridate, Re di Ponto. Anne Elektra for West Australian Opera, as Midgette in the New York Times wrote, well as her house debut at Teatro alla “It takes the debutante Celena Shafer, Scala in Giorgio Batistelli’s new an alumna of the apprentice program commission CO2. Her thrilling here, to show how it should be done, performance as Senta in Der fliegende singing the Oriental princess Ismene Holländer–where she “commands the with flair, vocal balance and great stage with her magnificent performance” cadenzas.” Since that breakthrough (The Listener)–brought her notable debut, Ms. Shafer has garnered acclaim international success in recent seasons for her silvery voice, fearlessly committed both on stage and in concert. acting, and phenomenal technique. Most recent plans include Lady She spends much of her time on the Billows in Albert Herring at The concert stage and has appeared with Grange Festival‚ Turandot for Opera the orchestras in New York, Chicago, North and conducted by Sir Richard Philadelphia, San Francisco, and Los Armstrong‚ Senta in Der fliegende Angeles with leading conductors such Holländer for Royal Danish Opera, as Christoph von Dohnanyi, Alan Gilbert, Copenhagen‚ and Richard Strauss’ Bernard Labadie, Robert Spano, Nicholas Vier letzte Lieder with RTE Symphony McGegan, Kent Nagano, Donald Orchestra, under the baton of James Runnicles, Michael Tilson Thomas, David Feddeck. Robertson, and Sir Andrew Davis. S O L O I S T S © © K M A R AMY OWENS, CHARLOTTE T I S S

T B I SOPRANO Ä HELLEKANT, N C

H K E O Coloratura soprano MEZZO-SOPRANO R E B

E Amy Owens is A compelling stage R M

A establishing herself performer with a N N as a versatile repertoire ranging performer with from the baroque to comedic flair, a contemporary strong aptitude for new music, and a classics, Charlotte Hellekant is one of soaring high range. Throughout the Scandinavia’s leading mezzo-sopranos 2016–2017 season, Ms. Owens made a with a career that is equally successful on serious of auspicious debuts: at The Dallas both the opera stage and concert platform. Opera, performing in the Second Annual Hellekant has made her mark on both Linda and Mitch Hart Institute for Women sides of the Atlantic, notably at The Conductors concert; in Hong Kong, under Metropolitan Opera, Opéra national de the auspices of The Intimacy of Creativity Paris, and Glyndebourne Festival. Recent Festival, performing the music of Bright lyric roles include Charlotte in Werther Sheng; with the Reno Philharmonic, with Deutsche Oper Berlin and Carmen performing Christopher Theofanidis' with Royal Swedish Opera. In concert, Grammy-nominated choral and orchestral Hellekant is a regular guest with many work The Here and Now; and at notable conductors and orchestras, Carnegie Hall, performing in Carmina including Christoph von Dohnányi at the Burana with Mid-America Productions. BBC Proms, Christoph Eschenbach and Upcoming performances include Carmina NDR Sinfonieorchester, Esa-Pekka Burana with the National Symphony Salonen and the Philharmonia Orchestra, Orchestra and the Omaha Symphony, Mariss Jansons and the Oslo and role debuts as Marie in La fille du Philharmonic Orchestra, Jukka-Pekka régiment (Opera in the Heights) and Saraste and the Finnish Radio Oscar in Un ballo in maschera Symphony Orchestra, and Los Angeles (Livermore Valley Opera). Philharmonic under Gustavo Dudamel. S O L O I S T S © © F C A H

Y TAMARA BARRY BANKS, R

I F S O T X I

MUMFORD, A TENOR N

S

MEZZO-SOPRANO T Barry Banks’ E I N

Tamara Mumford E outstanding facility R has appeared in roles by Bellini, in over 140 Rossini and performances at Donizetti regularly The Metropolitan takes him to the Opera, including L’Amour de Loin, Anna world’s leading opera houses. Bolena, Rigoletto, Ariadne auf Naxos, Il With The Metropolitan Opera, he Trittico, Parsifal, Idomeneo, Cavalleria has partnered with Renée Fleming in rusticana, Nixon in China, The Queen of Rossini’s Armida, Natalie Dessay Spades, the complete Ring Cycle, The Magic in La fille du régiment and La Flute, A Midsummer Night's Dream and sonnambula, Olga Borodina in Wozzeck. She also appeared in productions L’italiana in Algeri and Anna Netrebko at Opera Philadelphia, Caramoor, and the in Don Pasquale and L’elisir d’amore. Glyndebourne Opera Festival. An active In concert Barry Banks has concert performer, Ms. Mumford has performed Berlioz’s Grand Messe appeared with all the major US orchestras, des Morts under Sir Colin Davis with in Europe with the Berlin Philharmonic and the London Symphony Orchestra, on multiple tours with Gustavo Dudamel which was released to considerable and the Los Angeles Philharmonic Orchestra acclaim on LSO Live. He sang in and the Simon Bolivar Orchestra, and at Britten’s War Requiem at the Teatro the Hollywood Bowl and the Ravinia, alla Scala under Xian Zhang, The Tanglewood, Grand Teton, and Vail Dream of Gerontius with the summer festivals. In recital she was Münchner Philharmoniker under Sir presented in New York by the Marilyn Andrew Davis, and Rossini’s Petite Horne Foundation and the Metropolitan Messe Solennelle with the Royal Museum of Art, and in Philadelphia by Philharmonic Orchestra under Daniele the Philadelphia Chamber Music Society. Gatti. S O L O I S T S © © F H R A

A JORDAN BISCH, L

N MARKUS WERBA, I

C C H E BASS R S BARITONE I C S O T O A graduate of L P

U Austrian baritone H C E I A

R the Metropolitan

N Markus Werba has I performed at the Opera's Lindemann world’s finest opera Young Artist houses and concert Development venues, including Program, American Teatro alla Scala, Royal Opera House bass Jordan Bisch made his main stage Covent Garden, Bayerische Staatsoper, debut there as the Second Knight in Parsifal, Los Angeles Opera, Lyon Opera, Châtelet and has since appeared in productions of Il Theatre Paris, and The Metropolitan Opera, barbiere di Siviglia, La sonnambula, Aida, as well as for the Baden-Baden, Salzburg, Idomeneo, and Romeo et Juliette. He has Gergiev, Tanglewood, and Aspen Music appeared with many important opera Festivals. He has worked with conductors companies in the U.S. including the San such as Claudio Abbado, Jeffrey Tate, Ivor Francisco Opera, Opera Philadelphia, Bolton, Kent Nagano, Riccardo Muti, James Washington National Opera, Los Angeles Conlon, and James Levine, among others. Opera, Seattle Opera, Michigan Opera Opera highlights include Beckmesser Theater, and the Florida Grand Opera. in Die Meistersinger von Nürnberg for In concert, Mr. Bisch has appeared at the the Salzburg Festival and at La Scala; Hollywood Bowl in Aida with Gustavo Papageno in Die Zauberflöte for The Dudamel and the Los Angeles Metropolitan Opera, the Royal Opera Philharmonic, the Tanglewood Festival in a House, and the Wiener Staatsoper; Don performance of Mozart’s Requiem with Alfonso in Così fan tutte with the Theater Michael Tilson Thomas, and the Tucson an der Wien; both Marcello in La Desert Song Festival as Méphistophélès in bohème and Harlequin in Ariadne auf Le damnation de Faust. He also appears Naxos for the Royal Opera House on the Los Angeles Philharmonic Covent Garden; and Roland in Fierrabras Orchestra's recording of Shostakovich's at the Salzburg Festival and La Scala. Orango (Deutsche Grammophon). S O L O I S T S MORMON TABERNACLE CHOIR A month after the first pioneers had arrived in the Salt Lake Valley in 1847, a church conference was held where a small group provided the music. A standing choir was organized two years later, known as the Salt Lake Tabernacle Choir. In 1893, the Choir took its first tour outside of Utah to the Chicago Columbian Exposition. Since then, the Choir has traveled extensively from Israel and Russia to Japan and Australia. The Choir sung at the inaugurations of six U.S. presidents and at North America’s most prestigious outdoor music festivals. In 2015, the Choir performed at New York’s Carnegie Hall and traveled to concert halls throughout Europe during the summer of 2016. Nearly 87 years ago, a new radio program began when Salt Lake City’s only microphone was carried across the street to the Tabernacle and suspended above the singers so high the announcer had to stand on a ladder to reach it. Music and the Spoken Word has been heard on network radio ever since. Carried on 2,000 radio, television, Internet, and cable networks, the broadcast has been inducted into the National Association of Broadcasters Hall of Fame and the National Radio Hall of Fame. Nearly 200 recordings have showcased the Choir since 1910, earning a Grammy Award in 1959, three more Grammy nominations, five gold and two platinum records. The Mormon Tabernacle Choir has been widely recognized with honors including three Emmys, a Freedoms Foundation Award, Peabody Awards, and the National Medal of Arts, the nation’s highest artistic recognition, awarded to the Mormon Tabernacle Choir by President George W. Bush in 2003.

©MIGUEL MENDOZA MORMON Lindsay Clark SOPRANO II Debby Smith TABERNACLE CHOIR Melou Cline Holly Abel Amy Staley ARTISTIC STAFF Meg Dawson Jean Applonie Lisa Strickland Mack Wilberg Margo Edwards Luana Au Suzanne Thorup Music Director Jen Ericksen Susan Bird Lauren Tuft Courtney Fanello Kasey Bradbury Leslie Walker Ryan Murphy Sheila Favero Janet Bradford Christine Weiss Associate Music Terri Graff Ivalani Bradshaw Angela Werner Director Cheri Hancock Rebecca Castleton Alaina Wilcock Melissa Howell Jan Chamberlin Paula Williams Richard Elliott Shauna Johnson Rebecca Cheney Gail Woodfield Tabernacle Organist Mary Ellen Larkin Rebecca Farnsworth Dorothy Larson Janine Green ALTO I Clay Christiansen Maria Longhurst Catherine Hale Susan Alldredge Tabernacle Organist Holly Marsh Tricia Hall Joanne Andrus Tricia Martindale Jennifer Hansen Lani Arnett Andrew Unsworth Darilyn Merrill Lori Hayward Wendy Asay Tabernacle Organist Jenny Nudd DeAnn Jenkins Karen Barker Linda Olsen Laura Larsen Teresa Barlow Bonnie Goodliffe Annalyn Osborn Janet Mackay Melinda Baros Tabernacle Organist Reta Patterson Bev Marcum Carol Bay Ann Peterson Leigh Marriott Suanne Bowcut Linda Margetts Laurel Piccolo Staci Meacham Cristi Brazão Tabernacle Organist Melanie Powell Megan Miller Joan Brinton Carla Pratt Allison Mitton Jamie Bunker SOPRANO I Mary Ann Richards Sheryl Moser Amy Butler Brittany Allison Michele Scott Karen Nash Amanda Crabb Valaura Arnold Sharon Seminario Julia Nichols Teri Crockett Betsy Bailey Lisa States Kim Parsons Bonita Cross Ali Barton Cindy Swan Andrea Paulsen Marcia Davis Katie Bastian Tricia Swanson Karen Penman Dorothy Dayton Amber Bezzant Rachel Swift Debbie Petersen Cydnie Dial Natalie Blackwell Kerynne Vance Andrea Powell Nina Doxey Star Brandt Christie Winterton Emily Pulham Jana Ellsworth Evelyn Burch Dani Wood Tammy Robinson Bekah Ellsworth Angie Caldwell Sheila Sconiers Carrie Farnsworth Sherry Christensen Laurie Scott Sylvia Fisk ALTO I (cont'd) RaNae Dalgleish Heather Smart Walt Parker Wendy Flanders Denise Davis Anne Marie St Felix Bradd Poffenberger Janet Fullmer Jennifer Dotson Karen Stephens Dennis Pratt Jill Furness Jeanette Eggett Debbie Stevens Lewis Quinn Janet Greenhalgh Connie Ericksen Barb Tew Kevin Scott Chris Harmon Rachel Florence Carolyn Tolman Chris Searle Pamela Hawker Debbie Forbush Denise Westover Clark Searle Maddy Horne Kristin Gerdy Melanie Wilcox Greg Smith Carma Huggard Lisa Hansen Stephanie Wood Travis Stockwell Deby Jensen Nancy Hansen Will Thomas Sandey Johansen Emily Harestad TENOR I Scott Thorne Debbie Kraft Leisa Higbee Wade Abbott Darren Turley Jennifer Luce Karen Hornberger Rich Adams Josh Walker Kirsten Marsh Belinda Jensen Dave Allen Mike Wallgren Karen McRae Bethanie Johnson Ryan Bell Niel Westover Shannyn Palmer Marcia Johnson Richard Bigler Jeremy Williams Melissa Pope Emily Juett Preston Brown Rob Williams Nancy Pratt Lara Kimball Brad Carter Tim Wright Margaret Prince Camille Kingman Richie Clark Janet Rawson DonNel Lamb Ray Davis TENOR II Joyce Rowberry Julie Larsen Steven Everett Cliff Bentley Susan Rymer Bonnie Lee Boyd Fisher Doug Blackhurst Sonja Sperling Maria Lewis Gerald Gibb Nate Brown Ruth Stevenson Caroline Marriott David Gunn Wes Brown Deonn Stott Lori Meldrum Craig Haslam David Burke Janette Strople Sharlene Miner Brian Johnson Ian Christensen Desireé Syme Margie Murdock David Jones Jericho Cuison Whitney Nebeker Mark Jordan Braden Eads ALTO II Marilyn Nielson Barry Lloyd Wayne Eckman Glenna Bradford Kristen Olsen John Maddox Ben Elmer Jennifer Brooks Jeannie Perrington Lynn Merrill Björn Farmer Mindy Butler Diane Prince Scott Miller Alma Farnsworth Peg Carter Edie Purkiss Shipley Munson Thomas Gardiner Leslie Clawson Gail Richardson Jason Nelson Ray Garner Leanna Crockett Andrea Riding Laurent Neu Rob Hancock Ruth Crosland Emily Roche Danny O’Very Jeremy Hawkes Susan Curtis Carol Salmon Rick Olsen Greg Hess Lono Ikuwa BARITONE Jon Rhees Grant Jex David Leavitt John Abercrombie Bruce Rigby Marshall Johnson Rourke Mace Petey Aldous Eric Schetselaar Siope Kinikini Darren Major Art Allen Don Seamons Dave Lawrence Gregory Marsh Devin Asay Paul Shafer Don Love Randy Marshall John Barrow Bob Stevens Paul McGuire Randall Maxfield David Belt David Stevenson Lyman Moulton III Ed McCracken Bruce Bunderson Preston Tenney Amram Musungu Matt Meyer Matt Dame Spencer Willis John Nebeker Gary Miner Rick Decker Brad Winn Joseph Ogden Doug Myler Steve Devenport Ryan Withers Fred Owens Ryan Omer David Gardner Kevin Wolford Ryan Pitt Dave Petersen George Garwood Jr. Farrell Poll Lorenzo Pope Kevin Gunnell BASS Dirk Porter Brad Rickards Charles Hamilton Lyle Archibald Craig Russell Ron Ruske Brian Harker Ben Ashby Greg Sagers John Sasine Brody Hart Ryan Bateman Scott Schroeder James Shumway Tyler Holzer Evan Black Wayne Scott Dale Simper Eric Huntsman Ben Blauer Lance Smith Ryan Snarr Sione Ika Thomas Chock Blaine Stewart Jon Soules Randy Jensen Stan Clark Tyler Stoehr Mark Sowa Jeff Larson Aaron Dalton Wayne VanTassell Peter Tang Alex Lindstrom Craig Decker Bob Walker Dan Taylor David Longhurst Dave Fischer Darren Watts Roland Tietjen Cary Malmrose David Fjeldsted Steve Weed Kyle Vincent Trevor Manning Dennis Flynn Bret Wheadon Todd Wente Bill McDougal Doug Furness Evan Whitaker Dan White Chris Metzger Rob Gerlach Keith Willmore Earl Whitmore Layne Miller Jonathan Gochberg Andrew Wright David Wise Brigham Morgan Rick Graham Nathan K Wright Rob Wood Glen Morrell Jared Haines Scott Wood John Mueller Joe Haynie Michael Young Arthur Newell Quinn Heiner Alan Niederhauser Josh Hendryx David Oswald John Hopkins Brian Park ArtHovley Ben Peterson LukeHoward THE CHORISTERS OF THE MADELEINE CHOIR SCHOOL Located in downtown Salt Lake City, The Madeleine Choir School is a mission of The Cathedral of the Madeleine, serving young people in Pre-Kindergarten through Grade Eight. Modeled after the historic cathedral schools in Europe, the Choir School offers a rigorous academic program in the humanities, mathematics and sciences, and the arts, as well as strong character formation. It provides every student an exceptional music education, including two years of violin study, music theory and history and intensive vocal training. The choristers assist with the worship life of the Cathedral and participate in The Choir of the Cathedral of the Madeleine’s Annual Concert Series, performing over 9,000 hours of service annually. In addition, the choristers perform regularly with local arts organizations, including the Utah Symphony, Utah Opera, Ballet West, Utah Chamber Artists, The Mormon Tabernacle Choir, Helena Symphony, and the San Francisco Opera. They have five CD recordings available. Performance tours are an integral part of every student’s experience at the Choir School. Past tours have encompassed performances in Rome, Florence, Madrid, Sevilla, Prague, Berlin, Leipzig, Munich, and Vienna–including St. Peter’s Basilica, and Notre Dame de Paris.

Please visit www.utmcs.org for more information on admissions and concert dates. ©MICHAEL SHOENFELD MELANIE MALINKA, Max Gross Thomas Morelli Allison Sweney DIRECTOR OF MUSIC Jack Halbersleben Gillian Mozdy Kathryn Vargas Oliver Haley Elliott Mumm Anthony Villanueva Liam Alfred Jacob Hickey Ian Murphy Gretchen Walsh Airam Alvarez- Sophia Hickey Mara Murphy Zosia Weglarz Marmolejo Madeline Jones Reyna Murphy Alex Yannelli Chloe Barrett Clare Keeler Hannah Nordhoff Alexandra Burnett Madeleine Klement Hannah Ohman Chance Cannon Olivia Leonard Nicholas Payne Christopher Cordova Megan Lester Mimi Pendergrast James Corroon Sophia Loose Henry Poppe Katherine Dailey Zachary Loose Sophia Purcell Penelope Dalton Claire Sophie Alvin Reed Diego Delgado-Rojas Malinka-Thompson Ruben Reed Sofi Denton Jonas Malinka- Will Schulte Emma Diazmontes Thompson William Selfridge Stephen Grant Roma Jane Maloney Claire Sparano Recorded Live: February 19 and 20, 2016 at the Salt Lake Tabernacle in Salt Lake City, Utah

Special thanks to the O.C. Tanner Gift of Music for the 2016 concert from which this recording was made. The O.C. Tanner Gift of Music was created over 30 years ago through the combined vision of Obert C. Tanner and Gordon B. Hinckley to share performances of the Mormon Tabernacle Choir and Utah Symphony as a gift to the community. O.C. TANNER GIFT OF MUSIC COMMITTEE PRESIDENT HENRY B. EYRING, CHAIRMAN

MORMON TABERNACLE CHOIR OFFICERS UTAH SYMPHONY | UTAH OPERA OFFICERS RON JARRETT, PRESIDENT PATRICIA A. RICHARDS, INTERIM PRESIDENT & CEO RON GUNNELL, ASSISTANT TO THE PRESIDENT DAVID GREEN, SENIOR VICE PRESIDENT & COO JON ROWBERRY, ASSISTANT TO THE PRESIDENT DAVID A. PETERSEN, BOARD OF TRUSTEES CHAIR SCOTT BARRICK, GENERAL MANAGER BARRY ANDERSON, ADMINISTRATIVE MANAGER

The Utah Symphony is grateful to the following donors whose support made this recording possible: 75th Anniversary Signature Sponsor GEORGE S. AND DOLORES DORÉ ECCLES F O U N D A T I O N

75th Anniversary Mahler Cycle Sponsor Kem and Carolyn Gardner Recording Sponsor Jack Wheatley

Reference Recordings® gives special thanks to Music Director Thierry Fischer for entrusting our label with this project, and to Jeff Counts, Anthony Tolokan and Jon Miles for their outstanding help and communication.

Design by Bill Roarty and JoAnn Nunes. Title Lettering by Brandon Jameson. Technical Recording Notes & Credits

If recording Gustav Mahler’s Symphony No. 8 was not already a once in a lifetime event, doing so with the Utah Symphony orchestra and the Mormon Tabernacle Choir at the historic Salt Lake Tabernacle in Salt Lake City certainly was.

Balancing and keeping the perspective of Mahler’s vast and ingenious score, utilizing forces from the smallest chamber music settings to grandiose choral scenes with antiphonal brass, truly presented a unique challenge for the recording. The Salt Lake Tabernacle however provided an ideally suited acoustic environment for this endeavour.

As is the case for a lot of our orchestral recordings, we selected five DPA 4006 microphones as our main pick up, and as usual, the project was recorded and post produced on a Pyramix workstation.

We feel honored and grateful to have been part of this project. We hope you will enjoy listening to this recording as much as we enjoyed making it!

— Dirk Sobotka, Recording Producer John Newton, Recording Engineer Mark Donahue, Mixing and Mastering

For more than 40 years, Soundmirror has been the first choice recording and post- production company for orchestras, choral groups, opera companies, solo artists, and record labels. Soundmirror’s recordings have received over 90 GRAMMY® nominations and awards as well as special commendations from prestigious publications.

For more information, visit www.soundmirror.com.