TIMPANOGOS SYMPHONY ORCHESTRA JOHN PEW MUSIC DIRECTOR
An American Celebration with Lloyd Newell, Narrator June 19 & 20, 2015 – 7:30pm Timberline Middle School 500 W Canyon Crest Road, Alpine
Sponsored by Highland City Arts Council, Lehi City Arts Council, and Alpine Community Arts Council Suggested Age 8 years and older
Spread the word facebook.com/TimpanogosSymphony A Message from the Music Director
Dear Friends, was hard to narrow the selections down to Tonight brings us to the last concert of the music that would fit on one program. It just season. It is hard for me to believe that this is means that we’ll have to do another American the conclusion of our fourth full season. It was music concert in the near future. just a little over four years ago that we had our One of the feature numbers on tonight’s first concert in April of 2011. We have had program is The Charlie Brown Suite. This suite tremendous success since that first season. contains music written for various Peanuts Thank you for the part you television shows back in the have played in our success. We 1960s. This music was originally hope that you feel enriched written by jazz pianist Vince and uplifted by the perfor- Guaraldi and I’m sure you will mances of the Timpanogos recognize many, if not all, of the Symphony Orchestra and that selections in the suite. Lynn you will continue to be part of Shurtleff became acquainted the experience that we strive with Vince Guaraldi back in the to bring to our community! 1960s and they collaborated to Tonight’s concert has been put together this suite of music in the making for well over a for jazz trio and orchestra. year. I am excited to have I feel particularly grateful Lloyd Newell as our special to Lynn for being an influential guest. As you know, Lloyd mentor to me when we both Newell is the voice of the Mormon Tabernacle lived in California. When Lynn was conducting Choir’s Music and the Spoken Word program the Santa Clara Chorale, I served as his assistant which airs weekly. Lloyd also teaches at Brigham conductor for a couple of seasons. In addition, Young University. I was so pleased when he Lynn opened up many doors to me that made accepted our offer to be tonight’s narrator. In possible my first appointment as a conductor of addition to narrating our feature number, the Temple Hill Symphony in Oakland, Copland’s A Lincoln Portrait, we also have the California. Those years of conducting the Temple privilege of hearing Lloyd introduce tonight’s Hill Symphony prepared me for creating the selections. Timpanogos Symphony Orchestra. Lynn, thank I have wanted to do a program of American you for all the help, advice, and the opportuni- music for some time. I found it more difficult ties you have given me over the last 25 years! selecting the music for tonight’s program than I From all of us at the Timpanogos Symphony, had anticipated. There is such a great variety of thank you for your support. Enjoy the program! music written by American composers that it
The Timpanogos Symphony Orchestra is funded in part by grants from the George S. and Dolores Doré Eccles Foundation, the Utah Arts Council and Rocky Mountain Power. Concert Program
Overture to Candide (1956) Leonard Bernstein
The Charlie Brown Suite (1969) Vince Guaraldi/Lynn Shurtleff I. Linus and Lucy II. The Great Pumpkin Waltz III. Peppermint Patty IV. Oh, Good Grief V. Rain, Rain, Go Away VI. The Red Baron VII. Epilogue INTERMISSION
“God Bless America” (1938) Irving Berlin Lloyd Newell, narrator
“Summertime” from Porgy and Bess (1935) George Gershwin
American Salute (1942) Morton Gould
Washington Post March (1889) John Philip Sousa
Superman (1978) John Williams
A Lincoln Portrait (1942) Aaron Copland Lloyd Newell, narrator
2 Our Guest Performers
Lloyd D. Newell has addressed Sardoni, Thor Johnson, and Gunther audiences in 46 states and more than a Theuring. He has conducted various dozen countries through his seminars and choruses and symphony orchestras and for keynote speaking thirty-two years he was musical director of engagements. He has the Santa Clara Chorale, a 140 voiced semi - worked as a television professional community choir in the Silicon news anchor and news Valley. magazine host in For 35 years he was a member of the Pennsylvania and in Utah, music faculty at Santa Clara University in as well as for CNN in California, serving as chair of the music Atlanta, Georgia. He is the department for 17 author of more than a years. In 1983 he dozen books, including his was named most recent, The Gospel outstanding of Second Chances. professor of the Mr. Newell holds a University. He has master's degree in directed choirs and communications and a PhD in Marriage, orchestras through- Family, and Human Development from out the United Brigham Young University where he is a States, Latin America, professor in Religious Education. For several and Europe, Vince Guaraldi years, he held the Moral Education Profes- including performances with the and Lynn sorship in Religious Education and was an San Jose Symphony, the Shurtleff associated faculty member in the School of Birmingham (England) Philhar- collaborating Family Life. monic, the Israel Symphony on The Charlie Since 1990, Mr. Newell has been the Orchestra, The Moscow Brown Suite. voice and writer for the Mormon Tabernacle Philharmonic, the St. Petersburg Choir's weekly inspirational broadcast Music Philharmonic, the Vienna Mozart Orchestra and the Spoken Word. This historic and the Boston Pops Orchestra. He has also broadcast–the longest continuous broadcast collaborated in performances with Vince in the world–is heard and seen each week Guaraldi and with Dave Brubeck. on more than two thousand television, radio, Shurtleff has composed hundreds of and cable stations by millions of people works that have been performed through- around the world. out the Americas and Europe, including Lloyd and his wife, Karmel, are the commissions from the cities of Santa Clara, parents of four children. California, San Jose, California and Peoria, Lynn Shurtleff began studies in Music at Illinois. He has also received commissions BYU in 1957 and completed a master's from the LDS Church and the Barlow degree at BYU in 1965. He also Foundation. He has contributed to the LDS did graduate work at Indiana Hymnal and LDS Children’s Songbook. His University and completed work, For the First Manned Moon Orbit was further studies of conducting in commissioned for ten European perfor- Vienna, Austria, having been mances of the Santa Clara Chorale and was invited there as recipient of the later made into a film which was sold to prestigious Ferdinand Grossman CBS News and was broadcast nationally on Fellowship. He studied Christmas Eve for 10 consecutive years. conducting under Lawrence
3 Bassist Matt Larson showed a strong for the Salt Lake City Jazz Orchestra. interest in music at an early age. By the time Lawrence graduated from Utah Valley he was 15, he was playing with University with a Bachelor of Science degree - his father's jazz groups in the Summa Cum Laude. Salt Lake City area. His Jay's vast professional experience began musicianship has since earned when he joined The Musicians Union at the him the reputation as one of age of fifteen. He was immediately found in Utah's premier jazz bass demand, working as a drummer and players. Matt has also worked percussionist for a myriad of celebrity shows extensively in numerous in Reno, Lake Tahoe and Las Vegas, Nevada. studios in Utah where he has Jay has played as a member of the Nevada recorded for national film and hotel/casino show bands with celebrities such television scores. He has also as Paul Anka, Cher, Tom Jones, and numerous performed with many others. He has played for many productions nationally recognized musicians and musicals including Showboat, Singin' in including Joey Defrancesco, the Rain, and Les Miserables, to name a few. Eddie Daniels, Cyrus Chestnut, He has also performed with many jazz artists, The Moody Blues, Peter Cetera, Frank Vignola, including Shelly Berg, Diane Schuur, New York Kevin Mahogany, Bobby Shew, Maureen Voices, and many others. McGovern, and Keith Lockhart. Jay has recorded film scores and trailers Matt plays both acoustic and electric bass for over 20 motion pictures, including: The and feels comfortable on both instruments, Sandlot, 101 Dalmatians, Flubber, Gettysburg, allowing him to play nearly any style of music. Home Alone 3, Indian in the Cupboard, He performs and records with a variety of Jumanji, and Man in the Iron Mask. music groups in Salt Lake City and surround- Jay has produced many pedagogical ing areas. He received a degree in jazz materials, including A Compendium of Jazz composition in May 2000 and a Masters in Improvisation text book and play-along for Business Administration in May 2002 from the music students at Brigham Young University, University of Utah. Matt resides in the Salt LIJA Music's Rhythm Reading: A Practice Lake City area with his wife, Lorraine, and Manual and The Drummer’s Workbook. their four children. Both as an adjudicator and performing as a clinician, Lawrence has participated at the Jay Lawrence has enjoyed a diverse career as a performing and recording artist. Lionel Hampton Jazz Festival, the Utah He is a distinguished drummer, ethnic and Chapter of the Percussive Arts Society, The orchestral percussionist, composer and Gene Harris Jazz Festival, The Heritage arranger, educator, clinician, Festivals in Las Vegas, St. Louis and San adjudicator, band leader, Francisco, Fidelity's Park City Jazz Festival, at contractor and author. Lawrence the UMEA Conference, and The Juilliard Jazz operates LIJA Music Inc. and Faculty Goes to the Mountains. Utah Music and Events, and is the Lawrence has served as President of the percussionist for the MT Pit Salt Lake City Jazz Society and as Chief Orchestra. He co-owns the Jazz Executive Officer of Jazz Arts of the Mountain Hang record label with colleague West. Jay is also a director and founding Ray Smith, and is the drummer member of the GAM Foundation's Jazz at the Capitol concert series.
4 Contributors
Gold Conductor’s Circle Coleen Carter Valerie Myers ($5,000 – Up) Shefer Clark Lon & Kaye Nally Anonymous Alan & Misty Daniels Penny Nelson Marlene Daniels Steve & Linda Nelson Conductor’s Circle Race & Rosalyn Davies Dale B. Oberg ($1,000 - $4,999) Kent & Patty Davis Chuck & Carolyn Owen Anonymous (3) R. Kim Davis Virgil & Jackie Parker David & Nancy Gardner Matt & Laura Dawson Richard & Janice Pederson Kent & Karen Lundquist Jean Dewey John & Renee Pew Peter & Barbara Dill LaVerne Pierce Sponsor Grant & Gayle Drollinger Karene Pierson ($500 - $999) Anonymous Linley Duncan Helene Pockrus Ed & Mary Busath Sandra Ellexson Robert & Jean Porcaro Scott L. & Catherine B. Smith Clyde & Kathy Farnes Lynn Poulson Scott & Miriam Frazier David Price Donor Brent & Heather Fry Patricia Ravert ($200 - $499) David & Nancy Gardner Paul & Chris Redd Anonymous Lewis Garrett Linda Rehart Angie Allen David & Fawn Geslisan Lois Ricks Stephen & Janice Graham Brad & Alicia Rowberry Contributor Jared & Rachel Harward Connie Ruben ($100 - $199) Billie Hawkins Paul & Marianne Ruben Anonymous Harold & Gaelyn Henderson Joel & Marla Rush Grant & Gayle Drollinger Spencer & Heather Hess Larry & Judy Sagers Jeff & Rachel Jensen Mike & Jessie Schoenfeld TSO Family Members Doug & Ruth Johnson Paul & Susan Sherwood Angie Allen Steven & Jacquie Johnson Scott L. & Catherine B. Smith Bob & Kathryn Allen Gary Jones Emily Spencer Murial Allridge John Kelley Russell & Katherine Spencer Nadeene Anderson Rodney & Anne Kendall Daniel & Denise Stratton Soren & Nina Rae Anderson Pat & Ann Kronmiller George & Louise Sturt Jan N. & Verla Rae Bair Harland Larson Keith & Karma Swain Paulo & JaLayne Bangerter Dorothy Ludaescher Peter & Anita Thelen Bruce & Emily Barlow Kent & Karen Lundquist C. Eric Thompson Arvin & Maurine Bellon Kirk & Shannon Magleby Steven & Ellen Townsend Roy & Pam Bodtcher Colleen Magleby Walter & Mary Whipple Robert & Donna Bowman John & Sue Mason Quentin-Riitta White Jerome & Sandra Broekhuijsen Stan McQueen Ella Lou Wood Karen Brunsdale Frank & Deanna Metcalf Kent & Doris Bullock Cathie Miller TSO members receive two season Thelys Bushman Dennis & Judy Miner tickets and entrance to the “Meet Dennis & Lynette Butler Carroll Morris the Artist” pre-concert reception Vicki Callister Randy & Sherrie Morris before each concert. Membership begins at $120 for the season or $10 per month.
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6 Program Notes
Overture from Candide At the invitation of Timpanogos Symphony Leonard Bernstein (1918-1990) Orchestra director John Pew, Lynn Shurtleff expanded When Leonard Bernstein began to collaborate on a the chamber orchestration of the Charlie Brown Suite musical setting of Voltaire’s Candide with playwright into a work for full symphonic orchestra and jazz trio in Lillian Hellman, they hoped, like Voltaire, to use parody 2015. These concerts represent the world premiere of and satire to combat McCarthyism, dogmatism, and all this new orchestration which, like its famous original kinds of political “isms” of the 1950s. It was, in fact, a kind version, is being premiered in a school auditorium. of Americanized “Gilbert & Sullivan,” with serious social Washington Post March commentary lurking beneath the seeming frivolity of John Philip Sousa (1854-1932) Bernstein’s tunes. The overture to Candide is one of Bernstein's most The son of a trombonist in the United States Marine popular pieces of concert music. A brilliant showpiece Band, John Philip Sousa was granted a thorough and that introduces the sarcastic tone of the drama, it comprehensive musical education. But at thirteen, Sousa includes several musical themes and motifs from the was planning to run off with a circus band, so his father operetta itself. While this kind of overture is not unusual, signed him up as an apprentice musician with the Bernstein’s is especially stylish. Normally a Broadway Marine Corps. After a seven-year stint, Sousa left the overture is compiled by the show’s orchestrator rather Marines to conduct theater orchestras in the than the composer. Bernstein made a point, though, of Washington DC area, then returned to lead “The orchestrating this overture himself, and fashioned a President’s Own” for twelve years before forming his sophisticated, witty, sonata-form symphonic movement own band in 1892. “The Sousa Band” gave more than strong enough to stand successfully on its own. 15,000 concerts over the next forty years under its renowned leader. The Charlie Brown Suite One of Sousa’s most famous marches, the Vince Guaraldi (1928-1976) / Washington Post March was written for the United Lynn Shurtleff (b. 1939) States Marine Band in 1889. It arose from a request by American jazz pianist and composer Vince Guaraldi is the The Washington Post newspaper for a march that now known primarily for scoring the animated Peanuts could be played at an award ceremony for its essay television specials of the late 1960s and early 70s. But by contest. After its first performance on June 15, 1889, it the time he worked on those soundtracks, he was quickly became famous around the world, leading a already a successful composer and jazz musician, having British journalist to dub Sousa “The March King.” won a Grammy award for his 1962 B-side single “Cast American Salute Your Fate to the Wind.” Morton Gould (1913-96) It was after hearing “Cast Your Fate to the Wind” on the radio in San Francisco that TV producer Lee As a child, Morton Gould was something of a musical Mendelson asked Guaraldi to write a score for a prodigy, and was admitted to the New York Institute of 30-minute documentary on the Peanuts comic strip and Musical Art (later known as the Juilliard School) at age 8. its creator, Charles M. Schulz. Though never aired publicly, Very active on the New York musical scene, Gould this documentary garnered sponsor support for A gained renown through radio during the 1930s and Charlie Brown Christmas in 1965, the first of the Peanuts early 40s, composing and arranging music for popular television specials on which Guaraldi worked to air radio shows such as “Music for Today” and “The nationally. His jazz trio was a perfect match for the Chrysler Hour.” He later moved into television, and also Peanuts began writing symphonic works. His last orchestral kid-sized world of the gang, and Guaraldi Stringmusic provided the music for all 14 subsequent Charlie Brown composition, from 1995, won the Pulitzer Prize. specials up until his death in 1976. American Salute While Guaraldi was writing music for the Peanuts from 1942 is, by far, Gould’s specials, Lynn Shurtleff worked as a music professor at most-performed piece. An orchestral adaptation of the Santa Clara University. In addition to teaching theory popular American song “When Johnny Comes and analysis, conducting, and orchestration, Shurtleff’s Marching Home,” it was composed for an all-American deep interest in jazz and choral music led to collabora- radio broadcast in February 1942, just after the United tions with famous jazz artists including Dave Brubeck States entered World War II. Some years later the and Vince Guaraldi. One of those collaborations was a composer observed, “I have attempted a very simple collection of tunes from the Peanuts specials that and direct translation in orchestral idiom of this vital became the six-movement Charlie Brown Suite. Shurtleff tune. There is nothing much that can be said about the arranged and orchestrated the Charlie Brown Suite in structure or the treatment because I think it is what you 1969 for performances in San Francisco with the Vince might call ‘self-auditory.’” Guaraldi Trio and a chamber orchestra. In later performances, Shurtleff occasionally replaced Guaraldi on piano. 7 Program Notes
“Summertime” from Porgy and Bess Superman George Gershwin (1898-1937) John Williams (b. 1932) George Gershwin began his illustrious career as a Known almost exclusively for his symphonic film scores, song-plugger for Tin Pan Alley, but his own talent was John Williams has become one of the most famous already emerging, and he wasn’t satisfied with merely composers (not just film composers) of the 20th and 21st promoting other people’s music. By the time he was centuries. Williams studied piano at the Juilliard School, but twenty, Gershwin was writing his own songs for Broadway at the same time played in jazz clubs in New York and for shows. Before long he was America’s most famous studio orchestras under greats like Henry Mancini, songwriter, a reputation only enhanced by his later Bernard Herrmann, and Alfred Newman. The combina- ventures into orchestral concert music and opera. tion of classical training, jazz gigs, and film-recording and One of Gershwin’s longest and most ambitious orchestrating experience perfectly prepared Williams to projects, his only opera, Porgy and Bess, was first produced singlehandedly revive symphonic film scores in the in 1935. Some thought it presumptuous that a mid-1970s in movies like Jaws, Close Encounters of the Third Russian-Jewish immigrant from New York should attempt Kind, and Star Wars (1977). In 1978, Williams scored the to write an opera about the experience of blacks in the soundtrack for Superman, earning him his 14th Oscar South, yet Porgy and Bess, with words by DuBose nomination. Heyward and Gershwin’s brother, Ira, has become an A Lincoln Portrait undisputed classic. Perhaps the most famous melody from Aaron Copland (1900-90) Porgy and Bess is the leisurely, bluesy lullaby, “Summertime,” which quickly became a jazz standard, and has been Aaron Copland is, for many listeners, virtually synonymous recorded over 33,000 times. with American music. His ballet scores from the late ‘30s and early ‘40s—Billy the Kid, Rodeo, and Appalachian “God Bless America” Spring—capture a quintessential element of American- Irving Berlin (1888-1989) ness that, while heavily mythologized, remains potent. And The renowned songwriter Jerome Kern once said “Irving works like Fanfare for the Common Man, though more Berlin has no place in American music—he is American overtly political, still ring with an earnestness that has music.” And George Gershwin regarded him as “the made them public favorites for decades. greatest songwriter that has ever lived.” Born in Russia, Not only are Copland’s most famous works all Berlin (whose original birth name was Israel Beilin), was orchestral, they are also unthreateningly tonal. They tell brought to the United States as a young child, settling in stories about America using a musical language that the New York where he started his musical career as a audience comprehends easily. It’s no coincidence, too, that song-plugger on Tin Pan Alley. He quickly moved on to be Copland’s Americana works date almost exactly to the become a “singing waiter” (his life’s goal!), but his song period covered by World War II. Most composers, during “Alexander’s Ragtime Band” unexpectedly became a both world wars, sought refuge in a nostalgic, conservative stunning international hit in 1911, and Berlin’s career was a style while they witnessed global human tragedies of a songwriter was assured. catastrophic scale. It was reassuring during these times to In 1917, Berlin was drafted into the US Army to write reflect on past eras that seemed safe and optimistic, with patriotic songs. That same year he wrote a musical, Yip Yip the hope that such times might return. Yaphank, that originally included some songs, cut from the In 1942, just a few weeks after America’s entry into show, that went on to become some of his most familiar World War II, the popular orchestral conductor André tunes. One of those songs was “God Bless America,” Kostelanetz asked Copland and some fellow composers which wasn’t released until 1938 when it was premiered to contribute to “a musical portrait gallery of great at concert celebrating the 20th anniversary of the Americans.” Copland at first thought of Walt Whitman, Armistice. At the time, another war was looming in but was then convinced by Kostelanetz to choose a Europe and “God Bless America” subsequently became a political figure rather than a literary one; Jerome Kern and symbol of American freedom whenever the nation was Virgil Thomson had already chosen authors to celebrate. threatened—almost a second national anthem. But to The choice of Abraham Lincoln then “seemed inevitable,” Berlin, it was personal. “To me,” he wrote, “‘God Bless Copland noted. Using Lincoln’s own words as narration, America’ was not just a song but an expression of my and borrowing popular American folk tunes from the feeling toward the country to which I owe what I have 19th century, Copland fashioned A Lincoln Portrait, a and what I am.” moving orchestral tribute to Lincoln that stole the show at its premiere in May, 1942, and has continued to be popular with audiences ever since.
8 Next Season 2015-2016
TIMPANOGOS SYMPHONY ORCHESTRA
September 11 & 12, 2015 A Little Night Music Featuring Soloists from the TSO. 201516 Mozart, Eine Kleine Nachtmusik & Haydn, “Farewell” Symphony October 23 & 24, 2015 Halloween at Hogwarts A Spooktacular Costume Party. Harry Potter Suite, Sorcerer’s Apprentice, & Phantom Menace December 14, 2015 Merrily on High with Jenny Oaks Baker at Thanksgiving Point. Christmas Favorites for an Uplifting Holiday Extravaganza February 26 & 27, 2016 A Celebration of Fifths A Fifth Anniversary Tribute. Beethoven, Piano Concerto No. 5 & Tchaikovsky, Symphony No. 5 May 16, 2016 Music Through the Ages From Renaissance to Modern. Melissa Heath, soprano
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9 TSO Position Openings Board Treasurer The Treasurer is responsible for the TSO's finances. Duties include working closely with our accountant, developing the annual budget, and giving financial updates at monthly board meetings. The Treasurer is a Board of Directors position. Concert Manager The Concert Manager is responsible for the execution of all concerts—ensuring that they run smoothly. This includes overseeing and managing facilities, equipment, hospitality, lighting, sound, programs, and volunteers. This is a paid position. Equipment Manager The equipment manager is responsible for all TSO equipment which includes a trailer, percussion equipment, music stands, risers, and chairs. Equipment must be loaded and transported to the performance venue for each concert. The Equipment Manager supervises the loading, setup, and takedown of equipment at all concerts. The Equipment Manager reports to the Concert Manager. This is a paid position. For more information, call 801.210.2466.
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10 Members of the Orchestra
Conductor and Viola Oboe Trombone Music Director Britney Anglesey* Lucas Florin* Darrell Knowles* John Pew Libby Halbrook Kerrie Davis Richard Dart 1st Violins Christina Hall English Horn Trevor Lewis Sophie Wilson* Elizabeth Mangus Robin Vorkink Tuba Tristyn Bingham Clarissa Mortensen Clarinet Jacob Bahr Gae Lyn Henderson Cami Turpin Hannah Christensen* Harp Mary Julia McKean Cello Abby Tippetts Julie Staples Kaye Nally Dorothy Olsen* Bass Clarinet Piano Kaitlin Rackham Rachel Hoffman Gary Miner Kendra Walbeck Melinda Walker Carolyn Lundberg Bassoon Timpani Véronique Willardson Stacie Ramos Jessica Miller* Paul Worthen Percussion 2nd Violins Don Sherwood Kaela Hansen Contrabassoon Paul Worthen* Dianne Freestone* Alexis Watson Andrea Cannon Bass Christy Eisley Camille Barlow French Horn Holly Caten Bob Lee* Paige Beal Brad Freestone* Jenn Fetzer Peter Burnett Whitney Christensen Roxanna Chipman Miriam Frazier Amelia Ence Sara Smith Michael Laudie Tad Jacobs TJ Smith Jennifer Lew Ben McGee Georg Meiwes Flute Emilia Williams Trumpet Katie Parry Hillary Kimball* Marcia Harris* Lynda Pettersen Anjanette Butler Abby Bates Marcia Smith Nancy Jacobs Harold Henderson Michelle Jones Piccolo Nancy Jacobs Jonathan Mott
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Concert Etiquette Thank you for joining us this evening. As a • If young children disrupt others' ability to member of the audience, you are an listen, please take them from the auditorium important part of tonight’s concert. As a until they are quiet. courtesy, please observe the following rules • Refrain from talking during the perfor- of concert etiquette: mance and be thoughtful of others by • Arrive on time. If you are late, an usher keeping programs, jewelry, candy wrappers, will seat you during a break in the perfor- and electronic devices silent. mance. • Watch the conductor when the music • Remain seated while the performance is in stops to decide whether or not to applaud. progress. If you must leave before the Some musical works have several move- performance is over, please wait until a piece ments and the audience applauds only after is finished and the audience is applauding. all movements have been performed.
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13 Behind the Scenes
Symphony Board of Directors TSO Promotional Symphony Logistics John Pew Christina Hall Design Renee Pew Mary Busath Penny Lee Keoki Williams Denise Angus Kathy Farnes Randy Morris www.keokidesign.com Pam Bodtcher Gary Miner Lance Pyper [email protected] General Manager Brad Freestone Lindsey South Timberline Staff Heather Fry Matthew King Devin Walker Steven Chase Hollis Kirton Mission Statement The mission of the Timpanogos Symphony Orchestra is to present high-caliber perfor- mances which inspire musicians and audiences alike; to nurture understanding and appreciation of symphonic music; and to enrich the cultural life of the greater Utah County community.
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